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The Record Production Portal

Noted audio engineer Roger Nichols at a vintage Neve recording console
Noted audio engineer Roger Nichols at a vintage Neve recording console
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This portal is focused on music production within the era of written records through sound recordings, digital downloads, and beyond. Its scope includes articles that document the considerations and mechanisms used by, and consistent with, the purview of the production element. As an art form, music predates transcription and simultaneously transcends descriptive limitations. As an industry, music has demonstrated consistent viability over time. The record producer conjoins these potential, and serves as a broker to bridge the demand (spawned by their aspirations) with supply and satisfaction. The results are measurable and attributable, derived from effort and skillful application of craft, to a manifestation of the art in its melodic form. ( Read more)

The music industry consists of the individuals and organizations that earn money by writing songs and musical compositions, creating and selling recorded music and sheet music, presenting concerts, as well as the organizations that aid, train, represent and supply music creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who write songs and musical compositions; the singers, musicians, conductors, and bandleaders who perform the music; the record labels, music publishers, recording studios, music producers, audio engineers, retail and digital music stores, and performance rights organizations who create and sell recorded music and sheet music; and the booking agents, promoters, music venues, road crew, and audio engineers who help organize and sell concerts. ( Read more)

  

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Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 Freak Out! is the debut studio album by the American rock band the Mothers of Invention, released on June 27, 1966, by Verve Records. Often cited as one of rock music's first concept albums, it is a satirical expression of frontman Frank Zappa's perception of American pop culture and the nascent freak scene of Los Angeles. It was also one of the earliest double albums in rock music, as well as the first two-record debut album. In the UK, the album was originally released as an edited single disc. The album was produced by Tom Wilson, who signed the Mothers, formerly a bar band called the Soul Giants. Zappa said many years later that Wilson signed the band to a record deal under the impression that they were a white blues band. The album features Zappa on vocals and guitar, along with lead vocalist/tambourine player Ray Collins, bass player/vocalist Roy Estrada, drummer/vocalist Jimmy Carl Black and guitar player Elliot Ingber (later of Captain Beefheart's Magic Band, performing there under the pseudonym "Winged Eel Fingerling"). (Full article...)
    Freak Out! is the debut studio album by the American rock band the Mothers of Invention, released on June 27, 1966, by Verve Records. Often cited as one of rock music's first concept albums, it is a satirical expression of frontman Frank Zappa's perception of American pop culture and the nascent freak scene of Los Angeles. It was also one of the earliest double albums in rock music, as well as the first two-record debut album. In the UK, the album was originally released as an edited single disc.

    The album was produced by Tom Wilson, who signed the Mothers, formerly a bar band called the Soul Giants. Zappa said many years later that Wilson signed the band to a record deal under the impression that they were a white blues band. The album features Zappa on vocals and guitar, along with lead vocalist/tambourine player Ray Collins, bass player/vocalist Roy Estrada, drummer/vocalist Jimmy Carl Black and guitar player Elliot Ingber (later of Captain Beefheart's Magic Band, performing there under the pseudonym " Winged Eel Fingerling"). ( Full article...)
  • Image 2 Sheet music (1843) "Old Dan Tucker," also known as "Ole Dan Tucker," "Dan Tucker," and other variants, is an American popular song. Its origins remain obscure; the tune may have come from oral tradition, and the words may have been written by songwriter and performer Dan Emmett. The blackface troupe the Virginia Minstrels popularized "Old Dan Tucker" in 1843, and it quickly became a minstrel hit, behind only "Miss Lucy Long" and "Mary Blane" in popularity during the antebellum period. "Old Dan Tucker" entered the folk vernacular around the same time. Today it is a bluegrass and country music standard. It is no. 390 in the Roud Folk Song Index. The first sheet music edition of "Old Dan Tucker," published in 1843, is a song of boasts and nonsense in the vein of previous minstrel hits such as "Jump Jim Crow" and "Gumbo Chaff." In exaggerated Black Vernacular English, the lyrics tell of Dan Tucker's exploits in a strange town, where he fights, gets drunk, overeats, and breaks other social taboos. Minstrel troupes freely added and removed verses, and folk singers have since added hundreds more. Parodies and political versions are also known. (Full article...)

    Sheet music (1843)

    " Old Dan Tucker," also known as "Ole Dan Tucker," "Dan Tucker," and other variants, is an American popular song. Its origins remain obscure; the tune may have come from oral tradition, and the words may have been written by songwriter and performer Dan Emmett. The blackface troupe the Virginia Minstrels popularized "Old Dan Tucker" in 1843, and it quickly became a minstrel hit, behind only " Miss Lucy Long" and " Mary Blane" in popularity during the antebellum period. "Old Dan Tucker" entered the folk vernacular around the same time. Today it is a bluegrass and country music standard. It is no. 390 in the Roud Folk Song Index.

    The first sheet music edition of "Old Dan Tucker," published in 1843, is a song of boasts and nonsense in the vein of previous minstrel hits such as " Jump Jim Crow" and " Gumbo Chaff." In exaggerated Black Vernacular English, the lyrics tell of Dan Tucker's exploits in a strange town, where he fights, gets drunk, overeats, and breaks other social taboos. Minstrel troupes freely added and removed verses, and folk singers have since added hundreds more. Parodies and political versions are also known. ( Full article...)
  • Image 3 Kill 'Em All is the debut studio album by the American heavy metal band Metallica, released on July 25, 1983, through the independent label Megaforce Records. After forming in 1981, Metallica began by playing shows in local clubs in Los Angeles. They recorded several demos to gain attention from club owners and eventually relocated to San Francisco to secure the services of bassist Cliff Burton. The group's No Life 'til Leather demo tape (1982) was noticed by Megaforce label head Jon Zazula, who signed them and provided a budget of $15,000 for recording. The album was recorded in May with producer Paul Curcio at the Music America Studios in Rochester, New York. It was originally intended to be titled Metal Up Your Ass, with cover art featuring a hand clutching a dagger emerging from a toilet bowl. Zazula convinced the band to change the name because distributors feared that releasing an album with such an offensive title and artwork would diminish its chances of commercial success. Metallica promoted the album on the two-month co-headlining Kill 'Em All for One tour with English heavy metal band Raven in the US. The album also generated two singles: "Whiplash" and "Jump in the Fire". Although the initial shipment was 15,000 copies in the US, the album sold 60,000 copies worldwide by the end of Metallica's Seven Dates of Hell European tour in 1984. The album did not enter the Billboard 200 until 1986, when it peaked at number 155, following Metallica's commercial success with its third studio album, Master of Puppets; the 1988 Elektra reissue peaked at number 120. Kill 'Em All was critically praised at the time of its release and has since been regarded as a groundbreaking album for thrash metal, because of its "precise musicianship, which fused new wave of British heavy metal riffs with hardcore punk tempos". It was also retrospectively placed on a few publications' best album lists. The album's musical approach and lyrics were markedly different from rock's mainstream of the early 1980s and inspired a number of bands who followed in a similar manner. It was certified 3× Platinum by the Recording Industry Association of America (RIAA) in 1999 for shipping three million copies in the United States. (Full article...)
    Kill 'Em All is the debut studio album by the American heavy metal band Metallica, released on July 25, 1983, through the independent label Megaforce Records. After forming in 1981, Metallica began by playing shows in local clubs in Los Angeles. They recorded several demos to gain attention from club owners and eventually relocated to San Francisco to secure the services of bassist Cliff Burton. The group's No Life 'til Leather demo tape (1982) was noticed by Megaforce label head Jon Zazula, who signed them and provided a budget of $15,000 for recording. The album was recorded in May with producer Paul Curcio at the Music America Studios in Rochester, New York. It was originally intended to be titled Metal Up Your Ass, with cover art featuring a hand clutching a dagger emerging from a toilet bowl. Zazula convinced the band to change the name because distributors feared that releasing an album with such an offensive title and artwork would diminish its chances of commercial success.

    Metallica promoted the album on the two-month co-headlining Kill 'Em All for One tour with English heavy metal band Raven in the US. The album also generated two singles: " Whiplash" and " Jump in the Fire". Although the initial shipment was 15,000 copies in the US, the album sold 60,000 copies worldwide by the end of Metallica's Seven Dates of Hell European tour in 1984. The album did not enter the Billboard 200 until 1986, when it peaked at number 155, following Metallica's commercial success with its third studio album, Master of Puppets; the 1988 Elektra reissue peaked at number 120. Kill 'Em All was critically praised at the time of its release and has since been regarded as a groundbreaking album for thrash metal, because of its "precise musicianship, which fused new wave of British heavy metal riffs with hardcore punk tempos". It was also retrospectively placed on a few publications' best album lists. The album's musical approach and lyrics were markedly different from rock's mainstream of the early 1980s and inspired a number of bands who followed in a similar manner. It was certified 3× Platinum by the Recording Industry Association of America (RIAA) in 1999 for shipping three million copies in the United States. ( Full article...)
  • Image 4 Hamasaki in London (2010) Ayumi Hamasaki (浜崎あゆみ, Hamasaki Ayumi, born October 2, 1978) is a Japanese singer, songwriter, record producer, actress, model, spokesperson, and entrepreneur. By 2002, Hamasaki had earned the nickname "Empress of J-pop" due to her popularity in Japan and throughout Asia, as well as being referred to as "the voice of the lost generation". Due to her success and relevance throughout her career, she is considered one of the top solo female artists of the Heisei era for her influence on the music industry and various fashion trends. Born and raised in Fukuoka, Fukuoka Prefecture, Hamasaki moved to Tokyo at 14 in 1993 to pursue a career in singing and acting. In 1998, Hamasaki released her debut single "Poker Face" and debut major-label album A Song for ××. The album debuted at the top of the Oricon charts and remained there for five weeks, selling over a million copies. This rapid rise to fame is typically attributed to her insightful style of lyric-writing in contrast to her young age; this would continue to be a defining aspect of her work, listeners praising her poetic way of conveying relatable subjects. Her next ten albums shipped over a million copies in Japan, with her third, Duty, selling nearly three million. A Best, her first compilation album, further established her position as a crowning artist with more than four million copies sold in Japan. It was at this time that she represented more than 40% of her record label's income. (Full article...)

