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.
The Supremes
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The Supremes were an American female singing group and the premier act of Motown Records during the 1960s. Most of these hits were written and produced by Motowns main songwriting and production team, founding members Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown, all from the Brewster-Douglass public housing project in Detroit, formed the Primettes as the sister act to the Primes. Barbara Martin replaced McGlown in 1960, and the signed with Motown the following year as the Supremes. Martin left the act in early 1962, and Ross, Ballard, during the mid-1960s, the Supremes achieved mainstream success with Ross as lead singer. In 1967, Motown president Berry Gordy renamed the group Diana Ross & the Supremes, Ross left to pursue a solo career in 1970 and was replaced by Jean Terrell, at which point the groups name reverted to the Supremes. After 1972, the lineup changed frequently, Lynda Laurence, Scherrie Payne. The Supremes disbanded in 1977 after 18 years, since Ballard sang, as did Paul Williams girlfriend Betty McGlown, the Primess manager Milton Jenkins decided to create a sister group to the Primes called the Primettes. Ballard recruited her best friend Mary Wilson, who in turn recruited classmate Diane Ross, mentored and funded by Jenkins, the Primettes began by performing hit songs by artists such as Ray Charles and the Drifters at sock hops, social clubs and talent shows around the Detroit area. Receiving additional guidance from group friend and established songwriter Jesse Greer, after winning a prestigious local talent contest, the Primettes sights were set on making a record. Robinson liked the girls and agreed to help, but he liked their guitarist even more, with the Primettes permission he hired Tarplin, who became the guitarist for the Miracles. Undaunted, later that year the Primettes recorded a single for Lu Pine Records, a label created just for them, titled Tears of Sorrow, the single failed to find an audience, however. Shortly thereafter, McGlown became engaged and left the group, local girl Barbara Martin was McGlowns prompt replacement. Determined to leave an impression on Gordy and join the stable of rising Motown stars, eventually, they convinced Gordy to allow them to contribute hand claps and background vocals for the songs of other Motown artists including Marvin Gaye and Mary Wells. In January 1961, Gordy finally relented and agreed to sign the girls to his label –, the Primes had by this time combined with Otis Williams & the Distants and would soon sign to Motown as the Temptations. Gordy gave Ballard a list of names to choose from that included such as the Darleens, the Sweet Ps, the Melodees, the Royaltones. Ballard chose the Supremes, a name that Ross initially disliked as she felt it too masculine, nevertheless, on January 15 the group signed with Motown as the Supremes. In the spring of 1962, Martin left the group to start a family, thus, the newly named Supremes continued as a trio. Between 1961 and 1963, the Supremes released six singles, none of which charted in the Top 40 positions of the Billboard Hot 100, jokingly referred to as the no-hit Supremes around Motowns Hitsville U. S. A
3.
A-side and B-side
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The terms A-side and B-side refer to the two sides of 78,45, and 33 1/3 rpm phonograph records, whether singles, extended plays, or long-playing records. Creedence Clearwater Revival had hits with both A-side and B-side releases, 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, the earliest 10-inch,78 rpm, shellac records were single sided. Double-sided recordings, with one song on side, were introduced in Europe by Columbia Records. There were no record charts until the 1930s, and radio stations did not play recorded music until the 1950s, in this time, A-sides and B-sides existed, but neither side was considered more important, the side did not convey anything about the content of the record. The term single came into 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, 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, however, 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 company wanted radio stations to play. It was not until 1968, for instance, that the production of albums on a unit basis finally 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, by the early 1970s, double-sided hits had become rare. Album sales had increased, and B-sides had become the side of the record where non-album, non-radio-friendly, with the advent of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. With the decline of cassette singles in the 1990s, the A-side/B-side dichotomy became virtually extinct, as the dominant medium. However, the term B-side is still used to refer to the tracks or coupling tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other media have declined. B-side songs may be released on the 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
4.
Phonograph record
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The groove usually starts near the periphery and ends near the center of the disc. The phonograph disc record was the medium used for music reproduction until late in the 20th century. It had co-existed with the cylinder from the late 1880s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed, by the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. The phonograph record has made a resurgence in the early 21st century –9.2 million records were sold in the U. S. in 2014. Likewise, in the UK sales have increased five-fold from 2009 to 2014, as of 2017,48 record pressing facilities remain worldwide,18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new, only two producers of lacquers remains, Apollo Masters in California, USA, and MDC in Japan. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to heat or broken. The large cover are valued by collectors and artists for the space given for visual expression, in the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008, along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph, unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no evidence that Edisons phonograph was based on Scotts phonautograph. Edison first tried recording sound on a paper tape, with the idea of creating a telephone repeater analogous to the telegraph repeater he had been working on. The tinfoil was wrapped around a metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately, Edison also invented variations of the phonograph that used tape and disc formats. A decade later, Edison developed a greatly improved phonograph that used a wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device, the wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Berliners earliest discs, first marketed in 1889, but only in Europe, were 12.5 cm in diameter, both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality
5.
Recording studio
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A recording studio is a facility for sound recording and mixing. Ideally both the recording and monitoring spaces are designed by an acoustician or audio engineer to achieve optimum acoustic properties. The engineers and producers listen to the music and the recorded tracks on monitor speakers and/or headphones. Major recording studios typically have a range of large, heavy, Isolation booths are small sound-insulated rooms with doors, designed for instrumentalists. This equipment may interfere with the recording process, Recording studios are carefully designed around the principles of room acoustics to create a set of spaces with the acoustical properties required for recording sound with precision and accuracy. This will consist of both room treatment and soundproofing to prevent sound from leaving the property. Even though sound isolation is a key goal, the musicians, singers, audio engineers and record producers still need to be able to see other, to see cue gestures. As such, the room, isolation booths, vocal booths. Some smaller studios do not have instruments, and bands and artists are expected to bring their own instruments, having musical instruments and equipment in the studio creates additional costs for a studio, as pianos have to be tuned and instruments need to be maintained. However, it makes it convenient for recording artists, as they do not have to bring in large. As well, less costly studio time is spent moving in gear, drummers bring their own snare drum, cymbals and sticks/brushes. The types and brands of equipment owned by a studio depends on the styles of music for the bands. A studio that mainly records heavy metal music will be likely to have large, powerful guitar amp heads, in contrast, a studio which mainly records country bands will likely have a selection of small, vintage combo amps. A studio that records a lot of 1970s-style funk may have an electric piano. General purpose computers have rapidly assumed a role in the recording process. A computer thus outfitted is called a Digital Audio Workstation, or DAW, other software applications include Ableton Live, Mixcraft, Cakewalk Sonar, ACID Pro, FL Studio, Adobe Audition, Auto-Tune, Audacity, and Ardour. While Apple Macintosh is used for most studio work, there is a breadth of available for Microsoft Windows. If no mixing console is used and all mixing is done using only a keyboard and mouse, the OTB is used when mixing with other hardware and not just the PC software
6.
Hitsville U.S.A.
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Hitsville U. S. A. is the nickname given to Motowns first headquarters. A former photographers studio located at 2648 West Grand Boulevard in Detroit, Michigan, approaching the New Center area and it was converted for use as the record labels administrative building and recording studio, which was open 22 hours a day. In 1959, Gordy formed his first label, Tamla Records, the photography studio located in the back of the property was modified into a small recording studio, and the Gordys moved into the second-floor living quarters. Within seven years, Motown would occupy seven additional neighboring houses, enterprise,1962 – offices for Berry Gordy, Jr. In 1968, Gordy purchased the Donovan building, on the corner of Woodward Avenue and Interstate 75, in the same year Gordy purchased Golden World Records, and its recording studio became Motowns Studio B. In 1972, Gordy relocated the Motown Records headquarters to Los Angeles, the original Hitsville studios, which had produced a long string of worldwide hits, is now the Motown Museum. The following year, he reorganized the company into Motown Industries, many Motown fans believed the companys heart and soul were lost following the move and that its golden age of creativity ended after its 13 years in Detroit. Esther Gordy Edwards refused to move to California and was put in charge of what was left of Motowns Detroit office in the Hitsville building, Edwards received several requests for the Hitsville building to receive visitors. She and her secretary put up posters and gold records and she also carefully preserved Studio A. Since 1985, the Hitsville U. S. A. building has been the site of the Motown Museum, dedicated to the legacy of the label, its artists. Edwardss granddaughter Robin Terry maintains involvement as board chair, three of the original homes are used by the Motown Museum. Hitsville U. S. A. and the Jobete office are connected for the exhibit, which contains costumes, photos, also featured are Motowns Studio A and Berry Gordys upstairs apartment, decorated to appear as they did during the 1960s. The finance department is currently an administrative office, West Grand Boulevard is named Berry Gordy, Jr. Boulevard in the area where the Motown Historical Museum is located. The museum is one of Detroits most popular tourist destinations, the Motown piano is an 1877 Steinway & Sons Model D grand piano, used by many musicians, including the Funk Brothers studio band, at the Hitsville U. S. A. Studio B from 1967 to 1972, on July 24,2011, Paul McCartney was in Detroit for a performance at Comerica Park, as part of his On the Run Tour, and visited the Motown Museum for a private guided tour. While touring Studio A, he asked to play the Motown piano and it was restored in 2012, with the support of McCartney, and was played by McCartney and Berry Gordy at a charity event September 2012. The piano was inherited by Motown after it bought Golden World Records in 1967, the Golden World studio then became Hitsville U. S. A. The piano is on display in Studio A at the Motown Museum, Berry Gordy Esther Gordy Edwards Motown Music of Detroit The Funk Brothers Motown Museum - official website Come and Get These Memories
7.
