Good Luck Charm
"Good Luck Charm" is a song recorded by Elvis Presley and published by Gladys Music, Elvis Presley's publishing company, that reached number 1 on the Billboard Hot 100 list in the week ending April 21, 1962. It remained at the top of the list for two weeks, it was no. 1 on the Cash Box chart in the U. S, it reached number 1 in the UK Singles Chart in the week ending 24 May 1962 and stayed there for five weeks. The song was written by Aaron Schroeder and Wally Gold and recorded at RCA Studio B in Nashville, Tennessee by Presley on October 15, 1961, it completed his second hat-trick of chart topping singles in the UK. Presley is joined vocally on the chorus by Jordanaires first tenor Gordon Stoker; the single was certified Platinum by the RIAA on March 27, 1992. The single reached no. 2 on the UK singles chart in a five week chart run in 2005 in a re-release. Art Garfunkel recorded the song for the 1997 album Songs from a Parent to a Child. "Good Luck Charm" was covered by Travis & Shook on Cape Cod Covers, Vol. 1 "The King".
Alvin and the Chipmunks covered the song for "Luck O' The Chipmunks", a 1988 episode of Alvin and the Chipmunks. The Marvelettes released a version on the 1962 album The Marvelettes Sing and on Smash Hits Of'62 as Tamla TM 229, it was recorded by Jo as an answer song in 1962, entitled "Don't Want to Be Another Good Luck Charm", released as a 45 single on Capitol Records as catalog number CP-1468. Johnny O'Keefe, Bobby Stevens, The Beatniks, Helmut Lotti have recorded the song; the first LP appearance was on the album Elvis Golden Records, Volume 3 released in September, 1963. The track appeared on the 1999 careerer retrospective collection Artist of the Century; the song was featured on the 2002 compilation ELV1S: 30 No. 1 Hits. Lyrics of this song at MetroLyrics
Music genre
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Elvis Presley on film and television
Elvis Presley was an American entertainer who achieved initial success as a singer, expressing an early career goal of following in the footsteps of his role models James Dean and Marlon Brando to become a top dramatic actor. His manager Colonel Tom Parker's persistent lobbying of William Morris Agency president Abe Lastfogel for a Presley screen test paid off on March 26, 1956, when the singer auditioned at Paramount for a supporting role in The Rainmaker. Although not chosen for the part, he signed a contract with Paramount producer Hal Wallis on April 25 that allowed him to make films with other studios, his feature debut was in Love Me Tender for 20th Century Fox, with the commercial success of the soundtrack EP being a bellwether for the next three Presley films. Loving You, Jailhouse Rock and King Creole were dramatic storylines written around Presley in the role of a musical entertainer, he would state that King Creole was his favorite of all his films. Flaming Star and Wild in the Country were rarities in his career, non-musicals focused on dramatic storylines.
According to music historian Peter Guralnick, the sluggish financial returns of those two films became the justification for ignoring Presley's wishes and limiting him to the more profitable musical format.. It was a single shot of Flaming Star, when silkscreened by Andy Warhol which garnered, since 1998, more than a quarter of a billion dollars for auction houses and in private sales, most notably those entitled "Double Elvis", Triple Elvis and Eight Elvises. In 1963, again as these silkscreens were being printed and shown at a Warhol exhibit in Los Angeles, Presley became bitter that his hopes for dramatic roles were not coming to fruition, stating that Clambake was his worst film, he began to complain about the deteriorating quality of the films and his belief that his manager's objectives were more monetary than anything else. At the expiration of all studio contracts, he returned to live entertaining; the two concert documentaries Elvis: That's the Way It Is in 1970 and Elvis on Tour in 1972 were the final theatrical releases for Presley.
Ellroy, James. The Best American Noir of the Century. New York, NY: Mariner Books. ISBN 978-0-547-57744-9. Guralnick, Peter. Last train to Memphis: The Rise of Elvis Presley. Boston, MA: Little and Company. ISBN 978-0-316-33220-0. Guralnick, Peter. Careless Love: The Unmaking of Elvis Presley. Boston, MA: Little and Company. ISBN 0-316-33222-4. Guralnick, Peter. Elvis Day by Day: The Definitive Record of His Life and Music. New York, NY: Ballantine Books. ISBN 978-0-345-42089-3. Jorgensen, Ernst. Elvis Presley: A Live in Music: The Complete Recording Sessions. New York, NY: St. Martin's Press. ISBN 978-0-312-18572-5. Lisanti, Tom. Fantasy Femmes of 60's Cinema: Interviews with 20 Actresses from Biker and Elvis Movies. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-0868-9. Lisanti, Tom. Hollywood Surf and Beach Movies The First Wave, 1959–1969. McFarland & Company. ISBN 978-0-7864-7297-0. Marsh, Dave. Elvis. New York, NY: Time Books. ISBN 0-8129-0947-X. Neibaur, James L.. The Elvis Movies. Lanham, MD: Rowman & Littlefield.
