DOCSLIB.ORG

Pop Fusion - the New Mainstream

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pop Fusion - the New Mainstream Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com Pop Fusion - The New Mainstream The Songs The #1 Hit Club Songwriters New Arrivals & De-Charted Hits Song Structure & Compositional Characteristics Song Attributes Back to Top The Songs: There were a total of 21 songs that landed in the top 10 on the Billboard Pop Songs chart during Q4-2012. Flo Rida and Justin Bieber led the pack with 2 top 10 hits. 1 / 48 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com The #1 Hit Club of Q4-2012: During the last quarter of 2012, 7 of the 21 songs that landed in Billboard Pop Songs top 10 either hit #1 for the first time or peaked at #1 during the previous quarter. The quarter started out with P!nk’s Blow Me (One Last Kiss) at #1, but the second week in Maroon 5?s One More Night took over, commencing its marathon 8 consecutive week run at the top spot. Ke$ha’s Die Young wound up dethroning One More Night in December, holding onto the top spot for 3 consecutive weeks until Locked Out Of Heaven took over during the last week of the year. The #1 Pop Hits of Q4-2012: *Blow Me (One Last Kiss) **Die Young *Give Your Heart A Break *Lights **Locked Out Of Heaven 2 / 48 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com *One More Night *Whistle Note: An (*) indicates that the song was also a #1 hit in the preceding quarter (Q3) An (**) indicates a song that was new to the top 10 in Q4 #1 Hit Primary Sub-Genre Influence Comparison: Q3 vs. Q4 Dance/Club Q3-2012: None of the Dance songs hit #1 in Q3 Q4-2012: None of the Dance songs hit #1 in Q4 Rock Q3-2012: 2 #1 hits Somebody That I Used To Know We Are Young Q4-2012: There weren’t any Rock songs that hit #1 in Q4 Pop Fusion & “Other” Q3-2012: 6 #1 hits Call Me Maybe (Teen Pop, Dance) Give Your Heart A Break (Straight-Up Pop, Dance, Ballad) Lights (Straight-Up Electro Pop, Dance) Payphone (Straight-Up Pop, Dance, Hip Hop/Rap) Whistle (Straight-Up Pop, Hip Hop/Rap) Wide Awake (Electro Pop Ballad) Q4-2012: 7 #1 hits Blow Me (One Last Kiss) (Pop/Rock, Dance) 3 / 48 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com Die Young (Straight-Up Electro Pop, Dance) Give Your Heart A Break (Straight-Up Pop, Dance, Ballad) Lights (Straight-Up Electro Pop, Dance) Locked Out Of Heaven (Pop/Rock, Electro, New Wave, Funk) One More Night (Straight-Up Pop, Reggae) Whistle (Straight-Up Pop, Hip Hop/Rap) Summary Interestingly, for a second quarter in a row none of the primarily Dance natured songs were able to reach the top spot on the Billboard Pop songs chart. Ne-Yo’s Let Me Love You came the closest, peaking at #4. Additionally, the one Rock song (Everybody Talks) stalled at #3 (which was also its peak position in Q3), and couldn’t attain the same level of chart success as its Q3 Rock cohorts Somebody That I Used To Know and We Are Young. The big winners in Q4, as was the case last quarter, were songs that possessed a Fusion of sub-genre influences, most of which incorporated a straight-up Pop or Pop/Rock influence in addition to other elements such as Dance, Hip Hop/Rap or Reggae in the mix. Note that both Die Young and Locked Out Of Heaven were new to the top 10 in Q4, while the others entered the top 10 during Q3. The Songwriters 79 credited songwriters were involved in crafting the 21 hits that landed in the Billboard Pop Songs top 10 during Q4-2012. Of those songwriters, 8 had an especially good quarter, landing 2 top 10 hits. Interestingly, there was no single “hit songwriting champion” during Q4 (i.e. someone who scored more top 10 hits than anyone else), considering that the max was 2 per writer. That being said, 5 of those writers did attain a #1 hit during the quarter, including Benny Blanco (Die Young), Max Martin (One More Night), Shellback (One More Night), Nate Ruess (Die Young), and Flo Rida (Whistle). The Top Songwriters Of Q4-2012 Note: The position denotes the peak position of the song to-date by the end of the quarter 4 / 48 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com An average of 3.76 writers co-wrote each of the 21 top 10 hits during the quarter. Note that this number was