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Chart Book Template
Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts. -
Singles Chart-Chronology
Chart - History Singles All chart-entries in the Top 100 Peak:13 Peak:1 Peak: 1 Germany / United Kindom / U S A Four Tops No. of Titles Positions The Four Tops are a vocal quartet from Detroit, Peak Tot. T10 #1 Tot. T10 #1 Michigan, USA, who helped to define the city's 13 7 -- -- 60 -- -- Motown sound of the 1960s. The group's 1 32 11 1 319 38 3 repertoire has included soul music, R&B, 1 45 7 2 382 38 4 disco, adult contemporary, doo-wop, jazz, and show tunes. 1 52 14 2 761 76 7 Founded as the Four Aims, lead singer Levi Stubbs, Abdul "Duke" Fakir, Renaldo "Obie" Benson and Lawrence Payton remained together for over four decades, performing from 1953 until 1997 without a change in personnel. ber_covers_singles Germany U K U S A Singles compiled by Volker Doerken Date Peak WoC T10 Date Peak WoC T10 Date Peak WoC T10 1 Baby I Need Your Loving 08/1964 11 12 2 Without The One You Love (Life's Not Worth While) 11/1964 43 5 3 Ask The Lonely 02/1965 24 8 4 I Can't Help Myself 07/1965 10 20 11005/1965 1 2 14 5 It's The Same Old Song 09/1965 34 8 07/1965 5 9 4 6 Ain't That Love 07/1965 93 1 7 Something About You 11/1965 19 7 8 Shake Me, Wake Me (When It's Over) 02/1966 18 9 9 Loving You Is Sweeter Than Ever 07/1966 21 12 05/1966 45 8 10 Reach Out, I'll Be There 12/1966 13 7 10/1966 1 3216 7709/1966 1 15 11 Standing In The Shadow Of Love 03/1967 29 2 01/1967 6 7 3512/1966 6 10 12 Bernadette 03/1967 8 17 2503/1967 4 10 13 7 Rooms Of Gloom 06/1967 12 9 05/1967 14 8 14 I'll Turn To Stone 07/1967 76 5 15 You Keep Running Away 10/1967 26 7 09/1967 19 -
The Social and Cultural Changes That Affected the Music of Motown Records from 1959-1972
Columbus State University CSU ePress Theses and Dissertations Student Publications 2015 The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 Lindsey Baker Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Baker, Lindsey, "The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972" (2015). Theses and Dissertations. 195. https://csuepress.columbusstate.edu/theses_dissertations/195 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 by Lindsey Baker A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the degree of Bachelor of Music in Performance Schwob School of Music Columbus State University Thesis Advisor Date Dr. Kevin Whalen Honors Committee Member ^ VM-AQ^A-- l(?Yy\JcuLuJ< Date 2,jbl\5 —x'Dr. Susan Tomkiewicz Dean of the Honors College ((3?7?fy/L-Asy/C/7^ ' Date Dr. Cindy Ticknor Motown Records produced many of the greatest musicians from the 1960s and 1970s. During this time, songs like "Dancing in the Street" and "What's Going On?" targeted social issues in America and created a voice for African-American people through their messages. Events like the Mississippi Freedom Summer and Bloody Thursday inspired the artists at Motown to create these songs. Influenced by the cultural and social circumstances of the Civil Rights Movement, the musical output of Motown Records between 1959 and 1972 evolved from a sole focus on entertainment in popular culture to a focus on motivating social change through music. -
Motown Pop and Southern Soul
