1.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, 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 as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
2.
CD single
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This article is about the 12cm single. Not to be confused with 8cm single, the standard in the Red Book for the term CD single. A CD single is a single in the form of a standard size compact disc. It is not to be confused with the Mini CD single, the format was introduced in the mid-1980s but did not gain its place in the market until the early 1990s. With the rise in digital downloads in the early 2010s, sales of CD singles have decreased, commercially released CD singles can vary in length from two songs up to six songs like an EP. Some contain multiple mixes of one or more songs, in the tradition of 12 vinyl singles, depending on the nation, there may be limits on the number of songs and total length for sales to count in singles charts. Containing four tracks, it had a limited print run. CD singles were first made eligible for the UK Singles Chart in 1987, the Mini CD single format was originally created for use for singles in the late 1980s, but met with limited success, particularly in the US. The smaller CDs were more successful in Japan and have become more common in Europe. By 1989, the CD3 was in decline in the US and it was common in the 1990s for US record companies to release both a two-track CD and a multi-track maxi CD. In the UK, record companies would also release two CDs but, usually, these consisted of three tracks or more each. Pressure from record labels made singles charts in some countries become song charts, allowing album cuts to chart based only on airplay, without a single ever being released. At the end of the 1990s, the CD was the single format in the UK, but in the US. In Australia, the Herald Sun reported the CD single is set to become extinct, while CD singles no longer maintain their own section of the store, copies are still distributed but placed with the artists albums. That is predominantly the case for popular Australian artists such as Jessica Mauboy, Kylie Minogue and, most recently, Delta Goodrem, the ARIA Singles Chart are now predominantly compiled from legal downloads, and ARIA also stopped compiling their physical singles sales chart. On a Mission by Gabriella Cilmi was the last CD single to be stocked in Kmart, Target and Big W, sanity Entertainment, having resisted the decline for longer than the other major outlets, has also ceased selling CD singles. In Greece and Cyprus, the term CD single is used to describe a play in which there may be anywhere from three to six different tracks. These releases charted on the Greek Singles Chart with songs released as singles, in September 2003, there was talk of ringtones for mobile phones outstripping CD singles sales for the year 2004
3.
12-inch single
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The 12-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to typical LPs. This allows for levels to be cut on the disc by the cutting engineer, which in turn gives a wider dynamic range. This record type is used in disco and dance music genres. They are played at either 33 1⁄3 or 45 rpm, 12-inch singles typically 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 greater in amplitude. 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 12-inch singles, the gramophone records cut especially for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. 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 sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967. By then 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 basically 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. Most likely, the use of exclusive dub acetates in Jamaica also led American DJs to do the same. In the United States, the 12-inch single gramophone record came into popularity with the advent of music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a 12-inch single by Buddy Fite, 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 run times to the 7-inch 45-rpm pressing of the single. Several hundred copies were available for sale for 98 cents each at two Tower Records stores. Another early 12-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, 12-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 Philadelphia, PA, the B-side of the record is blank. The first 12-inch single made specifically for DJs was actually a 10-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton, the song was Ill be holding on by Al Downing
4.
Cassette single
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A cassette single is a music single in the form of a Compact Cassette. Bow Wow Wows C·30 C·60 C·90 Go was the first cassette single released in the U. K. in 1980, records released the first cassette single in the U. S. with the Go-Gos Vacation in 1982. The ZTT label made good use of the format by 1984, with singles by Frankie Goes to Hollywood, Art of Noise, the format was used as a promotion in the 1990s, with Disney giving a cassingle to attendees of Hercules promotional events. Originally, most cassette singles were released in a sleeve that slipped over the outside of the release. This was then usually shrink wrapped in plastic, some singles contained one song on each side, much as 45s had done, but others repeated the songs on both sides. In some markets, cassette singles generally used the packaging as standard cassettes. As the cassette maxi-single was released, more intricate packaging was incorporated that looked similar to the packaging of a cassette release. These were placed in regular plastic cassette cases with a paper/cardstock insert, unlike a full-length cassette album, these were generally only one two-sided inlay instead of a fold-out. Maxi-singles usually contained four versions of a song, i. e. unique mixes & edits. In the U. S. cassette singles were completely phased out by the early 2000s, one reason for their lesser popularity was because they appeared to be an inefficient use of the media to consumers - a cassette single took up the same storage space as a full album
5.
