Recording Industry Association of Japan
The Recording Industry Association of Japan is an industry trade group composed of Japanese corporations involved in the music industry. It was founded in 1942 as the Japan Phonogram Record Cultural Association, adopted its current name in 1969; the RIAJ's activities include promotion of music sales, enforcement of copyright law, research related to the Japanese music industry. It publishes the annual RIAJ Year Book, a statistical summary of each year's music sales, as well as distributing a variety of other data. Headquartered in Minato, the RIAJ has twenty member companies and a smaller number of associate and supporting members; the association is responsible for certifying platinum albums and singles in Japan. In 1989, the Recording Industry Association of Japan introduced the music recording certification systems, it is awarded based on shipment figures of compact disc or cassette tape, reported by record labels. In principle, the criteria are limitedly applied to the materials released after January 21, 1989.
All music sales including singles, digital download singles are on the same criteria. Unlike many countries, the highest certification is not called "Diamond" or "Platinum", but "Million". Before the unification of criteria and introduction of music videos category in July 2003, a separate scale had been used for certification awards. Certifications for songs and albums released digitally began on September 20, 2006, using download data collected since the early 2000s. From 2006 until 2013, there were three categories for certifications: Chaku-uta, Chaku-uta Full and PC Haishin for songs purchased on services such as iTunes. On February 28, 2014, the Chaku-uta Full and PC categories were merged to create the Single Track category. While digital album certifications are possible, only certain album have received this certification since the beginning of digital certifications, including the 2011 Songs for Japan charity album. and Hikaru Utada's sixth studio album Fantôme among others. Avex Group¹ Avex Entertainment Avex Digital Being Inc.
Dreamusic Incorporated For Life Music Geneon Universal Entertainment¹ King Records¹ Bellwood Records King Records International Nippon Columbia Columbia Marketing Nippon Crown¹ Pony Canyon¹ Exit Tunes Sony Music Entertainment Japan¹ Ariola Japan DefStar Records Epic Records Japan Ki/oon Records SME Records Sony Music Artists Sony Music Associated Records Sony Music Direct Sony Music Distribution Sony Music Japan International Sony Music Records TEICHIKU ENTERTAINMENT, INC.¹ Tokuma Japan Communications¹ Universal Music Group¹ EMI Music Japan¹ VAP Inc.¹ Victor Entertainment¹ Warner Music Group¹ Yamaha Music Communications Yoshimoto R&C Amuse Soft Entertainment HATS Unlimited Johnny and Associates J Storm Johnny's Entertainment Konami Digital Entertainment Bandai Visual Lantis LD&K Records Naxos Records Pryaid Records¹ Stardust Records Space Shower Networks Spiritual Beast Venus Records Village Again Association NBC Universal Entertainment Japan KISS Entertainment Rambling Records Gambit Croix Aniplex Crown-Tokuma Music Free Board Holiday Japan Jei One NPPDevelop T-Toc Records TV Asahi Music Ward Records Toys Factory Aceforce Entertainment Kino Music¹Member, International Federation of the Phonographic Industry.
List of best-selling albums in Japan List of best-selling singles in Japan List of best-selling music artists in Japan Recording Industry Association of America Australian Recording Industry Association List of music recording sales certifications RIAJ Digital Track Chart Global music industry market share data Recording Industry Association of Japan - in English
You Give Good Love
"You Give Good Love" is a song by American recording artist Whitney Houston from her eponymous debut album in 1985. It was produced by Kashif; when La La sent Kashif a copy of the song offered to Roberta Flack, he thought it would be a better fit for Houston and told Arista he would be interested in recording with her. The song was released on February 1985 as the album's lead single; the release of "You Give Good Love" was designed to give Houston a noticeable position and standing within the black music market first, which topped the US Billboard Hot Black Singles chart. However, it made an unexpected crossover pop hit, peaking at number three on the Billboard Hot 100 chart, her first of what would be many Top 10 hits, it was certified gold by the Recording Industry Association of America. The single was released in some countries such as Australia, Japan, New Zealand and United Kingdom, but failed to make the top 40 in the countries except Canada, where it reached the top ten; the song won Favorite Soul/R&B Single at The 13th American Music Awards, was nominated for Best R&B Song and Best R&B Vocal Performance, Female at the 28th Grammy Awards in 1986.