Soul music
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Soul music is a popular music genre that originated in the United States in the late 1950s and early 1960s. It combines elements of African-American gospel music, rhythm and blues, Soul music became popular for dancing and listening in the United States, where record labels such as Motown, Atlantic and Stax were influential during the Civil Rights Movement. Soul also became popular around the world, directly influencing rock music, catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the lead vocalist and the chorus and a tense vocal sound. The style also occasionally uses improvisational additions, twirls and auxiliary sounds, Soul music reflected the African-American identity and it stressed the importance of an African-American culture. The new-found African-American consciousness led to new styles of music, which boasted pride in being black, Soul music dominated the U. S. R&B chart in the 1960s, and many recordings crossed over into the pop charts in the U. S. By 1968, the music genre had begun to splinter. Some soul artists developed funk music, while other singers and groups developed slicker, more sophisticated, by the early 1970s, soul music had been influenced by psychedelic rock and other genres, leading to psychedelic soul. The United States saw the development of neo soul around 1994, there are also several other subgenres and offshoots of soul music. The term soul had been used among African-American musicians to emphasize the feeling of being an African-American in the United States, according to another source, Soul music was the result of the urbanization and commercialization of rhythm and blues in the 60s. The phrase soul music itself, referring to music with secular lyrics, is first attested in 1961. The term soul in African-American parlance has connotations of African-American pride, gospel groups in the 1940s and 1950s occasionally used the term as part of their name. The jazz style that derived from gospel came to be called soul jazz, important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, and Etta James. Ray Charles is often cited as popularizing the genre with his string of hits starting with 1954s I Got a Woman. Singer Bobby Womack said, Ray was the genius and he turned the world onto soul music. Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style, little Richard and James Brown were equally influential. Sam Cooke and Jackie Wilson are also acknowledged as soul forefathers. Cooke became popular as the singer of gospel group The Soul Stirrers
8.
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
9.
Motown
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Motown is an American record company. The record company was founded by Berry Gordy, Jr. as Tamla Records on January 12,1958, the name, a portmanteau of motor and town, has also become a nickname for Detroit. Motown played an important role in the integration of popular music as an African American-owned record label that achieved significant crossover success. In the 1960s, Motown and its subsidiary labels were the most successful proponents of what came to be known as the Motown Sound, a style of soul music with a distinct pop influence. During the 1960s, Motown achieved spectacular success for a record company,79 records in the Top Ten of the Billboard Hot 100 record chart between 1960 and 1969. The company was sold to MCA Inc. Motown was later sold to PolyGram in 1994, before being sold again to MCA Records successor, Universal Music Group, Motown spent much of the 2000s as a part of the Universal Music subsidiaries Universal Motown and Universal Motown Republic Group, and headquartered in New York City. From 2011 to 2014, Motown was a part of The Island Def Jam Music Group division of Universal Music. On April 1,2014, Universal Music Group announced the dissolution of Island Def Jam and it now operates out of the landmark Capitol Tower. For many decades, Motown was the highest-earning African American business in the United States, Berry Gordy got his start as a songwriter for local Detroit acts such as Jackie Wilson and the Matadors. Wilsons single Lonely Teardrops, written by Gordy, became a huge success and he realized that the more lucrative end of the business was in producing records and owning the publishing. In 1959, Billy Davis and Berry Gordys sisters Gwen and Anna started Anna Records, Davis and Gwen Gordy wanted Berry to be the company president, but Berry wanted to strike out on his own. On January 12,1959, he started Tamla Records, with a loan from his family. Gordy originally wanted to name the label Tammy Records, after the hit song popularized by Debbie Reynolds from the 1957 film Tammy, when he found the name was already in use, Berry decided on Tamla instead. Tamlas first release, in the Detroit area, was Marv Johnsons Come to Me in 1959 and its first hit was Barrett Strongs Money, which made it to number 2 on the Billboard R&B charts. Gordys first signed act was the Matadors, who changed their name to the Miracles. Their first release, Got a Job, was a record to the Silhouettes Get a Job. The Miracles first, minor hit was their single, 1959s Bad Girl, released in Detroit as the debut record on the Motown imprint
10.
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
11.
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
12.
Lamont Dozier
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Lamont Herbert Dozier is an American songwriter and record producer, born in Detroit, Michigan. Dozier has co-written and produced 14 US Billboard number 1 hits and 4 number ones in the UK, along with Brian Holland, Dozier served as the teams musical arranger and producer, while Eddie Holland concentrated mainly on lyrics and vocal production. Dozier recorded a few records for various Detroit labels before the trio started working together as a writing. They first made their mark the year with Martha and The Vandellas early hits, including Come And Get These Memories, Heatwave. In 1964, Where Did Our Love Go became the first of ten number 1 pop hits which Holland–Dozier–Holland would write, after Holland–Dozier–Holland left Motown in 1968 to form the Invictus and Hot Wax labels, Dozier began recording as an artist on their labels. The most successful song was Why Cant We Be Lovers, Dozier departed from Holland–Dozier–Hollandin the mid-1970s and was replaced by new arranger-producer Harold Beatty. Dozier went on to record a number of albums as a performer in his own right, the 1977 album, Peddlin Music On The Side contained Going Back to My Roots, which was later recorded by Odyssey. The earlier Black Bach featured the country-flavored All Cried Out and he had his biggest hit with 1974s Trying to Hold On to My Woman, which reached #15 pop, #4 R&B. In 1981, he scored a beach music hit with Cool Me Out, Dozier had another number 1 hit as a songwriter in the 1980s, joining with Phil Collins to write the song Two Hearts for the movie soundtrack for Buster. Collins and Dozier also co-wrote Loco in Acapulco for The Four Tops, in 1984, Essex-born singer Alison Moyet scored a U. S. top 40 hit with the Dozier-penned Invisible. Three years later, Dozier cowrote Infidelity and Suffer with Simply Red frontman Mick Hucknall for the British pop-soul bands second album, in 1989, they teamed again to write Youve Got It and Turn It Up for Simply Reds follow-up LP, A New Flame. It wasnt until 2004 that Dozier chose to revisit his catalog of Motown hits and his album Reflections Of. which he released that year, revealed Doziers new arrangements frequently providing an interesting counterpoint to the upbeat pop sound of the 1960s originals. Dozier and the Holland brothers were inducted into the Rock and Roll Hall of Fame in 1990, in 2009, he worked on the music for the musical stage version of the movie First Wives Club. He is also teaching a course of music at the University of Southern California Thornton School of Music. Lamont Dozier lives in Encino, California, with his wife of thirty-plus years and he is also related to stand-up comedian and actor John Witherspoon, of The Wayans Bros. and the Friday film series fame. Interview date June 20,2012, NAMM Oral History Library
13.
Love Is Here and Now You're Gone
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Love Is Here and Now Youre Gone is a 1967 song recorded by The Supremes for the Motown label. The song, which depicts a relationship in the stages of breakup, features several spoken sections from lead singer Diana Ross. The single was also the sixth number one on the R&B charts. The girl group performed the hit record on NBCs The Andy Williams Show on Sunday, January 22,1967, lyricist Eddie Holland names Love is Here as his favorite Supremes song. Produced by Brian Holland and Lamont Dozier Michael Jackson later covered Love Is Here, on the 45 versions, it was the B-side of his number two smash, Rockin Robin. It also featured on the Jackson And The Beanstalk episode of the new Jackson 5 cartoon series in 1971, tami Lynn covered a version of this song with the title Love Here and Now Youre Gone in her debut album, Love Is Here and Now Youre Gone in 1972. Phil Collins included this song on his 2010 album of soul covers, list of Hot 100 number-one singles of 1967
14.