    Hamasaki in London (2010)
    Ayumi Hamasaki (浜崎あゆみ, Hamasaki Ayumi, born October 2, 1978) is a Japanese singer, songwriter, record producer, actress, model, spokesperson, and entrepreneur. By 2002, Hamasaki had earned the nickname "Empress of J-pop" due to her popularity in Japan and throughout Asia, as well as being referred to as "the voice of the lost generation". Due to her success and relevance throughout her career, she is considered one of the top solo female artists of the Heisei era for her influence on the music industry and various fashion trends.

    Born and raised in Fukuoka, Fukuoka Prefecture, Hamasaki moved to Tokyo at 14 in 1993 to pursue a career in singing and acting. In 1998, Hamasaki released her debut single " Poker Face" and debut major-label album A Song for ××. The album debuted at the top of the Oricon charts and remained there for five weeks, selling over a million copies. This rapid rise to fame is typically attributed to her insightful style of lyric-writing in contrast to her young age; this would continue to be a defining aspect of her work, listeners praising her poetic way of conveying relatable subjects. Her next ten albums shipped over a million copies in Japan, with her third, Duty, selling nearly three million. A Best, her first compilation album, further established her position as a crowning artist with more than four million copies sold in Japan. It was at this time that she represented more than 40% of her record label's income. ( Full article...)
  • Image 5 xx is the debut studio album by the English indie pop band the xx. It was released on 14 August 2009 by Young Turks, then an imprint label of XL Recordings, and recorded from December 2008 to February 2009 at the label's in-house studio in London. Producing the album, Jamie Smith of the xx created electronic beats for the songs on his laptop and mixed them in a detailed process with the audio engineer Rodaidh McDonald, who attempted to reproduce the intimate, unembellished quality of the band's original demos. Along with the xx's early R&B influences, the album has drawn comparisons from journalists to alternative rock, electronica and post-punk sounds. Its largely melancholic songs feature minimalist arrangements built around Smith's beats and instrumental parts recorded by the other members of the band, including Oliver Sim's basslines and sparse guitar figures by Baria Qureshi and Romy Madley Croft, who employs reverb in her lead guitar playing. Most of the songs are sung as low-key duets by Croft and Sim, both of whom had written emotional lyrics about love, intimacy, loss and desire. (Full article...)

    xx is the debut studio album by the English indie pop band the xx. It was released on 14 August 2009 by Young Turks, then an imprint label of XL Recordings, and recorded from December 2008 to February 2009 at the label's in-house studio in London. Producing the album, Jamie Smith of the xx created electronic beats for the songs on his laptop and mixed them in a detailed process with the audio engineer Rodaidh McDonald, who attempted to reproduce the intimate, unembellished quality of the band's original demos.

    Along with the xx's early R&B influences, the album has drawn comparisons from journalists to alternative rock, electronica and post-punk sounds. Its largely melancholic songs feature minimalist arrangements built around Smith's beats and instrumental parts recorded by the other members of the band, including Oliver Sim's basslines and sparse guitar figures by Baria Qureshi and Romy Madley Croft, who employs reverb in her lead guitar playing. Most of the songs are sung as low-key duets by Croft and Sim, both of whom had written emotional lyrics about love, intimacy, loss and desire. ( Full article...)
  • Image 6 Messiaen in 1986 Olivier Eugène Prosper Charles Messiaen (UK: /ˈmɛsiæ̃/, US: /mɛˈsjæ̃, meɪˈsjæ̃, mɛˈsjɒ̃/; French: [ɔlivje øʒɛn pʁɔspɛʁ ʃaʁl mɛsjɑ̃]; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist. One of the major composers of the 20th century, he was also an outstanding teacher of composition and musical analysis. Messiaen entered the Paris Conservatoire at age 11 and studied with Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post he held for 61 years, until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his Quatuor pour la fin du temps (Quartet for the End of Time) for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. Soon after his release in 1941, Messiaen was appointed professor of harmony at the Paris Conservatoire. In 1966, he was appointed professor of composition there, and he held both positions until retiring in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Jacques Hétu, Tristan Murail, Karlheinz Stockhausen, György Kurtág, and Yvonne Loriod, who became his second wife. (Full article...)

    Messiaen in 1986

    Olivier Eugène Prosper Charles Messiaen ( UK: /ˈmɛsiæ̃/, US: /mɛˈsjæ̃, meɪˈsjæ̃, mɛˈsjɒ̃/; French: [ɔlivje øʒɛn pʁɔspɛʁ ʃaʁl mɛsjɑ̃]; 10 December 1908 – 27 April 1992) was a French composer, organist, and ornithologist. One of the major composers of the 20th century, he was also an outstanding teacher of composition and musical analysis.


    Messiaen entered the Paris Conservatoire at age 11 and studied with Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post he held for 61 years, until his death. He taught at the Schola Cantorum de Paris during the 1930s. After the fall of France in 1940, Messiaen was interned for nine months in the German prisoner of war camp Stalag VIII-A, where he composed his Quatuor pour la fin du temps (Quartet for the End of Time) for the four instruments available in the prison—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. Soon after his release in 1941, Messiaen was appointed professor of harmony at the Paris Conservatoire. In 1966, he was appointed professor of composition there, and he held both positions until retiring in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Jacques Hétu, Tristan Murail, Karlheinz Stockhausen, György Kurtág, and Yvonne Loriod, who became his second wife. ( Full article...)
  • Image 7 "Nothing to My Name" (Chinese: 一无所有; pinyin: Yīwúsuǒyǒu) is a 1986 Mandarin-language rock song by Cui Jian. It is widely considered Cui's most famous and most important work, and one of the most influential songs in the history of the People's Republic of China, both as a seminal point in the development of Chinese rock music and as a political sensation. The song was an unofficial anthem for Chinese youth and activists during the 1989 Tiananmen Square protests and massacre. Both in its lyrics and instruments, the song mixes traditional Chinese styles with modern rock elements. In the lyrics, the speaker addresses a girl who is scorning him because he has nothing. However, the song has also been interpreted as being about the dispossessed youth of the time, because it evokes a sense of disillusionment and lack of individual freedom that was common among the young generation during the 1980s. (Full article...)
    " Nothing to My Name" ( Chinese: 一无所有; pinyin: Yīwúsuǒyǒu) is a 1986 Mandarin-language rock song by Cui Jian. It is widely considered Cui's most famous and most important work, and one of the most influential songs in the history of the People's Republic of China, both as a seminal point in the development of Chinese rock music and as a political sensation. The song was an unofficial anthem for Chinese youth and activists during the 1989 Tiananmen Square protests and massacre.

    Both in its lyrics and instruments, the song mixes traditional Chinese styles with modern rock elements. In the lyrics, the speaker addresses a girl who is scorning him because he has nothing. However, the song has also been interpreted as being about the dispossessed youth of the time, because it evokes a sense of disillusionment and lack of individual freedom that was common among the young generation during the 1980s. ( Full article...)
  • Image 8 The United States' multi-ethnic population is reflected through a diverse array of styles of music. It is a mixture of music influenced by the music of Europe, Indigenous peoples, West Africa, Latin America, Middle East, North Africa, amongst many other places. The country's most internationally renowned genres are traditional pop, jazz, blues, country, bluegrass, rock, rock and roll, R&B, pop, hip-hop/rap, soul, funk, religious, disco, house, techno, ragtime, doo-wop, folk, americana, boogaloo, tejano, surf, and salsa, amongst many others. American music is heard around the world. Since the beginning of the 20th century, some forms of American popular music have gained a near global audience. Native Americans were the earliest inhabitants of the land that is today known as the United States and played its first music. Beginning in the 17th century, settlers from the United Kingdom, Ireland, Spain, Germany, and France began arriving in large numbers, bringing with them new styles and instruments. Enslaved people from West Africa brought their musical traditions, and each subsequent wave of immigrants contributed to a melting pot. (Full article...)
    The United States' multi-ethnic population is reflected through a diverse array of styles of music. It is a mixture of music influenced by the music of Europe, Indigenous peoples, West Africa, Latin America, Middle East, North Africa, amongst many other places. The country's most internationally renowned genres are traditional pop, jazz, blues, country, bluegrass, rock, rock and roll, R&B, pop, hip-hop/rap, soul, funk, religious, disco, house, techno, ragtime, doo-wop, folk, americana, boogaloo, tejano, surf, and salsa, amongst many others. American music is heard around the world. Since the beginning of the 20th century, some forms of American popular music have gained a near global audience.