UNIT 7 (P. 222-235) CHAPTER 6: MOTOWN POP AND SOUTHERN SOUL Intro Until early 60’s, many African-Americans blocks from mainstream success by white covers o Majority of African-American recording artists signed to independent labels, and recordings’ popularity could be easily eclipsed by major label versions British invasion bands took much of early inspiration from African-American popular music By 1965, situation in youth-music market had significantly improved for black artists wanting mainstream hits Among most important developments was music that came from Motown Records (independent company; most important era of success parallels that of the Beatles) and the emergence of southern soul from Memphis American rock press that emerged in mid-60’s often cast Motown as black pop music that made too many concessions to white sensibilities – selling out its “blackness” to make money in white market; while southern soul portrayed as music that makes no excuses for its blackness, staying closer to origins in black culture o Perception of racial authenticity after music accepted into white mainstream o Crossover so prevalent; December ’63 – January ’65, Billboard stopped tracking R&B charts separately Berry Gordy, Jr. and Black Music for White Audiences Go Where the Money Is: White Kids and Disposable Income Berry Gordy, Jr.: professional boxer in Detroit area, worked for father’s construction company, owned a record store, and worked on Ford assembly line; spent a lot of time in Detroit’s jazz clubs – jazz = not key to success in music -
(1925-2014) Horn Arrangements for the Four Tops and the Temptations: a Lecture Recital
SMITH, RUSSELL ALAN, D.M.A. Gil Askey’s (1925-2014) Horn Arrangements for the Four Tops and the Temptations: A Lecture Recital. (2016) Directed by Prof. Timothy M. Clodfelter. 31 pp. 1. Solo Recital: Wednesday, April 23rd, 2014, 7:30 P.M., Recital Hall, UNCG. Caprice (Joseph Turrin); Sonata for Trumpet and Piano (Eric Ewazen); Concerto in C (Antonio Vivaldi); Quatre Variations sur un Theme de Domenico Scarlatti (Marcel Bitsch); All The Way (James Van Heusen) 2. Solo Recital: Sunday, February 15th, 2015, 5:30 P.M., Recital Hall, UNCG. Strap On Your Lobster (James Mobberley); Sonata for Trumpet and Piano (Kent Kennan); Fandango (Joseph Turrin); Songs of a Wayfarer (Gustav Mahler); Nocturno (Franz Strauss); The Preacher (Horace Silver) 3. Solo Recital: Wednesday, April 6th, 2016, 7:30 P.M., Organ Hall, UNCG. Postcards (Anthony Plog); Caprice (Eugen Bozza); Oblivion (Astor Piazzolla); The Rose Variations (Robert Russell Bennett); Concerto for Trumpet (Johann Neruda); Elegy (George Thalben-Ball) 4. D.M.A. Research Project. GIL ASKEY’S (1925-2014) HORN ARRANGEMENTS FOR THE FOUR TOPS AND THE TEMPTATIONS: A LECTURE RECITAL. This document accompanies a lecture recital that provided background biographical information and suggested techniques for performing the horn section arrangements of the Four Tops and the Temptations in a live setting. Introductory information about the scope and significance of the project and background biographical information about Motown Records Company and arranger Gil Askey were discussed. The logistical and performance challenges that must be addressed when executing these horn arrangements were explored as well. An examination of the melodic, harmonic and rhythmic elements contained in the horn section arrangements was presented along with stylistic performance considerations. -
Capturing That Solid-Gold Nugget