It's the Same Old Song
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Its the Same Old Song is a 1965 hit single recorded by the Four Tops for the Motown label. It reached number 5 on the Billboard Hot 100 and #2 on the Billboard R&B Singles chart and it also reached number 34 in the UK. After I Cant Help Myself hit #1 in June 1965, The Four Tops former label, Columbia Records, wanting to cash in on the groups success, berry Gordy ordered that a new Four Tops single had to be released within a days time. At 3,00 PM that afternoon, the Holland brothers, allmusic critic Ron Wynn calls Its the Same Old Song a tidy little number with one of the greatest lyrical hooks -- and titles -- ever. Fellow critic Steve Leggett calls it wise beyond its era, produced by Brian Holland and Lamont Dozier In 1967, Australian singer Ray Brown, took his version into the Australian Top 10. In 1967 Siw Malmkvist recorded a version in Swedish, Samma gamla sång, in 1971, Jonathan King covered the song with a completely different arrangement under the name The Weathermen and his version reached the UK Top 20 selling over 250,000 copies. In 1975, The Armada Orchestra included a version on their debut self-titled LP. In 1978, KC and the Sunshine Band took their version of the song to Number 35 on the Billboard Hot 100 chart. The group appeared in a 1997 Velveeta Shells & Cheese commercial, which first aired in 1996 and this commercial features the group performing in outfits of blue and yellow, to match the colors of the Velveeta Shells & Cheese box. The group also appeared in a promo for The Rosie ODonnell Show, the song appears in the 1984 Coen Brothers film Blood Simple, in both the 99-minute theatrical release and the 96-minute 2001 and 2008 DVD releases. The song is not featured on the soundtrack for the film. Our Motown Recording Heritage, Part 3, Emergency Release, lyrics of this song at MetroLyrics
15.
Heat Wave (Martha and the Vandellas song)
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Heat Wave is a 1963 song penned by the Holland–Dozier–Holland songwriting team. The song was first made popular by the American Motown girl group Martha and it was later covered by Rock vocalist Linda Ronstadt on her Platinum-selling 1975 album Prisoner in Disguise. Ronstadts version of the song was released as a single in September 1975, reaching number 5 in Billboard,4 in Cash Box, and 6 in Record World. In 2010, British musician Phil Collins spent a week on the Billboard Adult Contemporary listing with his retooling of the song—a smooth combination of both versions. Heat Wave was one of songs written and produced by the Holland–Dozier–Holland songwriting and producing team. It was the hit collaboration between Martha and the Vandellas and the team, with the first being Come and Get These Memories. The song is referred to as Heat Wave, but the title on the label of the original 1963 single was just Heat Wave. The single was a hit, peaking at number 4 on the Billboard Hot 100. It also garnered the groups only Grammy Award nomination for Best Rhythm and Blues Recording for 1964, making the Vandellas the first Motown group ever to receive a Grammy Award nomination. The Martha and the Vandellas version was featured in the 1970 film The Boys in the Band, the success of Heat Wave helped popularize both Martha and the Vandellas and Holland-Dozier-Holland, while cementing Motown as a strong musical force. One of us yelled out Heat Wave in D and we did it, awfully sloppy but the crowd really liked it. So we kept the song in our set, in 2010, Phil Collins remade Heat Wave for his cover album, Going Back, with the track serving as lead single, the first Phil Collins single release in over five years. There was one moment when they were tracking Heat Wave that I experienced a wave of happiness and they covered the song again in 1985 in the Season 2 episode Decade of Hits. Kids Incorporated sang Love Is Like a Heatwave one last time in 1988 in the Season 5 episode Kahuna Kids, the Supremes released a cover version of Love Is Like a Heatwave in 1967 on their tenth album The Supremes Sing Holland–Dozier–Holland. List of number-one R&B singles of 1963 Phil Collins Heatwave at Discogs Lyrics of this song at MetroLyrics
16.
Billboard Hot 100
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The Billboard Hot 100 is the music industry standard record chart in the United States for singles, published weekly by Billboard magazine. Chart rankings are based on sales, radio play and online streaming, the weekly sales period was originally Monday to Sunday, when Nielsen started tracking sales in 1991, but was changed to Friday to Thursday in July 2015. Radio airplay, which, unlike sales figures and streaming data, is available on a real-time basis. A new chart is compiled and officially released to the public by Billboard on Tuesdays, as of the issue for the week ending on April 15,2017, the Hot 100 has had 1,061 different number one hits. The current number one song is Shape of You by Ed Sheeran, prior to 1955, Billboard did not have a unified, all-encompassing popularity chart, instead measuring songs by individual metrics. At the start of the era in 1955, three such charts existed, Best Sellers in Stores was the first Billboard chart, established in 1936. This chart ranked the biggest selling singles in retail stores, as reported by merchants surveyed throughout the country, Most Played by Jockeys was Billboards original airplay chart. It ranked the most played songs on United States radio stations, as reported by radio disc jockeys, Most Played in Jukeboxes ranked the most played songs in jukeboxes across the United States. On the week ending November 12,1955, Billboard published The Top 100 for the first time, the Top 100 combined all aspects of a singles performance, based on a point system that typically gave sales more weight than radio airplay. The Best Sellers In Stores, Most Played by Jockeys and Most Played in Jukeboxes charts continued to be published concurrently with the new Top 100 chart. The week ending July 28,1958 was the publication of the Most Played By Jockeys and Top 100 charts. On August 4,1958, Billboard premiered one main all-genre singles chart, the Hot 100 quickly became the industry standard and Billboard discontinued the Best Sellers In Stores chart on October 13,1958. The Billboard Hot 100 is still the standard by which a songs popularity is measured in the United States, the Hot 100 is ranked by radio airplay audience impressions as measured by Nielsen BDS, sales data compiled by Nielsen Soundscan and streaming activity provided by online music sources. There are several component charts that contribute to the calculation of the Hot 100. Charts are ranked by number of gross audience impressions, computed by cross-referencing exact times of radio airplay with Arbitron listener data. Hot Singles Sales, the top selling singles compiled from a sample of retail store, mass merchant and internet sales reports collected, compiled. The chart is released weekly and measures sales of commercial singles. With the decline in sales of singles in the US
17.
Vanilla Fudge
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Vanilla Fudge is an American rock band known predominantly for their extended rock arrangements of contemporary hit songs, most notably You Keep Me Hangin On. The band is touring with three of the four original members, Mark Stein, Vince Martell, and Carmine Appice with Pete Bremy on bass as Bogert retired in 2009. The band has cited as one of the few American links between psychedelia and what soon became heavy metal. Vanilla Fudge also is known to have influenced other bands such as The Nice, Deep Purple, Yes, Styx. Stein and Bogert had played in a band called Rick Martin & The Showmen. Originally calling themselves The Electric Pigeons, they shortened the name to The Pigeons. Appice was asked to join The Pigeons and in his 2016 autobiography, Carmine explained the name change to Vanilla Fudge, In April 1967 the Pigeons got signed to Atlantic Records. But there was one drawback, however, Atlantic didnt want to sign The Pigeons, ahmet Ertegun, the labels founder and president, didnt like that name and told us we had to change it. We didnt mind, in fact, I had always thought the Pigeons was a thing to be called but had just gone with it. We tried to think up a new name but were getting nowhere until we played a gig at the Page 2 club on Long Island and she told us how her grandfather used to call her Vanilla Fudge. Then she looked at us and added Maybe you guys should call yourselves that—youre like white soul music and we told our manager, Phil Basile. We told Atlantic and they liked it, too, a recording of the Pigeons was released by Scepter/Wand in 1970 under the title of While the World was Eating Vanilla Fudge. Vanilla Fudge was managed by the aforementioned reputed Lucchese crime family member Phillip Basile and their first three albums were produced by Shadow Morton, whom the band met through The Rascals. When Led Zeppelin first toured the USA in early 1969, they opened for Vanilla Fudge on some shows, the bands biggest hit was its cover of You Keep Me Hangin On, a slowed-down, hard rocking version of a song originally recorded by The Supremes. This version featured Steins psychedelic-baroque organ intro and Appices energetic drumming and it was a Top 10 hit in Canada, the US, and Australia and a Top 20 hit in the UK in 1967. The members of Vanilla Fudge were great admirers of The Beatles, the self-titled debut album quotes Strawberry Fields Forever at the end, with the line theres nothing to get hung about. On March 14,1970, Vanilla Fudge played a concert at the Phil Basiles Action House. After that, Bogert & Appice departed to go ahead with another group, Cactus, in 1972 they left Cactus and formed Beck, Bogert & Appice with guitarist Jeff Beck
18.
