DOCSLIB.ORG

THE OFFICIAI UK SINGLES CHART | *0Wèêêêm TOP 75 7 MARCH 1998 111 ■1 |Ê» 5N ^A Iartist? L(Producer)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE OFFICIAI UK SINGLES CHART | *0Wèêêêm TOP 75 7 MARCH 1998 111 ■1 |Ê» 5N ^A Iartist? L(Producer) THE OFFICIAI UK SINGLES CHART | *0WèêêêM TOP 75 7 MARCH 1998 111 ■1 |Ê» 5n ^a IArtist? L(Producer) . Publisher (Wnter} Label QD/Cass (Distributor)7712* ê„ |^ i„ ArtistTille (Producer) Publisher (Writer) Label CD/Cass (Distributor)7"/ir riTLES A-Z P H m™ FROZEN Maverick W 0433CD/W 0433C (W)| oQQ o lî^îll(nfwI QMANueon pefl BEHIND (R,iey| Various THE IRIIey/Woliers/Gailher/Smith) MUSIC InterscopelNDSSSeZ/lNC95562(BMG) -/INT 95562 39 = 3 PLANET LOVE ^ ^ ^ ^ ^ PositivaconvssncnvM(El 2 2 ! MYHEARTpWILL£OON ★ m Epte 6655472W55474/-/-ISM) 40 ' jBAMBOOGIEG f ^ vc Recordings VCRD2afl/CRCM(| oO , 2 ComershopBR1MFUL (Sinph) OF Wiiija/Momentum ASHA • ISinqh) wiiiiawijsiCD/wusiMciv)WIJ 81/- 41 - 2 GOOD ENOUGH (LA VACHER w Ma^rky/Big Lte MLKO 5/MLKC MP) ÛInëwI1 1 THE BALLAD OFTOM JONES GutCDGumcAGUTtsW) 3 SEXY BOY ^ ^ Virgin VSCDl 1672/VSC^I67^Ej T" Space wilh Cerys of Cataionia (Wheatley) Gut/Hit & Run (Scott/Space) -/- 42 »26 g4 2 TRULY MADLY DEEPLY Colombie66M22/6656024ISMI 43 5 AaronCRAZY Conor LITTLE (Ca.ollal Sony PARTY ATV/tdnmn GIRL M.,,a,mo Ultra iCnalrn Pop/Edcl0099645 ri./Ann'ra,,;,:! ULT/I)099519 ULT(P) C 3 5 DOCTOR JONES* UnivemalUMD80457/UMC80457IBMG) 44 30 3 LOCAL BOY IN THE PHOTOGRAPH • ■ zkr'* 7 jNEw] HOW 00 1 LIVE ^ ^ ' CurbCUBCX30/CUB2 30(GRPV/F) 45 [NEW] MIYAKO HIDEAWAY ( ^ LondonLONGO^oJMF) Oi) [Nra/lLiïHÎJ RobynSHOW (Pop/Martin) NIE LOVE Heavy Rotalion/Cheiron/BMG (Robyii/Mattinlrca74321555032/74321555034 -/74321555031 ibmgi HU/ifiiNFwl UlEllJ BlackMARBLES Grape (Sabre/Volaitis/Rydef) Distilîed/WC/EMl/MCAIRydef/Sabre/'Manmado)RadioactiveRAXTO33/-(BMG) -/RAXTSS HSB"";:. " i 32 LEGEND OF A COWGIRL Columbia665601S/66560I4/-/-(SMI/ g s 2 BE A10NE NO MORE ^ No^we^743215^38OT4M3215M74(BMG) 47 7 Irrani Coppola (Mangini) BMG/Peermiisic/Tsanoddnos/Ens:qn/AsT.bei'<'?amous.Dono-/an (Cocpoîa/Manqin-Aeach) | z. .1 0S WHOANII v Greensle8vesGRECD58|GRÊCWSRDI «toAOInf^I TheIF YOU Audience CAN'T (Reevesl DOIT Rondor WHEN (fleevesl YOUREYOUNG, WHENMercury CAN AUDCD YOU 2/-/AUD DOIT? 7J-IR i 1, ,B NEVER EVER *2 LondonL0NCD407/L0NCS407(F) 49 InËwI