The music video for the song directed by Karen Bellone, shows Houston performing at a club and a photographer focusing his camera on her. Houston performed the song on various TV shows and awards ceremonies such as The Tonight Show Starring Johnny Carson, The 1985 R&B Countdown and The 1st Soul Train Music Awards of 1987, as well as on her first three tours and select dates of The Bodyguard World Tour and My Love Is Your Love World Tour. "You Give Good Love" is featured on three of Houston's compilation albums, Whitney: The Greatest Hits, Love and The Essential Whitney Houston. When songwriter/producer Kashif accepted Arista president Clive Davis' invitation to see a New York club performance by a young singer named Whitney Houston that he'd just signed to the label, he was disappointed, her act didn't appeal to Kashif. Davis continued to court Kashif sending him a videotape of Houston's performance on The Merv Griffin Show. La La, a writer signed to Kashif's music publishing company, sent him a demo of a ballad she had written titled "You Give Good Love."
She'd sent it to her idol Roberta Flack first but she was rebuffed by her assistant with an angry "don't call us, we'll call you" retort. When Kashif heard the song, a light bulb came out in his mind that flashed "hit! hit!" He called Gerry Griffith, an Arista A&R man, said that "I think I have a song for you." So Griffith and Houston drove to the New Jersey studio. Griffith recalled that there was a demo of the song but La La wanted to sing it live with her piano playing. After La La finished the song, Griffith said "that's the song – that's what I've been looking for." It was the kind of tune that had the emotion that she could sing her heart out. The release of "You Give Good Love" was designed to give Houston a noticeable position and standing within the black music charts. Clive Davis explained the thinking behind releasing the song as the debut single from the album: "We wanted to establish her in the black marketplace first, otherwise you can fall between cracks, where Top 40 won't play you and R&B won't consider you their own.
We felt that'You Give Good Love' would be, at the least, a major black hit, though we didn't think that it would cross over as as it did. When it did cross over with such velocity that gave us great encouragement." "You Give Good Love" brought Houston a bit of notoriety when it turned up among several songs cited by advice columnist Ann Landers as having suggestive titles. Landers, in her column for a reader who worried about the bad influence of song lyrics on children, wrote that "Some of the lyrics are sexually provocative; the titles tell the story," and called the song "pretty trashy stuff", citing the song's title as an instance along with "Hot Love" by Cheap Trick, "Let's Go to Bed" by The Cure, "Ready and Able" by Lita Ford, "You Shook Me All Night Long" and "Love at First Feel" by AC/DC, "Tease Me" by Junie Morrison, "Fire Down Below" by Bob Seger. Houston, in an interview with the Chicago Tribune, gave some answers to Landers' comments, saying "She chose a few songs out of the Top 40 that she thought had suggestive titles as far as she was concerned, it was one of them.
I don't think. It didn't say anything but'you give good love,' and it didn't say anything in the song, sexual or outrageous. I think that Miss Landers just looked at the title and didn't view the song itself."Houston, who described herself as a religious person, said that she hasn't given much thought to the controversy over questionable lyrics: "The songs that I sing don't fall into that category, so I don't think about it at all. But I believe. It's a universal thing. Everybody knows about it. I think. I think. If they don't want them to listen to records that are sexual or explicit or outrageous, they should have control over that situation; as for adults, they're going to buy whatever kind of music they want to hear, so if they buy music with explicit lyrics, they must like it." Steve Peake of About.com listed the song as the first of the "Top 5 Whitney Houston songs of the'80s", praising Houston's vocal ability on the song highly. He wrote, "One of Whitney Houston's signature gifts in the'80s was undoubtedly her ability to blend small a
Whitney Elizabeth Houston was an American singer and actress. She was cited as the most awarded female artist of all time by Guinness World Records and remains one of the best-selling music artists of all time with 200 million records sold worldwide, she released seven studio albums and two soundtrack albums, all of which have been certified diamond, multi-platinum, platinum, or gold by the Recording Industry Association of America. Houston's crossover appeal on the popular music charts—as well as her prominence on MTV, starting with her video for "How Will I Know"—influenced several African-American women artists who followed in her footsteps. Houston became a background vocalist while in high school. With the guidance of Arista Records chairman Clive Davis, she signed to the label at the age of 19, her first two studio albums, Whitney Houston and Whitney, both reached number one on the Billboard 200 in the United States and became two of the world's best-selling albums of all time. She became the only artist to have seven consecutive number-one singles on the Billboard Hot 100 chart, from "Saving All My Love for You" in 1985 to "Where Do Broken Hearts Go" in 1988.