Pop music
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Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid 1950s. The terms popular music and pop music are used interchangeably, although the former describes all music that is popular. Pop and rock were synonymous terms until the late 1960s, when they were used in opposition from each other. Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other such as urban, dance, rock, Latin. Identifying factors include generally short to medium-length songs written in a format, as well as the common use of repeated choruses, melodic tunes. David Hatch and Stephen Millward define pop music as a body of music which is distinguishable from popular, jazz, according to Pete Seeger, pop music is professional music which draws upon both folk music and fine arts music. Although pop music is seen as just the singles charts, it is not the sum of all chart music, the music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately, pop music continuously evolves along with the terms definition. The term pop song was first recorded as being used in 1926, Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. The Oxford Dictionary of Music states that while pops earlier meaning meant concerts appealing to a wide audience. Since the late 1950s, however, pop has had the meaning of non-classical mus, usually in the form of songs, performed by such artists as the Beatles. Grove Music Online also states that, in the early 1960s pop music competed terminologically with beat music, while in the USA its coverage overlapped with that of rock and roll. From about 1967, the term was used in opposition to the term rock music. Whereas rock aspired to authenticity and an expansion of the possibilities of music, pop was more commercial, ephemeral. It is not driven by any significant ambition except profit and commercial reward, and, in musical terms, it is essentially conservative. It is, provided from on high rather than being made from below, pop is not a do-it-yourself music but is professionally produced and packaged. The beat and the melodies tend to be simple, with limited harmonic accompaniment, the lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions
6.
Acoustic music
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Acoustic music is music that solely or primarily uses instruments that produce sound through acoustic means, as opposed to electric or electronic means. The retronym acoustic music appeared after the advent of electric instruments, such as the guitar, electric violin, electric organ. It has its origins in the music of the 1960s. The trend has also dubbed as acoustic rock in some cases. Navigating the Music Industry, Current Issues & Business Models, Music and the Modern Condition, Investigating the Boundaries
7.
Polydor Records
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Polydor is a British record label and company, that operates as part of Universal Music Group. It has a relationship with Universals Interscope Geffen A&M label. In turn, Polydor distributes Interscope releases in the United Kingdom, Polydor Records Ltd. was established in London in 1954 as a British subsidiary of German company Deutsche Grammophon GmbH. The Polydor label was founded on 2 April 1913 by German Polyphon-Musikwerke AG in Leipzig, during World War I on 24 April 1917, Polyphon-Musikwerke AG acquired the German Deutsche Grammophon-Aktiengesellschaft record plant and company from the German government. The German state was taken over Grammophon and the British holdings as enemies property during World War I, Polydor was originally an independent branch of the Polyphon-Grammophon-Konzern group. It was used as a label since 1924. The British and German branches of the Gramophone Company were so departed during World War I, in turn, Deutsche Grammophon records exported from Germany were released on the Polyphon Musik and Polydor labels. The new foreign branches were founded for example into Austria, Denmark, Sweden, Polydor became a popular music label in 1946, while the new Deutsche Grammophon Gesellschaft label was to become a classical music label in 1949. The previously used label, Grammophon, was disbanded, DGG gave, with an agreement dated 5 July 1949, an exclusive license from 1 July 1951 to use the Nipper-dog with gramophone to the original owners company Electrola, the German branch of EMI. In 1970, Polydor acquired the Hong Kong-based Diamond Records, which had owned and founded by the local Portuguese merchant Ren da Silva in the late 1950s. In 1972, The Grammophon-Philips Group reorganized to create PolyGram, the Polydor label continued to run as a subsidiary label under the new company. The name PolyGram is a portmanteau of Polydor and PhonoGram, into the 1980s, Polydor continued to do respectable business, in spite of becoming increasingly overshadowed by its PolyGram sister label Mercury Records. Polydor took over management of British Deccas pop catalog, A&R manager Frank Neilson was able to score a major top ten hit in March 1981 for the label with Do The Hucklebuck by Coast to Coast as well as signing Ian Dury and Billy Fury to the company. In 1984, the name was parodied in the rockumentary film This Is Spinal Tap. By the early 1990s, Polydor had begun to underperform, in 1994, as Island Records recovered from its sales slump, PolyGram dissolved most of PLG into it. Meanwhile, Polydor Records and Atlas Records merged, briefly called Polydor/Atlas, in 1995, Polydor/Atlas became simply Polydor Records again. Over the next few years, Polydor tried to keep itself afloat with new artist signings, new releases, in 1998, PolyGram was purchased by Seagram and absorbed into its Universal Music Group. Today, in America, the Polydor Records name and logo is used on reissues of older material from its 1960s and 1970s heyday
8.