Kim Wilde
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Kim Wilde is an English pop singer, author, DJ and television presenter who burst onto the music scene in 1981 with her debut single Kids in America, which reached number two in the UK. In 1983, she received the Brit Award for Best British Female. In 1986, she had a UK number two hit with her version of the Supremes song You Keep Me Hangin On, which went on to be a major US hit. Between 1981 and 1996, she had 25 singles reach the Top 50 of the UK singles chart and her other hits include Chequered Love, You Came and Never Trust a Stranger. In 2003, she collaborated with Nena on the song Anyplace, Anywhere, Anytime, worldwide, she has sold over 10 million albums and 20 million singles. Starting in 1998, while active in music, she has branched into an alternative career as a landscape gardener. When she was nine, the moved to Hertfordshire, where she was educated at Tewin. In 1980, at age 20, she completed a course at St Albans College of Art & Design. Kim Wilde, was signed to RAK Records by Mickie Most, Wilde released her debut single Kids in America in January 1981. An instant success, it reached two in the UK Singles Chart and scaled the Top 5 in other countries such as Germany, France. Although it achieved moderate success in the US, peaking at number 25 when released in 1982. Her debut album Kim Wilde repeated the success of the single, Wildes follow-up album was 1982s Select, led by the hit singles Cambodia and View from a Bridge. Both were number 1 hits in France and reached Top 10 positions in Germany, at the time, there was some controversy about Wildes hesitation to do live concerts. Her first concerts in September 1982 took place in Denmark, before embarking on a UK-wide tour in October, Wildes third album, Catch as Catch Can was a relative failure. The first single from the album, Love Blonde, was another success in France and Scandinavia, the failure of the album led to her leaving RAK and signing with MCA Records in the summer of 1984. The video for this song appeared in an episode of the 1980s TV hit Knight Rider in 1985, the second single, The Touch, was not a commercial success, but the third single, the rockabilly Rage to Love, made the UK top 20 in 1985. All of Wildes songs up to point, including all her major hits, had been written by her father Marty and brother. On Teases & Dares she penned two songs, meanwhile, Wilde had embarked on three European concert tours
19.
Country music
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Country music is a genre of United States popular music that originated in the southern United States in the 1920s. It takes its roots from the genre of United States, such as folk music. Blues modes have been used throughout its recorded history. The term country music is used today to many styles and subgenres. In 2009 country music was the most listened to rush hour radio genre during the evening commute, immigrants to the Southern Appalachian Mountains of North America brought the music and instruments of Europe and Africa along with them for nearly 300 years. Country music was introduced to the world as a Southern phenomenon, Bristol, Tennessee, has been formally recognized by the U. S. Congress as the Birthplace of Country Music, based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum, historians have also noted the influence of the less-known Johnson City sessions of 1928 and 1929, and the Knoxville sessions of 1929 and 1930. Prior to these, pioneer settlers, in the Great Smoky Mountains region, had developed a musical heritage. The first generation emerged in the early 1920s, with Atlantas music scene playing a role in launching countrys earliest recording artists. Okeh Records began issuing hillbilly music records by Fiddlin John Carson as early as 1923, followed by Columbia Records in 1924, many hillbilly musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. The most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville, during the 1930s and 1940s, cowboy songs, or Western music, which had been recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another musician from the Lower Great Plains who had become very popular as the leader of a hot string band. His mix of country and jazz, which started out as dance hall music, Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had played at Carnegie Hall. Gospel music remained a component of country music. It became known as honky tonk, and had its roots in Western swing and the music of Mexico. By the early 1950s a blend of Western swing, country boogie, rockabilly was most popular with country fans in the 1950s, and 1956 could be called the year of rockabilly in country music. Beginning in the mid-1950s, and reaching its peak during the early 1960s, the late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres
20.
Reba McEntire
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Reba Nell McEntire is an American singer, songwriter, actress, and record producer. She began her career in the industry as a high school student singing in the Kiowa High School band, on local radio shows with her siblings. While a sophomore in college, she performed the National Anthem at the National Rodeo in Oklahoma City and caught the attention of country artist Red Steagall who brought her to Nashville and she signed a contract with Mercury Records a year later in 1975. She released her first solo album in 1977 and released five studio albums under the label until 1983. The album brought her success, bringing her a series of successful albums. She has sometimes referred to as The Queen of Country. And she is one of the artists of all time. In the early 1990s, McEntire branched into film starting with 1990s Tremors, Reba Nell McEntire was born March 28,1955, in McAlester, Oklahoma, to Jacqueline and Clark Vincent McEntire. She was named for her maternal grandmother Reba Estelle Smith, Reba Smith was the daughter of Byron Williams B. W. Her father, and her grandfather, John Wesley McEntire, were both champion steer ropers and her father was a World Champion Steer Roper three times, John McEntire was the son of Clark Stephen McEntire and Helen Florida McEntire. Her mother had wanted to be a country-music artist but eventually decided to become a schoolteacher. Reba reportedly taught herself how to play the guitar, Reba played guitar in the group and wrote all the songs. The group sang at rodeos and recorded The Ballad of John McEntire together, released on the indie label Boss, the song pressed one thousand copies. In 1974, McEntire attended Southeastern Oklahoma State University planning to be a school teacher. While not attending school, she continued to sing locally. That same year she was hired to perform the anthem at the National Rodeo in Oklahoma City. Country artist Red Steagall, who was performing that day, was impressed by her vocal ability and agreed to help her launch a country-music career in Nashville. After recording a tape, she signed a recording contract with Mercury Records in 1975
21.
Dance Club Songs
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The Dance Club Songs chart is a weekly national survey of the songs that are most popular in U. S. dance clubs. It is compiled by Billboard exclusively from playlists submitted by nightclub disc jockeys who must apply, the current number-one song on the Dance Club Songs chart for the issue dated April 15,2017, is Lick Me Up by Tony Moran and Dani Toro featuring Zhana Roiya. Dance Club Songs has undergone several incarnations since its inception in 1974, originally a top-ten list of tracks that garnered the largest audience response in New York City discothèques, the chart began on October 26,1974 under the title Disco Action. The chart went on to feature playlists from various cities around the country from week to week, Billboard continued to run regional and city-specific charts throughout 1975 and 1976 until the issue dated August 28,1976, when a thirty-position National Disco Action Top 30 premiered. During the first half of the 1980s the chart maintained eighty slots until March 16,1985 when the Disco charts were splintered and renamed, two charts appeared, Hot Dance/Disco, which ranked club play, and Hot Dance Music/Maxi-Singles Sales, which ranked 12-inch single sales. Only Hot Dance Club Songs still exists today and these stations are also a part of the electronically monitored panel that encompasses the Hot 100. Radio airplay is not limited to that counted on the Dance/Mix Show Airplay chart, during this time, Billboard rival publication Record World was the first to compile a dance chart which incorporated club play on a national level. Noted Billboard statistician Joel Whitburn has since adopted Record Worlds chart data from the weeks between March 29,1975 and August 21,1976 into Billboards club play history. For the sake of continuity, Record Worlds national chart is incorporated into both Whitburns Dance/Disco publication as well as the 1975 and 1976 number-ones lists, with the issue dated August 28,1976, Billboard premiered its own national chart and their data is used from this date forward. For the full list of all 100 All Time Top Dance Club Artists, both Enrique Iglesias and Dave Aude are tied with 14 number-ones on the chart, the most among male artists. Iglesias, however, is the male vocalist to accomplish this feat, while Aude is the only producer to achieve this milestone. Four acts have attained thirteen number-one songs, Whitney Houston, Kylie Minogue, Yoko Ono, Kylie Minogue became the first act to have two songs in the top three on March 5,2011. Her song Better than Today was number-one while Higher, a song by Taio Cruz on which Minogue features, was number three, the first 12-inch single made commercially available to the public was Ten Percent by Double Exposure in 1976. The first number one on Billboards Disco Action chart was Never Can Say Goodbye by Gloria Gaynor in 1974, the first number one on Billboards National Disco Action Top 30 was You Should Be Dancing by the Bee Gees in 1976. Beginning with the February 23,1991 issue, the dance chart became song specific, in all scenarios this was due to the tracks being included in film soundtrack albums. In 1978, four tracks from Thank God Its Friday, in 1980, madonna holds the record for the most chart hits, the most top-twenty hits, the most top-ten hits and the most total weeks at number one. The Trammps are the act to replace themselves at number one. The longest running number-ones on the Hot Dance Club Songs chart are Bad Luck by Harold Melvin & the Blue Notes2 in 1975, both entries spent eleven weeks in the top spot
22.
