Monday, 4 July 2011
The Billboard Hot 100 is the United States music industry standard singles popularity chart issued weekly by Billboard magazine. Chart rankings are based on radio play and sales; the tracking-week for sales begins on Monday and ends on Sunday, while the radio play tracking-week runs from Wednesday to Tuesday. A new chart is compiled and officially released to the public by Billboard on Thursday. Each chart is dated with the "week-ending" date of the Saturday two weeks after. Example:
- Monday, January 1 – sales tracking-week begins
- Wednesday, January 3 – airplay tracking-week begins
- Sunday, January 7 – sales tracking-week ends
- Tuesday, January 9 – airplay tracking-week ends
- Thursday, January 11 – new chart released, with issue date of Saturday, January 20.
The first number one song of the Hot 100 was "Poor Little Fool" by Ricky Nelson on August 4, 1958.
2. On The Road
3. Grandma's Feather Bed
5. Thank God I'm A Country Boy
6. Music Is You
7. Annie's Song
8. It's Up To You
9. Cool An' Green An' Shady
11. Sweet Surrender
12. This Old Guitar
Brazilian white label varient boxed Odeon label vinyl.
3) Twist And Shout/A Taste Of Honey/Do You Want To Know A Secret/There's A Place [7TC-762]
Brazilian blue 'Odeon 33 Compacto' label with black & white individual portrait picture sleeve.
4) Anna/Chains/Misery/I Saw Her Standing There [7BTD-2.002]
Brazilian white label varient boxed Odeon label.
5) Please Please Me/From Me To You [7I-3044]
1963 Brazilian first issue 7" vinyl single.
A Hard Day's Night/I Should Have Know Better [7I-3083]
1965 Brazilian second issue 7" vinyl single.
In Great Britain, both the movie and its soundtrack were sold as Love In Las Vegas, since there was another, different movie called Viva Las Vegas that was being shown in British movie cinemas at the same time that Presley's was released.
The chemistry between the two stars was apparently quite real during the filming of Viva Las Vegas. Presley and Ann-Margret allegedly began an affair, and this received considerable attention from movie & music gossip columnists. This reportedly led to a showdown with Presley's worried girlfriend Priscilla Beaulieau. (Elvis and Priscilla married in 1967.) In her 1985 book Elvis & Me, Priscilla Presley describes the difficulties that she experienced when the gossip columnists erroneously "announced" that Ann-Margret and Presley had become engaged to be married. However, there probably was another reason for this big hullabaloo about the "romance" between Presley and Ann-Margret in 1964. It probably was stirred up to help promote popularity for Ann-Margret, who was then a little-known Hollywood starlet.
In her memoirs, Ann-Margret refers to Elvis Presley as her "soulmate", but there is very little revealed about their supposed romance. In his critical study on the "dream machine" that publicists, tabloid newspapers, journalists, gossip columnists, and TV interviewers use to create semi-fictional icons - often playing tricks with the truth - Joshua Gamson cites a press agent as "saying that his client, Ann-Margret, could initially have been 'sold ... as anything'; She was a new product. We felt there was a need in 'The Industry' for a female Elvis Presley.
In addition, the filming of Viva Las Vegas reportedly produced unusually heated exchanges between the movie's Director and Presley's manager, Colonel Tom Parker, who for once was not credited as a "Technical Advisor" in the credits for this movie (The movie's director was film veteran George Sidney). The arguments reportedly concerned the amount time and effort allotted by the movie's cinematographer, Joseph Biroc, to the music and dancing scenes that featured Ann-Margret, ostensibly on the orders of the director. These scenes in Viva Las Vegasinclude multiple views of Ann-Margret's dancing, taken from many different camera angles, the use of multiple movie cameras for each scene, and several retakes of each of her song-and-dance scenes. David Winters from the original cast of West Side Story, was the film's choreographer and was recommended by Ann-Margret for the job. This was Winters' first job as a choreographer on a feature film and Ann-Margret was his dance student at the time.
Some critics in 1964 disliked Viva Las Vegas, such as one for the New York Times, who wrote: "Viva Las Vegas, the new Elvis Presley vehicle, is about as pleasant and unimportant as a banana split." However, many others deduced the reasons why many members of the North American public liked the movie so much. Variety Magazine stated in its review: "Beyond several flashy musical numbers, a glamorous locale, and one electrifying auto race sequence, the production is a pretty trite and 'heavyhanded' affair..." Critical reaction notwithstanding,"Viva Las Vegas" has become one of Presley's more popular films.
