Bread was an American soft rock band from Los Angeles, California. They placed 13 songs on the Billboard Hot 100 chart between 1970 and 1977; the band consisted of Jimmy Griffin and Robb Royer. On their first album session musicians Ron Edgar played drums and Jim Gordon played drums and piano. Mike Botts became their permanent drummer when he joined in the summer of 1969, Larry Knechtel replaced Royer in 1971, playing keyboards, bass guitar and harmonica. David Gates was from Oklahoma, he released a song in the late 1950s entitled "Living Doll" on Atlantic Records. Gates knew both played in bar bands around the Tulsa area. Both Gates and Russell headed for California to check out the music scene there. Before forming Bread, Gates had worked with Royer's previous band, the Pleasure Fair, who recorded one album for the UNI Records label with Gates producing and arranging. Royer introduced Gates to his songwriting partner and the trio joined together in 1968 and signed with Elektra Records in January 1969, after choosing the name "Bread" in late 1968, when Griffin and Royer pulled up behind a Barbara Ann Bread truck at a stoplight.
The group's first single, "Dismal Day", did not chart. Their debut album, was released in September 1969 and peaked at No. 127 on the Billboard 200. Songwriting on the album was split evenly between Gates and the team of Griffin-Royer. Session musicians Jim Gordon, Ron Edgar, accompanied the band on drums for the album. On July 25, 1969, Bread appeared in concert for the first time, with Gordon on drums, at the Aquarius Theater in Hollywood, opening for the Flying Burrito Brothers; when Gordon's schedule conflicted and he proved unavailable for future outings, they brought in Mike Botts as their permanent drummer. Botts, whom Gates had worked with in Botts's group The Travelers 3 as a producer, appeared on their second album, On the Waters; this time their efforts established Bread as a major act with the Billboard Hot 100 No. 1 hit "Make It with You" in 1970. "Make It with You" would be Bread's only No. 1 on the Hot 100. For their next single, Bread released a re-recorded version of "It Don't Matter To Me", a Gates song from their first album.
This single was a hit as well, reaching No. 10. Bread began touring and recording their third album, titled Manna, which peaked at #21 and included "Let Your Love Go" and the Top 5 hit single, "If"; as with the first album, songwriting credits were split evenly between Griffin-Royer. Royer, after conflicts with Gates, left the group in the summer of 1971 after three albums, although he would continue to write with Griffin, he was replaced by Larry Knechtel, a leading Los Angeles session musician who had played piano on Simon & Garfunkel's "Bridge Over Troubled Water" single in 1970. In January 1972 Bread released Baby I'm-a Want You, their most successful album, peaking at No. 3 on the Billboard 200. The title song was established as a hit in late 1971 before the album was released hitting No. 3. Follow-up singles "Everything I Own" and "Diary" went Top 20; the next album, Guitar Man, was released ten months and went to No. 18. The album produced three Top 20 singles, "The Guitar Man", "Sweet Surrender", "Aubrey", with the first two going to No. 1 on Billboard's adult contemporary chart.
By 1973, fatigue from constant recording and touring had set in despite the band's success, personal relationships began to show strain between Gates and Griffin. All eleven of Bread's charting singles between 1970 and 1973 had been sung by Gates. Elektra Records had invariably selected Gates' songs for the A-sides of the singles, while Griffin felt that the singles should have been split between the two of them. There was some dissatisfaction with the songs planned for a sixth album and as a result, Bread decided to disband after having all their equipment and instruments stolen prior to a scheduled concert at the Salt Palace in Salt Lake City in May 1973. Gates and Griffin returned to their solo careers with mixed results; the Best of Bread compilation album from March 1973 was a huge success, peaking at No. 2 on the Billboard 200 and staying on the chart for over two years. The follow-up, The Best of Bread, Volume 2, was released in May 1974 and went to No. 32. The reunion of the group in 1976 came about after Elektra Records expressed interest in another Bread album.