Wilson Pickett
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Adrenaline is the debut studio album by American alternative metal band Deftones, released in 1995 by Maverick Records. A hidden track on the album, Fist, was produced by Ross Robinson, regarding the recording, drummer Abe Cunningham said, At the time we did the first record – which I really like and think is good – you can tell the band was really young. Wed been playing most of songs for quite a while. Frontman Chino Moreno felt that Adrenaline was recorded really fast,7 Words was released as the first single from the album on December 17,1995. Bored was issued as the single on April 4,1996. Music videos were released for 7 Words, Bored, Root,9, the latter song was also featured in the film Law Abiding Citizen. In 1995, Jon Wiederhorn of Pulse stated Adrenaline pitches between gloom-saturated melodies and explosive riffs, lashing out like a sleep-deprived paranoiac awakened by noisy neighbors. The rhythms are crisp and crafty and the vocals resonate both fury and sensitivity in a way similar to, but far more blatantly metallic than Nirvana. Critic Katherine Turman wrote in January 1996 that If this is heavy metal is evolving into. He also noted there is a bit of sameness in Chino Morenos whispered vocal melodies. In the book The Rough Guide to Heavy Metal, author Essi Berelian wrote that the album stands as one of the best examples of nu-metal. In critic Tim Karans 20th anniversary assessment for Diffuser, he wrote, For those who were swept up in the burgeoning movement, Adrenaline was a landmark. While the album was unsuccessful, extensive touring and word-of-mouth promotion built the band a dedicated fanbase. When asked what he attributed the success to, bassist Chi Cheng responded, One word. Weve been together for almost eight years, on the road for two and we do it with honesty and integrity – and the kids can tell, the album was certified gold by the RIAA on July 7,1999 in recognition of 500,000 units sold. It was eventually certified platinum on September 23,2008 in recognition of 1,000,000 units sold, note Fist is currently misspelled First on several digital editions, as well as Japanese copies. On Rhapsody, it is oddly titled Opus 11, Deftones Chino Moreno – lead vocals Stephen Carpenter – guitar Chi Cheng – bass, backing vocals Abe Cunningham – drums
23.
Rod Stewart
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Sir Roderick David Rod Stewart, CBE is a British rock singer and songwriter. Born and raised in London, he is of Scottish and English ancestry, Stewart is one of the best-selling music artists of all time, having sold over 100 million records worldwide. He has had six number one albums in the UK and his tally of 62 UK hit singles includes 31 that reached the top ten. Stewart has had 16 top ten singles in the US, with four reaching #1 on the Billboard Hot 100 and he was knighted in the 2016 Birthday Honours for services to music and charity. In October 1963, he joined the Dimensions as a harmonica player, in 1964, Stewart joined Long John Baldry and the All Stars, and in August, Stewart signed a solo contract, releasing his first single, Good Morning Little Schoolgirl, in October. He maintained a career alongside a group career, releasing his debut solo album. Stewarts early albums were a fusion of rock, folk music, soul music, in 2008, Billboard magazine ranked him the 17th most successful artist on the Billboard Hot 100 All-Time Top Artists. A Grammy and Brit Award recipient, he was voted at #33 in Q Magazines list of the Top 100 Greatest Singers of all time, and #59 on Rolling Stone 100 Greatest Singers of all time. Roderick David Stewart was born at 507 Archway Road, Highgate, North London on 10 January 1945 and his father was Scottish and had been a master builder in Leith, Edinburgh, while Elsie was English and had grown up in Upper Holloway in North London. Married in 1928, the couple had two sons and two daughters living in Scotland, and then they moved to Highgate. Stewart came after a gap following his youngest sibling, he was born at home during World War II. The family was neither affluent nor poor, Stewart was spoiled as the youngest and he had an undistinguished record at Highgate Primary School and failed the eleven plus exam. He then attended the William Grimshaw Secondary Modern School, Muswell Hill and his father retired from the building trade at age 65, buying a newsagents shop on the Archway Road when Stewart was in his early teens, the family lived over the shop. Stewarts main hobby was railway modelling, Stewart was the most talented footballer in the family and was a strong supporter of Arsenal F. C. at the time. Combining natural athleticism with near-reckless aggression, he became captain of the football team. The family were great fans of the singer Al Jolson and would sing. Stewart collected his records and saw his films, read books about him and his introduction to rock and roll was hearing Little Richards 1956 hit The Girl Cant Help It, and seeing Bill Haley & His Comets in concert. In 1960, he joined a group with schoolfriends called the Kool Kats, playing Lonnie Donegan
24.
The Box Tops
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The Box Tops were an American rock band, formed in Memphis in 1963. They are best known for the hits The Letter, Cry Like a Baby, vocalist Alex Chilton went on to front the power pop band Big Star and to launch a career as a solo artist, during which he occasionally performed songs he had sung with the Box Tops. The Box Tops music combined elements of music and light pop. Their records are prime examples of the made popular by Moman. Many of their lesser known Top 40 hits, including Neon Rainbow, I Met Her in Church, the Box Tops began as The Devilles, who had started playing in Memphis in 1963. As the bands personnel changed from time to time, so did the name on occasion, which at one point became Ronnie. One member of the Originals was Terry Manning, who would serve as engineer for some Box Tops recordings. By January 1967 the group was composed of founding member Danny Smythe, along with newer arrivals John Evans, Alex Chilton, Bill Cunningham, Gary Talley, and Larry Spillman. They would soon change their name to Box Tops to prevent confusion with another band recording at the time with the name The Devilles, as the Box Tops, they entered the studio under the guidance of producer Dan Penn to record Wayne Carson Thompsons song The Letter. Though under two minutes in length, it was a hit by September 1967, reaching Billboards number-one position. The record, produced by Dan Penn, sold four million copies. The band followed up The Letter with Neon Rainbow, another tune penned by Thompson, an album called The Letter/Neon Rainbow appeared in November 1967. The Box Tops would actually release three albums over a period from late 1967 to mid-1968. However, the group members performed on a number of their recordings, including The Letter. By January 1968, John Evans and Danny Smythe returned to school and they were replaced by bassist Rick Allen and drummer Thomas Boggs. Cry Like a Baby was a million-seller in 1968, peaking at #2 on the Hot 100 and it has been covered by the Hacienda Brothers and Kim Carnes. I Met Her In Church and Choo-Choo Train were smaller hits released later that year, towards the end of 1968, the band switched producers, with Dan Penn being replaced by the team of Cogbill and Chips Moman. This team was responsible for producing the bands final 1968 hit Sweet Cream Ladies, Forward March and all the bands future releases through 1971
25.
Funk music
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Funk is a music genre that originated in the mid- 1960s when African American musicians created a rhythmic, danceable new form of music through a mixture of soul music, jazz, and rhythm and blues. Like much of African-inspired music, funk typically consists of a groove with rhythm instruments playing interlocking grooves. Funk uses the same richly-colored extended chords found in jazz, such as minor chords with added sevenths and elevenths. Other musical groups, including Sly and the Family Stone and Parliament-Funkadelic, soon began to adopt, Funk samples have been used extensively in genres including hip hop, house music, and drum and bass. It is also the influence of go-go, a subgenre associated with funk. The word funk initially referred to a strong odor and it is originally derived from Latin fumigare via Old French fungiere and, in this sense, it was first documented in English in 1620. In 1784 funky meaning musty was first documented, which, in turn, in early jam sessions, musicians would encourage one another to get down by telling one another, Now, put some stank on it. At least as early as 1907, jazz songs carried titles such as Funky, as late as the 1950s and early 1960s, when funk and funky were used increasingly in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer was the first to use the word funky to explain to other musicians that their music should be made more syncopated, the style later evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the set the pattern for later musicians. The music was identified as slow, sexy, loose, riff-oriented, a great deal of funk is rhythmically based on a two-celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions. New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, New Orleans funk, as it was called, gained international acclaim largely because James Browns rhythm section used it to great effect. Funk creates an intense groove by using strong guitar riffs and bass lines, like Motown recordings, funk songs used bass lines as the centerpiece of songs. Slap basss mixture of thumb-slapped low notes and finger popped high notes allowed the bass to have a rhythmic role. In funk bands, guitarists typically play in a style, often using the wah-wah sound effect. Guitarist Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic were notably influenced by Jimi Hendrixs improvised solos, Eddie Hazel, who worked with George Clinton, is one of the most notable guitar soloists in funk. Ernie Isley was tutored at an age by Jimi Hendrix himself. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown, on Browns Give It Up or Turnit a Loose, Jimmy Nolens guitar part has a bare bones tonal structure
26.