WHATWOULD HAPPEN CapitolCDCL793/TCCL798(E)| i"! ' 1 t.9 9 ^ANGELSRobbie Williams ★ IChamher/Powerl EMI/8MG (Williams/ChamberslChrysalisCDCHS5072/TCCHS5072(E) -/-S 50» s RENEGADE MASTER 98 O Hi-yfe/Polydor5692792/5692784(F) --n | 9 8 5 GETTIN' JIGGY WIT IT O Columbia 6655605/6655604-/- ISM) 51 * , AUlys NANNY (no crédit) PolyGram IN MANHATTAN IHeasIa») Che/CoalitjonCHE77CD/CHE77C(W)CHE 77/- : Ifl mm YQll'RE STILL THE ONE ^ ^ Mercury 5684932^684924 (FI 36 4 WISHING ON A STAR Northwesiside743215^54632/7432^55^42(BMG) SHr 52 T00MUCH* ^ WrgMOTRjœaWSC 1663(E) I uR liïïïîJ[new] MelaTHEiii caUNFORGIVEN iRock/Hetfiald/Ulrichl II PolyGram/Ctaepiaq Death (Heifield/Ulrich/Hammett)Vertigo metdd re-(FI■/■ 153" 11 | 0 Uïïïll Rn|0ï, Quaya (Bacoa/Quarmy/Quàve) CC Orad arr Quayel -/■ , SOLOMON RITES THE WORM Sucarior Goalitv/A&M BLUED007/BHJEM007(FI 11/ T „ , CamisraLET ME (CamisraAush) SHOW DutyYOU Ereé/EMI (CamîsraAoDuty Free/VC be confimiedl Recordings VCRD 31/VCRC31-AICRTSI (E) 3RR 3 UÏEÏIlfiû™! Wubble-uPETAL (Wubble-U) BMG (Wubble-U) lndolenVRCADG0L 003C01/-|BMG)-/DGOL 003T | g 5 2 WHEN 1 NEED YOU ^ ^ Unity UNin017RCD/UNrrY0I7MC(P) i so- 1S VariousPERFECT (Tbe Music DAY Sculotors/Hanhartl *2 EMI IReedl Chrysalis CDNEEO 01/TCNEEDNEED 01 0 (El ] 10,3 CLEOPATRA'S THEME weaweai33CD/WEAI33C(WI 20BARBIE GIRL *2 UniversalUMD80413AJMC80413(BM 4 is? «29 Aqua (Jam/Delgado/Raslod/Norreen) MCA/Wamer-Chappell (Rasted/Norreen/Dif/Nystrom) Ù."'T!zzzl i 2Q,7 13T0GETHER AGAIN^* k ^ ^ »ginVSCDG1670AfSa|70JEl 58 2 TbaEVERY nandy WatholsDAY SHOULD(Tavlor) CC (Tavlorl BE A HOLIDAY captoiCDCL797/TCCL797iCL 737 i 21 » 2 TREAT INFAMY R ^ ^ RrrFCDSSS/FCSœsm 59 » 3 MUCH LOVE ^ WEAWEA154CD1/WEA154C(W y^zzzz:'^ GOInÊwI THAT'S WHY WE LOSE CONTROL Columbia6651942/6651944(SM) £.£.99 LÏÏÏÏJInSv] |THEPASSENGERflqypop (Baivie/Viscontil EMI/Baq/Jamas Osterbefn/Gardinor/Mainman/FleurVirgin VSCDT1689A/SC IPop/Gardiner) 1689/-/-(E) » tOQnSSÏl J 1 1 Stp.oRnTRULY Houqhtnn (Rir.hiel Rondor IWriaht) RCA74321558552/74321558554(BMG)-/■ loi « 16 Steps5,6,7,8 (Upton/Crosby) O AU Boys/Zomba (Uplon/Crosby) Jive JIVECD 43a/JIVEC 438 |P)-/- Z^ir-zz* 9/1,8 gHIGHO Polydor 5691492/5691484 (El i 6254 uTELETUBBIES SAY EH-0H! *2 BECWorteideMracmwt«B2rV/MxswwIBMGI if*' —? £_ o | jr|h,hiii ibp Family (PpHpn) Pnlyfiram (Turker/Baiyawijl -/- 65 3 TeletubbiosIT'S LIRE (McCrorie-Shand/James) THAT BBC Worldwide/BMG (McCrorie-Shand/Oavenporll-/-Columbia 6652932/- llmportl £.