1000 Greatest Songs of All Time Winner Announced!

Total Page:16

File Type:pdf, Size:1020Kb

1000 Greatest Songs of All Time Winner Announced! Media Alert: Tuesday April 18, 2017 1000 Greatest Songs Of All Time Winner Announced! The results are in and MAX fans have spoken! The number one Greatest Song of All Time on MAX is… “Bohemian Rhapsody” by Queen. The ground-breaking 1975 hit from Queen is joined in the Top Ten by iconic artists John Lennon, Guns N’ Roses, Nirvana, Michael Jackson and The Rolling Stones. Hosted by MAX’s legendary music critic, journalist and record producer, Molly Meldrum over the Easter Long Weekend, the 1000 Greatest Songs Of All Time countdown included 11 Johns, four Georges, a King, a Prince and a Queen. The artists who dominated the 1000 Greatest Songs of All Time included INXS, Michael Jackson, George Michael, Queen and David Bowie, however it was U2 who polled the most entries with 14 incredible songs. Music from the 1980s flooded the countdown with 37 percent of the songs, closely followed by the 1990s with 24 percent. Thirty-one artists in the countdown are known only by a mononym including Cher, Madonna, Prince and our very own Sia. The Max 1000 Greatest Songs Of All Time Top 10: 1. “Bohemian Rhapsody” Queen 2. “Sweet Child O' Mine” Guns N' Roses 3. “Smells Like Teen Spirit” Nirvana 4. “Imagine” John Lennon 5. “You're The Voice” John Farnham 6. “Stairway To Heaven” Led Zeppelin 7. “Purple Rain” Prince & The Revolution 8. “It's A Long Way To The Top (If You Wanna Rock ‘n’ Roll)” AC/DC 9. “Thriller” Michael Jackson 10. “(I Can't Get No) Satisfaction” The Rolling Stones The MAX 1000 Greatest Songs Of All Time countdown was determined using viewer votes, feedback from industry experts, chart ratings and song popularity. The full list of all 1000 Greatest Songs of All Time is now live at maxtv.com.au. ** All songs that made the countdown had to have a licensed broadcast quality music video available (e.g. sadly The Beatles are not featured in the countdown because they do not grant permission for their videos to be broadcast on television). maxtv.com.au About Foxtel Foxtel is one of Australia’s most progressive and dynamic media companies, directly employing around 2,800 people and delivering a diverse subscription television service over cable, satellite and broadband distribution. We offer a better entertainment experience every day to each one of our 2.9 million subscribing homes through delivery of new and inspiring programming across all genres, the world’s most popular channel brands, and investment in high quality local content. As constant champions of innovation we have brought customers the iQ personal digital recorder, Australia’s largest HD offering, the Foxtel Go App for tablets and mobile devices, internet TV service, Foxtel Play, subscription on demand (SVOD) entertainment service, Presto and television, broadband and home phone bundles with Foxtel internet and voice services delivered over Australia’s largest telecommunications network. Foxtel is owned by Telstra Corporation Limited ACN 051 775 556 (50%) and News Corporation (50%). foxtel.com.au For more information: Foxtel Publicity [email protected] +61 2 9813 7406 / +61 (0) 412 334 851 .
Recommended publications
  • THE ALLNITERS Will Always Be Remembered for Their Big Sound, Cracking Tunes and Eccentric Exuberance
    THE ALLNITERS will always be remembered for their big sound, cracking tunes and eccentric exuberance. Mischievous and a little bit cheeky, they’re the most successful ska act in Australian history and they’re back: bigger, bolder and brassier than ever after over 30 years, proving once and for all that THE ALLNITERS are Allriters … and evidently ska’d for life. It all began back in 1980 when a group of eight lads and one rude girl gravitated towards charismatic founding member Marty Fabok as the inner-city mod scene was percolating. They nattered, laughed and riffled through their favourite reggae, blues; disco, Jamaican blue beat and rock steady vinyl collections. Jaunty brass and tight rhythm sections were forged and THE ALLNITERS had officially arrived, donning their porkpie hats, braces and Doc Martens and chomping at the bit to burn up the live circuit with upbeat rhythms, walking bass-lines and contagious jocularity. The band cut its teeth as a live act at Sydney’s legendary Sussex Hotel and went on to become one of the hardest touring acts in the country. Attendance records were broken, as were stages, with audience members sometimes storming the stage to out-number the band, egged on by those spilling out the doors, thus threatening structural collapse. Regardless, THE ALLNITERS never failed to amuse, with hysterical, quick-witted onstage banter between vocalists Peter Travis and Brett Pattinson rivaling that of The Two Ronnie’s. The band rapidly became as renowned for their energetic sense of playfulness as for their larger than life new wave sound.