    Native Americans were the earliest inhabitants of the land that is today known as the United States and played its first music. Beginning in the 17th century, settlers from the United Kingdom, Ireland, Spain, Germany, and France began arriving in large numbers, bringing with them new styles and instruments. Enslaved people from West Africa brought their musical traditions, and each subsequent wave of immigrants contributed to a melting pot. ( Full article...)
  • Image 9 "Déjà Vu" is a song by American singer Beyoncé, featuring rapper Jay-Z. It was produced by Rodney "Darkchild" Jerkins, 808-Ray and Beyoncé for her second solo album, B'Day (2006). "Déjà Vu" is an R&B song, which incorporates elements of 1970s funk and soul music. Its music is largely based on live instrumentation, including bass guitar, hi-hat and horns, except the Roland TR-808 drum machine, which is a non-live instrument. The song's title and lyrics refer to a woman being constantly reminded of a past lover. "Déjà Vu" was released as the album's lead single to US radio stations on June 24, 2006. The song received generally mixed critical reviews. Many critics noted the similarities of "Déjà Vu" with Beyoncé's own 2003 song "Crazy in Love". Critics commended the assertiveness and the sensuality with which Beyoncé sings the lyrics and compared her vocal delivery to that of Tina Turner in the late 1980s. "Déjà Vu" and its Freemasons club remix version received three nominations at the 2007 Grammy Awards. It was recognized as the Best Song of 2006 at the Music of Black Origin (MOBO) Awards. (Full article...)
    " Déjà Vu" is a song by American singer Beyoncé, featuring rapper Jay-Z. It was produced by Rodney "Darkchild" Jerkins, 808-Ray and Beyoncé for her second solo album, B'Day (2006). "Déjà Vu" is an R&B song, which incorporates elements of 1970s funk and soul music. Its music is largely based on live instrumentation, including bass guitar, hi-hat and horns, except the Roland TR-808 drum machine, which is a non-live instrument. The song's title and lyrics refer to a woman being constantly reminded of a past lover.

    "Déjà Vu" was released as the album's lead single to US radio stations on June 24, 2006. The song received generally mixed critical reviews. Many critics noted the similarities of "Déjà Vu" with Beyoncé's own 2003 song " Crazy in Love". Critics commended the assertiveness and the sensuality with which Beyoncé sings the lyrics and compared her vocal delivery to that of Tina Turner in the late 1980s. "Déjà Vu" and its Freemasons club remix version received three nominations at the 2007 Grammy Awards. It was recognized as the Best Song of 2006 at the Music of Black Origin (MOBO) Awards. ( Full article...)
  • Image 10 (L–R): Florence Ballard, Mary Wilson, and Diana Ross performing "My World Is Empty Without You" on The Ed Sullivan Show in 1966 The Supremes were an American girl group and a premier act of Motown Records during the 1960s. Founded as the Primettes in Detroit, Michigan, in 1959, the Supremes were the most commercially successful of Motown's acts and the most successful American vocal band, with 12 number-one singles on the Billboard Hot 100. Most of these hits were written and produced by Motown's main songwriting and production team, Holland–Dozier–Holland. It is said that their breakthrough made it possible for future African-American R&B and soul musicians to find mainstream success. Billboard ranked the Supremes as the 16th greatest Hot 100 artist of all time. Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown, the original members, were all from the Brewster-Douglass public housing project in Detroit. They formed the Primettes as the sister act to the Primes (with Paul Williams and Eddie Kendricks, who went on to form the Temptations). Barbara Martin replaced McGlown in 1960, and the group signed with Motown the following year as the Supremes. Martin left the act in early 1962, and Ross, Ballard, and Wilson continued as a trio. (Full article...)

    ( L–R): Florence Ballard, Mary Wilson, and Diana Ross performing " My World Is Empty Without You" on The Ed Sullivan Show in 1966

    The Supremes were an American girl group and a premier act of Motown Records during the 1960s. Founded as the Primettes in Detroit, Michigan, in 1959, the Supremes were the most commercially successful of Motown's acts and the most successful American vocal band, with 12 number-one singles on the Billboard Hot 100. Most of these hits were written and produced by Motown's main songwriting and production team, Holland–Dozier–Holland. It is said that their breakthrough made it possible for future African-American R&B and soul musicians to find mainstream success. Billboard ranked the Supremes as the 16th greatest Hot 100 artist of all time.

    Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown, the original members, were all from the Brewster-Douglass public housing project in Detroit. They formed the Primettes as the sister act to the Primes (with Paul Williams and Eddie Kendricks, who went on to form the Temptations). Barbara Martin replaced McGlown in 1960, and the group signed with Motown the following year as the Supremes. Martin left the act in early 1962, and Ross, Ballard, and Wilson continued as a trio. ( Full article...)
  • Image 11 Smiley Smile is the 12th studio album by the American rock band the Beach Boys, released on September 18, 1967. Conceived as a simpler and more relaxed version of their unfinished Smile album, Smiley Smile is distinguished for its homespun arrangements, "stoned" aesthetic, and lo-fi production. Critics and fans generally received the album and its lead single, "Heroes and Villains", with confusion and disappointment. The album reached number 9 on UK record charts, but sold poorly in the U.S., peaking at number 41—the band's lowest chart placement to that point. Following principal songwriter Brian Wilson's declaration that most of the original Smile tapes would be abandoned, the majority of the recording sessions lasted for six weeks at his makeshift home studio using radio broadcasting equipment, a detuned piano, electronic bass, melodica, found objects for percussion, and a Baldwin theater organ. The unconventional recording process juxtaposed an experimental party-like atmosphere with short pieces of music edited together in a disjointed manner, combining the engineering methods of "Good Vibrations" (1966) with the loose feeling of Beach Boys' Party! (1965). Despite leading these sessions, Wilson deliberately credited the album's production to the group collectively for the first time. (Full article...)
    Smiley Smile is the 12th studio album by the American rock band the Beach Boys, released on September 18, 1967. Conceived as a simpler and more relaxed version of their unfinished Smile album, Smiley Smile is distinguished for its homespun arrangements, " stoned" aesthetic, and lo-fi production. Critics and fans generally received the album and its lead single, " Heroes and Villains", with confusion and disappointment. The album reached number 9 on UK record charts, but sold poorly in the U.S., peaking at number 41—the band's lowest chart placement to that point.

    Following principal songwriter Brian Wilson's declaration that most of the original Smile tapes would be abandoned, the majority of the recording sessions lasted for six weeks at his makeshift home studio using radio broadcasting equipment, a detuned piano, electronic bass, melodica, found objects for percussion, and a Baldwin theater organ. The unconventional recording process juxtaposed an experimental party-like atmosphere with short pieces of music edited together in a disjointed manner, combining the engineering methods of " Good Vibrations" (1966) with the loose feeling of Beach Boys' Party! (1965). Despite leading these sessions, Wilson deliberately credited the album's production to the group collectively for the first time. ( Full article...)
  • Image 12 Walter Bache Walter Bache (/ˈbeɪtʃ/; 19 June 1842 – 26 March 1888) was an English pianist and conductor noted for his championing the music of Franz Liszt and other music of the New German School in England. He studied privately with Liszt in Italy from 1863 to 1865, one of the few students allowed to do so, and continued to attend Liszt's master classes in Weimar, Germany regularly until 1885, even after embarking on a solo career. This period of study was unparalleled by any other student of Liszt and led to a particularly close bond between Bache and Liszt. After initial hesitation on the part of English music critics because he was a Liszt pupil, Bache was publicly embraced for his keyboard prowess, even as parts of his repertoire were questioned. Bache's major accomplishment was the establishment of Liszt's music in England, to which he selflessly devoted himself between 1865 and his death in 1888. This was at the height of the War of the Romantics, when conservative and liberal musical factions openly argued about the future of classical music and the merits of the compositions written in their respective schools. Bache featured several of the orchestral and choral works through an annual series of concerts, which he single-handedly funded, organised and promoted. Likewise, he played an annual series of solo recitals that incorporated Liszt's piano music. (Full article...)
    A man in his forties, balding and with a mustache, wearing a dark suit and a tie
    Walter Bache

    Walter Bache ( /ˈbeɪtʃ/; 19 June 1842 – 26 March 1888) was an English pianist and conductor noted for his championing the music of Franz Liszt and other music of the New German School in England. He studied privately with Liszt in Italy from 1863 to 1865, one of the few students allowed to do so, and continued to attend Liszt's master classes in Weimar, Germany regularly until 1885, even after embarking on a solo career. This period of study was unparalleled by any other student of Liszt and led to a particularly close bond between Bache and Liszt. After initial hesitation on the part of English music critics because he was a Liszt pupil, Bache was publicly embraced for his keyboard prowess, even as parts of his repertoire were questioned.

    Bache's major accomplishment was the establishment of Liszt's music in England, to which he selflessly devoted himself between 1865 and his death in 1888. This was at the height of the War of the Romantics, when conservative and liberal musical factions openly argued about the future of classical music and the merits of the compositions written in their respective schools. Bache featured several of the orchestral and choral works through an annual series of concerts, which he single-handedly funded, organised and promoted. Likewise, he played an annual series of solo recitals that incorporated Liszt's piano music. ( Full article...)
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Born this day

Birthdays in Music: June 12
  • [[

John Linnell]], of They Might Be Giants, turns 65.