Chapter 1 Capturing That Solid-Gold Nugget In This Chapter ▶ Gathering song ideas from anywhere ▶ Organizing and tracking your thoughts and inspirations ▶ Documenting your ideas his book is for everyone who shares the dream of harnessing the song- Twriting power we all have within. You’ve come to the right place if your heart keeps telling you to write a song, but your mind is uncertain as to the process of the craft or what’s required to create a really good song. You bought the right book if you’re wondering how to collect and organize your ideas. You have found the right resource if you have pieces of songs lying in notebooks and on countless cassettes but can’t seem to put the pieces together. This book is for you if you have racks of finished song demos but don’t know what to do next to get them heard. When you know the elements that make up a great song and how the pros go about writing one, you can get on the right path to creating one of your own. Unless you’re lucky enough to have fully finished songs come to you in your deepest dreams, or to somehow take dictation from the ghosts of Tin Pan Alley (the publishing area located in New York City in the 1930s and 1940s), most of us need to summon the forces, sources, reasons, and seasons that give us the necessary motivation to draw a song from our heart of hearts. Given that initial spark, you then need the best means of gathering those ideas, organizing them, putting them into form, and documenting them as they roll COPYRIGHTEDin — before it’s too late and they MATERIAL roll right out again! Have you ever noticed how you can remember a powerful dream just after you’ve awakened only for it to vanish into thin air in the light of day? Song ideas can be just as illusive. -
August 3, 2012 Volume CXXXVI, Issue 36 Hitsville, U.S.A
Ankur Patankar and Greg Funka | Photo Illustration Seventy-Five Cents Chautauqua, New York The Offi cial Newspaper of Chautauqua Institution | Friday, August 3, 2012 Volume CXXXVI, Issue 36 Hitsville, U.S.A. ZOLLI Zolli explores THE TEMPTATIONS impact of our digital selves on the world RABAB AL-SHARIF Staff Writer With origins in the small town of Camden, Maine, the THE FOUR TOPS global innovation network PopTech could be considered a distant cousin of Chautau- qua Institution, said Andrew Zolli, the organization’s ex- ecutive director and curator. THE LOVE OF WHAT WE’RE DOING, THE LOVE “We bring the world’s creative community to this FOR THE MUSIC, IT KEEPS YOU YOUNG small town in much the same Lawrence Payton Jr. way that Chautauqua brings some of the world’s best thinkers and leaders to its community,” he said. MARY DESMOND original Top, Lawrence Pay- said. “The audience — I want- bum Meet the Temptations. In This morning, Zolli will Staff Writer ton. “We feed off each other ed to take them on the road 1964, their fame spread with close Week Six’s lecture plat- like that, and it really comes with me.” release of the pop single, “My form on “Digital Identity” at he Temptations and out good for the fans, because The Temptations and the Girl.” 10:45 a.m in the Amphithe- the Four Tops, reign- we’re always pushing enve- Four Tops both emerged in Since the 1960s, the Temp- ater. His lecture will focus on ing kings of Motown lopes.” the heart of Motown music in tations, led by founder Otis the intersection between our Tmusic, will light up the stage Tonight is not the fi rst time Detroit during the 1960s, the Williams, with an ever- digital selves and real world at 8:15 p.m. -
Marvin Gaye, “What's Going On” (1971)
Marvin Gaye, “What’s Going On” (1971) “What’s Going On” began as a conversation be- tween Renaldo Benson, a member of Motown’s Four Tops vocal group, and Al Cleveland, a staff songwrit- er for the label. While on tour in 1969 in Berkeley, CA, Benson witnessed a violent confrontation between anti-Vietnam War demonstrators and police. Trou- bled by the experience, he shared his concerns with Cleveland, who turned the vocalist’s impassioned musings into a song. After the Four Tops declined to record the tune, Benson took the composition to an- other Motown artist, chart-topper Marvin Gaye. The pairing was well-timed. By 1969, Marvin Gaye had become