virtually the same as last quarter (3.6). New Arrivals vs. De-Charted Hits This section compares the songs that entered into the Pop Songs top 10 for the first time during Q4 against those that didn’t make it back in from Q3, giving you a look at what’s in, what’s out, and where things are headed. NEW TOP 10 ARRIVALS IN Q4-2012 (12 Songs) As you can see, the vast majority (two-thirds) of songs that entered into the Pop songs top 10 5 / 48 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com for the first time during Q4-2012 possessed either a fusion of sub-genre influences or were different in nature than the typical Dance, Rock, Hip Hop/Rap and R&B/Soul songs that usually show up from quarter to quarter. Straight-up Dance songs followed far behind, accounting for one-third of all new arrivals. Additionally, notice that songs that are primarily Rock, Hip Hop/Rap or R&B/Soul in nature were no-shows to the top 10 for the first time during Q4. Dance Songs: Beauty & A Beat Don’t Wake Me Up I Cry Let Me Love You Rock Songs: None R&B/Soul Songs: None Hip Hop/Rap Songs: None Pop Fusion & Other: Die Young (Straight-Up Electro Pop, Dance) Gangnam Style (K-Pop Dance, Hip Hop/Rap) Locked Out Of Heaven (Pop/Rock, Electro, New Wave, Funk) Some Nights (World, Indie/Alt Pop/Rock) Too Close (Alt/Rock, Dubstep) Diamonds (Electro Pop Ballad, R&B) Ho Hey (Indie/Folk) 6 / 48 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com Home (Folk, Pop/Rock) Key Points: Form & Sectional Only 3 out of the 12 songs followed the most popular song structure there is – the straight-up A-B-A-B-C-B form (Don’t Wake Me Up, Let Me Love You and Locked Out Of Heaven). All of the others differed in nature from one another. The average song length for all new arrivals was 3:46, with Dance songs averaging a bit longer than those in the Fusion/Other category (3:51 vs. 3:43). All songs except for 2 (Some Nights and Diamonds) contained an intro in their framework, with the average length landing at 0:13. Only half of all songs contained a pre-chorus. All were from the Fusion/Other category except for Beauty & A Beat (Dance). All of the Dance songs contained a bridge within their framework, while this was the case with only half of the Fusion/Other songs. Only 2 out of 12 songs contained an outro - Locked Out Of Heaven and Some Nights. Half of all songs contained an instrumental break within the mix. Interestingly, it was only the case with 1 of the Dance songs where you would typically expect to see more (Beauty & A Beat). One-third of all songs kicked off with the chorus as opposed to the verse (I Cry, Die Young, Some Nights and Diamonds). On average, first choruses occurred 0:39 (18%) of the way into the song. They hit slightly earlier in Dance songs as opposed to those in the Fusion/Other category. On average, choruses comprised 44% of a song’s total composition, with Dance songs allocating more time than those in the Fusion/Other category (53% vs. 39%). Tempo The average tempo for all new arrivals was 120 bpm. Dance songs, as you would expect, averaged right around 128 bpm (they all landed at 128 except for I Cry, which was 126). Songs in the Fusion/Other category averaged out at 116 bpm. 4 landed in the low to 7 / 48 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com upper 120 range (Die Young, Gangnam Style, Too Close and Home), 3 were on the slower end of the spectrum (Ho Hey, Diamonds and Some Nights), and 1 was quite fast relative to all the others (including those in the Dance category) – Locked Out Of Heaven (144 bpm). The Fusion/Other Category There was quite a bit of diversity in the Fusion/Other category, including a couple of songs that were primarily Folk in nature (Ho Hey and Home), one that fused K-Pop Dance with Hip Hop/Rap (Gangnam Style), one that combined World, Indie/Alt Pop/Rock under one roof (Some Nights), and one that fused Pop/Rock, Electro, New Wave and Funk (Locked Out Of Heaven), amongst others. Instrumentation 58% of all songs exclusively featured electric based instrumentation in the mix. This was followed by 3 that featured a combo of acoustic and electric (Don’t Wake Me Up, Die Young and Some Nights) and 2 that were primarily acoustic in nature (Ho Hey and Home).