  • [[

Michael Hausman]], drummer of 'Til Tuesday fame, turns 64.

  • Drew "Grandmaster Dee" Carter, of Whodini, turns 62.
  • Brad Delp (Record production, 1951 –March 09, 2007), American vocalist with Boston, would have turned 73 this year.
  • John Kenneth Wetton (1949–2017), British rock bassist, singer, songwritter, would have turned 75.
  • Chick Corea (Record production, 1941 –February 09, 2021), American composer and jazz pianist, would have turned 83 this year.
  • Vic Damone (Record production, 1928 –February 11, 2018), (born Vito Rocco Farinola) American pop singer, would have turned 96 this year.
  • Al Fairweather (1927 – 1993), Scottish bandleader and trumpeter, would have turned 97.
  • Zeke Zarchy (Record production, 1915 –April 12, 20090), American trumpeter, would have turned 109 this year.
  • Eddie Williams (Record production, 1915 –February 18, 1995), American bass player, would have turned 109 this year.
  • Gene Hall (Record production, 1913 –March 04, 1993), (born Morris Eugene Hall) American reedist, would have turned 111 this year.
  • Emmett Hardy (Record production, 1903 –June 16, 1925), American cornetist, would have turned 121 this year.
  • Gene Kardos (Record production, 1899 –August , 1980), American bandleader, would have turned 125 this year.
  

Selected albums - load new batch

These are all Good articles, which meet a core set of high editorial standards.
  • Image 1 Phases and Stages is the 17th studio album by American country music singer-songwriter Willie Nelson, released in March 1974. It followed the moderate success of his first Atlantic Records release, Shotgun Willie. Nelson met producer Jerry Wexler at a party where Nelson sang songs from an album he planned to record. The single "Phases and Stages" was originally recorded the same year. Nelson recorded the album at Muscle Shoals Sound Studios in two days and Wexler produced it. The album narrates the story of a divorce. Side one tells the woman's story and side two the man's. The album peaked at number 34 on Billboard's Top Country Albums and the single "Bloody Mary Morning" reached number 17 on Billboard's Country singles. Despite the chart positions attained by the album, and its singles, Atlantic Records closed their Country music division in September 1974. (Full article...)
    Phases and Stages is the 17th studio album by American country music singer-songwriter Willie Nelson, released in March 1974. It followed the moderate success of his first Atlantic Records release, Shotgun Willie. Nelson met producer Jerry Wexler at a party where Nelson sang songs from an album he planned to record. The single "Phases and Stages" was originally recorded the same year. Nelson recorded the album at Muscle Shoals Sound Studios in two days and Wexler produced it.

    The album narrates the story of a divorce. Side one tells the woman's story and side two the man's. The album peaked at number 34 on Billboard's Top Country Albums and the single " Bloody Mary Morning" reached number 17 on Billboard's Country singles. Despite the chart positions attained by the album, and its singles, Atlantic Records closed their Country music division in September 1974. ( Full article...)
  • Image 2 Kind of Blue is a studio album by the American jazz trumpeter and composer Miles Davis. It was released on August 17, 1959 through Columbia Records. For the recording, Davis led a sextet featuring saxophonists John Coltrane and Julian "Cannonball" Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track—"Freddie Freeloader"—instead of Evans. The album was recorded in two sessions on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City. Influenced in part by Evans, who had been a member of the ensemble in 1958 and was called back for this album, Davis departed further from his early hard bop style in favor of greater experimentation with musical modes, as on the title track of his previous album, Milestones (1958). Basing Kind of Blue entirely on modality, he gave each performer a set of scales that encompassed the parameters of their improvisation and style and consequently more creative freedom with melodies; Coltrane later expanded on this modal approach in his own solo career. (Full article...)
    Kind of Blue is a studio album by the American jazz trumpeter and composer Miles Davis. It was released on August 17, 1959 through Columbia Records. For the recording, Davis led a sextet featuring saxophonists John Coltrane and Julian "Cannonball" Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track—" Freddie Freeloader"—instead of Evans. The album was recorded in two sessions on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City.

    Influenced in part by Evans, who had been a member of the ensemble in 1958 and was called back for this album, Davis departed further from his early hard bop style in favor of greater experimentation with musical modes, as on the title track of his previous album, Milestones (1958). Basing Kind of Blue entirely on modality, he gave each performer a set of scales that encompassed the parameters of their improvisation and style and consequently more creative freedom with melodies; Coltrane later expanded on this modal approach in his own solo career. ( Full article...)
  • Image 3 MDNA World Tour is the fourth live album by American singer and songwriter Madonna. It was released on September 6, 2013, by Interscope Records as a full concert on all formats including a double-disc CD, DVD, and Blu-ray. Madonna had embarked on the MDNA Tour for promotion of her twelfth studio album MDNA. The tour was a commercial success although it courted a number of controversies. The performances at the American Airlines Arena in Miami, Florida during the North American leg of the MDNA Tour were documented for video release. The recording was directed by Danny B. Tull and Stephane Sennour who included footage from other shows of the tour. Madonna had spent six months editing the footage from the films and together with Tull and Sennour, she developed the video for the songs she had performed as a mini-movie. Shot as a documentary, MDNA World Tour included the best shots available from different locations of the tour, while emphasizing Madonna's impact on the younger generation of artists. Prior to the release, a concert television special, Madonna: The MDNA Tour, was broadcast in the United States by Epix on June 22, 2013. A premiere took place at the Paris Theater, in New York City the same month. (Full article...)
    MDNA World Tour is the fourth live album by American singer and songwriter Madonna. It was released on September 6, 2013, by Interscope Records as a full concert on all formats including a double-disc CD, DVD, and Blu-ray. Madonna had embarked on the MDNA Tour for promotion of her twelfth studio album MDNA. The tour was a commercial success although it courted a number of controversies. The performances at the American Airlines Arena in Miami, Florida during the North American leg of the MDNA Tour were documented for video release. The recording was directed by Danny B. Tull and Stephane Sennour who included footage from other shows of the tour.

    Madonna had spent six months editing the footage from the films and together with Tull and Sennour, she developed the video for the songs she had performed as a mini-movie. Shot as a documentary, MDNA World Tour included the best shots available from different locations of the tour, while emphasizing Madonna's impact on the younger generation of artists. Prior to the release, a concert television special, Madonna: The MDNA Tour, was broadcast in the United States by Epix on June 22, 2013. A premiere took place at the Paris Theater, in New York City the same month. ( Full article...)
  • Image 4 The Great Gatsby: Music from Baz Luhrmann's Film (also known as Music from Baz Luhrmann's Film The Great Gatsby) is the soundtrack album to the 2013 film The Great Gatsby, an adaptation of F. Scott Fitzgerald's 1925 novel of the same name. Interscope Records released it on May 6, 2013. The album was produced by Baz Luhrmann and Anton Monsted, with Jay-Z serving as the album's executive producer. The soundtrack comprises fourteen songs, including new material and cover versions performed by various artists. It contains a mixture of genre, including hip hop, jazz, and alternative music. Luhrmann specifically selected these styles of music to better immerse the audience into the story of The Great Gatsby. The album received a mixed response, with the selection of songs and singers dividing critics. It peaked at number one on the U.S. Billboard 200 chart and appeared on several national record charts. The album has received three gold certifications from the Australian Recording Industry Association, the Polish Society of the Phonographic Industry, and the Recording Industry Association of America. The album spawned three singles: "Young and Beautiful", "A Little Party Never Killed Nobody (All We Got)", and "Bang Bang". (Full article...)
    The Great Gatsby: Music from Baz Luhrmann's Film (also known as Music from Baz Luhrmann's Film The Great Gatsby) is the soundtrack album to the 2013 film The Great Gatsby, an adaptation of F. Scott Fitzgerald's 1925 novel of the same name. Interscope Records released it on May 6, 2013. The album was produced by Baz Luhrmann and Anton Monsted, with Jay-Z serving as the album's executive producer. The soundtrack comprises fourteen songs, including new material and cover versions performed by various artists. It contains a mixture of genre, including hip hop, jazz, and alternative music. Luhrmann specifically selected these styles of music to better immerse the audience into the story of The Great Gatsby.

    The album received a mixed response, with the selection of songs and singers dividing critics. It peaked at number one on the U.S. Billboard 200 chart and appeared on several national record charts. The album has received three gold certifications from the Australian Recording Industry Association, the Polish Society of the Phonographic Industry, and the Recording Industry Association of America. The album spawned three singles: " Young and Beautiful", " A Little Party Never Killed Nobody (All We Got)", and " Bang Bang". ( Full article...)
  • Image 5 Hard Candy is the eleventh studio album by American singer and songwriter Madonna. Released by Warner Bros. Records on April 19, 2008, it was her last album for the company after a 25-year history. Madonna began working on Hard Candy in early 2007, and collaborated with Justin Timberlake, Timbaland, the Neptunes, and Nate "Danja" Hills to produce a dance-pop album incorporating hip hop, electropop, disco, electro, funk, and R&B. For the album's creation, Madonna wanted to portray an alter-ego dubbed called the "black Madonna", but it was later scrapped to avoid controversy. Critical reaction was generally favorable, and Hard Candy debuted at number one in 37 countries worldwide, becoming the year's eleventh best-selling album, exceeding 4 million copies. (Full article...)
    Hard Candy is the eleventh studio album by American singer and songwriter Madonna. Released by Warner Bros. Records on April 19, 2008, it was her last album for the company after a 25-year history. Madonna began working on Hard Candy in early 2007, and collaborated with Justin Timberlake, Timbaland, the Neptunes, and Nate "Danja" Hills to produce a dance-pop album incorporating hip hop, electropop, disco, electro, funk, and R&B.