Houston made her screen acting debut in the romantic thriller film The Bodyguard. She recorded seven songs for the film's soundtrack, including "I Will Always Love You", which received the Grammy Award for Record of the Year and became the best-selling single by a woman in music history; the soundtrack album received the Grammy Award for Album of the Year and remains the world's best-selling soundtrack album of all time. Houston made other high-profile film appearances, including Waiting to Exhale and The Preacher's Wife; the theme song "Exhale" became her eleventh and final number-one single on the Hot 100 chart, while The Preacher Wife's soundtrack became the best-selling gospel album in history. Following the critical and commercial success of My Love Is Your Love, Houston signed a $100 million contract with Arista Records. However, her personal struggles began overshadowing her career, the album Just Whitney received mixed reviews, her drug use and tumultuous marriage to Bobby Brown were publicized in media.
After a six-year break from recording, Houston returned to the top of the Billboard 200 chart with her final studio album, I Look to You. On February 11, 2012, Houston was found dead in the Beverly Beverly Hills, California; the coroner's report showed that she had accidentally drowned in the bathtub, with heart disease and cocaine use as contributing factors. News of her death coincided with the 2012 Grammy Awards which she was scheduled to perform and featured prominently in international media. Whitney Houston was born on August 9, 1963, in what was a middle-income neighborhood in Newark, New Jersey, she was the daughter of Army serviceman and entertainment executive John Russell Houston, Jr. and gospel singer Emily "Cissy" Houston. Her elder brother Michael is a singer, her elder half-brother is former basketball player Gary Garland, her parents were both African American. Through her mother, Houston was a first cousin of Dee Dee Warwick, her godmother was Darlene Love and her honorary aunt was Aretha Franklin, whom she met at age 8 or 9 when her mother took her to a recording studio.
Houston was raised a Baptist, but was exposed to the Pentecostal church. After the 1967 Newark riots, the family moved to a middle-class area in East Orange, New Jersey, when she was four, her parents' marriage ended in divorce. At the age of 11, Houston started performing as a soloist in the junior gospel choir at the New Hope Baptist Church in Newark, where she learned to play the piano, her first solo performance in the church was "Guide Me, O Thou Great Jehovah". Houston attended a Catholic girls' high school in Caldwell, New Jersey. Houston graduated from Mount Saint Dominic in 1981. While Houston was still in school, her mother, continued to teach her how to sing. Houston spent some of her teenage years touring nightclubs where Cissy was performing, she would get on stage and perform with her. Houston was exposed to the music of Chaka Khan, Gladys Knight, Roberta Flack, most of whom would have an influence on her as a singer and performer. In 1977, at age 14, she became a backup singer on the Michael Zager Band's single "Life's a Party".
In 1978, at age 15, Houston sang background vocals for Lou Rawls. In the early 1980s, Houston started working as a fashion model after a photographer saw her at Carnegie Hall singing with her mother, she appeared in Seventeen and became one of the first women of color to grace the cover of the magazine. She was featured in layouts in the pages of Glamour, Young Miss, appeared in a Canada Dry soft drink TV commercial, her looks and girl-next-door charm made her one of the most sought after teen models of that time. While modeling, she continued her burgeoning recording career by working with producers Michael Beinhorn, Bill Laswell and Martin Bisi on an album they were spearheading called One Down, credited to the group Material. For that project, Houston contributed the ballad "Memories", a cover of a song by Hugh Hopper of Soft Machine. Robert Christgau of The Village Voice called her contribution "one of the most gorgeous ballads you've heard", she appeared as a lead vocalist on one track on a Paul Jabara album, entitled Paul Jabara and Friends, released by Columbia Records in 1983.
