Donald Eugene Gibson was an American songwriter and country musician. A Country Music Hall of Fame inductee, Gibson wrote such country standards as "Sweet Dreams" and "I Can't Stop Loving You", enjoyed a string of country hits from 1957 into the mid-1970s. Don Gibson was born in Shelby, North Carolina, into a poor working-class family, he dropped out of school in the second grade, his first band was called Sons of the Soil, with whom he made his first recording in 1948. In 1957, he journeyed to Nashville to work with producer Chet Atkins and record his self-penned songs "Oh Lonesome Me" and "I Can't Stop Loving You" for RCA Victor; the afternoon session resulted in a double-sided hit on pop charts. "Oh Lonesome Me" set the pattern for a long series of other RCA hits. "Blue Blue Day", recorded prior to "Oh, Lonesome Me" was a number 1 hit in 1958. Singles included "Look Who's Blue", "Don't Tell Me Your Troubles", "Sea of Heartbreak". Gibson recorded a series of successful duets with Dottie West in the late 1960s and early 1970s, the most successful of which were the Number two country hit "Rings of Gold" and the top 10 hit "There's a Story Goin' Round".
West and Gibson released an album together in titled Dottie and Don. He recorded several duets with Sue Thompson among these being the Top 40 hits, "I Think They Call It Love", "Good Old Fashioned Country Love" and "Oh, How Love Changes". Gibson was nicknamed "The Sad Poet" because he wrote songs that told of loneliness and lost love, his song "I Can't Stop Loving You", has been recorded by over 700 artists, most notably by Ray Charles in 1962. He wrote and recorded "Sweet Dreams", a song that would become a major 1963 crossover hit for Patsy Cline. Roy Orbison was a great fan of Gibson's songwriting, in 1967, he recorded an album of his songs titled Roy Orbison Sings Don Gibson. Gibson's wide appeal was shown in Neil Young's recorded version of "Oh Lonesome Me" on his 1970 album After the Gold Rush, one of the few songs Young has recorded that he did not write. Gibson was inducted into the Nashville Songwriters Hall of Fame in 1973. In 2001 he was inducted into the Country Music Hall of Fame, the North Carolina Music Hall of Fame in 2010.
Following his death from natural causes on November 17, 2003, he was buried in the Sunset Cemetery in his hometown of Shelby, North Carolina. Located in Cleveland County, North Carolina, the Don Gibson Theater opened on November 2009 in historic uptown Shelby. Constructed in 1939, the renovated art deco gem features an exhibit of the life and accomplishments of singer/songwriter Don Gibson, an intimate 400-seat music hall, adjoining function space that can accommodate up to 275 people; the theater showcases a busy schedule of premier musical performances. Past performers have included Marty Stuart, Pam Tillis, Tom Paxton, Ralph Stanley, Vince Gill, Ricky Skaggs, John Oates and Gene Watson. For more information: http://dongibsontheatre.com/ Wolfe, Stacey. "Don Gibson". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. P. 199. Don Gibson Discography Gibson discography at Emory Law Gibson in the Country Music Hall of Fame Gibson at the Nashville Songwriters Foundation Allmusic Don Gibson with Biography, Charts Website for the Don Gibson Theater
What Are We Doin' in Love
"What Are We Doin' in Love" is a song written by Randy Goodrum and recorded by American country music artist Dottie West with the uncredited vocals of Kenny Rogers. It was released in March 1981 as the second single from the album Wild West. "What Are We Doin' in Love" was the duo's third and final number one on the country chart. Since 1978, West and Rogers had been together as a duet partnership. Rogers revived the career of Dottie West when their song "Every Time Fools Collide" became a hit in 1978, they became one of the most successful duet partnerships since then. However, in 1980, both went their separate ways to become solo artists again. "What Are We Doin' in Love" became a crossover hit for the two, reaching number fourteen on the Top 40 as well as number seven on the Adult Contemporary charts. The song became Dottie West's first top 40 Pop hit after a few modestly charting solo records on the Billboard Hot 100 over the years; the single proved to be the final Rogers and West recorded duet, although they did perform together in years on stage
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
RPM was a Canadian music industry publication that featured song and album charts for Canada. The publication was founded by Walt Grealis in February 1964, supported through its existence by record label owner Stan Klees. RPM ceased publication in November 2000. RPM stood for "Records, Music"; the magazine was reported to have variations in its title over the years such as RPM Weekly and RPM Magazine. RPM maintained several format charts, including Top Singles, Adult Contemporary, Urban, Rock/Alternative and Country Tracks for country music. On 21 March 1966, RPM expanded its Top Singles chart from 40 positions to 100. On December 6, 1980 the main chart became a Top 50 chart and remained this way until August 4, 1984 whereupon it returned to being a Top 100 Singles chart. For the first several weeks of its existence, the magazine did not compile a national chart, but printed the current airplay lists of several major market Top 40 stations. A national chart was introduced beginning with the June 22, 1964 issue, with its first-ever national #1 single being "Chapel of Love" by The Dixie Cups.