Gates, Griffin and Knechtel returned to the studio that year and recorded the album Lost Without Your Love, released in January 1977. The title track, again written and sung by Gates, was the band's last Top 10 hit, peaking at No. 9 on the singles chart. This comeback record reached No. 26 on the Billboard 200 and was Bread's seventh consecutive album to be RIAA-certified gold. In March 1977, Elektra released a second single, "Hooked On You", it was less successful on the pop chart but it reached No. 2 on the Billboard Adult Contemporary chart. The four members of Bread toured throughout the spring of 1977 to support their comeback album. After a short break, they commenced the tour's third leg that summer without Griffin, whom Gates failed to invite after further rising tensions and Griffin's worsening substance abuse troubles, they ended the year with no further plans to record as a group. In 1978 Ga
Sentimental ballads, are an emotional style of music that deal with romantic and intimate relationships, to a lesser extent, loneliness, drug abuse and religion in a poignant but solemn manner. Ballads are melodic enough to get the listener's attention. Sentimental ballads are found in most music genres, such as pop, R&B, country, folk and electronic music. Slow in tempo, ballads tend to have a lush musical arrangement which emphasize the song's melody and harmonies. Characteristically, ballads use acoustic instruments such as guitars, pianos and sometimes an orchestral set. Many modern mainstream ballads tend to feature synthesizers, drum machines and to some extent, a dance rhythm. Sentimental ballads had their origins in the early Tin Pan Alley music industry of the 19th century. Known as "tear-jerkers" or "drawing-room ballads", they were sentimental, strophic songs published separately or as part of an opera, descendants of broadside ballads; as new genres of music began to emerge in the early 20th century, their popularity faded, but the association with sentimentality led to the term ballad being used for a slow love song from the 1950s onwards.
Sentimental ballads have their roots from medieval French chanson balladée or ballade, which were "danced songs". Ballads were characteristic of the popular poetry and song of the British Isles from the medieval period until the 19th century, they were used across Europe, in the Americas and North Africa. As a narrative song, their theme and function may originate from Scandinavian and Germanic traditions of storytelling. Musically they were influenced by the Minnesinger; the earliest example of a recognizable ballad in form in England is "Judas" in a 13th-century manuscript. A reference in William Langland's Piers Plowman indicates that ballads about Robin Hood were being sung from at least the late 14th century and the oldest detailed material is Wynkyn de Worde's collection of Robin Hood ballads printed about 1495. Ballads at this time were composed in couplets with refrains in alternate lines; these refrains would have been sung by the dancers in time with the dance. In the 18th century, ballad operas developed as a form of English stage entertainment in opposition to the Italian domination of the London operatic scene.
In America a distinction is drawn between ballads that are versions of European British and Irish songs, and'Native American ballads', developed without reference to earlier songs. A further development was the evolution of the blues ballad, which mixed the genre with Afro-American music. In the late 19th century, Danish folklorist Svend Grundtvig and Harvard professor Francis James Child attempted to record and classify all the known ballads and variants in their chosen regions. Since Child died before writing a commentary on his work it is uncertain how and why he differentiated the 305 ballads printed that would be published as The English and Scottish Popular Ballads. There have been many different and contradictory attempts to classify traditional ballads by theme, but identified types are the religious, tragic, love ballads, historic and humorous. By the Victorian era, ballad had come to mean any sentimental popular song so-called "royalty ballads"; some of Stephen Foster's songs exemplify this genre.
By the 1920s, composers of Tin Pan Alley and Broadway used ballad to signify a slow, sentimental tune or love song written in a standardized form. Jazz musicians sometimes broaden the term still further to embrace all slow-tempo pieces. Notable sentimental ballads of this period include, "Little Rosewood Casket", "After the Ball", "Danny Boy". Popular sentimental ballad vocalists in this era were Frank Sinatra, Doris Day, Andy Williams, Dusty Springfield, Johnny Mathis, Connie Francis, Nat King Cole, Liza Minnelli and Perry Como, their custom recordings were instrumental versions of current or recent rock and roll or pop hit songs. The most popular and enduring songs from this style of music are known as "pop standards" or "American standards". Many vocalists became involved in 1960s' vocal jazz and the rebirth of swing music, sometimes referred to as "easy listening" and was, in essence, a revival of popularity of the "sweet bands", popular during the swing era, but with more emphasis on the vocalist and the sentimentality.