Rhythm and blues
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Rhythm and blues, often abbreviated as R&B or RnB, is a genre of popular African-American music that originated in the 1940s. In the commercial rhythm and blues music typical of the 1950s through the 1970s, R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy. Lyrics focus heavily on the themes of triumphs and failures in terms of relationships, freedom, economics, aspirations, the term rhythm and blues has undergone a number of shifts in meaning. In the early 1950s it was applied to blues records. This tangent of RnB is now known as British rhythm and blues, by the 1970s, the term rhythm and blues changed again and was used as a blanket term for soul and funk. In the 1980s, a style of R&B developed, becoming known as Contemporary R&B. It combines elements of rhythm and blues, soul, funk, pop, hip hop, popular R&B vocalists at the end of the 20th century included Michael Jackson, R. Kelly, Stevie Wonder, Whitney Houston, and Mariah Carey. Although Jerry Wexler of Billboard magazine is credited with coining the term rhythm and blues as a term in the United States in 1948. It replaced the term race music, which came from within the black community. The term rhythm and blues was used by Billboard in its chart listings from June 1949 until August 1969, before the Rhythm and Blues name was instated, various record companies had already begun replacing the term race music with sepia series. In 2010 LaMont Robinson founded the Rhythm & Blues Hall of Fame Museum, writer and producer Robert Palmer defined rhythm & blues as a catchall term referring to any music that was made by and for black Americans. He has used the term R&B as a synonym for jump blues, however, AllMusic separates it from jump blues because of its stronger, gospel-esque backbeat. Lawrence Cohn, author of Nothing but the Blues, writes that rhythm, according to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts. Well into the 21st century, the term R&B continues in use to music made by black musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, while singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. The bands dressed in suits, and even uniforms, an associated with the modern popular music that rhythm. Lyrics often seemed fatalistic, and the music typically followed predictable patterns of chords, there was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone
27.
You Can't Hurry Love
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You Cant Hurry Love is a 1966 song originally recorded by The Supremes on the Motown label. Sixteen years later, it would become a number-one hit when Phil Collins re-recorded the song. It reached number-one on the UK Singles Chart for two weeks beginning in January 1983, and reached No.10 on the US Singles Chart that same month. You Cant Hurry Love was inspired by and partially based upon Hes Right on Time, the recorded version of You Cant Hurry Love showcases the developing sound of The Supremes, who were progressing from their earlier teen-pop into more mature themes and musical arrangements. This song and You Keep Me Hangin On were finished together, written and produced by Motowns main production team, Holland–Dozier–Holland, You Cant Hurry Love is one of the signature Supremes songs, and also one of Motowns signature releases. The group performed the song on the CBS variety program The Ed Sullivan Show on Sunday and you Cant Hurry Love was the second single from the Supremes album The Supremes A Go-Go. It reached the #1 position on the Billboard Hot 100 pop chart in the United States, the Supremes version of the song is honored by inclusion in the Rock and Roll Hall of Fames permanent collection of 500 Songs that Shaped Rock and Roll. The Supremes also released a version sung in Italian, Lamore verrà, the most notable cover of the song was released in late 1982 as a single by Phil Collins from his second solo album, Hello, I Must Be Going. Collinss version reached number-one on the UK Singles Chart, and reached number 10 in the United States, the single was certified gold in the UK. Although Collins had previously done covers as album tracks, You Cant Hurry Love was the first cover he released as a single, Collins explained, The idea of doing Cant Hurry Love was to see if Hugh Padgham and I could duplicate that Sixties sound. Its very difficult today because most recording facilities are so much more sophisticated than they were back then and its therefore hard to make the drums sound as rough as they did on the original. Thats what we were going after, a remake, not an interpretation, collinss version was the first track on the very first Now Thats What I Call Music compilation CD. In the first verse, he changes And I need to find, find / Someone to call mine to And I need to find time / Someone to call mine, on the second repeat of the chorus, he replaces the line How much more can I take. With How much more must I take, and likewise exchanges the words. trust in the good Lord. Their version peaked at number 60 on the Billboard Hot Country Singles & Tracks chart, joseph Gordon-Levitt covered it in April 2011. The song was covered by The Stray Cats in 1981, originally released as the B-side to their single Rock This Town and later on their anthology Runaway Boys 81–92. List of Hot 100 number-one singles of 1966 Lyrics of this song at MetroLyrics
28.
Call and response (music)
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In music, a call and response is a succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first. It corresponds to the pattern in human communication and is found as a basic element of musical form, such as verse-chorus form. Call and response patterns between two musicians are common in Indian Classical Music, particularly in the style of Jugalbandi, Call and response is likewise widely present in parts of the Americas touched by the trans-Atlantic slave trade. It is extensively used in Cuban music, both in the rumba and in the African religious ceremonies. In 1644, lining out – where one person sang a solo and it has influenced popular music singing styles. Scottish Gaelic psalm-singing by precenting the line was the earliest form of congregational singing adopted by Africans in America and it is common in folk traditions of choral singing of many people, especially in African musical cultures. In Cuban music and other Latin music genres such as salsa, call, the form is found in the military cadence or Jody which is used as an a cappella work song or to keep time when marching or running in formation. In Western classical music, call and response is known as antiphony, the phenomenon of call and response is pervasive in modern Western popular music, as well, largely because Western music has been so heavily shaped by African contributions. Cross-over rhythm and blues, rock n roll and rock music exhibit call-and-response characteristics, three examples are The Whos song My Generation, Black Dog by Led Zeppelin, and The Pogues Fairytale of New York. In Indian Film music, Ilaiyaraajas songs largely exhibit call-and-response pattern, but, each A and B part may itself consist of a short call and a short response, and those 2-bar calls and response may also be divided into 1-bar-each call-response pairs. To make an attempt at diagramming it, Twelve bars, A, 4-bar CALL A, 4-bar CALL B, a single leader makes a musical statement, and then the chorus responds together. American bluesman Muddy Waters utilizes call and response in one of his songs, Mannish Boy which is almost entirely leader/chorus call. CALL, Waters vocal, Now when I was a young boy RESPONSE, CALL, Waters, At the age of 5 RESPONSE, CALL, Drop the coin right into the slot. RESPONSE, CALL, You gotta get something thats really hot, RESPONSE, A contemporary example is from Carly Rae Jepsens Call Me Maybe. CALL, Hey I just met you RESPONSE, CALL, And this is crazy RESPONSE, while mostly in the chorus, it can also be heard in the breakdown between the vocals and distorted guitar. Part of the band poses a question, or a phrase that feels unfinished. In the blues, the B section often has a question-and-answer pattern, an example of this is the Christmas song Must Be Santa, CALL, Who laughs this way, ho ho ho. RESPONSE, Santa laughs this way, ho ho ho, a similar question-and-answer exchange occurs in the movie Casablanca between Sam and the band in the song Knock On Wood, CALL, Whos got trouble
29.
Gospel music
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Gospel music is a music genre in Christian music. The creation, performance, significance, and even the definition of music varies according to culture. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, Gospel music usually has dominant vocals with Christian lyrics. Gospel music can be traced to the early 17th century, with roots in the oral tradition. Hymns and sacred songs were repeated in a call and response fashion, most of the churches relied on hand clapping and foot stomping as rhythmic accompaniment. Most of the singing was done a cappella, the first published use of the term Gospel Song probably appeared in 1874. The original gospel songs were written and composed by such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane. The advent of radio in the 1920s greatly increased the audience for gospel music, following World War II, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate. Gospel blues is a form of gospel music. Southern gospel used all male, tenor-lead-baritone-bass quartet make-up, progressive Southern gospel is an American music genre that has grown out of Southern gospel over the past couple of decades. Christian country music, sometimes referred to as gospel music, is a subgenre of gospel music with a country flair. It peaked in popularity in the mid-1990s, bluegrass gospel music is rooted in American mountain music. Celtic gospel music infuses gospel music with a Celtic flair, and is popular in countries such as Ireland. British black gospel refers to Gospel music of the African diaspora, some proponents of standard hymns generally dislike gospel music of the late 19th and early 20th centuries. Today, with distance, there is a greater acceptance of such gospel songs into official denominational hymnals. Gospel music in general is characterized by dominant vocals referencing lyrics of a Christian nature, subgenres include contemporary gospel, urban contemporary gospel, Southern gospel, and modern gospel music. Several forms of gospel music utilize choirs, use piano or Hammond organ, tambourines, drums, bass guitar and, increasingly, electric guitar. In comparison with hymns, which are generally of a statelier measure, several attempts have been made to describe the style of late 19th and early 20th century gospel songs in general
30.