    [Show full text]
  • Lobby Loyde: the G.O.D.Father of Australian Rock
    Lobby Loyde: the G.O.D.father of Australian rock Paul Oldham Supervisor: Dr Vicki Crowley A thesis submitted to The University of South Australia Bachelor of Arts (Honours) School of Communication, International Studies and Languages Division of Education, Arts, and Social Science Contents Lobby Loyde: the G.O.D.father of Australian rock ................................................. i Contents ................................................................................................................................... ii Table of Figures ................................................................................................................... iv Abstract .................................................................................................................................. ivi Statement of Authorship ............................................................................................... viiiii Acknowledgements ............................................................................................................. ix Chapter One: Overture ....................................................................................................... 1 Introduction: Lobby Loyde 1941 - 2007 ....................................................................... 2 It is written: The dominant narrative of Australian rock formation...................... 4 Oz Rock, Billy Thorpe and AC/DC ............................................................................... 7 Private eye: Looking for Lobby Loyde .........................................................................
    [Show full text]
  • [Warning - This Film Contains Nudity and References to Drugs]
    [Warning - This film contains nudity and references to drugs] [What A Life! Rock Photography by Tony Mott - a free exhibition until 7 February 2016. Solid Gold - Jeff Apter & Philip Morris, Metcalfe Theatre, State Library of NSW, 5th December 2015] [Dressed in a black shirt and dark jeans, grey-haired Philip Morris sits beside his interviewer Jess Apter, a bald man dressed casually] [JEFF APTER] Thank you. Before starting, I want to say I was really fortunate to be able to work with Philip on this book. [Jeff Apter holds up a coffee table book] [JEFF APTER] And it was one of the more interesting exercises, wasn't it? Because we were given a directive to come up with... Was it 200 photos? ..for this book. [PHILIP MORRIS] That's right. [JEFF APTER] And Philip's archive is so fantastic and so rich, that I think we got it down to, what, 600? [PHILIP MORRIS] Yeah. [Audience laughs] [JEFF APTER] Was it 600 to start with? It was something like that. And it's staggering, really. It's a really great document of Australian rock history at a really interesting turning point. So to get it down to this... It's begging for a second edition, by the way. There's so many great photos. So it was a real honour to be able to... to do that. It was a lot of fun. [PHILIP MORRIS] Yeah, it was. [JEFF APTER] We actually had built into our contract... Our agreement was an understanding that we would never work in a boring situation.
    [Show full text]
  • Countdown and Cult Music Television Programmes
    Giuffre, Liz Countdown and Cult Music Television Programmes Countdown and cult music television programmes: an Australian case study Liz Giuffre Abstract Music television programs, programs that focus on music for their core content, have been produced all over the world for all types of markets. However there remains little sustained work on them beyond studies of key production periods, franchise waves or biography-like narratives. This article shows that theories of Cult TV can be applied to music television programs to help explore this neglected form, as well as helping to expand Cult TV’s theoretical reach beyond its traditional fare of narrative driven, fiction series. This article offers 1970s and ‘80s Australian music television program Countdown as a prime example of Cult TV, first in the context of its initial production and consumption in 1970s and ‘80s Australia, and also in terms of its subsequent influence on contemporary audiences from a historical perspective. The Cult TV frame extends to the program itself in its original incarnation, as well as additional recontextualisations in new music television programs, and the continued work of its former host, Ian ‘Molly’ Meldrum. Introduction1 Music television is an unusual type of programming. It provides both regular entertainment that is watched intensely while on air, and produces key moments that survive well in audience collective memory. ‘Live’ music performance and interview series Countdown remains an icon of the Australian television and music industries.2 Created by the national public service broadcaster, the Australian Broadcasting Corporation (ABC),3 the show was broadcast from 1974 to 1987 on Sunday evenings and was highly influential with television audiences and the broader music industry.4 Countdown provided opportunities for music artists and audiences to engage with each other in a way that had not previously been possible.