ISBN 978-1-4422-3073-6. Rose, Frank; the Agency: William Morris and the Hidden History of Show Business. New York, NY: HarperBusiness. ISBN 978-0-88730-807-9. Templeton, Steve. Elvis Presley: Silver Screen Icon: A Collection of Movie Posters. Johnson City, TN: Overmountain Press. ISBN 978-1-57072-232-5.http://www.archive.org/stream/broadcastingtele51unse_0#page/n553/mode/2up
Elvis' Gold Records Volume 4
Elvis' Gold Records Volume 4 is a greatest hits album by American rock and roll singer Elvis Presley, issued by RCA Victor in mono and stereo, LPM/LSP 3921, in January 1968, with recording sessions taking place over an eight-year span at RCA Studio B in Nashville, at RCA Studios and Radio Recorders in Hollywood. It is a compilation of hit singles released between 1961 and 1967, peaking at number 33 on the Billboard 200, it was certified Gold on March 1992 by the Recording Industry Association of America. Although he had remained a popular artist since the release Elvis' Golden Records Volume 3, placing eight albums in the Top Ten and 17 singles in the Top 40 Presley's sales had cooled off since his heyday; the compilation album Elvis for Everyone was his first to sell under 300,000 copies, his last five soundtrack albums had all done progressively worse in the marketplace, units shifted dropping to under 200,000. Singles were no longer reaching the Top 40 automatically, while his recent single "Big Boss Man" sold 350,000, that fell short of the needed 500,000 to qualify for gold status in US singles sales.
A guaranteed seller, this volume sold only 400,000 copies. The future of Presley's career was in question. Elvis' Gold Records Volume 4 comprises five Top 40 A-sides along with seven b-sides, five of which made the Top 40. Three songs had not been written expressly for Presley: "Love Letters" came from the 1945 film of the same name. Three B-sides, "Lonely Man", "A Mess of Blues", "Just Tell Her Jim Said Hello" were old enough to have been included on Elvis' Golden Records Volume 3, another b-side, "Ain't That Loving You Baby", came from RCA's furlough session of June 10, 1958, set up to augment their stock of Presley product while their star was in the United States Army; the first three Gold Records volumes covered two to three years of singles releases, but there was a five-year gap between this and the previous volume. This would be the last of the series issued during Presley's lifetime. Elvis' Gold Records Volume 5, which included singles from 1969 to 1977, was released posthumously in 1984.
By 1968, the practice of releasing LPs in monophonic sound was being discontinued. As a result, RCA Victor issued few mono copies of Elvis' Gold Records Vol. 4 and they are considered valuable collector's items. Original recordings were produced by Steve Sholes, Joseph Lilley, Chet Atkins, Urban Thielmann, George Stoll, Felton Jarvis. RCA first reissued the original 12 track album on compact disc in 1989; the 1997 reissue added six bonus altered the running order. "Rock-A-Hula Baby" dated from the 1961 soundtrack to Blue Hawaii, pulled off that album as the flip to accompany "Can't Help Falling In Love" as a single. Three tracks were the advance singles for their respective soundtracks: "Bossa Nova Baby" for Fun in Acapulco. Girls! Girls!. "Viva Las Vegas", by the team of Doc Pomus and Mort Shuman, would prove a more durable Elvis recording, receiving myriad cover versions including those by the Dead Kennedys, Bruce Springsteen, Nine Inch Nails. The gospel song "Crying in the Chapel" had been recorded during the sessions for His Hand in Mine, this five-year-old track going to number three and selling a million copies as a single in 1965.