Songwriter
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A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as rock or country music. A songwriter can also be called a composer, although the term tends to be used mainly for individuals from the classical music genre. The pressure from the industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with a gift for creating original melodies, pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own publishers, while others have outside publishers. The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees and college diplomas, a knowledge of modern music technology, songwriting elements and business skills are necessary requirements to make a songwriting career in the 2010s. Several music colleges offer songwriting diplomas and degrees with music business modules, the legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law, song pitching can be done on a songwriters behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters. Skills associated with song-writing include entrepreneurism and creativity, songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. In the Nashville country music scene, there is a staff writer culture where contracted writers work normal 9-to-5 hours at the publishing office and are paid a regular salary. This salary is in effect the writers draw, an advance on future earnings, the publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright. In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up, unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of work for hire agreements, the compositions created are fully owned by the publisher. In Nashville, young writers are often encouraged to avoid these types of contracts. Staff writers are common across the industry, but without the more office-like working arrangements favored in Nashville. All the major publishers employ writers under contract, songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company, so that he could. keep as much as possible, songwriters are also often skilled musicians. In addition to selling their songs and musical concepts for other artists to sing, songwriters need to create a number of elements for a song
9.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the 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, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, 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 and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
10.
Lifted (Lighthouse Family song)
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Lifted is a song written by British duo Lighthouse Family, for their debut album Ocean Drive. The song was produced by Mike Peden and it was released as the lead single on May 1995 and reached the top 70 in the United Kingdom. It was later re-released on February 1996 and reached the top 10 in the United Kingdom, in 1999, Lifted was again re-released but with a different single cover. The song was used as the campaign song for the British Labour Party under Tony Blair in the 2001 general election. Lyrics of this song at MetroLyrics
11.
Goodbye Heartbreak
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Goodbye Heartbreak is a song written by British duo Lighthouse Family with former Simply Red member Tim Kellett for their debut album Ocean Drive. The song was produced by Mike Peden and it was released as the third single in September 1996 and reached the top 20 in the United Kingdom. The song is about perseverance in the face of unexpected hardship, after the release of Goodbye Heartbreak, the single reached to #14, which meant that it was their third successive top 20 hit since their first re-release single of Lifted on February 1996. The song stayed in the UK Singles Chart for 6 weeks, Goodbye Heartbreak also went into the Eurochart Hot 100. The single peaked at #64 in October 1995 and stayed in the charts for two weeks
12.
Greatest Hits (Lighthouse Family album)
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Greatest Hits is a greatest hits compilation album released by UK duo Lighthouse Family on 18 November 2002 on Wildcard / Polydor. There are two different versions of album, one with the two bonus tracks, Lifted and End of the Sky, and one without them. This album reached 2x Platinum status in 2014 twelve years after its release, on 7 April 2003, The Very Best of Lighthouse Family was released, containing the same track listing and bonus tracks. The difference is one can download an additional seven acoustic tracks from a website. Greatest Hits The Very Best of Lighthouse Family
13.
High (Lighthouse Family song)
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High is the second pop single written by British duo Lighthouse Family for their second album Postcards from Heaven. The song was produced by Mike Peden and it was released on January 1998 and reached No.1 in Australia as well as being in the top 10 in Switzerland, Austria, the United Kingdom, the Netherlands, New Zealand and Europe. High is the most successful single released by the Lighthouse Family so far, having reached the top 10 in many countries, the video clip is in black and white, except when Tunde Baiyewu begins to sing. There are scenes of Paul Tucker getting off the train at Newcastle upon Tyne, high music video on YouTube Lyrics of this song at MetroLyrics
14.