    [Show full text]
  • Advance Praise for Something to Believe In
    Advance praise for Something To Believe In ‘Andrew Stafford’sSomething To Believe In is quite an achievement. It’s all here: part tragicomic tale of a fanboy writer struggling to translate his primal affair with music into a “real” job; part exco- riating account of his ride from adolescence to adulthood and self-discovery; and part blossoming tale of love and forgiveness. Written with great humanity and girded by a soundtrack to die for – which he almost did on more than one occasion – this memoir is a punchy, unputdownable must-read.’ PETER GARRETT ‘A pulsing, rattling jukebox of a music memoir. Drop a coin, find your sound. Rock and punk and pop; the rock bottom and the very top. Love, family, sorrow, pain; the birds, the blues, the brain. A pull out your heart and feed it to anyone rock & roll sock to the core, Something To Believe In is a soaring, sweat-soaked tribute to life’s two great miracles: music and waking up each day to hear it.’ TRENT DALTON ‘Lyrical, wise and full of wonder. Andrew Stafford strips himself bare with courage, candour, and vulnerability.’ TRACEY SPICER ‘Andrew Stafford takes us on an exhilarating ride through his life as birdwatcher, cab driver, roadie, son, lover and writer. His astute and insightful observations on music and politics in Brisbane in particular from the late eighties provide a stunning backdrop to this personal expression of his life story.’ LINDY MORRISON ‘This beautifully written book reminded me of how much music helps us navigate through life, in all its complicated glory.’ MYF WARHURST Andrew Stafford is a freelance journalist and the author of Pig City: From The Saints To Savage Garden, a musical and political history of Brisbane first published in 2004.
    [Show full text]
  • Dogs in Space Tail Credits
    Title: For Christine Introducing MICHAEL HUTCHENCE as Sam SASKIA POST as Anna DEANNA BOND as The Girl NIQUE NEEDLES as Tim TONY HELOU as Luchio CHRIS HAYWOOD as Chainsaw Man Also with Anthony Peter Walsh Clare Laura Swanson Grant Adam Briscomb Leanne Sharon Jessop Nick Edward Clayton-Jones Mark Martii Coles Charles Chuck Meo Jenny Caroline Lee Barbara Fiona Latham Erica Stephanie Johnson Barry Gary Foley Lisa Glenys Osborne Anna's Girlfriends Allanah Hill Robyn McLellan Skinhead Troy Davies Leanne's Brothers John Murphy Troy Davies Owen Roberson Stacey Helen Phillips Chainsaw Woman Kelly Hoare Chainsaw Baby Robyn Lowenstein The Dealer Robert Ratti Sam's Mother Barbara Jungwirth Hardcore Hippie Beamish Elliot Policemen Noel Pennington Ted Fahrner Grant's Girls Michelle Bennett Lian Lunson Crazy George George Maleckas Pierre Hugo Race Terry Towelling Man Joe Camilleri Sales People Liz Meyers Tim McLaughlan Mount Waverley Mum Lillian Wilson Champion Girls Emma Di Clario Sybil Gibb TV Interviewer Helen Gianevsky Anna's Mum Jean Osborne Countdown Announcer Gavin Wood 3RRR D. J. Bohdan and Martha Butler, Kate Doherty, Harriet Freeman, Kelly Gallagher, Angela Howard, Tim Millikan, Marie Hoy, John Murphy, Sarah Newsome, Ollie Olsen, Miriam Smith, Miles Standish and Noah Taylor THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo John Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John
    [Show full text]
  • SYLLABUS Music 15
    SYLLABUS Music 15 – Australian Popular Music Winter 2019 Lecture: Thursday 6:30-9:20pm, SOLIS 107 Final Exam: March 19th, 7pm Professor: Fiona Digney – [email protected] Office Hours: Fridays 2:00–5:00pm, or by appointment, CPMC 155 Teaching Assistants: Berk Schneider - [email protected] Sections: A01 (Monday 10:00am CPMC 136) A02 (Monday 11:00am CPMC 136) Office Hours: TBD Barbara Byers - [email protected] Sections: A03 (Wednesday 11:00am, CPMC 136) A04 (Wednesday 12:00pm, CPMC 136) Office Hours: TBD Juliana Gaona - [email protected] Sections: A05 (Friday 10:00am CPMC 145) A06 (Friday 11:00am CPMC 145) Office Hours: TBD Stephen De-Filippo - [email protected] Sections: A07 (Friday 12:00pm CPMC 145) A08 (Friday 1:00pm CPMC 145) Office Hours: TBD General Overview For a very large country with a relatively small population, Australian popular musicians have had great success worldwide. From ACDC, Skyhooks, Midnight Oil, Jimmy Barnes, and Kylie Minogue, to Temper Trap, Pendulum, Tame Impala, Sia, and Vance Joy, Australians have set out to change the history of music. This course will explore the political and social landscapes that made way for, and were created by these artists, including the Whitlam government initiatives, Triple J radio station, pub rock, and the culture of mateship. Prerequisite: None. Assessment 15% Attendance, preparation, and participation Attendance will be taken at all discussion sections. It is expected you have read and listened to all required materials. Arrive prepared to contribute in discussions. 30% Quizzes Three short quizzes are to be completed online through TritonED. They will be administered weeks four (due: February 3rd), six (due: February 17th), and eight (due: March 3rd).