Soft rock, a subgenre that consist of ballads, was derived from folk rock in the early 1970s, using acoustic instruments and putting more emphasis on melody and harmonies. Major sentimental ballad artists of this decade included Barbra Streisand, Nana Mouskouri, Elton John, Engelbert Humperdinck, Carole King, Cat Stevens, James Taylor. By the early 1970s, softer ballad songs by the Carpenters, Anne Murray, John Denver, Barry Manilow, Streisand, began to be played more on "Top 40" radio. Furthermore, rock-oriented acts as Queen, Toto, England Dan & John Ford Coley, Air Supply and Crofts, the Eagles and Bread had made ballad music; when the word ballad appears in the title of a song, as for example in The Beatles' "The Ballad of John and Yoko" or Billy Joel's "The Ballad of Billy the Kid", the folk music sense is implied. The term ballad is sometimes applied to strophic story-songs more such as Don McLean's "American Pie". Prominent artists who made sentimental ballads in the 1980s were Stevie Wonder, Richard Marx, Michael Jackson, Bonnie Tyler, George Michael, Phil Collins, Sheena Easton, Amy Grant, Lionel Richie, Christopher
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
The LP is an analog sound storage medium, a vinyl record format characterized by a speed of 33 1⁄3 rpm, a 12- or 10-inch diameter, use of the "microgroove" groove specification. Introduced by Columbia in 1948, it was soon adopted as a new standard by the entire record industry. Apart from a few minor refinements and the important addition of stereophonic sound, it has remained the standard format for vinyl albums. At the time the LP was introduced, nearly all phonograph records for home use were made of an abrasive shellac compound, employed a much larger groove, played at 78 revolutions per minute, limiting the playing time of a 12-inch diameter record to less than five minutes per side; the new product was a 12- or 10-inch fine-grooved disc made of PVC and played with a smaller-tipped "microgroove" stylus at a speed of 33 1⁄3 rpm. Each side of a 12-inch LP could play for about 22 minutes. Only the microgroove standard was new, as both vinyl and the 33 1⁄3 rpm speed had been used for special purposes for many years, as well as in one unsuccessful earlier attempt to introduce a long-playing record for home use by RCA Victor.
Although the LP was suited to classical music because of its extended continuous playing time, it allowed a collection of ten or more pop music recordings to be put on a single disc. Such collections, as well as longer classical music broken up into several parts, had been sold as sets of 78 rpm records in a specially imprinted "record album" consisting of individual record sleeves bound together in book form; the use of the word "album" persisted for the one-disc LP equivalent. The prototype of the LP was the soundtrack disc used by the Vitaphone motion picture sound system, developed by Western Electric and introduced in 1926. For soundtrack purposes, the less than five minutes of playing time of each side of a conventional 12-inch 78 rpm disc was not acceptable; the sound had to play continuously for at least 11 minutes, long enough to accompany a full 1,000-foot reel of 35 mm film projected at 24 frames per second. The disc diameter was increased to 16 inches and the speed was reduced to 33 1⁄3 revolutions per minute.
Unlike their smaller LP descendants, they were made with the same large "standard groove" used by 78s. Unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound and played with a single-use steel needle held in a massive electromagnetic pickup with a tracking force of five ounces. By mid-1931, all motion picture studios were recording on optical soundtracks, but sets of soundtrack discs, mastered by dubbing from the optical tracks and scaled down to 12 inches to cut costs, were made as late as 1936 for distribution to theaters still equipped with disc-only sound projectors. Syndicated radio programming was distributed on 78 rpm discs beginning in 1928; the desirability of longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format. 16-inch 33 1⁄3 rpm discs playing about 15 minutes per side were used for most of these "electrical transcriptions" beginning about 1930.
Transcriptions were variously recorded inside out with an outside start. Longer programs, which required several disc sides, pioneered the system of recording odd-numbered sides inside-out and even-numbered sides outside-in so that the sound quality would match from the end of one side to the start of the next. Although a pair of turntables was used, to avoid any pauses for disc-flipping, the sides had to be pressed in a hybrid of manual and automatic sequencing, arranged in such a manner that no disc being played had to be turned over to play the next side in the sequence. Instead of a three-disc set having the 1–2, 3–4 and 5–6 manual sequence, or the 1–6, 2–5 and 3–4 automatic sequence for use with a drop-type mechanical record changer, broadcast sequence would couple the sides as 1–4, 2–5 and 3–6; some transcriptions were recorded with a vertically modulated "dale" groove. This was found to allow deeper bass and an extension of the high-end frequency response. Neither of these was a great advantage in practice because of the limitations of AM broadcasting.