South Shields
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South Shields is a coastal town at the mouth of the River Tyne, England, about 4.84 miles downstream from Newcastle upon Tyne. Historically in County Durham, the town has a population of 75,337 and it is part of the metropolitan borough of South Tyneside which includes the towns of Jarrow and Hebburn. South Shields is represented in Parliament by Labour MP Emma Lewell-Buck, the first evidence of a settlement within what is now the town of South Shields dates from pre-historic times. Stone Age arrow heads and an Iron Age round house have been discovered on the site of Arbeia Roman Fort, the Roman garrison built a fort here around AD160 and expanded it around AD208 to help supply their soldiers along Hadrians Wall. Divisions living at the fort included Tigris bargemen, infantry from Iberia and Gaul, the fort was abandoned as the Roman Empire declined in the 4th century AD. Many ruins still exist today and some structures have been rebuilt as part of a modern museum, there is evidence that the site was used in the early post-Roman period as a British settlement. It is said in local folklore that a Viking ship was wrecked at Herd Sands in South Shields in its attempts to disembark at a cove nearby, other Viking ships were uncovered in South Shields Denmark Centre and nearby Jarrow. The current town was founded in 1245 and developed as a fishing port, the name South Shields developed from the Schele or Shield, which was a small dwelling used by fishermen. Another industry that was introduced, was that of salt-panning, later expanded upon in the 15th century, polluting the air, at the outbreak of the war in 1642, the North, West and Ireland supported the King, the South East and Presbyterian Scotland supported Parliament. In 1644 Parliaments Scottish Covenanter allies, in a battle, seized the town and its Royalist fortification. They also seized the town of Newburn, in the 19th century, coal mining, alkaline production and glass making led to a boom in the town. The population increased from 12,000 in 1801 to 75,000 by the 1860s, bolstered by migration from Ireland, Scotland. These industries played a part in creating wealth both regionally and nationally. Shipbuilding, previously a monopoly of the Freemen of Newcastle, became another prominent industry in the town, during World War I, German Zeppelin airships bombed South Shields in 1916. Later during World War II, the German Luftwaffe repeatedly attacked the town and caused damage to industries which supported the war effort. Particularly, a shelter in the market place of South Shields. Later controversially removed and the bodies interred elsewhere, in the 21st century, the local economy primarily includes port-related, ship repair and offshore industries, manufacturing, retail, the public sector and the ever-increasing role of tourism. This is illustrated by the new multi-million haven centre, dunes centre and seaside improvements in the coastal area, South Shields is situated in a peninsula setting, where the River Tyne meets the North Sea
15.
Steve Mac
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Steve McCutcheon, professionally known as Steve Mac is a British musician, songwriter and record producer. He has worked with Demi Lovato, Shakira, One Direction, The Wanted, Westlife, Susan Boyle, Il Divo, JLS, Kelly Clarkson, Leona Lewis, The Saturdays and James Blunt. Mac has collaborated with songwriters Wayne Hector, Ina Wroldsen, Benny Blanco, John Newman, Ammar Malik, Ross Golan, Charli XCX, Karen Poole, Lindy Robbins, Lily Allen, Emeli Sandé, Jason Derulo. Mac received the ASCAP Songwriter of The Year 2013 award for works including co-writing The Wanted single, the composition was also named ASCAP Song of the Year, honouring Mac, Wayne Hector and Ed Drewett. Mac had previously won the ASCAP Song of The Year 2012 award for producing and co-writing You Make Me Feel. recorded by Cobra Starship that has sold two million downloads. Mac has been nominated twice for a Brit Award, first in 2011 for The Wanted song All Time Low, and in 2012 with fellow songwriters Wayne Hector and Ed Drewett for Glad You Came by The Wanted. In 2010, Macs song Beat Again won a Brit Award for Best Single and a MOBO Award
16.
Official Charts Company
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The OCC is operated jointly by the British Phonographic Industry and the Entertainment Retailers Association. Since 1 July 1997, CIN and then the OCC have compiled the official charts, prior to this date, the charts were produced by a succession of market research companies, beginning with the British Market Research Bureau in 1969, and later by Gallup. All of the OCCs charts are published weekly on Friday nights, from 3 August 1969 until 5 July 2015, the chart week ran from Sunday to Saturday. Genre-specific charts include UK Dance Chart, UK Indie Chart, UK R&B Chart, UK Rock Chart, the Scottish Singles and Albums Charts ― and the former Welsh Singles and Albums Chart ― appears in listings within the Official Charts Company. It is a regional listing reflecting how sales towards the UK Singles Chart, the Welsh Singles and Album Chart served the same purpose in Wales. It also charts the UK DVD Chart and UK Budget Album Chart, while their music charts are now Friday to Thursday, their video charts remain Sunday to Saturday. On 5 September 2008, the Official UK Charts Company rebranded itself as the Official Charts Company and it later dropped the word Company and became just Official Charts. From May 2012, a new chart was launched – the Official Streaming Chart and this counts audio streams from streaming services Spotify, Deezer, Blinkbox Music, Napster, amongst others. In April 2015, the UKs first vinyl record chart was launched by the Official Charts Company due to the surge of interest in the sector. The chart was launched following the growth of the sector in the UK for the year in a row. Beginning in 2017 the Official Charts Company changed its methodology for calculating the Top 40, prior to January 2017,100 streams counted as one sale of a song. From January onward, the ratio became 150,1, UK Albums Chart UK Singles Chart UK Video Charts UK Singles Downloads Chart UK Album Downloads Chart British Phonographic Industry Official Charts Company website
17.