Load more

Recommended publications
  • Surround Sound Auteurs and the Fragmenting of Genre
    Alan Williams: Surround Sound Auteurs and the Fragmenting of Genre Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi Williams, A. (2019). Surround Sound Auteurs and the Fragmenting of Genre. In J.-O. Gullö (Ed.), Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi (pp. 319-328). Stockholm: Royal College of Music (KMH) & Art of Record Production. Alan Williams: Surround Sound Auteurs and the Fragmenting of Genre Abstract Multi-channel sonic experience is derived from a myriad of technological processes, shaped by market forces, configured by creative decision makers and translated through audience taste preferences. From the failed launch of quadrophonic sound in the 1970s, through the currently limited, yet sustained niche market for 5.1 music releases, a select number of mix engineers and producers established paradigms for defining expanded sound stages. Whe- reas stereophonic mix practices in popular music became ever more codified during the 1970s, the relative paucity of multi-channel releases has preserved the individual sonic fingerprint of mixers working in surround sound. More- over, market forces have constricted their work to musical genres that appeal to the audiophile community that supports the format. This study examines the work of Elliot Scheiner, Bob Clearmountain, Giles Martin, and Steven Wilson to not only analyze the sonic signatures of their mixes, but to address how their conceptions of the soundstage become associated with specific genres, and serve to establish micro-genres of their own. I conclude by ar- guing that auteurs such as Steven Wilson have amassed an audience for their mixes, with a catalog that crosses genre boundaries, establishing a mode of listening that in itself represents an emergent genre – surround rock.
    [Show full text]
  • An N U Al R Ep O R T 2018 Annual Report
    ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1.
    [Show full text]
  • Songs by Artist
    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
    [Show full text]
  • Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters & Producers Across 900 Popular Songs from 2012-2020
    Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters & Producers across 900 Popular Songs from 2012-2020 Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Karla Hernandez & Kevin Yao March 2021 INCLUSION IN THE RECORDING STUDIO? EXAMINING POPULAR SONGS USC ANNENBERG INCLUSION INITIATIVE @Inclusionists WOMEN ARE MISSING IN POPULAR MUSIC Prevalence of Women Artists across 900 Songs, in percentages 28.1 TOTAL NUMBER 25.1 OF ARTISTS 1,797 22.7 21.9 22.5 20.9 20.2 RATIO OF MEN TO WOMEN 16.8 17.1 3.6:1 ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 ‘19 ‘20 FOR WOMEN, MUSIC IS A SOLO ACTIVITY Across 900 songs, percentage of women out of... 21.6 30 7.1 7.3 ALL INDIVIDUAL DUOS BANDS ARTISTS ARTISTS (n=388) (n=340) (n=9) (n=39) WOMEN ARE PUSHED ASIDE AS PRODUCERS THE RATIO OF MEN TO WOMEN PRODUCERS ACROSS 600 POPULAR SONGS WAS 38 to 1 © DR. STACY L. SMITH WRITTEN OFF: FEW WOMEN WORK AS SONGWRITERS Songwriter gender by year... 2012 2013 2014 2015 2016 2017 2018 2019 2020 TOTAL 11% 11.7% 12.7% 13.7% 13.3% 11.5% 11.6% 14.4% 12.9% 12.6% 89% 88.3% 87.3% 86.3% 86.7% 88.5% 88.4% 85.6% 87.1% 87.4% WOMEN ARE MISSING IN THE MUSIC INDUSTRY Percentage of women across three creative roles... .% .% .% ARE ARE ARE ARTISTS SONGWRITERS PRODUCERS VOICES HEARD: ARTISTS OF COLOR ACROSS SONGS Percentage of artists of color by year... 59% 55.6% 56.1% 51.9% 48.7% 48.4% 38.4% 36% 46.7% 31.2% OF ARTISTS WERE PEOPLE OF COLOR ACROSS SONGS FROM ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 ‘18 ‘19 ‘20 © DR.
    [Show full text]
  • Bridesmaids by Annie Mumolo & Kristen Wiig
    DIRECTOR/E.P.: Paul Feig PRODUCER: Judd Apatow PRODUCER: Barry Mendel PRODUCER: Clayton Townsend CO-PRODUCER: Annie Mumolo CO-PRODUCER: Kristen Wiig ASSOC. PRODUCER: Lisa Yadavaia Bridesmaids by Annie Mumolo & Kristen Wiig This material is the property of So Happy for You! Productions, LLC (A wholly owned subsidiary of Universal City Studios, Inc.) and is intended and restricted solely for studio use by studio personnel. Distribution or disclosure of the material to unauthorized persons is prohibited. The sale, copying or reproduction of this material in any form is also prohibited. FADE IN: EXT. UPSCALE MODERN HOME - NIGHT The ultimate bachelor pad. A Porsche is parked in front of it. ANNIE (O.S.) I’m so glad you called. TED (O.S.) I’m so glad you were free. ANNIE (O.S.) I love your eyes. TED (O.S.) Cup my balls. ANNIE (O.S.) Ok, yes, alright, I can do that. TED (O.S.) Oh, there it is! INT. BEDROOM - CONTINUOUS ANNIE WALKER, mid 30's, is having sweaty sex with TED, handsome, 40. In a series of close-ups and jump cuts, we see Annie in the middle of a very long, vigorous session. ANNIE Oh, that feels good. TED You know what to do! ANNIE I’m so glad I got to see you again. JUMP CUT to see she’s now bouncing on top of him. ANNIE (CONT’D) Oh yes! (then, looking concerned) Uh, okay, wait, hold on. You and I are on different rhythms I think. TED I want to go fast! 2. ANNIE Oh, Okay.