*391; rai HindaHicks{Faragher/Black)WindsweptPaciric/V/C(Earaqher/Golden/Hicks/Oluwa)IF YOU WANT ME lslandCID689/CIS689|F) -/I2IS688 63 40 Run-DMC Vs Jason Nevins (Simmons/Smith) Protoons.'Riish-Groove (Smitri/Simmons/McDan.eis) ■,'6652335 ZSTlTzzz** 2 HAND IN YOUR HEADs ^ ^ MoWaxMwœecD/MwœeMcm ^'ZZZZZZZl fcD•JC ,6 2 TELEFUNKIN'N-Tvce (Bovetlel Sony A7V/D Tree B/MCA (Garrett/Bovette/GreenlTelstarCDSTAS2944/(iASTAS2344IW| -/- 64 r :v, : 27 [n|w] MUSIC IN MY MIND Positiva CDFJTO-IE1 ufiRra «J l " l AgentTHEN0T nn MAGNIFICENTAB0UT(npHman) Pnermnsicyinfemo/WestiiurY/Beach House/EMIinfe (Dedman/RiIey/Ferrorl-/n™cdfernoozmtrc/wiERN 002 ' <£.090 ,5 . BackstreetALL 1 HAVE Boys IFull TO Forçai GIVE ZombalFull O Força) JiveJlVECD44S/JIVEC445(EP|■/- 66 [NEW) US ^ WginGENSDJGENSWMO) 29 22 6 MULDER AND SCULLY BlancoYNegroNEG 109CD/NEG 109C(W) 67 « 3 ONLY THE SlKUNlitSl W1LL bUKVIVt CreabonCRESCD 265/-OMTO " on ,9 6 YOU MAKE ME WANNA... O LaFace74321560652fl4321550504|BMG) OOKfi lInewINEWl Ultrasound(Brass)CC(Ultrasound)BESTWISHES Nudanud33CD/-omv/v)-/NUD33T(10") .zl «JUI Usher (Dupril EMI/BMG/So So Def/Slack AD/URIV (Dupri/Seal/Usher) -/- , MEET HER AT THE LOVE PARADE ^ ManifastoFESCWfl Z£ZZ*.:z:: 31 12 2 IT'S A BEAUTIFULTHING MCAMCSTD40157/MCSCMI5/MCS40157/-IBMGI^ 69 33« Ofc99 1ffiSl 1 MariaNAKED Nayler AND (NowlBS/Fitzqerald) SACRED EM1 (Nowels/Steinherg/Phillips)Deconslruction74321 H424?y74321534244(BMG) -/74321534241 70 2 WHATDust Junkvs TIME (Stonol PolyGramIS IT? (Dus! Junkys/Beaslie Bovs/Davis) Polydor5634912/.-/56M89I (0 Ea""" * S ôô00,4 4 WestSanchezlSonyATVIWes/SanchezîALAN E Epie 6654682/6654684-/Sé54586 (SM) 71| | JïîïïjInËwI CrvslalKEEP Method HOPE (Crvstai ALIVE Melliod) EMI (Jordan/Kirkland) SonvS2CM3CD/-|SMI-/CM 3 SKSOS; O/i ,, „A1NT THAT JUSTTHE WAY O wiidstarcdstas2907/castas2907m 61 mWIND BENEATH MYWINGS RCA7432152927^74321529274(BMG) SSEHS 01 Lutricia McNeal (Benn/larossi/Papalexis/Yacqubl MCA (Larson/Phillips/Bellandl -/- i 72 , ALLSteven AROUNDHouqhton (Wriqhtl THE Wamar-Chappall WORLD OCrealionCRESCD282/CRECS282(3MV/V1(Henley/Silbarl -/-S gg 2, 2 IT'S RAINING MEN...THE SEQUEL Logic7432i5^i2ff4ai5^i4|BMG) 73»58 Oasis (Morns/Gallaqher) Oasis/Creation/Sony ATV (Gallaqher) CRE 282/- Ifj 