    [Show full text]
  • CX 23 Countdown 30-41
    FEATURE BACK TO THE FUTURE WITH CX had trouble keeping away when far too many of the old bands we once worked with were dusted off and shown off with brand new production values. Julius Grafton went way down memory lane….. 30 CX 15 NOVEMBER 2006 pectacular it was, and value for money at almost four hours running Stime. Countdown kicked off at 7.30 with John Paul Young singing alone on the thrust stage and a bunch of dance students doing a 2006 version of the Countdown TV show audience - hands outreached, hair akimbo. Half way through ‘Yesterdays Hero’ the rear revolve produces the house band whose work will back most of the acts. There was the voice from the box, Gavin Wood who bantered effortlessly with host Ian ‘Molly’ Meldrum. Molly was the reason Countdown was such a central part of the music industry for two decades, and he is the reason that Michael Gudinski’s Frontier Touring show worked so well. In the first fifteen minutes there were four acts rolled out, looking and sounding as good as the house band and a professional production could make them. Within the first half hour there was rock greatness with the likes of Choirboys showing that you can still manage a long career and play like you mean it. There was cheese, courtesy of the irrepressible Brian Mannix of the Unfunny X-Men, and there was deja-vu with Cheetah, the sister act that came on looking quite fabulous. Real star quality emerged early with Leo Sayer who managed to engage with a female member of the audience, undo Introducing the new WMS400 wireless system from her hair and lay her on the floor of the AKG, which combines ease of use and innovative stage for a kiss, without missing a line of technology with these additional key features and the ballad.
    [Show full text]
  • Memories of Television in Australia
    Sue Turnbull and Stephanie Hanson AFFECT, UPSET AND THE SELF: MEMORIES OF TELEVISION IN AUSTRALIA Abstract In a recent survey inviting people to outline some of their memories of television and its place in their lives, one of the questions asked was: ‘Can you explain why these particular television memories have stayed with you?’ While the responses to this question were complex and individual, some common themes emerged. These included questions of affect; experiences that were ‘beyond the norm’; and moments of self-identification. While the younger age group (15–45 years) slightly favoured the ‘self-identification’ and ‘affect’ categories, for the 46+ combined groups, the major category was the ‘beyond the norm’. The second-most cited factor, given by approximately 50 per cent of the respondents, was that a television memory is made when an event on television somehow becomes intertwined with the life of the individual. In many instances, the event was recalled as a formative or life-changing occurrence. While it is difficult to draw too many conclusions from the data in relation to gender, given that there were more female participants than male, when the data were recast to show percentages within each gender group, it was interesting to note that the male participants rated ‘affect’ most highly while females rated ‘self-identification’ as the most significant factor in the making of a television memory. This article explores these findings in more detail and examines the implications of these data for thinking about the relationship between the medium of television, television audiences and the formation of memories.