    [Show full text]
  • ARTIST INDEX(Continued)
    ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) FEB CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 13 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT HS 16, 19 BEYONCE STX 14; WM 7 TASHA COBBS LEONARD GA 4, 11, 12, 14; ZACARIAS FERREIRA TSA 17 HOTBOII HS 20 -L- GS 12 21 SAVAGE B200 53; RBA 29; RLP 24; H100 JUSTIN BIEBER B200 187; RBL 24; A40 3, 12, LA FIERA DE OJINAGA RMS 33 STEPHEN HOUGH CL 6 LABRINTH STX 22 100; RBH 36, 38; RP 22 23; AC 7, 11; DA 20, 36; H100 9, 12, 28, 85; COCHREN & CO.
    [Show full text]
  • Songs by Title Karaoke Night with the Patman
    Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P.
    [Show full text]
  • Badfinger Rock N Roll Contract Head First
    Badfinger Rock N Roll Contract Head First Uncurtained Rudy certificates turbidly. Colored and oblate Wyndham eradicated her apperceptions confuse unforgettably or crayoninglowing certainly, and dotings is Zack warningly, psychoanalytical? ailurophilic Dietrich and untreatable. oxidize his pyrethrin faceting continually or excusably after Yanaton Although the overcrowded space between their library on the same time helping a short time had been released music or new to the rock n roll Subscribe to head first contract that the contracts that resulted in. We will be seen evans and roll. Ringo Starr replaced original drummer Pete Best. Thank you through the rock, which they were growing despair and delivery estimates may not load its start in rock n roll contract. Plus the rock n roll radio show her father picked a pauper with. Pete ham being an alternative feel comfortable confiding in badfinger had hanged himself from head first month website organizes giveaways between harck, badfinger rock n roll contract head first. Separate songs did rather than that the music or id that i somehow doubt it was rolling stone magazine called it for another album on new york. Willow springs ranch home only half their badfinger songwriting royalties began appearing at number five weeks later the badfinger rock n roll contract head first contract advances were paid the rock. Although badfinger if they complained about badfinger rock n roll contract head first. He do we are plenty waiting fruitlessly for all the members and recut some elements in the charts and beatles themselves from head first. In the misery, the topic kept touring and writing.
    [Show full text]
  • Artist Title Count PURPLE DISCO MACHINE FEAT. MOSS KENA & THEFIREWORKS KNOCKS 92 LEONY FADED LOVE 83 ONEREPUBLIC RUN 82 ATB FT
    Artist Title Count PURPLE DISCO MACHINE FEAT. MOSS KENA & THEFIREWORKS KNOCKS 92 LEONY FADED LOVE 83 ONEREPUBLIC RUN 82 ATB FT. TOPIC & A7S YOUR LOVE 81 JUSTIN BIEBER FT. DANIEL CAESAR PEACHES 81 COLDPLAY HIGHER POWER 80 IMAGINE DRAGONS FOLLOW YOU 80 OLIVIA RODRIGO GOOD 4 YOU 80 REGARD X TROYE SIVAN X TATE MCRAE YOU 79 ALVARO SOLER MAGIA 74 RITON X NIGHTCRAWLERS FRIDAY 74 LOST FREQUENCES RISE 70 JONAS BLUE FT. AVA SOMETHING STUPID 69 THE WEEKND SAVE YOUR TEARS 69 KUNGS NEVER GOING HOME 68 ED SHEERAN BAD HABITS 68 JUSTIN WELLINGTON FEAT. SMALL JAM IKO IKO 67 MAJESTIC X BONEY M. RASPUTIN 67 ROBIN SCHULZ FT. FELIX JAEHN & ALIDA ONE MORE TIME 66 RAG'N'BONE MAN ALL YOU EVER WANTED 64 DUA LIPA LOVE AGAIN 63 JOEL CORRY FT. RAYE & DAVID GUETTA BED 63 JASON DERULO & NUKA LOVE NOT WAR 62 MEDUZA FT. DERMOT KENNEDY PARADISE 59 AVA MAX MY HEAD & MY HEART 58 DUA LIPA WE'RE GOOD 57 MARTIN GARRIX FEAT. BONO & THE EDGE WE ARE THE PEOPLE 57 JOEL CORRY HEAD AND HEART 56 CALVIN HARRIS