Chart positions for singles taken from Billboard Pop Singles chart. Elvis' Gold Records Volume 4 at Discogs LPM−3921 Elvis' Gold Records − Volume 4 Guide part of The Elvis Presley Record Research Database LSP−3921 Elvis' Gold Records − Volume 4 Guide part of The Elvis Presley Record Research Database
Record producer
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
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
UK Singles Chart
The UK Singles Chart is compiled by the Official Charts Company, on behalf of the British record industry, listing the top-selling singles in the United Kingdom, based upon physical sales, paid-for downloads and streaming. The Official Chart, broadcast on BBC Radio 1 and MTV, is the UK music industry's recognised official measure of singles and albums popularity because it is the most comprehensive research panel of its kind, today surveying over 15,000 retailers and digital services daily, capturing 99.9% of all singles consumed in Britain across the week, over 98% of albums. To be eligible for the chart, a single is defined by the Official Charts Company as either a'single bundle' having no more than four tracks and not lasting longer than 25 minutes or one digital audio track not longer than 15 minutes with a minimum sale price of 40 pence; the rules have changed many times as technology has developed, the most notable being the inclusion of digital downloads in 2005 and streaming in July 2014.
The OCC website contains the Top 100 chart. Some media outlets only list the Top 75 of this list; the chart week runs from 00:01 Friday to midnight Thursday, with most UK physical and digital singles being released on Fridays. From 3 August 1969 until 5 July 2015, the chart week ran from 00:01 Sunday to midnight Saturday; the Top 40 chart is first issued on Friday afternoons by BBC Radio 1 as The Official Chart from 16:00 to 17:45, before the full Official Singles Chart Top 100 is posted on the Official Charts Company's website. A rival chart show, The Vodafone Big Top 40, is based on iTunes downloads and commercial radio airplay across the Global Radio network only, is broadcast on Sunday afternoons from 16:00 to 19:00 on 145 local commercial radio stations across the United Kingdom; the Big Top 40 is not regarded by the industry or wider media. There is a show called "Official KISS Top 40", counting down 40 most played songs on Kiss FM every Sunday 17:00 to 19:00; the UK Singles Chart began to be compiled in 1952.
According to the Official Charts Company's statistics, as of 1 July 2012, 1,200 singles have topped the UK Singles Chart. The precise number of chart-toppers is debatable due to the profusion of competing charts from the 1950s to the 1980s, but the usual list used is that endorsed by the Guinness Book of British Hit Singles and subsequently adopted by the Official Charts Company; the company regards a selected period of the New Musical Express chart and the Record Retailer chart from 1960 to 1969 as predecessors for the period prior to 11 February 1969, where multiples of competing charts coexisted side by side. For example, the BBC compiled its own chart based on an average of the music papers of the time; the first number one on the UK Singles Chart was "Here in My Heart" by Al Martino for the week ending date 14 November 1952. As of the week ending date 18 April 2019, the UK Singles Chart has had 1352 different number-one hits; the current number-one single is "Someone You Loved" by Lewis Capaldi.
Before the compilation of sales of records, the music market measured a song's popularity by sales of sheet music. The idea of compiling a chart based on sales originated in the United States, where the music-trade paper Billboard compiled the first chart incorporating sales figures on 20 July 1940. Record charts in the UK began in 1952, when Percy Dickins of the New Musical Express gathered a pool of 52 stores willing to report sales figures. For the first British chart Dickins telephoned 20 shops, asking for a list of the 10 best-selling songs; these results were aggregated into a Top 12 chart published in NME on 14 November 1952, with Al Martino's "Here in My Heart" awarded the number-one position. The chart became a successful feature of the periodical. Record Mirror compiled its own Top 10 chart for 22 January 1955; the NME chart was based on a telephone poll. Both charts expanded in size, with Mirror's becoming a Top 20 in October 1955 and NME's becoming a Top 30 in April 1956. Another rival publication, Melody Maker, began compiling its own chart.
It was the first chart to include Northern Ireland in its sample. Record Mirror began running a Top 5 album chart in July 1956. In March 1960, Record Retailer had a Top 50 singles chart. Although NME had the largest circulation of charts in the 1960s and was followed, in March 1962 Record Mirror stopped compiling its own chart and published Record Retailer's instead. Retailer began independent auditing in January 1963, has been used by the UK Singles Chart as the source for number-ones since the week ending 12 March 1960; the choice of Record Retailer as the source has been criticised. With available lists of which record shops were sampled to compile the charts some shops were subjected to "hyping" but, with Record Retailer being less followed than some charts, it was subject to less hyping. Additionally, Retailer was set up by independent record shops and had no funding or affiliation with record companies. However, it had a smaller sample size than some ri