    For the album's creation, Madonna wanted to portray an alter-ego dubbed called the "black Madonna", but it was later scrapped to avoid controversy. Critical reaction was generally favorable, and Hard Candy debuted at number one in 37 countries worldwide, becoming the year's eleventh best-selling album, exceeding 4 million copies. ( Full article...)
  • Image 6 How to Grow a Woman from the Ground is a 2006 album by Chris Thile and Punch Brothers. It was released on Sugar Hill on September 12, 2006. The album is named after a song on the album; a cover of the original by folk singer Tom Brosseau. The album debuted to positive reviews from major music critics, with critics calling the album “fantastic, eclectic”, and “genius”. The album earned Thile a Grammy Award-nomination in 2006. (Full article...)
    How to Grow a Woman from the Ground is a 2006 album by Chris Thile and Punch Brothers. It was released on Sugar Hill on September 12, 2006. The album is named after a song on the album; a cover of the original by folk singer Tom Brosseau.

    The album debuted to positive reviews from major music critics, with critics calling the album “fantastic, eclectic”, and “genius”. The album earned Thile a Grammy Award-nomination in 2006. ( Full article...)
  • Image 7 The Director's Cut is the second studio album by American musical supergroup Fantômas. The album is a collection of cover versions of themes from horror films and television series, performed in a variety of different musical styles. The album was released on July 9, 2001, through Ipecac Recordings, a record label co-owned by vocalist Mike Patton. The Director's Cut has been praised by critics, with reviewers highlighting the album's versatility and unusual content; Patton in particular has been singled out for his performances. Since the album's release, Fantômas have performed it in its entirety at live shows in 2008 and 2014. (Full article...)
    The Director's Cut is the second studio album by American musical supergroup Fantômas. The album is a collection of cover versions of themes from horror films and television series, performed in a variety of different musical styles. The album was released on July 9, 2001, through Ipecac Recordings, a record label co-owned by vocalist Mike Patton.

    The Director's Cut has been praised by critics, with reviewers highlighting the album's versatility and unusual content; Patton in particular has been singled out for his performances. Since the album's release, Fantômas have performed it in its entirety at live shows in 2008 and 2014. ( Full article...)
  • Image 8 Dark Horse is the fifth studio album by the English rock musician George Harrison. It was released on Apple Records in December 1974 as the follow-up to Living in the Material World. Although keenly anticipated on release, Dark Horse is associated with the controversial North American tour that Harrison staged with Indian classical musician Ravi Shankar in November and December that year. This was the first US tour by a member of the Beatles since 1966, and the public's nostalgia for the band, together with Harrison contracting laryngitis during rehearsals and choosing to feature Shankar so heavily in the programme, resulted in scathing concert reviews from some influential music critics. Harrison wrote and recorded Dark Horse during an extended period of upheaval in his personal life. The songs focus on Harrison's split with his first wife, Pattie Boyd, and his temporary withdrawal from the spiritual certainties of his previous work. Throughout this time, he dedicated much of his energy to setting up Dark Horse Records and working with the label's first signings, Shankar and the group Splinter, at the expense of his own music. Author Simon Leng refers to the album as "a musical soap opera, cataloguing rock-life antics, marital strife, lost friendships, and self-doubt". (Full article...)
    Dark Horse is the fifth studio album by the English rock musician George Harrison. It was released on Apple Records in December 1974 as the follow-up to Living in the Material World. Although keenly anticipated on release, Dark Horse is associated with the controversial North American tour that Harrison staged with Indian classical musician Ravi Shankar in November and December that year. This was the first US tour by a member of the Beatles since 1966, and the public's nostalgia for the band, together with Harrison contracting laryngitis during rehearsals and choosing to feature Shankar so heavily in the programme, resulted in scathing concert reviews from some influential music critics.

    Harrison wrote and recorded Dark Horse during an extended period of upheaval in his personal life. The songs focus on Harrison's split with his first wife, Pattie Boyd, and his temporary withdrawal from the spiritual certainties of his previous work. Throughout this time, he dedicated much of his energy to setting up Dark Horse Records and working with the label's first signings, Shankar and the group Splinter, at the expense of his own music. Author Simon Leng refers to the album as "a musical soap opera, cataloguing rock-life antics, marital strife, lost friendships, and self-doubt". ( Full article...)
  • Image 9 The Division Bell is the fourteenth studio album by the English rock band Pink Floyd, released on 28 March 1994 by EMI Records in the United Kingdom and on 5 April by Columbia Records in the United States. The second Pink Floyd album recorded without founding member Roger Waters, The Division Bell was written mostly by guitarist and singer David Gilmour and keyboardist Richard Wright. It features Wright's first lead vocal on a Pink Floyd album since The Dark Side of the Moon (1973). Gilmour's fiancée, the novelist Polly Samson, co-wrote many of the lyrics, which deal with themes of communication. It was the last Pink Floyd studio album to be composed of entirely new material, and the last recorded with Wright, who died in 2008. (Full article...)
    The Division Bell is the fourteenth studio album by the English rock band Pink Floyd, released on 28 March 1994 by EMI Records in the United Kingdom and on 5 April by Columbia Records in the United States.

    The second Pink Floyd album recorded without founding member Roger Waters, The Division Bell was written mostly by guitarist and singer David Gilmour and keyboardist Richard Wright. It features Wright's first lead vocal on a Pink Floyd album since The Dark Side of the Moon (1973). Gilmour's fiancée, the novelist Polly Samson, co-wrote many of the lyrics, which deal with themes of communication. It was the last Pink Floyd studio album to be composed of entirely new material, and the last recorded with Wright, who died in 2008. ( Full article...)
  • Image 10 The first popular rock bootleg, Bob Dylan's Great White Wonder, released in July 1969 A bootleg recording is an audio or video recording of a performance not officially released by the artist or under other legal authority. Making and distributing such recordings is known as bootlegging. Recordings may be copied and traded among fans without financial exchange, but some bootleggers have sold recordings for profit, sometimes by adding professional-quality sound engineering and packaging to the raw material. Bootlegs usually consist of unreleased studio recordings, live performances or interviews without the quality control of official releases. Bootlegs reached new popularity with Bob Dylan's Great White Wonder, a compilation of studio outtakes and demos released in 1969 using low-priority pressing plants. The following year, the Rolling Stones' Live'r Than You'll Ever Be, an audience recording of a late 1969 show, received a positive review in Rolling Stone. Subsequent bootlegs became more sophisticated in packaging, particularly the Trademark of Quality label with William Stout's cover artwork. Compact disc bootlegs first appeared in the 1980s, and Internet distribution became increasingly popular in the 1990s. (Full article...)
    The first popular rock bootleg, Bob Dylan's Great White Wonder, released in July 1969

    A bootleg recording is an audio or video recording of a performance not officially released by the artist or under other legal authority. Making and distributing such recordings is known as bootlegging. Recordings may be copied and traded among fans without financial exchange, but some bootleggers have sold recordings for profit, sometimes by adding professional-quality sound engineering and packaging to the raw material. Bootlegs usually consist of unreleased studio recordings, live performances or interviews without the quality control of official releases.

    Bootlegs reached new popularity with Bob Dylan's Great White Wonder, a compilation of studio outtakes and demos released in 1969 using low-priority pressing plants. The following year, the Rolling Stones' Live'r Than You'll Ever Be, an audience recording of a late 1969 show, received a positive review in Rolling Stone. Subsequent bootlegs became more sophisticated in packaging, particularly the Trademark of Quality label with William Stout's cover artwork. Compact disc bootlegs first appeared in the 1980s, and Internet distribution became increasingly popular in the 1990s. ( Full article...)
  • Image 11 Sale el Sol (English: The Sun Comes Out) is the ninth studio album by Colombian singer and songwriter Shakira, released on 19 October 2010, by Epic Records. The album marks a return to Shakira's signature Latin pop sound after the electropop record She Wolf (2009). The singer split the album into three musical "directions": a romantic side, a "rock and roll" side, and a "Latino, tropical" side. The latter two "directions" experiment with rock and merengue music, respectively. As co-producer, Shakira enlisted collaborators including Josh Abraham, El Cata, Gustavo Cerati, John Hill, Lester Mendez, and Residente from Calle 13. Five singles were released from Sale el Sol. The lead single "Loca" peaked atop the record charts of Italy, Spain, and Switzerland and the Billboard Hot Latin Songs chart in the United States. The third single, "Rabiosa," reached top ten positions in Austria, Belgium, Italy and Spain. The other singles achieved moderate chart success in Hispanic regions. Shakira embarked on The Sun Comes Out World Tour in late-2010 to promote the album. (Full article...)
    Sale el Sol (English: The Sun Comes Out) is the ninth studio album by Colombian singer and songwriter Shakira, released on 19 October 2010, by Epic Records. The album marks a return to Shakira's signature Latin pop sound after the electropop record She Wolf (2009). The singer split the album into three musical "directions": a romantic side, a "rock and roll" side, and a "Latino, tropical" side. The latter two "directions" experiment with rock and merengue music, respectively. As co-producer, Shakira enlisted collaborators including Josh Abraham, El Cata, Gustavo Cerati, John Hill, Lester Mendez, and Residente from Calle 13.