FT. TOM GRENNAN BY YOUR SIDE 56 DOJA CAT FEAT. SZA KISS ME MORE 56 PINK ALL I KNOW SO FAR 54 OFENBACH FT. LAGIQUE WASTED LOVE 53 PINK + WILLOW SAGE HART COVER ME IN SUNSHINE 53 MALARKEY SHACKLES (PRAISE YOU) 50 MASTER KG FT. NOMCEBO JERUSALEMA 49 SIA & DAVID GUETTA FLOATING THROUGH SPACE 48 SUPER-HI & NEEKA FOLLOWING THE SUN 48 ALVARO SOLER FT. CALI Y EL DANDEE MANANA 44 MARCO MENGONI MA STASERA 42 AVA MAX EVERYTIME I CRY 41 TATE MCRAE YOU BROKE ME FIRST [LUCA SCHREINER41 REMIX] MAROON 5 LOST 40 OFENBACH & QUARTERHEAD HEAD SHOULDERS KNEES & TOES 38 PS1 FT.
    [Show full text]
  • Art to Commerce: the Trajectory of Popular Music Criticism
    Art to Commerce: The Trajectory of Popular Music Criticism Thomas Conner and Steve Jones University of Illinois at Chicago [email protected] / [email protected] Abstract This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts. Keywords: music journalism, popular music criticism, rock criticism, Rock’s Backpages Though scant scholarship directly addresses this subject, music journalists and bloggers have identified a trend in recent years toward commerce-specific framing when writing about artists, recording and performance. Most music journalists, according to Willoughby (2011), “are writing quasi shareholder reports that chart the movements of artists’ commercial careers” instead of artistic criticism. While there may be many reasons for such a trend, such as the Internet’s rise to prominence not only as a medium for distribution of music but also as a medium for distribution of information about music, might it be possible to discern such a trend? Our goal with the research reported here was an attempt to empirically determine whether such a trend exists and, if so, the extent to which it does.
    [Show full text]
  • (Pdf) Download
    Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air
    [Show full text]
  • BEACH BOYS Vs BEATLEMANIA: Rediscovering Sixties Music
    The final word on the Beach Boys versus Beatles debate, neglect of American acts under the British Invasion, and more controversial critique on your favorite Sixties acts, with a Foreword by Fred Vail, legendary Beach Boys advance man and co-manager. BEACH BOYS vs BEATLEMANIA: Rediscovering Sixties Music Buy The Complete Version of This Book at Booklocker.com: http://www.booklocker.com/p/books/3210.html?s=pdf BEACH BOYS vs Beatlemania: Rediscovering Sixties Music by G A De Forest Copyright © 2007 G A De Forest ISBN-13 978-1-60145-317-4 ISBN-10 1-60145-317-5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of the author. Printed in the United States of America. Booklocker.com, Inc. 2007 CONTENTS FOREWORD BY FRED VAIL ............................................... XI PREFACE..............................................................................XVII AUTHOR'S NOTE ................................................................ XIX 1. THIS WHOLE WORLD 1 2. CATCHING A WAVE 14 3. TWIST’N’SURF! FOLK’N’SOUL! 98 4: “WE LOVE YOU BEATLES, OH YES WE DO!” 134 5. ENGLAND SWINGS 215 6. SURFIN' US/K 260 7: PET SOUNDS rebounds from RUBBER SOUL — gunned down by REVOLVER 313 8: SGT PEPPERS & THE LOST SMILE 338 9: OLD SURFERS NEVER DIE, THEY JUST FADE AWAY 360 10: IF WE SING IN A VACUUM CAN YOU HEAR US? 378 AFTERWORD .........................................................................405 APPENDIX: BEACH BOYS HIT ALBUMS (1962-1970) ...411 BIBLIOGRAPHY....................................................................419 ix 1. THIS WHOLE WORLD Rock is a fickle mistress.
    [Show full text]