GfK Entertainment Charts
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The GfK Entertainment Charts are the official music charts in Germany and are gathered and published by GfK Entertainment GmbH on behalf of Bundesverband Musikindustrie. Following a lawsuit in March 2014 by Media Control AG, Media Control® GfK International had to change its name, dissemination of the charts is conducted by various media outlets, some of which include VIVA music channel, and the Swiss charts website. Other entities that present the charts are MusicLoad and MIX1, furthermore, GfK Entertainment also runs a dedicated website providing chart-related news and access to most of the charts. Charts have been published in Germany since 1959, in a magazine called Der Musikmarkt, since 1959, the growing desire to have a well-developed music program has made Bundesverband Musikindustrie work together with charts providers to improve the way the charts are determined. For this purpose, different research institutes were tested, out of which Media Control, hence, the first official charts were made available in the magazine Der Musikmarkt in September 1977. Initially, there used to be 50 positions only, which later in January 1980, was extended to 75 slots, since 1989, however, GfK Entertainment has adapted the international standards providing 100 positions, now called Offizielle Top 100 Charts. In 2001, the Top-100 singles charts was modified to reflect the sales of the singles, Media Control developed Music Video charts in 2001, which later, in 2004, was renamed as DVD charts. While music-videos have their own charts, in 2001, GfK Entertainment made it possible for the music-video singles to have the ability to enter the Top-100 singles chart. Similarly, in 2002, it was available for music-video albums to chart on the Top-100 album chart. If not, then, the DVD album could qualify for the DVD chart only, in the same vein, if an audio CD contains at least 50% of video recording, then, it could qualify to chart on the DVD chart. In 2003, Media Control joined forces with GfK, thus the name officially being changed to Media Control GfK International GmbH. In 2004, Germany became one of the first music markets wherein sales charts were reflected by online digital downloads, digital-only releases came into existence on 13 July 2007, for online downloads only, which also altered the way the sales figures were conducted up to that point. Consequently, chart positions would no longer be affected by the number of music downloads as before. Thus, the albums would not necessarily be the ones ending up in the number-one position on the charts. In March 2014, GfK announced that the official chart providers name in Germany will change from Media Control GfK International GmbH to GfK Entertainment, there are currently 3,000 outlets that report their sales on weekly bases in Germany. The weekly sales data is transmitted to GfK Entertainment via communication network channel and this is the list of categories, for each of which charts are provided by GfK Entertainment
18.
Postcards from Heaven
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Postcards from Heaven is the second album released by UK duo Lighthouse Family in 1997 on Wildcard / Polydor Records. The album produced three Top 10 hits and two Top 30 hits and it reached 6 times Platinum status. Lifted from Ocean Drive was added to some releases as the eighth track, some releases included a bonus disc with six remixes. High –6,40 High –6,42 Raincloud –8,05 Raincloud –5,26 Lifted –4,01 Ocean Drive –4,01 Allmusic link
19.
Loving Every Minute (Lighthouse Family song)
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Loving Every Minute is a song by British group Lighthouse Family, released as the fourth and final single from their debut album Ocean Drive. The song was produced by Mike Peden and it was released in November 1996 and reached the top 20 in the United Kingdom. It was remixed by Cutfather & Joe for its release, adding a drum beat. After the release of Loving Every Minute, the single reached to #20, the song stayed on the UK Singles Chart for 7 weeks. As well as being in the UK Singles Chart, Loving Every Minute also went into the Sweden Singles Chart, peaking at #50 in March 1997, Loving Every Minute also went into the Eurochart Hot 100. The single peaked at #62 in December 1996 and stayed in the charts for 3 weeks
20.