Morse code
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Morse code is a method of transmitting text information as a series of on-off tones, lights, or clicks that can be directly understood by a skilled listener or observer without special equipment. It is named for Samuel F. B, Morse, an inventor of the telegraph. Because many non-English natural languages use more than the 26 Roman letters, each Morse code symbol represents either a text character or a prosign and is represented by a unique sequence of dots and dashes. The duration of a dash is three times the duration of a dot, each dot or dash is followed by a short silence, equal to the dot duration. The letters of a word are separated by an equal to three dots, and the words are separated by a space equal to seven dots. The dot duration is the unit of time measurement in code transmission. To increase the speed of the communication, the code was designed so that the length of each character in Morse varies approximately inversely to its frequency of occurrence in English. Thus the most common letter in English, the letter E, has the shortest code, Morse code is used by some amateur radio operators, although knowledge of and proficiency with it is no longer required for licensing in most countries. Pilots and air controllers usually need only a cursory understanding. Aeronautical navigational aids, such as VORs and NDBs, constantly identify in Morse code, compared to voice, Morse code is less sensitive to poor signal conditions, yet still comprehensible to humans without a decoding device. Morse is, therefore, an alternative to synthesized speech for sending automated data to skilled listeners on voice channels. Many amateur radio repeaters, for example, identify with Morse, in an emergency, Morse code can be sent by improvised methods that can be easily keyed on and off, making it one of the simplest and most versatile methods of telecommunication. The most common signal is SOS or three dots, three dashes, and three dots, internationally recognized by treaty. Beginning in 1836, the American artist Samuel F. B, Morse, the American physicist Joseph Henry, and Alfred Vail developed an electrical telegraph system. This system sent pulses of current along wires which controlled an electromagnet that was located at the receiving end of the telegraph system. A code was needed to transmit natural language using only these pulses, around 1837, Morse, therefore, developed an early forerunner to the modern International Morse code. Around the same time, Carl Friedrich Gauss and Wilhelm Eduard Weber as well as Carl August von Steinheil had already used codes with varying lengths for their telegraphs. In 1837, William Cooke and Charles Wheatstone in England began using a telegraph that also used electromagnets in its receivers
31.
Multitrack recording
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Multitracking became possible in the mid-1950s when the idea of simultaneously recording different audio channels to separate discrete tracks on the same reel-to-reel tape was developed. Prior to the development of recording, all of the singers, band instrumentalists, and/or orchestra accompanists had to sing. Multitracking allowed the engineer to adjust the levels and tone of each individual track, as well, different electronic effects such as reverb could be applied to specific tracks, such as the lead vocals, while not being applied to other tracks where this effect would not be desirable. In the 1980s and 1990s, computers provided means by which sound recording and reproduction could be digitized, revolutionizing audio recording and distribution. Though magnetic tape has not been replaced as a recording medium. Even in the 2010s, with digital multitracking being the dominant technology, with the introduction of SMPTE timecode in the early 1970s, engineers began to use computers to perfectly synchronize separate audio and video playback, and or multiple audio tape machines. In this system, one track of each carried the timecode signal. Some large studios were able to link multiple 24-track machines together, an extreme example of this occurred in 1982, when the rock group Toto recorded Toto IV on three synchronized 24-track machines. This setup theoretically provided for up to 69 audio tracks, which is far more than necessary for most recording projects. For computer-based systems, the trend in the 2000s is towards unlimited numbers of tracks, although issues such as RAM memory. Moreover, on computer-based systems, the number of available recording tracks is limited by the number of sound card discrete analog or digital inputs. At any given point on the tape, any of the tracks on the device can be recording or playing back using sel-sync or Selective Synchronous recording. They might then record a version on track 4 while listening to the other tracks. All the tracks can then be played back in perfect synchrony and this can be repeated until all of the available tracks have been used, or in some cases, reused. During mix down a set of playback heads with higher fidelity are used. Before all tracks are filled, any number of existing tracks can be bounced into one or two tracks, and the original tracks erased, making room for more tracks to be reused for fresh recording. In 1963, The Beatles were using twin track for Please Please Me, the Beach Boys Pet Sounds also made innovative use of multitracking with 8-track machines of the day. Motown also began recording with 8-track machines in 1965 before moving to 16-track machines in mid-1969, a recording engineer can record only the section being worked on, without erasing any other section of that track
32.
Phil Spector
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He is acknowledged as one of the most influential figures in pop music history. Spectors other chart-topping singles include Youve Lost That Lovin Feelin, The Long and Winding Road, from 2007 to 2009, Spector was the subject of a trial and retrial for the 2003 murder of actress Lana Clarkson, of which he was convicted in the second degree. He is serving a sentence of 19 years to life. In 2008, The Washington Times named Spector the second greatest record producer in music history, in 2004, Rolling Stone magazine ranked him #63 on their list of the Greatest Artists of All Time. In their 2003 list of The 500 Greatest Albums of All Time, they included the Spector-produced Presenting the Fabulous Ronettes, A Christmas Gift for You, according to BMI, Youve Lost That Lovin Feelin is the song that received the most US airplay in the 20th century. For co-producing Harrisons Concert for Bangladesh, Spector earned the Grammy Award for Album of the Year, in 1989, Spector was inducted into the Rock and Roll Hall of Fame as a nonperformer. In 1997, he was inducted into the Songwriters Hall of Fame, harvey Phillip Spector was born on December 26,1939 to a first-generation immigrant Jewish family in the Bronx, New York City. His father, Ben, was an ironworker from Russia with the surname Spekter, Spectors father committed suicide on April 20,1949. In 1953, his mother moved the family to Los Angeles where she found work as a seamstress, having learned to play guitar, Spector performed Rock Island Line in a talent show at Fairfax High School, where he was a student. With three friends from school, Marshall Leib, Sandy Nelson, and Annette Kleinbard, Spector formed a group. During this period, record producer Stan Ross — co-owner of Gold Star Studios in Hollywood — began to tutor Spector in record production, in 1958, the Teddy Bears recorded the Spector-penned Dont You Worry My Little Pet, which helped them secure a deal with Era Records. At their next session, they recorded another song Spector had written—this one inspired by the epitaph on Spectors fathers tombstone. Released on Eras subsidiary label, Dore Records, To Know Him Is to Love Him reached number one on Billboard Hot 100 singles chart on December 1,1958 and it was the seventh number-one single on the newly formed chart. Following the success of their debut, the signed with Imperial Records. Their next single, I Dont Need You Anymore, reached number 91 and they released several more recordings, including an album, The Teddy Bears Sing. But failed to reach the top 100 in US sales, after the split, Spectors career quickly moved from performing and songwriting to production. While recording the Teddy Bears album, Spector had met Lester Sill and his next project, the Spectors Three, was undertaken under the aegis of Sill and his partner, Lee Hazlewood. In 1960, Sill arranged for Spector to work as an apprentice to Leiber and Stoller in New York, Ronnie Crawford would become Spector’s first true recording artist and project as producer
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Wall of Sound
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The intention was to create a dense aesthetic that came across well on AM radio and jukeboxes popular in the era. As Spector explained in 1964, I was looking for a sound, a sound so strong that if the material was not the greatest and it was a case of augmenting, augmenting. It all fitted together like a jigsaw, in order to attain the Wall of Sound, Spectors arrangements called for large ensembles, with multiple instruments doubling and even tripling many of the parts to create a fuller, richer sound. The intricacies of the technique were unprecedented in the world of production for popular records. Wrecking Crew guitarist Barney Kessel would note, Musically, it was terribly simple, techniques like distortion and echo were not new, but Phil came along and took these to make sounds that had not been used in the past. It was all a definite sound, there werent combinations of sound, and with the advent of Phil Spector, we find sound combinations, which—scientifically speaking—is a brilliant aspect of sound production. We went for more clarity in terms of instrumental colors. He definitely had a different point of view, Spectors first production was the self-penned 1957 single Dont You Worry My Little Pet, performed with his group the Teddy Bears. The recording was achieved by taking a demo tape of the song and playing it back over the speaker system in order to overdub another performance over it. The end product was a cacophony, with stacked harmony vocals that could not be heard clearly and he would spend the next several years further developing this unorthodox method of recording. In the 1960s, Spector usually worked at Gold Star Studios in Los Angeles because of its exceptional echo chambers and he also typically worked with such audio engineers as Larry Levine and the conglomerate of session musicians who later became known as The Wrecking Crew. The process is almost the same for most of Spectors recordings, the backing track was performed live and recorded monaurally, a bass drum overdub on Da Doo Ron Ron was the exception to the rule. They then added the pianos, of which there were three, and if they didnt work together, Spector would start again with the guitars and this is followed by three basses, the horns, then finally the drums. The vocals were added with Bill Medley and Bobby Hatfield singing into separate microphones. We almost got the old Spector 60s sound, not by layering, Musically, it was terribly simple, but the way he recorded and miked it, they’d diffuse it so that you couldnt pick any one instrument out. Techniques like distortion and echo were not new, but Phil came along, All early Wall of Sound recordings were made with a three-track Ampex 350 tape recorder. Levine explained that during mixing, I record the same thing on two of the three tracks just to reinforce the sound, and then I would erase one of those and replace it with the voice. Microphones in the recording captured the musicians performance, which was then transmitted to an echo chamber—a basement room fitted with speakers
34.