In 1983, Gerry Gri
Miracle (Whitney Houston song)
"Miracle" is the third single from Whitney Houston's third studio album, I'm Your Baby Tonight. It was written and produced by L. A. Reid and Babyface; the single reached number nine on the US Billboard Hot 100, second on the R&B Chart, fourth on the Adult Contemporary Chart. During an interview with Jet Magazine on its June 14, 1991 issue, Houston said that she did not intend the song or the video to be about abortion: “I think about the air we breathe, the earth we live on. I think about our children. I think about a lot of things, things God put here for us to have, things that we need and we take for granted. I think all of these things are miracles and I think we should try to take better care of them,” she notes. Rolling Stone editor James Hunter praised Houston's performance of the ballad: "when L. A. and BabyFace follow her into ballad-land on the despondent "Miracle," Houston's own moods call the shots more clearly." Allmusic editor Ashley S. Battel called this ballad a high point of the album and praised the lyrics "the powerful verses surrounding a love lost through one's own devices in'Miracle.'"
Entertainment Weekly editor David Browne called the melody of this song "indiscernible" and that the song itself is "nonentity." "Miracle" entered The Billboard Hot 100 at 63, stayed on the chart for 14 weeks. On the Radio & Records Airplay chart the single debuted at #39 on the December 4, 1991 issue, after four weeks on the chart it reached and peaked at #12 staying there for two weeks, the song stayed on the top 20 of the chart for five weeks and remained on it for nine weeks; the video shows Houston by herself in an empty studio singing the song. As she sings the first verse of the song, sad images of people facing prison sentences, living in poverty and having an abortion are shown. During the second verse, the images shown changes to a lighter tone with pictures of children growing up, winning a competition, graduating school and enjoying their lives as young adults; the video ends with various pictures of children smiling. Due to the manner of the music video, it was believed that the song was about a girl who had an abortion but feels she made a mistake.
Houston, however denied it in during an interview with Jet Magazine. 7"Vinyl, Cassette singleA1 "Miracle" - 5:43 B1 "After We Make Love" - 4:59Promo CD-Single"Miracle" - 4:29 Miracle at Discogs
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
I Believe in You and Me
"I Believe in You and Me" is a song written by Sandy Linzer and David Wolfert in 1982. The song was first recorded and released by the R&B group The Four Tops, who released it as a single from their album One More Mountain. While it failed to reach the US Top 40, it became a moderate hit for the group on the US Billboard R&B chart, peaking at number 40 in early 1983. In 1996, R&B/pop singer Whitney Houston recorded a cover of the song for her film The Preacher's Wife and released it as a single. Following its release, the song became a top 5 pop and R&B hit in the US peaking on music charts worldwide; the original version recorded by The Four Tops was a moderate success, charting at number 40 on the US Billboard's Hot Black Singles chart. Due to the bigger success of the Whitney Houston version, "I Believe in You and Me" is most popularly known as a Whitney Houston song. However, the song's co-composer David Wolfert, stated in a 2001 interview that young songwriters, referring to the song, told him: "Oh, you wrote that Whitney song."
He stated, "I said,'That's not a Whitney song,' and play them the original. Their mouths drop open. No one is going to sing that song like Levi—ever."Shortly before his death in 2008, Four Tops lead singer Levi Stubbs, sidelined from the group due to complications of a stroke, confined to a wheelchair, appeared with the other members of The Four Tops, Aretha Franklin, sang "I Believe In You and Me" live onstage in Detroit, in his final television appearance on From The Heart: The Four Tops 50th Anniversary Special on PBS. Thirteen years in 1996, Whitney Houston recorded a cover of the song for her soundtrack album The Preacher's Wife, produced by Mervyn Warren and herself on the film version, David Foster on the single version of the song. Houston received a Grammy nomination for Best Female R&B Vocal Performance for her performance of the song at the 40th Annual Grammy Awards on February 25, 1998. Whitney Houston's version was edited & sampled to create a duet with Barry Manilow for his album My Dream Duets.