20 2 MAKETHEWORLD GO ROUND Cba^pionCHAMPCDmcHAMPKffii3MV/BMG) 1 74 14 BABY CAN 1 HOLD YOU/SHOOTING STAR • Pofydor5631672^691644(R MUMn.na, J9 7/ Ulî/ÏJInTwI RichieHARO Sambora TIMES IWasI COMEEMI/PolyGram EASY (Sambora/Supal Marcuty 568697M85024 (F)•/- 75 - EncoreLE DISC (De Tomato) JOCKEY Step By Step/Strongsongs (Raphaele/DeSumCDSUM2/CASUM2(TRC/W] Tomato/Ohmes) -/TSUM 2 i Great British Song Contest XHTî PHENOM ENAL OS .EUT' LEVERT- SWEAT- GILL Sapphire MYBODY l'LL NEVER BE LONELY AGAIN CD • 12" VINYL • CASSETTE. |i| AS SEENWEA1S8 ON CD -THE WEA158CD2 LOTTERY OUT NOW anM vm ir « WARMFR MUSIC UK SALESPERSON OR CALL TELESALE SON 0181 998 5929 i VIUSIC WEEK 7 MARCH 1998 .
Load more

Recommended publications
  • Official Albums Chart Rules
    Rules for Chart Eligibility Albums January 2020 Official Charts Operations Team 020 7620 7450 [email protected] www.officialcharts.com Rules for Chart Eligibility January 2020 INTRODUCTION The following Chart Rules exist to determine eligibility for entry into the Official UK Album Charts. The aim of the Rules is to protect the integrity of the Charts and to ensure that they are an accurate reflection of the popularity of each recording by reference to genuine transactions. The Rules apply equally to all companies issuing and/or distributing recordings. They set out the conditions on which an album will be eligible for inclusion in the Chart. The rules also apply to the UK’s Official genre charts, subject to variation where appropriate. It should be noted that record companies and distributors remain free to package and market their products in any way they choose. However, releases which do not comply with the Rules will not be eligible to be included in the Chart. The Chart Rules are issued by the Official Charts Company in conjunction with the Chart Supervisory Committee (CSC) under the supervision of the Official Charts Company board. The Official Charts Company is responsible for interpreting and applying the Chart Rules on a day-to-day basis under the supervision of the CSC. The Official Charts Company may, at its discretion, refer any matter concerning the interpretation of the Chart Rules with respect to one or more recordings to the CSC, a designated sub-committee of the CSC or the board, for a decision. The decision of the board will be final.