    [Show full text]
  • Episode 1 Worlds Collide
    AUSTRALIA: THE STORY OF US is an extraordinary narrative about the people, places and events that have shaped our nation from the first footprints on our continent to the present day. Using astounding visual sequences, this ground-breaking drama documentary series weaves together stories of our origins and offers an original thesis about how we came to create the homeland we inhabit today. Alongside amazing CGI and innovative filming techniques, the series features interviews with important thinkers, notable celebrities and iconic national figures who take us inside the stories that have influenced our history. AUSTRALIA: THE STORY OF US is narrated by Australian actor Richard Roxburgh and features commentary from Australian figures including Associate Professor Charlie Teo, Corporal Ben Roberts-Smith VC MG, Professor Tim Flannery, Reverend Tim Costello, Adam Goodes, Dick Smith, Andrew O’Keefe, Ian Thorpe, Molly Meldrum, Bindi Irwin, Layne Beachley, Dr Karl Kruszelnicki, Rebecca Gibney, Guy Sebastian, Dannii Minogue and Chris Bath. AUSTRALIA: THE STORY OF US is produced by Seven Network Australia and Essential Media. EPISODE 1 WORLDS COLLIDE 45,000 years ago – 1808: The Death Fleet, Megafauna: Pre-historic Australia, Sealing, Pemulwuy and the Frontier Wars, Rum Rebellion Aboriginal Australians thrive and leave their marks on every corner on the driest, inhabited continent on Earth for at least 50,000 years. When 800 British convicts and their guards come to stay, worlds collide. The colonial experiment almost starves and fails when it’s barely begun. We fight American interlopers for the profits of our first resource boom. Under freedom fighter Pemulwuy, the First Australians seek to drive the British back.
    [Show full text]
  • The Never, Um, Ever Ending Story: Life, Countdown and Everything in Between Pdf
    FREE THE NEVER, UM, EVER ENDING STORY: LIFE, COUNTDOWN AND EVERYTHING IN BETWEEN PDF Ian 'Molly' Meldrum | 480 pages | 04 Aug 2015 | Allen & Unwin | 9781760112059 | English | St Leonards, Australia The Never, Um, Ever Ending Story: Life, Countdown and everything in between by Ian Molly Meldrum National Library of Australia. Search the catalogue for collection items held by the National Library of Australia. Enjoy a CovidSafe visit to the National Library. Read more Meldrum, Ian. The never, um, ever ending story : life, Countdown and everything in between. Molly Meldrum's warm, vivid, often hilarious and always compelling account of life in and out of Countdown. More than thirty-five years in the making, this is the story of Ian 'Molly' Meldrum and the television show that stopped the nation. In Molly was working as The Never record producer and music journalist when he was offered the chance to be the talent co-ordinator of a new music show called Countdown. It would run for the next thirteen years and become one of the most-loved and most-watched programs on Australian television. It also turned Molly into a national institution or 'mental institution' as one of Countdown and Everything in Between friends put it. During that period he not only became the most influential voice in Australian music, he endeared himself to millions of viewers with a uniquely unpolished interviewing style and a tangible on-screen passion. Along the way he talked, partied, argued, exchanged The Never and The Never firm friends with a roll-call of the world's greatest musical names.
    [Show full text]
  • The History of Roadrunner (1978-83)
    THE HISTORY OF ROADRUNNER (1978-83) By Donald Robertson Synopsis This is the story of how an Adelaide punk fanzine blossomed into a well-loved national music magazine that chronicled the glory days of Australian post-punk and ‘pub rock’ music in the period 1978-83. The do-it-yourself ethos espoused by the UK punk movement in the mid-1970s was strongly felt in Australia and inspired bands to form, play live and record and release their own records. The concurrent expansion of live music venues across the country (mainly pubs) meant more bands could live, work and play. Roadrunner was also very much a product of this do-it-yourself ethos. From the bunch of evangelical music fans and writers who initially came together, some left and others joined and as those involved became more technically proficient the magazine developed and grew. With no financial backing (until the final despairing issue), Roadrunner survived for five years due to the combination of a posse of enthusiastic (and usually unpaid) contributors, a creative and understanding production crew, a sympathetic printer, the support of key music industry personalities and— perhaps most important of all—a small but dedicated readership. In 2017, the University of Wollongong in New South Wales made all 48 issues of Roadrunner available in a digital archive (at http://ro.uow.edu.au/roadrunner/). The History of Roadrunner 1 IntroduCtion When Martin Sharp, the internationally acclaimed Australian artist, died in 2013, I read that the University of Wollongong had created a digital archive of the Sydney and London Oz magazines that he was such a part of.
    [Show full text]