"I Believe in You and Me" is a slow tempo R&B song with strong gospel influences. Written in the key of C major, the beat is set in common time and moves at a slow 66 beats per minute. Houston's vocals in the song spans from the low note of G3 to the high note of A5. Billboard gave the song a positive review saying, "As she did with Dolly Parton's'I Will Always Love You,' Houston redefines the composition with a soaring, glass-shattering performance that will leave her legions of fans breathless." J. D. Considine of The Baltimore Sun called the song "the Designated Hit Ballad" and added " is pretty much what we've come to expect from Houston ― a slow, Streisand-esque build-up, a subtle sense of drama and a big, full-voiced payoff in the final chorus." In his review for The Preacher's Wife Soundtrack, Neil Strauss from The New York Times praised the song stating " is among the year's most virtuosic pop ballads." While reviewing the soundtrack, Elysa Gardner of Los Angeles Times wrote that the song "is a cheesy classic in the tradition of'I Will Always Love You,' with an familiar melody and a poignant, bolero-like arrangement."
"I Believe in You and Me", the first single from The Preacher's Wife Soundtrack, debuted at number seven and number six, on the US Billboard Hot 100 and Hot R&B Singles charts, the issue date of December 28, 1996, respectively. Four weeks on January 25, 1997, it was released in the R&B marketplace as a two-sided single with "Somebody Bigger Than You and I" from the soundtrack, it peaked at number four on the Billboard Hot R&B chart. The following week, it reached a peak of number four on the Billboard Hot 100 chart, becoming Houston's 16th top five hit; the song entered the Billboard Adult Contemporary chart at number 19, the issue date of December 14, 1996 and peaked at number two, making it her 21st top ten hit of the chart, the issue date of March 1, 1997. The song was ranked thirty-three on the 1997 Billboard Year-end Hot 100 Singles chart. Additionally, "I Believe in You and Me/Somebody Bigger Than You and I" two-sided single placed at position number twenty-nine on the 1997 Billboard Year-end Hot R&B Singles chart.
The single was certified Platinum for the shipments of 1,000,000 copies or more by the Recording Industry Association of America on February 4, 1997, becoming Houston's fourth Platinum single. Worldwide, it was released as the second single from the soundtrack after "Step by Step" and a moderate hit, unlike the United States; the single peaked at number 16 on the UK Singles Chart, number 98 in Germany, number 74 in the Netherlands and number 46 in Sweden. Houston performed "I Believe in You and Me" on Saturday Night Live on December 14, 1996. Houston sang the song on the National Lottery show, broadcast live on the BBC in the United Kingdom on March 15, 1997; the song was performed optionally on her 1998 European Tour. For her My Love Is Your Love World Tour in 1999, it was performed as the first song for'Movie Medley'; the performance of the song in Sopot, Poland was broadcast live on Polish TV channel, TVP1, on August 22, 1999. Houston performed the song along with "I Will Always Love You" as a part of medley on Arista Records 25th Anniversary Celebration, taped at the Shrine Auditorium in Los Angeles on April 10 and broadcast on NBC, May 15, 2000.
The performance on the show was released on the same titled DVD and VHS in June 2000. In four years, the similar medley performance of the show was done as part of a tribute to Clive Davis, who received a special award for outstanding contribution to the music industry, on the 16th World Music Awards on September 15, 2004; this performance was included in the 2014 CD/DVD release, Whitney Houston Liv
Where Do Broken Hearts Go
For the titled song by One Direction, see Four"Where Do Broken Hearts Go" is the fourth single from Whitney Houston's second album, Whitney. The ballad was released on February 25, 1988; the song was produced by Narada Michael Walden. Due to Wildhorn's previous working relationship with Arista Records CEO Clive Davis, he had been approached about writing for Houston, he contacted Jackson, who came up with the title, after which Wildhorn completed the music and lyrics for the song. Smokey Robinson wanted to record the song. Houston did not want to record the song, feeling there was no special message to convey. In a 2000 interview, Houston reminisced that she "hated the song". However, Davis believed, it indeed became a number one, Houston's seventh consecutive number-one single in the United States -- a record for consecutive number-one singles that still stands to this day. Houston remained perplexed by its lyrics. Wildhorn recalled that Houston sent him a letter asking: "Where do broken hearts go?