George Martin
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Sir George Henry Martin CBE was an English record producer, arranger, composer, conductor, audio engineer and musician. He was referred to as the Fifth Beatle, including by Paul McCartney, Martin produced 30 number-one hit singles in the United Kingdom and 23 number-one hits in the United States. Martin produced comedy and novelty records in the early 1950s, working with Peter Sellers, Spike Milligan and Bernard Cribbins and his career spanned more than six decades of work in music, film, television and live performance. He held a number of executive roles at media companies and contributed to a wide range of charitable causes, including his work for The Princes Trust. In recognition of his services to the industry and popular culture. Martin was born in Highbury, London, when he was six, Martins family acquired a piano that sparked his interest in music. As a child, he attended schools, including a convent school in Holloway, St Josephs School, and at St Ignatius College. When WWII broke out, and St. Ignatius College students were evacuated to Welwyn Garden City, his family left London, I remember well the very first time I heard a symphony orchestra. I was just in my teens when Sir Adrian Boult brought the BBC Symphony Orchestra to my school for a public concert. Hearing such glorious sounds I found it difficult to them with ninety men and women blowing into brass. Despite Martins continued interest in music, and fantasies about being the next Rachmaninov and he worked briefly as a quantity surveyor, and later for the War Office as a Temporary Clerk, which meant filing paperwork and making tea. In 1943, when he was 17, he joined the Fleet Air Arm of the Royal Navy and became an aerial observer, the war ended before Martin was involved in any combat, and he left the service in 1947. Martins oboe teacher was Margaret Eliot, after that, Martin explained that he had just picked it up by himself. On 3 January 1948 – while still at the Academy – Martin married Sheena Chisholm and he later married Judy Lockhart-Smith on 24 June 1966, and they also had two children, Lucie and Giles Martin. Following his graduation, he worked for the BBCs classical music department, then joined EMI in 1950 as an assistant to Oscar Preuss, the head of EMIs Parlophone Records from 1950 to 1955. Although having been regarded by EMI as a vital German imprint in the past, after taking over Parlophone when Preuss retired in 1955, Martin recorded classical and Baroque music, original cast recordings, and regional music from around Britain and Ireland. Martin also produced numerous comedy and novelty records, later that decade Martin worked with Peter Sellers on two very popular comedy LPs. One was released on 10 format and called The Best Of Sellers, the album was Bridge on the River Wye
35.
Rolling Stone
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Rolling Stone is an American biweekly magazine that focuses on popular culture. It was founded in San Francisco in 1967 by Jann Wenner, who is still the publisher. It was first known for its coverage and for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a readership interested in youth-oriented television shows, film actors. In recent years, it has resumed its traditional mix of content, Rolling Stone magazine was founded in San Francisco in 1967 by Jann Wenner and Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim. The first issue carried a date of November 9,1967. Some authors have attributed the name solely to Dylans hit single, At Gleasons suggestion, Rolling Stone initially identified with and reported the hippie counterculture of the era. In the very first edition, Wenner wrote that Rolling Stone is not just about the music, in the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazines political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine also helped launch the careers of prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Patti Smith. It was at point that the magazine ran some of its most famous stories. One interviewer, speaking for a number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus. In 1977, the magazine moved its headquarters from San Francisco to New York City, editor Jann Wenner said San Francisco had become a cultural backwater. During the 1980s, the magazine began to shift towards being an entertainment magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television, films, the magazine also initiated its annual Hot Issue during this time. Rolling Stone was initially known for its coverage and for Thompsons political reporting. In the 1990s, the changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors
36.
Detroit Free Press
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The Detroit Free Press is the largest daily newspaper in Detroit, Michigan, USA. The Sunday edition is entitled the Sunday Free Press and it is sometimes informally referred to as the Freep. It primarily serves Wayne, Oakland, Macomb, Livingston, Washtenaw, the Free Press is also the largest city newspaper owned by Gannett, which also publishes USA Today. The Free Press has received ten Pulitzer Prizes and four Emmy Awards and its motto is On Guard Since 1831. The newspaper was begun by John R. Williams and his uncle, Joseph Campau, the first issues were printed on a Washington press purchased from the discontinued Oakland Chronicle of Pontiac, Michigan. It was hauled from Pontiac in a wagon over rough roads to a building at Bates, the press could produce 250 pages an hour, hand operated by two men. The first issues were 14 by 20 inches in size, with five columns of type, Sheldon McKnight became the first publisher with John Pitts Sheldon as editor. In the 1850s, the paper was developed into a leading Democratic publication under the ownership of Wilbur F. Storey, Storey left for the Chicago Times in 1861, taking a lot of the staff with him. In the 1870s ownership passed to William E. Quinby, who continued its Democratic leanings and established a London, in 1940, the Knight Newspapers purchased the Free Press. During the following 47 years the Free Press competed with The Detroit News, the Free Press was delivered and sold as a morning paper while the News was sold and delivered as an evening newspaper. In 1987, the paper entered into a one hundred-year joint operating agreement with its rival, the combined company is called the Detroit Media Partnership. The two papers began to publish joint Saturday and Sunday editions, though the editorial content of each remained separate. At the time, the Detroit Free Press was the tenth highest circulation paper in the United States, july 13,1995, Newspaper Guild-represented employees of the Free Press and News and the pressmen, printers and Teamsters working for the Detroit Newspapers distribution arm went on strike. By October, about 40% of the staffers had crossed the picket line. The strike was resolved in three years later, and the unions remain active at the paper, representing a majority of the employees under their jurisdiction. In 1998, the Free Press vacated its headquarters in downtown Detroit. August 3,2005, Knight Ridder sold the Free Press to the Gannett company, the News, in turn, was sold to MediaNews Group, Gannett continues to be the managing partner in the papers joint operating agreement. The Free Press resumed publication of its own Sunday edition, May 7,2006, a quirk in the operating agreement, however, allows the News to continue printing its editorial page in the Sunday Free Press
37.
American Broadcasting Company
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The network is headquartered on Columbus Avenue and West 66th Street in Manhattan, New York City. There are additional offices and production facilities elsewhere in New York City, as well as in Los Angeles and Burbank. Since 2007, when ABC Radio was sold to Citadel Broadcasting, ABC originally launched on October 12,1943, as a radio network, separated from and serving as the successor to the NBC Blue Network, which had been purchased by Edward J. Noble. It extended its operations to television in 1948, following in the footsteps of established broadcast networks CBS, in the mid-1950s, ABC merged with United Paramount Theatres, a chain of movie theaters that formerly operated as a subsidiary of Paramount Pictures. Leonard Goldenson, who had been the head of UPT, made the new television network profitable by helping develop, in 1996, most of Capital Cities/ABCs assets were purchased by The Walt Disney Company. The television network has eight owned-and-operated and over 232 affiliated television stations throughout the United States, most Canadians have access to at least one U. S. ABC News provides news and features content for radio stations owned by Citadel Broadcasting. In the 1930s, radio in the United States was dominated by three companies, the Columbia Broadcasting System, the Mutual Broadcasting System and the National Broadcasting Company. The last was owned by electronics manufacturer Radio Corporation of America, in 1938, the FCC began a series of investigations into the practices of radio networks and published its report on the broadcasting of network radio programs in 1940. The report recommended that RCA give up control of either NBC Red or NBC Blue, at that time, the NBC Red Network was the principal radio network in the United States and, according to the FCC, RCA was using NBC Blue to eliminate any hint of competition. Once Mutuals appeals against the FCC were rejected, RCA decided to sell NBC Blue in 1941, the newly separated NBC Red and NBC Blue divided their respective corporate assets. Investment firm Dillon, Read & Co. offered $7.5 million to purchase the network, Edward John Noble, the owner of Life Savers candy, drugstore chain Rexall and New York City radio station WMCA, purchased the network for $8 million. Due to FCC ownership rules, the transaction, which was to include the purchase of three RCA stations by Noble, would require him to resell his station with the FCCs approval, the Commission authorized the transaction on October 12,1943. Soon afterward, the Blue Network was purchased by the new company Noble founded, Noble subsequently acquired the rights to the American Broadcasting Company name from George B. Meanwhile, in August 1944, the West Coast division of the Blue Network, both stations were then managed by Don Searle, the vice-president of the Blue Networks West Coast division. The ABC Radio Network created its audience slowly, the network also became known for such suspenseful dramas as Sherlock Holmes, Gang Busters and Counterspy, as well as several mid-afternoon youth-oriented programs. S. From Nazi Germany after its conquest, to pre-record its programming, while its radio network was undergoing reconstruction, ABC found it difficult to avoid falling behind on the new medium of television. To ensure a space, in 1947, ABC submitted five applications for television station licenses, the ABC television network made its debut on April 19,1948, with WFIL-TV in Philadelphia becoming its first primary affiliate