    Five singles were released from Sale el Sol. The lead single " Loca" peaked atop the record charts of Italy, Spain, and Switzerland and the Billboard Hot Latin Songs chart in the United States. The third single, " Rabiosa," reached top ten positions in Austria, Belgium, Italy and Spain. The other singles achieved moderate chart success in Hispanic regions. Shakira embarked on The Sun Comes Out World Tour in late-2010 to promote the album. ( Full article...)
  • Image 12 ButterFly is the sixteenth studio album by American singer Barbra Streisand. Released on October 1, 1974, by Columbia Records, it marked Streisand's first album of entirely new material in over three years. Primarily a contemporary pop record recorded throughout 1974, it also incorporates music from the reggae and R&B genres. All of the tracks on ButterFly are cover songs produced by Streisand's then-boyfriend Jon Peters, originating from artists like Bob Marley, David Bowie, Evie Sands, and Graham Nash. The album received mixed reviews from music critics who questioned whether or not Peters' experience in the music industry was enough for him to produce an entire album. However, Tom Scott's involvement with the album was praised, particularly his position as an arranger. Commercially, the album peaked in the lower positions of Australia, Canada, and the United States. It would later be certified gold by the Recording Industry Association of America for physical shipments exceeding 500,000 copies. "Guava Jelly" and "Jubilation" were released as the album's two singles in December 1974 and April 1975, respectively. (Full article...)
    ButterFly is the sixteenth studio album by American singer Barbra Streisand. Released on October 1, 1974, by Columbia Records, it marked Streisand's first album of entirely new material in over three years. Primarily a contemporary pop record recorded throughout 1974, it also incorporates music from the reggae and R&B genres. All of the tracks on ButterFly are cover songs produced by Streisand's then-boyfriend Jon Peters, originating from artists like Bob Marley, David Bowie, Evie Sands, and Graham Nash.

    The album received mixed reviews from music critics who questioned whether or not Peters' experience in the music industry was enough for him to produce an entire album. However, Tom Scott's involvement with the album was praised, particularly his position as an arranger. Commercially, the album peaked in the lower positions of Australia, Canada, and the United States. It would later be certified gold by the Recording Industry Association of America for physical shipments exceeding 500,000 copies. " Guava Jelly" and " Jubilation" were released as the album's two singles in December 1974 and April 1975, respectively. ( Full article...)
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  Featured lists - load new batch

Featured lists have been determined by the Wikipedia community to be the best lists on English Wikipedia.
  • Image 1 Connie Smith (pictured in 2007) ended an eight-week run at number one in January. This would remain the longest run in the top spot by a female vocalist for nearly 50 years. Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1965, 19 different singles topped the chart, which was published at the time under the title Hot Country Singles, in 52 issues of the magazine. Chart placings were based on playlists submitted by country music radio stations and sales reports submitted by stores. At the start of the year, Connie Smith was at number one with "Once a Day", the song's sixth week atop the chart, and remained at number one until the issue dated January 23, 1965, when it was displaced by "You're the Only World I Know" by Sonny James. "Once a Day"'s total of eight consecutive weeks at number one set a new record for the longest unbroken run by a solo female singer atop the Hot Country chart which stood until 2012 when Taylor Swift's "We Are Never Ever Getting Back Together" remained atop the chart for nine consecutive weeks. Smith was the only solo female vocalist to appear at number one on the country listing in 1965; the only other female artist to reach the top spot during the year was Priscilla Mitchell, who topped the chart with "Yes, Mr. Peters", a duet with Roy Drusky. (Full article...)
    A blonde woman wearing a tan jacket and blue pants, singing into a microphone on a stage. A man playing a guitar is visible in the background.
    Connie Smith (pictured in 2007) ended an eight-week run at number one in January. This would remain the longest run in the top spot by a female vocalist for nearly 50 years.

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1965, 19 different singles topped the chart, which was published at the time under the title Hot Country Singles, in 52 issues of the magazine. Chart placings were based on playlists submitted by country music radio stations and sales reports submitted by stores.

    At the start of the year, Connie Smith was at number one with " Once a Day", the song's sixth week atop the chart, and remained at number one until the issue dated January 23, 1965, when it was displaced by " You're the Only World I Know" by Sonny James. "Once a Day"'s total of eight consecutive weeks at number one set a new record for the longest unbroken run by a solo female singer atop the Hot Country chart which stood until 2012 when Taylor Swift's " We Are Never Ever Getting Back Together" remained atop the chart for nine consecutive weeks. Smith was the only solo female vocalist to appear at number one on the country listing in 1965; the only other female artist to reach the top spot during the year was Priscilla Mitchell, who topped the chart with " Yes, Mr. Peters", a duet with Roy Drusky. ( Full article...)
  • Image 2 Donovan never had a number-one single or number-one album in his native UK; however, his Universal Soldier EP spent eight weeks at the top of the EP chart. In the 1950s and 1960s "a third vinyl format" was introduced alongside long-playing (LP) albums, and singles. The extended play (EP) used the same formats as singles but contained more tracks. Singles were the popular record format at the time – predominantly 10-inch 78 rpm and 7-inch 45 rpm formats – and the first singles chart was published by New Musical Express in 1952 with many other publications also producing singles charts in the 1950s and 1960s. Record Mirror published the first album chart in 1956, and when Record Retailer began compiling an LP chart on 12 March 1960, they also compiled an EP chart. The EP chart consisted of a top ten and was expanded to fifteen positions the following week, and twenty the week after that. EPs "died out in the late 1960s" and Record Retailer reduced the chart to ten positions on 16 April 1966, publishing the final EP chart on 16 December 1967. For six weeks in 1966 and two weeks in December 1967, Record Retailer did not publish EP charts but they were compiled and Record Mirror published them; Record Mirror had begun publishing charts compiled by Record Retailer in March 1962, following a decision to stop compiling their own albums and singles charts. The longest consecutive duration at the top of the chart was 23 weeks for The Shadows' EP The Shadows to the Fore. The most weeks at number one was achieved by The Beach Boys' EP Hits which spent 34 weeks there from June 1966 and was the incumbent number one when the chart ceased at the end of 1967. The Beatles had eight different EPs top the chart as did The Shadows (four with Cliff Richard and four on their own). The Shadows spent 69 weeks with an EP on top of the chart in comparison to The Beatles' 63 weeks. Conversely, only four acts spent a total of one week atop the chart; Joan Baez, Jim Reeves, George Mitchell Minstrels and Bobby Vee (with The Crickets). Although official music recording sales certifications were not introduced until the British Phonographic Industry was formed in 1973, Disc introduced an initiative in 1959 to present a silver disc to records selling over 250,000 units. Seven EPs are recorded as going silver: The Beatles' number-one EPs Twist and Shout, The Beatles' Hits, All My Loving, Long Tall Sally as well as The Beatles (No. 1) and Magical Mystery Tour (which did not reach number one but would have done so had the EP chart lasted only a few more weeks) and The Rolling Stones' number-one EP Five by Five. (Full article...)
    Donovan never had a number-one single or number-one album in his native UK; however, his Universal Soldier EP spent eight weeks at the top of the EP chart.


    In the 1950s and 1960s "a third vinyl format" was introduced alongside long-playing (LP) albums, and singles. The extended play (EP) used the same formats as singles but contained more tracks. Singles were the popular record format at the time – predominantly 10-inch 78 rpm and 7-inch 45 rpm formats – and the first singles chart was published by New Musical Express in 1952 with many other publications also producing singles charts in the 1950s and 1960s. Record Mirror published the first album chart in 1956, and when Record Retailer began compiling an LP chart on 12 March 1960, they also compiled an EP chart. The EP chart consisted of a top ten and was expanded to fifteen positions the following week, and twenty the week after that. EPs "died out in the late 1960s" and Record Retailer reduced the chart to ten positions on 16 April 1966, publishing the final EP chart on 16 December 1967. For six weeks in 1966 and two weeks in December 1967, Record Retailer did not publish EP charts but they were compiled and Record Mirror published them; Record Mirror had begun publishing charts compiled by Record Retailer in March 1962, following a decision to stop compiling their own albums and singles charts.