Prior to the introduction of RPM's national chart, the CHUM Chart from Toronto radio station CHUM was considered the de facto national chart. The final #1 single in the magazine was "Music" by Madonna; the modern Juno Awards had their origins in an annual survey conducted by RPM since its founding year. Readers of the magazine were invited to mail in survey ballots to indicate their choices under various categories of people or companies; the RPM Awards poll was transformed into a formal awards ceremony, The Gold Leaf Awards in 1970. These became the Juno Awards in following years; the RPM Awards for 1964 were announced in the 28 December 1964 issue: Top male vocalist: Terry Black Top female singer: Shirley Matthews Most promising male vocalist: Jack London Most promising female vocalist: Linda Layne Top vocal instrumental group: The Esquires Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: The Courriers Top country male singer: Gary Buck Top country female singer: Pat Hervey Industry man of the year: Johnny Murphy of Cashbox Canada Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Ed Lawson, Quality Records Top album of the year: That Girl by Phyllis MarshallA column on page 6 of that issue noted that the actual vote winner for Top Canadian Content record company was disqualified due to a conflict of interest involving an employee of that company, working for RPM.
Therefore, runner-up Capitol Records was declared the category's winner. The Annual RPM Awards for 1965 were announced in the 17 January 1966 issue, with more country music categories than the previous year: Top male vocalist: Bobby Curtola Top female singer: Catherine McKinnon Most promising male vocalist: Barry Allen Most promising female vocalist: Debbie Lori Kaye Top vocal/instrumental group: The Guess Who Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: Malka and Joso Top folk singer: Gordon Lightfoot Best produced single: "My Girl Sloopy", Little Caesar and the Consuls Best produced album: Voice of an Angel by Catherine McKinnon Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Angus Walker Most promising country female singer: Sharon Strong Top country instrumental vocal group: Rhythm Pals Top country instrumentalist: Roy Penney Top country radio personality: Al Fisher, CFGM Toronto Top Canadian disc jockey: Chuck Benson, CKYL Peace River Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Charlie Camilleri, Quality Records The winners were: Top male vocalist: Barry Allen Top female singer: Catherine McKinnon Most promising male vocalist: Jimmy Dybold Most promising female vocalist: Lynda Lane Top vocal/instrumental group: Staccatos Top female vocal group: Allan Sisters Top instrumental group: Wes Dakus & The Rebels Top folk group: 3's a Crowd Top folk singer: Gordon Lightfoot Best produced single: "Let's Run Away", Staccatos Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Johnny Burke Most promising country female singer: Debbie Lori Kaye Top country instrumental vocal group: Mercey Brothers Top country instrumentalist: Roy Penney Top country radio personality: Ted Daigle Top country radio station: CFGM Top record company: Capitol Records of Canada Top Canadian Content record company: Red Leaf Records Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Al Nair Top Canadian music industry man of the year: Stan Klees List of number-one singles in Canada List of RPM number-one alternative rock singles List of RPM number-one country singles List of RPM number-one dance singles RPM archive charts RPM Library and Archives Canada: "The RPM Story" The Canadian Encyclopedia: RPM Charts archive from 1964 to 1999 on worldcharts.co.uk Megan Thow.
"Critical Miss". Ryerson Review of Journalism. Archived from the original on 27 September 2007. Retrieved 15 September 2007
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
Last Time I Saw Him (song)
"Last Time I Saw Him" is the title of a 1973 single release by Diana Ross, being a composition by Michael Masser and lyricist Pam Sawyer: the track was produced by Masser and released in December 1973 at the same time as Ross' Last Time I Saw Him album. Michael Masser had composed and produced the precedent solo Diana Ross single "Touch Me in the Morning", a dreamy ballad which had hit #1, but "Last Time I Saw Him" took a drastically different musical direction: AMG would note that on the "arguably campy" last-named track, arrangers Michael Omartian and Gene Page "throw in everything but the proverbial kitchen sink with a score, all over the musical map from Dixieland-band jazz to banjo-pickin' and an orchestrated string section", while Billboard would describe "Last Time I Saw Him" as "a light romp in the Tony Orlando and Dawn style."The song's narrator recalls how she saw her "honey" off on a Greyhound bus having given the man a large amount of money to establish future living arrangements for the two of them.
Ross scored her seventh Top 40 hit with "Last Time I Saw Him", which peaked at number 14 on the Billboard Hot 100 in February 1974, a Top 20 R&B hit, where it peaked at 16. The track had its greatest impact in the easy listening market, where it was number 1 for three weeks on the Billboard Easy Listening chart. "Last Time I Saw Him" was named the biggest Easy Listening Hit of 1974. Ross charted with "Last Time I Saw Him" in Australia at number 18 and in the UK at 35. Dottie West expediently covered "Last Time I Saw Him" for the C&W market in the January 1974 recording sessions at the RCA Victor Studio in Nashville which resulted in the House of Love album produced by Billy Taylor. West's "Last Time I Saw Him" reached #8 on the C&W chart in Billboard in February 1974 marking the first time West had scored back-to-back C&W Top Ten hits, her precedent single having been her career record "Country Sunshine". Although West's subsequent signing with United Artists boosted her chart profile, her first C&W Top Ten hit since "Last Time I Saw Him" did not occur until 1980 when "A Lesson in Leavin'" afforded West her first #1 solo hit.
Michele Lee recorded "Last Time I Saw Him" for the soundtrack album of the 1995 TV-biopic Big Dreams and Broken Hearts: The Dottie West Story in which Lee portrayed West. The song has been recorded by Elke Best, Lea Laven and Lill-Babs. List of number-one adult contemporary singles of 1974