Recording sessions took place on July 9, 10, and 11, 1963, at Radio Recorders in Hollywood, California. By now film and soundtrack obligations were starting to back up on each other, and six weeks after the aborted "lost album" sessions of May 1963, the stable of Presley songwriters were required to come up with another dozen songs for yet another new picture. Song quality took a back seat to the need for volume, and Presley's filming schedule made it difficult for song publishers to live up to obligations. Memphis Mafia pal Red West had written a "Ray Charles Styled" number, but so little good material had surfaced that an extra session was scheduled on August 30 for an actual Ray Charles song, later released as a single to promote the film with its title song.
Twelve songs were recorded for the film, but only six were issued on records. The idea of a full-length soundtrack long playing album was not considered, which has garnered much criticism from various accounts, including Elvis: The Illustrated Record. "Night Rider", "Do the Vega", and a medley "Yellow Rose of Texas" would be released on Elvis Sings Flaming Star in 1969, and the Neapolitan song "Santa Lucia" would be placed on Elvis for everyone "The Lady Loves Me" would be issued on Elvis: A Legendary Performer Volume 4 in 1983, and the duet between Presley and Ann-Margret "You're the Boss" on Elvis Sings Leiber & Stoller in 1991. The other duets between the pair in the film, along with Ann-Margret's solo numbers, would wait until later retrospectives to appear on record.
(Above) On the set of Viva Las Vegas Elvis signs autographs.
(Above) Elvis on the set of Viva Las Vegas
The New Musical Express (better known as the NME) is a music publication in the United Kingdom, published weekly since March 1952. It started as a music newspaper, and gradually moved toward a magazine format during the 80s, changing from newsprint in 1998. It was the first British paper to include a singles chart, in the 14 November 1952 edition. In the 1970s it became the best-selling British music newspaper. During the period 1972 to 1976 it was particularly associated with gonzo Journalism, then became closely associated with Punk Rock through the writing of Tony Parsons and June Birchill.
Krissi Murison was named the publication's eleventh editor on 29 July 2009. She took over as the first female editor in September 2009.
The paper's first issue was published on 7 March 1952 after the Musical Express and Accordion Weekly was bought by London music promoter Maurice Kinn, and relaunched as the New Musical Express. It was initially published in a non-glossy tabloid format on standard newsprint. On 14 November 1952, taking its cue from the U.S. magazine Billboard, it created the first UK Singles Chart. The first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK. The first number one was "Here in my Heart" by Al Martino.
During the 1960s the paper championed the new British groups emerging at the time. The Beatles and The Rolling Stones were frequently featured on the front cover. These and other artists also appeared at the NME Poll Winners Concert, an awards event that featured artists voted as most popular by the paper's readers. The concert also featured an awards ceremony where the poll winners would collect their awards. The NME Poll Winners Concerts took place between 1963 and 1972. From 1964 onwards they were filmed, edited and then transmitted on British television a few weeks after they had taken place.
The latter part of the 1960s saw the paper chart the rise of Psychedelia and the continued dominance of British groups of the time. During this period some sections of pop music began to be designated as Rock. The paper became engaged in a sometimes tense rivalry with its fellow weekly music paper Melody Maker; however, NME sales were healthy with the paper selling as many as 200,000 issues per week, making it one of the UK's biggest sellers.
(Musical Express - 1956)
The editions of Musical Express featured below all originate from 1956.
Tyler's version of the song, which was produced by David Mackay, proved to be the most successful, peaking at No4 in the U.K. and No3 in the United States (where it was also a Top Ten hit on the Country Music chart), and No1 in several European countries and Australia. Many re-recordings were produced by Tyler, with the 2004 version in French with French singer Kareen Antonn on Tyler's album Simply Believe and the 2005 version on Tyler's album Wings. Although the 2005 version did not receive chart success as it was not released as a single, the 2004 version reached No12 in France on the week of release.
Juice Newton's version of "It's A Heartache" was released on select foreign editions of her "Come to Me" album. When released as a single in Mexico in 1977, the song garnered a gold record. Newton's version was released in the United States the following year and peaked at No86.
But one little known aspect of the programme is the extraordinary correspondence it generated almost from the day that John Noakes, Valerie Singleton and co. first went on air. By the late 1980s, Blue Peter was receiving an average of 7,000 letters per week.
I couldn’t believe my ears this morning - my mum said come down stairs Wendy – there’s a letter for you - I couldn’t believe it had come from Blue Peter and I had won a badge! I took my letter to school to show to my teacher - Mr Herbert - he said “Not now Wendy” but when he saw it was from the BBC he said “Oh alright”. He read it once, he read it twice and then he read it again - then he said “My goodness” and took it to the Head Mistress Mrs Smith.
Mrs Smith read my letter to the whole of the school at Assembly – she said it was the first time anyone from school had had a letter from the BBC.
I'll never forget the day I won my badge!"
Wendy, aged 10