Today we can enjoy the benefits of those higher-fidelity recordings if the original radio audiences could not. Transcription discs were pressed only in shellac, but by 1932 pressings in RCA Victor's vinyl-based "Victrolac" were appearing. Other plastics were sometimes used. By the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac. Beginning in the mid-1930s, one-off 16-inch 33 1⁄3 rpm lacquer discs were used by radio networks to archive recordings of their live broadcasts, by local stations to delay the broadcast of network programming or to prerecord their own productions. In the late 1940s, magnetic tape recorders were adopted by the networks to pre-record shows or repeat them for airing in different time zones, but 16-inch vinyl pressings continued to be used into the early 1960s for non-network distribution of prerecorded programming. Use of the LP's microgroove standard began in the late 1950s, in the 1960s the discs were reduced to 12 inches, becoming physically indistinguishable from ordinary LPs.
Unless the quantity required was small, pressed discs were a more economica
A concert tour is a series of concerts by an artist or group of artists in different cities, countries or locations. Concert tours are named to differentiate different tours by the same artist and to associate a specific tour with a particular album or product. In the popular music world, such tours can become large-scale enterprises that last for several months or years, are seen by hundreds of thousands or millions of people, bring in millions of dollars in ticket revenues. A performer who embarks on a concert tour is called a touring artist. Different segments of longer concert tours are known as "legs"; the different legs of a tour are denoted in different ways, dependent on the artist and type of tour, but the most common means of separating legs are dates, countries and/or continents, or different opening acts. In the largest concert tours it is becoming more common for different legs to employ separate touring production crews and equipment, local to each geographical region. Concert tours are administered on the local level by concert promoters or by performing arts presenters.
Small concert tours are managed by a road manager whereas large concert tours are managed by a tour manager. The main challenge in concert tours is how to move the performance's logistics from one venue to another venue for a transcontinental tour. Tour logistics should be organized and everything has to happen on time and in the right order as planned. Autoweek magazine estimated 30 to 50 trucks were required by Taylor Swift's 1989 World Tour to bring all the stage, sound equipment, instruments and clothes; when Beyoncé visited the United Kingdom with her 2016 Formation World Tour, it took seven Boeing 747 air freighters and a fleet of more than 70 trucks to get her stage set and other gear to the venues. The logistics phase of that tour didn't include transportation of the backstage staff, musicians and the singer herself. Rock-It Cargo is one of the company that provided freight forwarding for some of the biggest names in music, such as Bruce Springsteen and The Police. Before the start of a tour, Rock-It Cargo had to move gear to a central location—either a rehearsal spot or the site of the first engagement.
It arranged to transport whatever gear the band requires from one venue to the next. The company's vice president, Ed Butler, said "We use different freight modes—local trucking, cross-country trucking, air freight, ocean freight. We provide import, customs clearance, carnets —everything a tour would need." As of 2011, the highest-grossing concert tour of all time is U2 360 Tour, with gross revenues of $736,137,344. The second highest-grossing concert tour of all time is The Rolling Stones' A Bigger Bang Tour, which earned $558 million between 2005 and 2007. Madonna's Sticky & Sweet Tour, which earned $408 million in 2008 and 2009 was the highest-earning tour by a female artist. According to the 2014 report from Billboard Boxscore, six acts having made over US$1 billion in touring since 1990 were the Rolling Stones, U2, Bruce Springsteen, Madonna and Bon Jovi. Global touring revenue reported to Billboard Boxscore exceeded $5.5 billion in 2016. Due to the collapse of record sales in the 21st century, concert tours have became a major income for recording artists.
Besides the tickets, touring generates money from the sales of merchandise and meet-and-greet package. The mobility of concert tours requires a lot of costs and energy. British singer Adele expressed her unhappiness of concert tours, saying "Touring is a peculiar thing, it doesn't suit me well. I'm a real homebody and I get so much joy in the small things." A concert residency concept is offered as an alternative to performers. As opposed to the concert tour, the concert residency consists of multiple shows in one location; the 2015 study by charity Help Musicians UK found that over 60% of musicians suffered from depression or other psychological issues, with touring an issue for 71% of respondents. Lists of concert tours Billboard Touring News
Atomic Kitten are a British pop girl group formed in Liverpool in 1998 whose current members are Natasha Hamilton and Liz McClarnon. The group was founded by Orchestral Manoeuvres in the Dark members Andy McCluskey and Stuart Kershaw, who served as principal songwriters during Atomic Kitten's early years; the group's debut album Right Now was released in October 2000 and charted at number 39 in the United Kingdom. After five top ten singles, original member Kerry Katona quit – four weeks before "Whole Again" reached number one in the UK Singles Chart – and was replaced by former Precious singer Jenny Frost. "Whole Again" became the group's most successful single, staying at number one for four weeks in the UK and six weeks in Germany, reaching number one in many other territories. The group re-released their debut album, with some tracks re-recorded with Frost's vocals: it peaked at number one in the UK and was certified double platinum after selling over 600,000 copies. Between 2002 and 2004, the group released a further two studio albums, Feels So Good and Ladies Night, a greatest hits album before announcing a break following their 2004 tour.