    [Show full text]
  • Years and Years
    Years and Years Years & Years are a three-piece synthpop band, founded in London. Years & Years’ music has been described as electropop, mixing R&B and 1990s house elements. The band’s first studio album,Communion , debuted at number one on the UK Albums Chart in July 2015 and was the fastest-selling debut album of the year from a UK signed band. Their biggest hit single King reached number one in the UK Singles Chart in March 2015, and peaked within the top ten of the charts in Australia, Austria, Bulgaria, Denmark, Germany, Luxembourg, the Netherlands, Ireland and Switzerland. Martha Kinn of Machine Management reflects on how Momentum made a difference to the rapid success of Years & Years. We were at a point where we’d reached the end of the line in terms of what we could do with our own resources. We had a real vision. We had a bit of a fan-base forming; they started to write amazing songs. We wanted to keep going independently. I remember the question (in the Momentum form) “where do you see the band in 3 years time”? We achieved that and more… Momentum funding enabled the band – then unsigned - to go on tour and campaign to further build their audience and profile. The vision was: To have a top ten single and album; to be commercially and creatively credible. We wanted to sell out Brixton. We ended up doing Brixton twice. Martha sees Momentum funding as giving the band additional space and time to develop – its sound, audience and profile – before being signed by a label: The funding gave us an extended life of independence.
    [Show full text]
  • Get 'Em out by Friday the Official Release Dates 1968-78 Introduction
    Genesis: Get ‘Em Out By Friday The Official Release Dates 1968-78 Introduction Depending on where one looks for the information, the original release dates of Genesis singles and albums are often misreported. This article uses several sources, including music paper cuttings, websites and books, to try and determine the most likely release date in the UK for their officially released product issued between 1968 and 1978. For a detailed analysis to be completed beyond 1978 will require the input of others that know that era far better than I with the resources to examine it in appropriate levels of detail. My own collection of source material essentially runs dry after 1978. As most people searching for release dates are likely to go to Wikipedia that is where this search for the truth behind Genesis’ back catalogie. The dates claimed on Wikipedia would themselves have come from a number of sources referenced by contributors over the years but what these references lack is the evidence to back up their claims. This article aims to either confirm or disprove these dates with the added bonus of citing where this information stems from. It’s not without a fair share of assumptions and educated deductions but it offers more on this subject than any previously published piece. The main sources consulted in the writing of this article are as follows: 1. The Genesis File Melody Maker 16 December 1972 2. Genesis Information Newsletter Issue No. 1 October 1976 3. Wax Fax by Barry Lazzell - a series of articles on Genesis releases published in Sounds over several weeks in 1977 4.
    [Show full text]
  • Selling Or Selling Out?: an Exploration of Popular Music in Advertising
    Selling or Selling Out?: An Exploration of Popular Music in Advertising Kimberly Kim Submitted to the Department of Music of Amherst College in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors. Faculty Advisor: Professor Jason Robinson Faculty Readers: Professor Jenny Kallick Professor Jeffers Engelhardt Professor Klara Moricz 05 May 2011 Table of Contents Acknowledgments............................................................................................................... ii Chapter 1 – Towards an Understanding of Popular Music and Advertising .......................1 Chapter 2 – “I’d Like to Buy the World a Coke”: The Integration of Popular Music and Advertising.........................................................................................................................14 Chapter 3 – Maybe Not So Genuine Draft: Licensing as Authentication..........................33 Chapter 4 – Selling Out: Repercussions of Product Endorsements...................................46 Chapter 5 – “Hold It Against Me”: The Evolution of the Music Videos ..........................56 Chapter 6 – Cultivating a New Cultural Product: Thoughts on the Future of Popular Music and Advertising.......................................................................................................66 Works Cited .......................................................................................................................70 i Acknowledgments There are numerous people that have provided me with invaluable
    [Show full text]
  • BDC 2005 Draft Version
    British Chart Books Classied BDC 2005 Draft Version edited and compiled by Dipl.-Bibl.(FH) Tobias Zywietz 27.04.2005 Dipl.-Bibl. (FH) Tobias Zywietz Hauptstrasse 10 D-75245 Neulingen Germany www.zobbel.de This book is copyright c Tobias Zywietz 2005. All rights reserved. The contents and layout of this book are covered by international Copyright. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, internet, online, mechanical, photocopying, recording or otherwise, without the prior written permission of the copyright owner. This publication is provided free of charge for download from the publisher's website under the condition that it may not be used to compile other directories, books, bibliograhies, electronic publications, &c., without express written permission of the publisher. The publisher has taken all reasonable measures to ensure the accuracy of the information in this work and cannot accept responsibility or liability for errors in omission from any information given in this work, or for any consequences arising. The charts represent a facet of economic life but one that diers in its implications as between producer and consumer. The producer lives and dies by the charts, whilst the consumer can enjoy a form of bounded recreation. The charts are a game that we can envolve ourselves in for a while if we get pleasure out of doing so. Like the football league tables, they invite us to look and to judge, to become commentators and even participants in a small way. Not only can we know who had their rst three hits at number one, but we can volunteer an opinion on them too.