Raincloud (song)
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Raincloud is a song by British group Lighthouse Family, released as the duos first pop single for their second album Postcards from Heaven. The song was produced by Mike Peden and it was released as the second in September 1997 and reached the top 10 in the UK Singles Chart. With Raincloud, another song called From a Desert to a Beach was included and this song was not in any of the Lighthouse Familys albums apart from their remix album, Relaxed & Remixed. When the Lighthouse Family released Raincloud, they reached to #6 in the UK Singles Chart in October 1997 and this meant that this was their second Top 10 hit and their first from their album Postcards From Heaven. They were in the UK singles Chart for 7 weeks, Raincloud was also a success in Australia following their #1 with High. It went to #29 in the Australia Singles Chart in November 1998 and were in the charts for 10 weeks and it also went to #47 in the French Singles Chart in January 1998 and #71 in the Dutch Singles Chart in December 1997. The single Raincloud also went in the Eurochart Hot 100, the single peaked at #34 in October 1997. They stayed in the charts for 5 weeks
21.
Lost in Space (Lighthouse Family song)
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Lost in Space is a song by the Lighthouse Family, released as their third pop single for their second album Postcards from Heaven. The song was produced by Mike Peden and it was released in May 1998 and reached the top 10 in the United Kingdom and the top 40 in Europe. The Lost in Space music video was directed by Andrew Douglas, after the release of Lost in Space in the UK, it reached to #6 in the UK Single Chart in June 1998 and stayed in the charts for 8 weeks. In Europe, Lost in Space wasnt as successful as High, at that same week, High was ten places higher than Lost in Space at #29. Chart Stats - UK chart performance of Lighthouse Familys Lost in Space Eurochart Hot 100 which shows the position of Lighthouse Familys Lost in Space Lyrics of this song at MetroLyrics
22.
Question of Faith
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Question of Faith is a song by the Lighthouse Family, released as their fourth single, from their second album Postcards from Heaven. The song was produced by Mike Peden and it was released in November 1998 and reached just outside the top 20 in the UK as well as being just outside the top 70 in Europe and also in the top 90 in the Netherlands. Question of Faith reached to #21 in the UK Singles Chart and it also reached to #71 in the Eurochart Hot 100 and #83 in the Netherlands and stayed in the charts for 2 and 6 weeks respectively. Lyrics of this song at MetroLyrics
23.
Postcard from Heaven
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Postcard from Heaven is a song by the Lighthouse Family, released as the duos fifth and final single from their second album Postcards from Heaven. The song was produced by Mike Peden and it was released in February 1999 and reached the top 30 in the UK as well as being just outside the top 90 in Europe. It received a completely different remixed version for single release and this mix appeared on both the Greatest Hits and Relaxed & Remixed compilations, in 2002 and 2004 respectively. Postcard from Heaven reached to #24 in the UK Singles Chart and it also reached to #91 in the Eurochart Hot 100 but it only stayed in the charts for 1 week
24.
(I Wish I Knew How It Would Feel to Be) Free / One
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Free / One is a song by Lighthouse Family, released as their first single from their third album, Whatever Gets You Through the Day, released in 2001. The song was written by Billy Taylor, with lyrics by Dick Dallas. Best known for its 1967 version by Nina Simone, and as the theme to the BBC Film TV show. Free / One is a song of Billy Taylors I Wish I Knew How It Would Feel to Be Free. Free / One was also successful in the UK where it reached to #6 in the UK Singles Chart in November 2001, Free / One also reached to #14 in Austria and stayed in the charts for 13 weeks. Free / One reached #85 in the Netherlands and stayed in the charts for 8 weeks, in Switzerland, Free / One reached to #26 in January 2002 and stayed in the charts for 14 weeks
25.
Happy (Lighthouse Family song)
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Happy is a song by Lighthouse Family, which was released as a single in July 2002. The song was the pop single written by British duo Lighthouse Family for their third album Whatever Gets You Through the Day. The song was produced by Kevin Bacon and Jonathan Quarmby, the song reached outside the top 50 in the United Kingdom as well as being in the top 30 in the World RnB Top 30 Singles Chart. After the release of Happy in the UK, it reached to #51 in the UK Singles Chart, Happy also reached the top 30 in the World RnB Top 30 Singles and stayed in the charts for 3 weeks. Chart Stats - UK chart performance of Lighthouse Familys Happy World RnB Top 30 Singles performance of Lighthouse Familys Happy Lyrics of this song at MetroLyrics