To date the group have had three UK number-one singles: "Whole Again", the fourth-best-selling song of all time by a girl group in the UK. They have sold over 10 million records worldwide. After making sporadic appearances in 2006 and 2008, it was announced that McClarnon and Katona would reunite for the ITV2 series The Big Reunion, alongside five other pop groups of their time: B*Witched, Liberty X, Honeyz and 911. Frost was unable to take part in the comeback because of her pregnancy, but Hamilton has since said that Frost would be welcomed back if she wanted to rejoin the group in the future. Katona left the group for a second time in December 2017 leaving the group as a duo. Atomic Kitten was first conceived in 1998 by British musician Andy McCluskey, best known as the frontman of new wave group Orchestral Manoeuvres in the Dark. Karl Bartos of Kraftwerk suggested he create a new band as a vehicle for his songs following the 1996 dissolution of OMD, who were rendered "totally out of fashion" by the prevalence of Britpop.
McCluskey founded Atomic Kitten alongside fellow OMD member Stuart Kershaw, the pair would serve as principal songwriters on the group's studio recordings in the late 1990s and early 2000s. The lineup featured Liz McClarnon, Kerry Katona, Heidi Range, but did not have a name. In her autobiography Too Much, Too Young: My Story of Love and Celebrity, Katona mentions that they pondered names such as Exit and Honeyheads, before settling on Automatic Kitten, the title of a fashion label owned by a clothing designer called Mary Lamb; when Katona went home to tell her mother all about the band, her mother's friend "Bob the Leg" was there. He was unable to pronounce "Automatic Kitten" and kept saying "Atomic Kitten". Katona liked the name and told her bandmates about it—they all felt the same way and the name stuck. Range quit because of artistic differences and was replaced by Natasha Hamilton. Range went on to have success with the Sugababes; the group's debut single, "Right Now", was released in late-November 1999 and reached number ten on the UK Singles Chart.
Their second single, "See Ya" followed in March 2000 and was an bigger success, reaching number six. Following this initial success, Atomic Kitten performed an Asian tour and scored their first number-one hit there with "Cradle". In 2000 they recorded a cover of "The Locomotion" for the movie Thomas and the Magic Railroad; the album titled Right Now, was first released in Japan on 16 March 2000 and subsequently released in the United Kingdom on 23 October 2000 following the release of two further singles, "I Want Your Love" and "Follow Me", with a modified track list. The album was unsuccessful upon its first release, peaking at number 39 on the UK Albums Chart. There were no initial plans to focus on the global market and Atomic Kitten's label, Innocent Records, was considering dropping them because of their limited success. However, the record company was persuaded to let the group release one more single from the album; that single, "Whole Again", became their first number-one hit in the United Kingdom and stayed at the top for four consecutive weeks.
Due to this success, "Whole Again" was released globally, reached number one in 18 other countries, including 6 weeks in Germany and New Zealand and 27 weeks at number one in the Republic of Moldova. The song and video for "Whole Again" featured Kerry Katona, but several days before the single's release, she left because of her pregnancy. Former Precious singer Jenny Frost replaced her in the line-up and the single's music video was re-shot; the Katona-Frost switch led to the decision to re-record and re-release the Right Now album which went to number one in the UK in August 2001, was certified double Platinum. The album reached the Top 10 in several European countries, including Germany and Denmark, their next single, "Eternal Flame", a cover of The Bangles' 1989 hit, became their second number-one single in the UK and New Zealand and is featured in the film The Parole Officer and the So Far So Good DVD. Atomic Kitten's first album was repackaged with 3 brand-new tracks: "Eternal Flame", "You Are", "Tomorrow & Tonight" and includes vocals from Jenny Frost in "Whole Again".