    [Show full text]
  • The Top of the Poppers Sing and Play Punk
    Title The Top of the Poppers sing and play punk Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14980/ Dat e 2 0 1 9 Citation Bestley, Russ (2019) The Top of the Poppers sing and play punk. Punk & Post Punk, 8 (3). pp. 399-421. ISSN 2044 1 9 8 3 Cr e a to rs Bestley, Russ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The Top of the Poppers sing and play punk Russ Bestley, London College of Communication By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk, and the concomitant shift toward ‘new wave’ styles, led to a degree of UK chart success for a number of groups. The inclusion of punk and new wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the longstanding budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologised ‘outsider status’.
    [Show full text]
  • BTS' 'Life Goes On' Launches As Historic No. 1 on Billboard Hot
    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth NOVEMBERAirplay 30, 2020 Page 1 of 36 Leader; Travis Denning Makes History INSIDE BTS’ ‘Life Goes On’ Launches as Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music GroupHistoric Nashville), debuts at No. 1 on No. Billboard’s 1lion on audience Billboard impressions, up 16%). Hot 100 Top• CountryBTS Earns Albums Fifth chartNo. dated April 18. In its first week (ending April 9), it earned1 Album 46,000 on Billboardequivalent album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording200 toChart Nielsen With Music/MRC ‘Be’ Data. and totalBY GARY Country TRUST Airplay No. 1 as “Catch” (Big Machine Label Group) ascends Southside marks Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chart• and Why fourth The Musictop 10. It followsBTS freshman’ “Life Goes LP On” soars onto the Billboard Hot ending Nov. 26,Young’s according first ofto six Nielsen chart entries,Music/MRC “Sleep With- Publishing Market Is Montevallo, which arrived at the summit songs in chart No - at No. 1. Data. It alsoout earned You,” 410,000 reached No.radio 2 in airplay December audience 2016. He Still Booming — And 100 vember 2014 and reigned for nine weeks.The song To date, is the South Korean septet’s third Hot 100 impressionsfollowed in the week with the ending multiweek Nov.
    [Show full text]
  • Case No COMP/M.6459 - SONY/ MUBADALA DEVELOPMENT/ EMI MUSIC PUBLISHING
    EN Case No COMP/M.6459 - SONY/ MUBADALA DEVELOPMENT/ EMI MUSIC PUBLISHING Only the English text is available and authentic. REGULATION (EC) No 139/2004 MERGER PROCEDURE Article 6(1)(b) in conjunction with Art 6(2) Date: 19/04/2012 In electronic form on the EUR-Lex website under document number 32012M6459 Office for Publications of the European Union L-2985 Luxembourg EUROPEAN COMMISSION In the published version of this decision, some Brussels, 19/04/2012 information has been omitted pursuant to Article C(2012) 2745 17(2) of Council Regulation (EC) No 139/2004 concerning non-disclosure of business secrets and PUBLIC VERSION other confidential information. The omissions are shown thus […]. Where possible the information omitted has been replaced by ranges of figures or a general description. MERGER PROCEDURE To the notifying parties: Dear Sir/Madam, Subject: Case No. COMP/M.6459– Sony/ Mubadala/ EMI Music Publishing Commission decision pursuant to Article 6(1)(b) in conjunction with Article 6(2) of Council Regulation No 139/20041 1. On 27 February 2012, the Commission received a notification of a proposed concentration pursuant to Article 4 of Council Regulation (EC) No 139/2004 by which Sony Corporation of America and Mubadala Development Company PJSC acquire within the meaning of Article 3(1)(b) of the Council Regulation joint control of the whole of the undertaking EMI Music Publishing, which currently forms part of the EMI Group, by way of purchase of shares and assets. Sony and Mubadala are collectively referred to as “the Parties”. EMI Music Publishing will be administered by Sony/ATV.