    The longest consecutive duration at the top of the chart was 23 weeks for The Shadows' EP The Shadows to the Fore. The most weeks at number one was achieved by The Beach Boys' EP Hits which spent 34 weeks there from June 1966 and was the incumbent number one when the chart ceased at the end of 1967. The Beatles had eight different EPs top the chart as did The Shadows (four with Cliff Richard and four on their own). The Shadows spent 69 weeks with an EP on top of the chart in comparison to The Beatles' 63 weeks. Conversely, only four acts spent a total of one week atop the chart; Joan Baez, Jim Reeves, George Mitchell Minstrels and Bobby Vee (with The Crickets). Although official music recording sales certifications were not introduced until the British Phonographic Industry was formed in 1973, Disc introduced an initiative in 1959 to present a silver disc to records selling over 250,000 units. Seven EPs are recorded as going silver: The Beatles' number-one EPs Twist and Shout, The Beatles' Hits, All My Loving, Long Tall Sally as well as The Beatles (No. 1) and Magical Mystery Tour (which did not reach number one but would have done so had the EP chart lasted only a few more weeks) and The Rolling Stones' number-one EP Five by Five. ( Full article...)
  • Image 3 The Black Eyed Peas' "I Gotta Feeling" was the most-broadcast radio song for eight weeks. Since July 2009, Israeli broadcast monitoring service Media Forest has been publishing four rankings which list the top ten most-broadcast Romanian and foreign songs on Romanian radio stations and television channels separately on a weekly basis. Nine radio stations—Europa FM, Info Pro, Kiss FM, Magic FM, National FM, Pro FM, Radio 21, Radio România Actualități and Radio ZU—and five television channels—1 Music Channel, Kiss TV, MTV Romania, Party TV and UTV Romania—were taken into consideration for the charts' compilation in 2009. They are based on the number of times tracks are broadcast, determined by acoustic fingerprinting. Media Forest also releases year-end charts in regards to the radio airplay, listing the most-broadcast songs of Romanian origin of the respective year, weighted by the official audience numbers provided by Asociația pentru Radio Audiență (Romanian Association for Audience Numbers). David Deejay and Dony reached number one on the 2009 ranking with "So Bizarre". In 2009, eight and eleven singles were listed by Media Forest as the most-broadcast tracks on radio and television respectively. The first were "Takin' Back My Love" by Enrique Iglesias and Ciara (radio) and "Undeva-n Balcani" by Puya and George Hora (television) in July 2009. "I Gotta Feeling" by the Black Eyed Peas spent eight weeks as the most-broadcast single on radio stations, longer than any other, while in terms of television airplay, this feat was achieved by Edward Maya and Vika Jigulina's "Stereo Love" with a total of six non-consecutive weeks. "Chica Bomb" by Dan Balan was the final top song of 2009 on both listings. (Full article...)
    Four people, three men and a woman, are seen performing on a stage.
    The Black Eyed Peas' " I Gotta Feeling" was the most-broadcast radio song for eight weeks.

    Since July 2009, Israeli broadcast monitoring service Media Forest has been publishing four rankings which list the top ten most-broadcast Romanian and foreign songs on Romanian radio stations and television channels separately on a weekly basis. Nine radio stations— Europa FM, Info Pro, Kiss FM, Magic FM, National FM, Pro FM, Radio 21, Radio România Actualități and Radio ZU—and five television channels—1 Music Channel, Kiss TV, MTV Romania, Party TV and UTV Romania—were taken into consideration for the charts' compilation in 2009. They are based on the number of times tracks are broadcast, determined by acoustic fingerprinting.

    Media Forest also releases year-end charts in regards to the radio airplay, listing the most-broadcast songs of Romanian origin of the respective year, weighted by the official audience numbers provided by Asociația pentru Radio Audiență (Romanian Association for Audience Numbers). David Deejay and Dony reached number one on the 2009 ranking with "So Bizarre". In 2009, eight and eleven singles were listed by Media Forest as the most-broadcast tracks on radio and television respectively. The first were " Takin' Back My Love" by Enrique Iglesias and Ciara (radio) and "Undeva-n Balcani" by Puya and George Hora (television) in July 2009. " I Gotta Feeling" by the Black Eyed Peas spent eight weeks as the most-broadcast single on radio stations, longer than any other, while in terms of television airplay, this feat was achieved by Edward Maya and Vika Jigulina's " Stereo Love" with a total of six non-consecutive weeks. " Chica Bomb" by Dan Balan was the final top song of 2009 on both listings. ( Full article...)
  • Image 4 Randy Travis spent three weeks at number one with "Forever and Ever, Amen". Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1987, 50 different songs topped the chart, then published under the title Hot Country Singles, in 52 issues of the magazine, based on playlists submitted by country music radio stations and sales reports submitted by stores. At the start of the year, the song at the top of the charts was "Mind Your Own Business" by Hank Williams Jr. The single had moved into the number one position in the issue of Billboard dated December 27, 1986 and remained in place for a second week in the issue dated January 3. The final number one of the year was "Somewhere Tonight" by Highway 101, which began a two-week run at the top in the issue dated December 26, 1987. Between those two chart-toppers, the only song to spend more than one week at number one was "Forever and Ever, Amen" by Randy Travis, which had a three-week run in the peak position during the summer. The song won both the Grammy Award for Best Country Song and the Academy of Country Music award for Song of the Year. (Full article...)
    Collage of images of singer Randy Travis
    Randy Travis spent three weeks at number one with " Forever and Ever, Amen".

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1987, 50 different songs topped the chart, then published under the title Hot Country Singles, in 52 issues of the magazine, based on playlists submitted by country music radio stations and sales reports submitted by stores.

    At the start of the year, the song at the top of the charts was " Mind Your Own Business" by Hank Williams Jr. The single had moved into the number one position in the issue of Billboard dated December 27, 1986 and remained in place for a second week in the issue dated January 3. The final number one of the year was " Somewhere Tonight" by Highway 101, which began a two-week run at the top in the issue dated December 26, 1987. Between those two chart-toppers, the only song to spend more than one week at number one was " Forever and Ever, Amen" by Randy Travis, which had a three-week run in the peak position during the summer. The song won both the Grammy Award for Best Country Song and the Academy of Country Music award for Song of the Year. ( Full article...)
  • Image 5 The Latin Grammy Hall of Fame is a hall of fame established by the Latin Recording Academy to recognize "early recordings of lasting qualitative or historical significance that were released more than 25 years ago". LARAS is also the same organization that distributes the Latin Grammy Awards. The albums and songs are picked by a panel of recording-arts professionals, such as musicologists and historians, and selected from all major categories of Latin music. The first inductions were made in 2001 to honor 17 recordings. These included Santana's cover of Tito Puente's "Oye Como Va", Javier Solís's rendition of "Sabor a Mí" and the 1948 performance of Joaquín Rodrigo's Concierto de Aranjuez by Regino Sainz de la Maza and the Orquesta Nacional de España. The inductions have each occurred six years apart from one another. (Full article...)
    The Latin Grammy Hall of Fame is a hall of fame established by the Latin Recording Academy to recognize "early recordings of lasting qualitative or historical significance that were released more than 25 years ago". LARAS is also the same organization that distributes the Latin Grammy Awards. The albums and songs are picked by a panel of recording-arts professionals, such as musicologists and historians, and selected from all major categories of Latin music.

    The first inductions were made in 2001 to honor 17 recordings. These included Santana's cover of Tito Puente's " Oye Como Va", Javier Solís's rendition of " Sabor a Mí" and the 1948 performance of Joaquín Rodrigo's Concierto de Aranjuez by Regino Sainz de la Maza and the Orquesta Nacional de España. The inductions have each occurred six years apart from one another. ( Full article...)
  • Image 6 Buck Owens had four number ones in 1966. Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1966, 13 different singles topped the chart, which was published at the time under the title Hot Country Singles, in 53 issues of the magazine. Chart placings were based on playlists submitted by country music radio stations and sales reports submitted by stores. At the start of the year the number one single was the instrumental "Buckaroo" by Buck Owens and his Buckaroos, the track's second week in the top spot. It held the number one position for the first week of 1966 before being replaced by "Giddyup Go" by Red Sovine, the first of a number of sentimental songs about the truck-driving industry for which the singer would become known. After Sovine's six-week run at number one, Owens returned to the top with "Waitin' in Your Welfare Line", the first of three chart-toppers from his album "Open Up Your Heart". One of the most successful recording artists of the mid-1960s, Owens spent the highest number of weeks at number one in 1966, occupying the top spot for a total of 18 weeks with his four chart-topping singles. Only two other artists took more than one single to number one in 1966. Eddy Arnold, one of the biggest country music stars of the 1940s and early 1950s, had revitalized his somewhat declining career in the mid-1960s by embracing the "Nashville sound", a newer style of country music which eschewed elements of the earlier honky-tonk style in favor of smooth productions which had a broader appeal. In 1965 Arnold had gained his first number one in ten years, and his success continued into 1966, when he reached the top spot twice and spent a combined total of ten weeks at number one. Jim Reeves also achieved two chart-toppers in 1966, both of which were posthumous; the singer had been killed in a plane crash two years earlier. (Full article...)
    A fair-haired man in a dark shirt smiling broadly
    Buck Owens had four number ones in 1966.

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1966, 13 different singles topped the chart, which was published at the time under the title Hot Country Singles, in 53 issues of the magazine. Chart placings were based on playlists submitted by country music radio stations and sales reports submitted by stores.