disillusioned with his status as a pop star. The 1965 Watts Riots in Los Angeles, which was the result of a decades-long strained relationship between the local African-American community and po- lice, had proved a turning point for the singer. Gaye later explained in a 1974 interview: “I remember I was listening to a tune of mine playing on the radio, when the announcer interrupted with news about the Watts riot. My stomach got real tight and my heart started beating like crazy. I wanted to throw the radio down and burn all the songs I’d been singing and get out there with the rest of the brothers. I knew they were going about it wrong, I knew they weren’t thinking, but I understood anger that builds up over years, and I felt myself ex- ploding. Why didn’t our music have anything to do with this? Wasn’t music supposed to express feelings? I wondered to myself, ‘With the world exploding around me, how am I supposed to keep singing love songs?’ Gaye vowed to stop recording and performing what he considered vapid romantic songs. -
Journal of the Senate 92Nd Legislature REGULAR SESSION of 2004
No. 51 STATE OF MICHIGAN Journal of the Senate 92nd Legislature REGULAR SESSION OF 2004 Senate Chamber, Lansing, Tuesday, May 25, 2004. 10:00 a.m. The Senate was called to order by the Assistant President pro tempore, Senator Alan Sanborn. The roll was called by the Secretary of the Senate, who announced that a quorum was present. Allen—present Emerson—present Olshove—present Barcia—present Garcia—present Patterson—present Basham—present George—present Prusi—present Bernero—present Gilbert—present Sanborn—present Birkholz—present Goschka—present Schauer—present Bishop—present Hammerstrom—present Scott—present Brater—present Hardiman—present Sikkema—present Brown—present Jacobs—present Stamas—present Cassis—present Jelinek—present Switalski—present Cherry—present Johnson—present Thomas—excused Clark-Coleman—present Kuipers—present Toy—present Clarke—present Leland—present Van Woerkom—present Cropsey—present McManus—present 920 JOURNAL OF THE SENATE [May 25, 2004] [No. 51 Father Denny Stillwell of St. Francis Catholic Church of Petoskey offered the following invocation: Almighty and Eternal God, Lover of humankind, You’ve revealed Your glory to people of every race, color, and creed. You count each and every one of us among Your children, and You entrust to each of us a role in the co-building of Your kingdom. When we pool our individual talents and life perspectives, we are able to accomplish Your will with wisdom and confidence. It is we, who are Your children, who pray this day for Jennifer Granholm, our Governor for the state of Michigan, for the members of the Legislature, and for all elected civil officials. -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 25 WHAT'S GOING ON, Marvin Gaye Produced by Marvin Gaye; written by Al Cleveland, Marvin Gaye, and Renaldo Benson Tamla 54201 1971 Billboard: #2 "What's Going On" wasn't the same kind of breakthrough as "Papa's Got a Brand New Bag" or Sly and the Family Stone's "Dance to the Music." But it did establish a new kind of adult black pop by bathing Gaye's voice in an almost weightless atmosphere of post-psychedelic rhythm and harmony. "What's Going On" is the matrix from which was created the spectrum of ambitious black pop of the seventies: everything from the blaxploitation soundtracks of Curtis Mayfield to Giorgio Moroder's pop-disco. Not bad for a record whose backing vocalists include a pair of pro football players. But neither its influence nor its role in breaking the grip of the Motown machine is what makes "What's Going On" great. It's great