    [Show full text]
  • Til the World Ends Pdf Free Download
    TIL THE WORLD ENDS PDF, EPUB, EBOOK Julie Kagawa,Ann Aguirre,Karen Duvall | 361 pages | 29 Jan 2013 | Luna Books | 9780373803491 | English | Don Mills, Ont., Canada Til the World Ends PDF Book Retrieved January 30, Archived from the original on March 14, As the second verse begins, she dances provocatively with her male dancers. Swiss Hitparade. Retrieved April 7, Slant Magazine. Pieces of April When I hear that, I fucking blow the speakers out and I order everybody to dance. Retrieved May 18, Retrieved May 22, Retrieved March 14, Then they added the Nicki Minaj verse. Entertainment Weekly. She also joined Spears to perform the verse in select cities. It stayed for seventeen weeks on the chart. Sweden Sverigetopplistan [38]. Retrieved September 24, As the second verse begins, she dances provocatively with her male dancers. Boston Herald. The melody's cross-rhythm continues into a chant-like segment, in which "whoa-oh-oh-oh" is repeated. The New York Times Company. Israeli Airplay Chart. Retrieved July 17, Artist: Three Dog Night. An accompanying music video for the "Till the World Ends" was released on April 6, Like, when I hear my own songs on the radio I have to kind of turn it down or change the radio or whatever. US Billboard Hot [63]. Retrieved May 4, Plus, sweaty dancers in tunnels pulsing and writhing in sync to the music? Yes No. December 13, Irish Singles Chart. Recorded Music NZ. Archived from the original on May 10, Select "Tutti gli anni" in the "Anno" drop-down menu. Luke production, but "somehow it's Brit that manages to come out on top.
    [Show full text]
  • Son.Writers & Publishers
    Son.writers & Publishers ARTISTS & MUSIC NO_ 7 SONG CRE TI TL E - W R I T E R - P LI B L I A Short -List Of German Global Hits THE HOT 100 CANDLE IN THE WIND 1997 /SOMETHING ABOUT THE WAY YOU LOOK TONIGHT Elton John, Bernie Taupin Songs Of Polygram Int'I /BMI, William A. Bong/PRS, Warner -Tamerlane /BMI, Wretched /ASCAP, WB /ASCAP Country Continues To Contribute To Int'l Pop HOT TRACKS COUNTRY SINGLES & LONGNECK BOTTLE Steve Wariner, Rick Carnes Steve Wariner /BMI, PSO Limited /ASCAP, BY ELLIE WEINERT group Sash! The group, comprising Freudenthaler and Volker Hinkel of the Songs Of Peer /ASCAP dance producer/writers Thomas'Alis- pop act Fool's Garden, who are signed HOT R &B SINGLES MY BODY Darrell Allamby, Lincoln Browder, Antionette Roberson Tonl Robi /ASCAP, MUNICH -Pop songs with origins in son" Lüdke, Ralf "Kappi" Kappmeier, to EMI Music Publishing, have 2000 Watts /ASCAP Germany have been making successful and DJ Sascha Lappessen, struck it achieved enviable success not only in HOT RAP SINGLES trips abroad. really big with its second single, "En- Europe but in Asia -Pacific markets. IT'S ALL ABOUT THE BENJAMINS /BEEN AROUND THE WORLD S. Jacobs, J. Phillips, D. Styles, Christopher Wallace, K. Jones, Sean "Putty" Combs Doric Angelettie, David Bowie Sheek That current success is a continua- core Une Fois" (One More Time) Their song "Lemon Tree" won "song of Louchfon /ASCAP, Jae'wons /ASCAP Panlro's /ASCAP? Big Poppa/ASCAP, EMI April /ASCAP, tion of the nation's past contributions to (Mighty/Polydor), which has been a hit the year" in the annual airplay awards Undeas/BMI, Crazy Cat Catalog /ASCAP the contemporary pop scene.