    At the start of the year the number one single was the instrumental " Buckaroo" by Buck Owens and his Buckaroos, the track's second week in the top spot. It held the number one position for the first week of 1966 before being replaced by " Giddyup Go" by Red Sovine, the first of a number of sentimental songs about the truck-driving industry for which the singer would become known. After Sovine's six-week run at number one, Owens returned to the top with " Waitin' in Your Welfare Line", the first of three chart-toppers from his album " Open Up Your Heart". One of the most successful recording artists of the mid-1960s, Owens spent the highest number of weeks at number one in 1966, occupying the top spot for a total of 18 weeks with his four chart-topping singles. Only two other artists took more than one single to number one in 1966. Eddy Arnold, one of the biggest country music stars of the 1940s and early 1950s, had revitalized his somewhat declining career in the mid-1960s by embracing the " Nashville sound", a newer style of country music which eschewed elements of the earlier honky-tonk style in favor of smooth productions which had a broader appeal. In 1965 Arnold had gained his first number one in ten years, and his success continued into 1966, when he reached the top spot twice and spent a combined total of ten weeks at number one. Jim Reeves also achieved two chart-toppers in 1966, both of which were posthumous; the singer had been killed in a plane crash two years earlier. ( Full article...)
  • Image 7 The Grammy Award for Best Female R&B Vocal Performance (previously called Best Rhythm and Blues Solo Vocal Performance, Female) was an honor presented at the Grammy Awards, a ceremony established in 1958 and originally called the Gramophone Awards, to female recording artists for quality R&B songs. Awards in several categories are distributed annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position." According to the category description guide for the 52nd Grammy Awards, the award was presented to artists that performed "newly recorded solo R&B vocal performances". Solo numbers by members of an established group were not eligible for the award as "separate entries from the duo or group performances." Albums were also considered for the accolade until 1992. (Full article...)
    The Grammy Award for Best Female R&B Vocal Performance (previously called Best Rhythm and Blues Solo Vocal Performance, Female) was an honor presented at the Grammy Awards, a ceremony established in 1958 and originally called the Gramophone Awards, to female recording artists for quality R&B songs. Awards in several categories are distributed annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position."

    According to the category description guide for the 52nd Grammy Awards, the award was presented to artists that performed "newly recorded solo R&B vocal performances". Solo numbers by members of an established group were not eligible for the award as "separate entries from the duo or group performances." Albums were also considered for the accolade until 1992. ( Full article...)
  • Image 8 Hank Snow had lengthy runs at the top of all three charts with "I'm Movin' On". In 1950, Billboard magazine published three charts covering the best-performing country music songs in the United States: Most-Played Juke Box (Country & Western) Records, Best-Selling Retail Folk (Country & Western) Records and Country & Western Records Most Played By Folk Disk Jockeys. The juke box chart was compiled based on a "weekly survey among a selected group of jukebox operators whose locations require country and western records", the best sellers chart based on a "survey among a selected group of retail stores, the majority of whose customers purchase country and western records", and the jockeys chart based on a "weekly survey among a select list of over 400 disk jockeys specializing in country and western tunes". All three charts are considered part of the lineage of the current Hot Country Songs chart, which was first published in 1958. In the first issue of Billboard of 1950, Christmas songs were at number one on two charts, with "Blue Christmas" by Ernest Tubb in the top spot on the juke box chart and Gene Autry's recording of "Rudolph the Red-Nosed Reindeer" atop the jockeys chart. The number one on the best sellers chart was "Slipping Around" by Margaret Whiting and Jimmy Wakely, which had held the top spot since the previous October. The longest-running number one of 1950 on all three charts was "I'm Movin' On" by Canadian singer Hank Snow, which spent 14 weeks in the top spot on the juke box chart, 18 on the best sellers listing, and 17 on the jockeys chart. The song would spend three further weeks at number one on the best sellers chart in 1951, tying the record set in 1948 by Eddy Arnold's "I'll Hold You in My Heart (Till I Can Hold You in My Arms)" for the highest number of weeks spent at number one on any one of Billboard's country singles charts. Red Foley spent the highest total number of weeks at number one on both the juke box and best sellers charts in 1950, topping each for 19 weeks. He also had the highest number of individual chart-toppers on each of the two listings, with four and three respectively. On the jockeys chart, Hank Williams was the only artist with more than one number one hit, and he also spent the most weeks at number one, totalling 19 weeks in the top spot with his three chart-toppers. (Full article...)
    A dark-haired man wearing a bowtie and a jacket with roses printed on it
    Hank Snow had lengthy runs at the top of all three charts with " I'm Movin' On".

    In 1950, Billboard magazine published three charts covering the best-performing country music songs in the United States: Most-Played Juke Box (Country & Western) Records, Best-Selling Retail Folk (Country & Western) Records and Country & Western Records Most Played By Folk Disk Jockeys. The juke box chart was compiled based on a "weekly survey among a selected group of jukebox operators whose locations require country and western records", the best sellers chart based on a "survey among a selected group of retail stores, the majority of whose customers purchase country and western records", and the jockeys chart based on a "weekly survey among a select list of over 400 disk jockeys specializing in country and western tunes". All three charts are considered part of the lineage of the current Hot Country Songs chart, which was first published in 1958.

    In the first issue of Billboard of 1950, Christmas songs were at number one on two charts, with " Blue Christmas" by Ernest Tubb in the top spot on the juke box chart and Gene Autry's recording of " Rudolph the Red-Nosed Reindeer" atop the jockeys chart. The number one on the best sellers chart was " Slipping Around" by Margaret Whiting and Jimmy Wakely, which had held the top spot since the previous October. The longest-running number one of 1950 on all three charts was " I'm Movin' On" by Canadian singer Hank Snow, which spent 14 weeks in the top spot on the juke box chart, 18 on the best sellers listing, and 17 on the jockeys chart. The song would spend three further weeks at number one on the best sellers chart in 1951, tying the record set in 1948 by Eddy Arnold's " I'll Hold You in My Heart (Till I Can Hold You in My Arms)" for the highest number of weeks spent at number one on any one of Billboard's country singles charts. Red Foley spent the highest total number of weeks at number one on both the juke box and best sellers charts in 1950, topping each for 19 weeks. He also had the highest number of individual chart-toppers on each of the two listings, with four and three respectively. On the jockeys chart, Hank Williams was the only artist with more than one number one hit, and he also spent the most weeks at number one, totalling 19 weeks in the top spot with his three chart-toppers. ( Full article...)
  • Image 9 Sonny James had three number ones in 1969. Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1969, 23 different singles topped the chart, which was published at the time under the title Hot Country Singles, in 52 weekly issues of the magazine. Chart placings were based on playlists submitted by country music radio stations and sales reports submitted by stores. In the issue of Billboard dated January 4, Johnny Cash's single "Daddy Sang Bass" climbed from number 19 to the top spot, replacing "Wichita Lineman" by Glen Campbell. Cash's single remained at number one for six weeks, the longest unbroken run of the year. The singer returned to the top of the chart later in the year with "A Boy Named Sue", which spent five weeks at number one. His cumulative total of eleven weeks atop the chart was the highest by any artist in 1969. Merle Haggard, Sonny James and Buck Owens each reached number one with three different singles, the most by any act. All three of James' chart-toppers were cover versions of successful rock and roll and pop songs from the late 1950s and early 1960s; the singer achieved the majority of his more than 20 country number ones with versions of pop songs. Owens also took a country reworking of a rock and roll classic to the top spot, with a live version of Chuck Berry's 1958 song "Johnny B. Goode". Haggard's three chart-toppers included "Okie from Muskogee", one of the best-known songs of his career. (Full article...)
    A black-haired man wearing dark clothing
    Sonny James had three number ones in 1969.

    Hot Country Songs is a chart that ranks the top-performing country music songs in the United States, published by Billboard magazine. In 1969, 23 different singles topped the chart, which was published at the time under the title Hot Country Singles, in 52 weekly issues of the magazine. Chart placings were based on playlists submitted by country music radio stations and sales reports submitted by stores.

    In the issue of Billboard dated January 4, Johnny Cash's single " Daddy Sang Bass" climbed from number 19 to the top spot, replacing " Wichita Lineman" by Glen Campbell. Cash's single remained at number one for six weeks, the longest unbroken run of the year. The singer returned to the top of the chart later in the year with " A Boy Named Sue", which spent five weeks at number one. His cumulative total of eleven weeks atop the chart was the highest by any artist in 1969. Merle Haggard, Sonny James and Buck Owens each reached number one with three different singles, the most by any act. All three of James' chart-toppers were cover versions of successful rock and roll and pop songs from the late 1950s and early 1960s; the singer achieved the majority of his more than 20 country number ones with versions of pop songs. Owens also took a country reworking of a rock and roll classic to the top spot, with a live version of Chuck Berry's 1958 song " Johnny B. Goode". Haggard's three chart-toppers included " Okie from Muskogee", one of the best-known songs of his career. ( Full article...)
  • Image 10 The Grammy Award for Best Dance/Electronic Recording (formerly known as Best Dance Recording) is an award presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to recording artists for works containing quality vocal performances in the dance music and/or electronic music genres. Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position". The award for Best Dance Recording was first presented to Donna Summer and Giorgio Moroder in 1998 for the song "Carry On". In 2003, the Academy moved the category from the "Pop" field into a new "Dance" field, alongside the category Best Dance/Electronic Album. According to the Academy, the award is designated for solo, duo, group or collaborative performances (vocal or instrumental), and is limited to singles or tracks only. (Full article...)
    The Grammy Award for Best Dance/Electronic Recording (formerly known as Best Dance Recording) is an award presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to recording artists for works containing quality vocal performances in the dance music and/or electronic music genres. Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position".

    The award for Best Dance Recording was first presented to Donna Summer and Giorgio Moroder in 1998 for the song "Carry On". In 2003, the Academy moved the category from the "Pop" field into a new "Dance" field, alongside the category Best Dance/Electronic Album. According to the Academy, the award is designated for solo, duo, group or collaborative performances (vocal or instrumental), and is limited to singles or tracks only. ( Full article...)
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