It became their biggest single in Franc
The ARIA Charts are the main Australian music sales charts, issued weekly by the Australian Recording Industry Association. The charts are a record of the highest selling albums in various genres in Australia. ARIA became the official Australian music chart in June 1988, succeeding the Kent Music Report, Australia's national charts since 1974; the Go-Set charts were Australia's first national singles and albums charts published from 5 October 1966 until 24 August 1974. Succeeding Go-Set, the Kent Music Report began issuing the national top 100 charts in Australia from May 1974; the compiler, David Kent published Australia's national charts from 1940–1974 in a retrospective fashion using state based data. In mid 1983, the Australian Recording Industry Association commenced licensing the Kent Music Report chart; the first printed national top 50 chart available in record stores, branded the Countdown chart, was dated the week ending 10 July 1983. ARIA began compiling its own charts in-house from the chart survey dated 13 June 1988, corresponding with the printed top 50 chart dated week ending 26 June 1988.
Various artists compilation albums were included in the albums chart, as they had been on the Kent Report chart, until 2 July 1989, when a separate Compilations chart was created. The ARIA Report, detailing the top 100 singles and albums charts, was first available via subscription in January 1990; the printed top 50 chart ceased publication in June 1998, but resumed publication in the year. The printed top 50 chart again ceased publication at the end of 2000; the ARIA charts are based on data collected from digital retailers in Australia. Data of physical sales come from retailers such as Sanity and JB Hi-Fi, while data of digital sales come from online retailers such as iTunes. Since 17 February 1997, all physical sales data contributing towards the chart has been recorded electronically at point of sale. In March 1991, "Do the Bartman" by The Simpsons was the first single to reach #1 in Australia, not available on 7 inch vinyl, but cassingle only. Starting from 8 October 2006, due to low physical single sales at the time, the ARIA singles chart included online data as well as physical sales.
In 2006, it was announced that the Brazin retailing group, comprising major retailers HMV, Sanity and Virgin music/DVD stores would no longer contribute sales data to the ARIA charts. However, after a five-month absence, Brazin re-commenced contributing sales figures to the ARIA Charts on 26 November 2006; the ARIA website publishes the top 50 singles and albums charts, top 40 digital tracks chart, top 20 dance singles chart. The ARIA Report is available via paid e-mail subscription each week; these reports are uploaded to the Pandora Archive periodically. On 5 February 2006, the ARIA Chart Show was a radio program launched on the Nova network and broadcast throughout Australia, playing the official ARIA top 50 singles; the live music program was hosted by Jabba each Sunday afternoon at 3:00pm. From 1 June 2013 to 3 September 2016, the Take 40 Australia radio program broadcast the official ARIA top 40 singles on Saturday afternoons from 2:00 pm to 6:00 pm, on each state's Hit Network-owned radio station.
The show was aired before the top 50 chart, dated for the following Monday, is published on the ARIA website at 6:00 pm. The charts were published online at 6:00 pm each Sunday. ARIA Top 100 Singles Chart ARIA Top 100 Albums Chart ARIA Top 100 Physical Albums Chart ARIA Top 50 Digital Tracks Chart ARIA Top 50 Digital Albums Chart ARIA Top 50 Streaming Tracks Chart ARIA Top 50 Club Tracks Chart ARIA Top 50 Catalogue Albums Chart ARIA Top 40 Urban Singles Chart ARIA Top 40 Urban Albums Chart ARIA Top 40 Country Albums Chart ARIA Top 40 Music DVDs Chart ARIA Top 25 Dance Singles Chart ARIA Top 25 Dance Albums Chart ARIA Top 20 Australian Artist Singles Chart ARIA Top 20 Australian Artist Albums Chart ARIA Top 20 Compilation Albums Chart ARIA Top 20 Jazz & Blues Albums Chart ARIA Top 20 Classical/Crossover Albums Chart ARIA Top 10 Core Classical Albums Chart ARIA Top 20 Hitseekers Singles Chart ARIA Top 20 Hitseekers Albums Chart Yearly Top 100 End of Year charts profiling the year in music End of Decade Top 100 charts profiling the decade in music Pre-2000: 2000 to present: 2006 to present: Pre-2000: 2000 to present: 2016 to present: Music of Australia List of Australian chart achievements and milestones Official website Top 50 chart archives from June 1988 at australian-charts.com Top 100 chart archives from January 2001 at Pandora Archive