I want to know." AllMusic's Ron Wynn highlighted this track. Robert Hilburn of the Los Angeles Times described this song as a ballad "that raises questions without making you care about the answers." "Where Do Broken Hearts Go", released off Whitney as the fourth single in February 1988, debuted at number 47 on the Billboard Hot 100 Singles chart in the issue dated February 27, 1988. Within four weeks of its release the single reached the top ten on the chart, peaked at number one in the issue dated April 23, 1988 after nine weeks on the chart, making Houston the only artist in pop history with seven consecutive number-one hits. In addition, she became the first female artist to achieve four number-one singles from one album, Whitney. To date, only four other albums by women have yielded four Hot 100 number-one hits. Houston had the most number-one hits by a female artist in the 1980s, a feat equaled only by Madonna; the song topped the chart for two weeks, spent 18 weeks on the chart. It entered the Billboard R&B/Hip-Hop Songs chart at number 60, the issue date of March 5, 1988 and nine weeks reached a peak of number two, becoming Houston's ninth R&B top five hit.
On the Billboard Hot Adult Contemporary chart, the single peaked at number one, the issue dated April 2, 1988, remained there for three weeks, making it her sixth No. 1 single on the chart. It was ranked number 33 and 47, on the Billboard Top Pop and Top Black Singles year-end charts for 1988, respectively; the single placed at number two on the Top Adult Contemporary Singles year-end chart of the same year. In Canada, the song entered RPM Top 100 Singles chart at number 76, the issue date of March 5, 1988, peaked at number six on the chart on May 14, 1988, becoming Houston's eighth top ten hit in the country. Worldwide, "Where Do Broken Hearts Go" was not as commercially successful as her previous singles from the album Whitney; the single debuted at number 30 on the UK Singles Chart, the week ending date of March 12, 1988, three weeks reached a peak of number 14 on the chart. In Ireland, it peaked at number two, the highest chart position of the song outside the United States; the song reached number 48 in Australia, number 24 in Italy, number 47 in the Netherlands, number 23 in New Zealand.
The song was popular in the Philippines, it became one of the main focus of the 2014 indie romantic film That Thing Called Tadhana. The music video features Houston reflecting on happy memories. At the conclusion of the music video, the couple reunites. Houston is depicted in various "glamour girl" shots throughout the video. In 2002, Israelson told Liquid Assets, a British TV documentary series focused on the net worth of celebrities, that Houston's performance in the video's 1940s-themed train station scene convinced Kevin Costner of her acting abilities for The Bodyguard; the video was moderately controversial since the ambiguous ethnic background of Houston's love interest highlighted the racial sensitivities that accompanied Houston's success during the 1980s. The singer had been criticized for "selling out" and "acting white". A mostly-black audience jeered when "Where Do Broken Hearts Go" was nominated for an award at the 1989 Soul Train Music Awards. Houston first performed "Where Do Broken Hearts Go" at Montreux Golden Rose Rock Festival on May 15, 1987.
The performance was broadcast in the US, as well as on various European TV channels. Houston sang the song at The 15th American Music Awards, held on January 25, 1988, she lip-synced to the album version of the song on the UK BBC1 TV show Wogan, hosted by Terry Wogan in 1988. "Where Do Broken Hearts Go" was one of the Houston's set list during Nelson Mandela 70th Birthday Celebration concert, televised live worldwide via BBC, at Wembley Stadium in London on June 11, 1988. In the US, the edit version of the concert was broadcast on Fox TV network. Aside from the several live televised performances, the song was included on the