    [Show full text]
  • Public Index of Apple Inc. Exhibits
    Public Index of Apple Inc. Exhibits EX. NO. DESCRIPTION BEG BATES END BATES Introducing Apple Music - All the Ways you Love Music. All in One Placce, Apple, http://www.apple.com/pr/library/2015/06/08Introducing-Apple-Music-All- APL-001 APL-PHONO_00000412 APL-PHONO_00000413 The-Ways-You-Love-Music-All-in-One-Place-.html, June 8, 2015, accessed August 5, 2015 APL-002 Report: RESTRICTED — Subject APL-PHONO_00004285 APL-PHONO_00004285 Agreement:t P RESTRICTED O —i Subject to Protective Order in Docket No. APL-003 16-CRB-0001-PR (2018-2022) (Phonorecords III) APL-PHONO_00005380 APL-PHONO_00005386 Agreement: RESTRICTED — Subject to Protective Order in Docket APL-004 No. 16-CRB-0001-PR (2018-2022) (Phonorecords III) APL-PHONO_00005387 APL-PHONO_00005387 Agreement: RESTRICTED — Subject to Protective Order in Docket APL-005 No. 16-CRB-0001-PR (2018-2022) (Phonorecords III) APL-PHONO_00005388 APL-PHONO_00005398 Agreement: RESTRICTED — Subject to Protective Order in Docket No. 16- APL-006 CRB-0001-PR (2018-2022) (Phonorecords III) APL-PHONO_00005399 APL-PHONO_00005404 Spreadsheet:RESTRICTED — Subject to Protective Order in APL-007 Docket No. 16-CRB-0001-PR (2018-2022) APL-PHONO_00006828 APL-PHONO_00006828 Spreadsheet:RESTRICTED(Ph d —III) Subject to Protective Order in Docket APL-008 No. 16-CRB-0001-PR (2018-2022) (Phonorecords III) APL-PHONO_00008620 APL-PHONO_00008623 Spreadsheet:RESTRICTED — Subject to Protective Order in Docket APL-009 No. 16-CRB-0001-PR (2018-2022) (Phonorecords III) APL-PHONO_00008624 APL-PHONO_00008626 Report: News and Notes
    [Show full text]
  • Download the Official Singles Chart
    Rules for Chart Eligibility Singles January 2020 Official Charts Operations Team 020 7620 7450 [email protected] www.officialcharts.com Rules for Chart Eligibility January 2020 INTRODUCTION The following Chart Rules exist to determine eligibility for entry into the Official UK Singles Chart. The aim of the Rules is to protect the integrity of the Charts and to ensure that they are an accurate reflection of the popularity of each recording by reference to genuine transactions. The Rules apply equally to all companies issuing and/or distributing recordings. They set out the conditions on which a recording will be eligible for inclusion in the Chart. The rules also apply to the UK’s Official genre charts, subject to variation where appropriate. It should be noted that record companies and distributors remain free to package and market their products in any way they choose. However, releases which do not comply with the Rules will not be eligible to be included in the Chart. The Chart Rules are issued by the Official Charts Company in conjunction with the Chart Supervisory Committee (CSC) under the supervision of the Official Charts Company board. The Official Charts Company is responsible for interpreting and applying the Chart Rules on a day-to-day basis under the supervision of the CSC. The Official Charts Company may, at its discretion, refer any matter concerning the interpretation of the Chart Rules with respect to one or more recordings to the CSC, a designated sub-committee of the CSC, or the board, for a decision. The decision of the board will be final.
    [Show full text]