because it's every bit as gorgeous as it is ambitious. After making it, "I felt like I'd finally learned how to sing," Gaye told biographer David Ritz. Gaye taught himself to "relax, just relax," which resulted in a vocal that moves through a dreamscape in which facts and wishes are equally terrible. The song is most famous for attacking war and poverty but it's also an affirmation of love. And that's why, for all its references to long hair and Vietnam, "What's Going On" will never sound dated. At its best "What's Going On" amalgamates soul and Latin jazz, but at times it's so laid-back that it approaches Hollywood schmaltz. -
Sidestep-Programm - Gesamt 3 - Nach Stilistik
Sidestep-Programm - Gesamt 3 - nach Stilistik Titel Komponist (Interpret) Stil All Shook Up Otis Blackwell (Elivis Presley) Blues&Rock'n'Roll Before You Accuse Me Ellas McDaniel (Bo Diddley; Eric Clapton) Blues&Rock'n'Roll Blue Suede Shoes (1 for the money...) Carl Lee Perkins Blues&Rock'n'Roll Boom Boom John Lee Hooker Blues&Rock'n'Roll Call It Stormy Monday Aaron "T-Bone" Walker Blues&Rock'n'Roll Crazy Little Thing Called Love Freddie Mercury (Queen) Blues&Rock'n'Roll Dirty Boogie, The Brian Setzer (Brian Setzer Orchestra) Blues&Rock'n'Roll Eight Days a Week John Lennon, Paul McCartney (The Beatles) Blues&Rock'n'Roll Erzherzog Johann Jodler (Wo i geh' und Anton Schosser Blues&Rock'n'Roll steh') Everybody Needs Somebody (To Love) Bert Berns, Solomon Burke, Jerry Wexler (Solomon Burke, Blues Brothers, Rolling Stones, et al.) Blues&Rock'n'Roll Folsom Prison Blues Johnny Cash Blues&Rock'n'Roll Great Balls of Fire (bam-bam-bam-bam) Otis Blackwell, Jack Hammer (Jerry Lee Lewis) Blues&Rock'n'Roll Green Onions Booker T. Jones, Steve Cropper, Al Jackson Jr., Lewie Steinberg (Booker T. & the MG's) Blues&Rock'n'Roll Hello Josephine Fats Domino, Dave Bartholomew (Fats Domino) Blues&Rock'n'Roll Hoch vom Dachstein an (Steirische Jakob Dirnböck, Ludwig Carl Seydler Blues&Rock'n'Roll Landeshymne) Hoochie Coochie Man Willie Dixon (Muddy Waters, Eric Clapton, et al.) Blues&Rock'n'Roll Hound Dog Jerry Leiber, Mike Stoller (Big Mama Thornton, Elvis Presley, et al.) Blues&Rock'n'Roll I Just Wanna Make Love to You Willie Dixon (Etta James) Blues&Rock'n'Roll In die Berg bin i gern Trad. -
English Songs List 3600 Hi
ENGLISH SONGS LIST 3600 HI code # SONG SINGER 1 40608 98.6 KEITH 2 33642 1234 FEIST 3 33643 1973 JAMES BLUNT 4 41750 5150 EDWARD VAN HALEN 5 41896 23346 FOUR SEASONS 6 33644 1 THING AMERIE 7 40085 100 POUNDS OF CLAY 8 41341 100% PURE LOVE CRYSTAL WATERS 9 40841 19 HUNDRED AND 85 PAUL MCCARTNEY 10 42188 2 BECOME 1 SPICE GIRLS 11 33645 2 HEARTS KYLIE MINOGUE 12 41860 25 MINUTES MICHAEL LEARNS TO ROCK 13 42709 3 A.M. MATCHBOX 20 14 43203 3 A.M. MATCHBOX 20 15 43535 3 LIONS ' 98 BADDIEL 16 43672 3 LIONS ' 98 BADDIEL 17 41515 4 + 20 CSN & Y 18 43545 5 6 7 8 CROSBY/UPTON 19 40872 500 MILES PETER/PAUL/MARY 20 41249 A BIG HUNK O' LOVE ELVIS PRESLEY 21 40625 A CERTAIN SMILE JOHNNY MATHIS 22 43365 A COLLECTION MARILLION 23 42427 A DAY IN THE LIFE THE BEATLES 24 42231 A DIFFERENT BEAT BOYZONE 25 42251 A FOOL SUCH AS I ELVIS PRESLEY 26 43103 A FRIEND I CALL DESIRE ULTRAVOX 27 40493 A GAY RANCHERO VARIOUS 28 41517 A GIRL LIKE YOU EDWYN COLLINS 29 40544 A HARD DAYS NIGHT THE BEATLES 30 42613 A HAZY SHADE OF WINTER THE BANGLES 31 40501 A HORSE WITH NO NAME AMERICA 32 40171 A HOUSE IS NOT A HOME DIONNE WARWICK 33 40172 A HUNDRED POUNDS OF CLAY GENE MC DANIELS 34 40464 A LA ORRILLA DE UN PALMA VARIOUS 35 43537 A LITLE BIT MORE AIN'T NO MOUNTAIN HIGH ENOUGH 36 41463 A LITTLE HELP FROM… THE BEATLES 37 42663 A LITTLE RESPECT ERASURE 38 42643 A MAN WITHOUT LOVE E.