as it will impact first week charting

Grammys Preview: The Best Bets For The Big Four Awards


Sheeran has racked up ­nominations ­numbering in the double digits (and in 2016 won song of the year for “Thinking Out Loud”). Lamar has more trophies to his name (seven to Sheeran’s two), but none in the general categories. Regardless, Sheeran’s Divide and Lamar’s DAMN. should be locks for ­nominations. Joining those likely frontrunners, Lorde’s Melodrama is a solid bet: Though her follow-up to 2013’s Pure Heroine came up a little short commercially, it was ­considered a daring, winning step forward after her rookie success. JAY-Z’s 4:44 – a ­thoughtful, confessional album from a true icon – looks like it could nab him long overdue recognition in a category in which he has never been nominated ­(provided the album’s exclusive TIDAL release didn’t limit its audience too much).

Don’t discount the influence of two of the year’s most powerful artist ­narratives. Gaga’s ­intimate Joanne met lukewarm reviews, but it has Mark Ronson’s imprimatur and caps off a year when Gaga won plenty of hearts with a triumphant Super Bowl performance, her revelation of her chronic battle with fibromyalgia and the release of her well-received Netflix ­documentary, Gaga: Five Foot Two. And with We Got It From Here…Thank You 4 Your Service, A Tribe Called Quest offered a ­stunning, unexpected comeback recorded with Phife Dawg before his death in 2016 – and, as Q-Tip and crew announced, their final project.

Elsewhere, Harry Styles, inspired by classic rock from Bowie to Badfinger, was a remarkable transformation for the former One Direction-er. The Bruno Mars juggernaut could well roll on with 24K Magic, as could The Weeknd with Starboy. Miranda Lambert’s powerful double album, The Weight of These Wings, was arguably Nashville’s strongest ­offering this year. Though Metallica has never been ­nominated in a general category, its Hardwired… To Self-Destruct was widely seen as a welcome return to form. Among rap’s contenders, Logic’s Everybody and Big Sean’s I Decided were big hits that earned critical notice. As to who might fill the unexpected outsider slot Sturgill Simpson occupied in 2017, Americana favorite Jason Isbell’s The Nashville Sound (the rare indie release to hit No. 1 on the country albums chart) and Father John Misty’s Pure Comedy garnered sufficient support to make both long-shot contenders.


With nearly 5 billion streams and 4 ­billion video views, Luis Fonsi’s “Despacito” (featuring Daddy Yankee and, on the remix, Justin Bieber) was the year’s biggest sensation. Honoring the first Spanish-language song since “Macarena” to top the Hot 100 – which went on to tie Mariah Carey and Boyz II Men’s “One Sweet Day” for most weeks ever at No. 1 on the chart – would be an ideal opportunity for The Recording Academy to recognize Latin music’s ever-increasing impact on the mainstream. Among the year’s other chart-toppers, Sheeran’s “Shape of You” and Lamar’s “Humble” seem like ­shoo-ins. At least one of Mars’ two hits, “That’s What I Like” and “24K Magic,” should earn a spot. Styles’ soaring “Sign of the Times” could earn recognition as a strong debut single. And among Nashville ­voters, Sam Hunt’s “Body Like a Back Road” – which topped the Hot Country Songs chart for a record-shattering 34 weeks (and crossed over to the Hot 100’s top 10) – should get the biggest push in this category.

From there, the year’s biggest singles covered a wide range of styles. The ­massive success of Rae Sremmurd’s “Black Beatles” and Migos’ “Bad and Boujee” made next-gen Atlanta rap ­impossible to ignore. “Malibu” epitomized Miley Cyrus’ ’70s Southern California reboot, and The Weeknd delivered two strong tracks in “Starboy” and “I Feel It Coming.” The unlikely (but highly ­successful) ­combination of The Chainsmokers and Coldplay for “Something Just Like This” ticks a lot of boxes for ­voters, while Imagine Dragons’ “Believer” could ­represent for modern rock. And though “Look What You Made Me Do” was ­polarizing, never underestimate the power of Taylor Swift – did any other song ­generate more debate this year?


Sheeran’s “Shape of You” (written with a team including producer Steve Mac) and Lamar’s “Humble” (credited to Lamar and Mike WiLL Made-It) will likely face off again for the top ­songwriting honor, and many other record of the year ­competitors could join them: Styles and a team led by producer Jeff Bhasker for “Sign of the Times”; Mars and crew ­(including ­production teams Shampoo Press & Curl and The Stereotypes) for “That’s What I Like” or “24K Magic”; Cyrus and collaborator Oren Yoel for “Malibu”; and Hunt alongside Zach Crowell, Shane McAnally and Josh Osborne for “Body Like a Back Road.”

That cohort’s strongest competition might come from songs with timely (or timeless) messages. Gaga’s raw ­vulnerability on “Million Reasons” – ­written with Hillary Lindsey and Ronson, and roundly ­considered the most solid ­offering on Joanne – makes it her best chance at a major ­nomination. Logic’s “1-800-273-8255,” ­written with Arjun Ivatury and featured vocalists Alessia Cara and Khalid, was an ambitious ­commentary on suicide ­prevention that has peaked at No. 3 on the Hot 100.

Other new artists with chances for a nod: James Arthur, whose “Say You Won’t Let Go” (by Arthur, Neil Ormandy and Steve Solomon) was the year’s breakout low-key ballad, and Julia Michaels, whose “Issues,” written with Justin Tranter and producers Benny Blanco and Stargate, introduced her as a major new voice. And yet again, don’t count out Swift – this time for “Better Man,” a song she wrote alone (a possible plus to some ­authenticity-seeking voters) and then handed off to her friends in Little Big Town.


On this day in music history: October 19, 1985 - “Take On Me” by a-ha hits #1 on the Billboard Hot 100 for 1 week. Written by Morten Harket, Magne Furuholem and Pål Waaktaar, it is the biggest hit for the Norwegian pop music trio. The version of “Take On Me” that becomes a worldwide hit is actually not the first version of the song recorded. The band first record and release the song as a single in Europe in 1984 which fails to attract any attention or chart. They re-record it with producer Alan Tarney (Cliff Richard, Leo Sayer) and it again fails to make an impact. Only after they make the now iconic video directed by Steve Barron (“Billie Jean”, “Don’t You Want Me”, “Money For Nothing”, “Electric Avenue”, “Africa”) that the record enters the charts and climbs to number one. Taking nearly four months alone to finish the clips distinctive rotoscoped animation, Warner Bros spends over $200,000 on the promotional video. Once MTV puts the clip in heavy rotation, the buzz generated by the innovative visuals of the infectious song spreads to radio. For the promotional release of the single, Warner Bros in the US prints a special gatefold picture sleeve/booklet (using the UK sleeve design for the front and back covers) featuring photos of the band and animated still shots from the music video. In later years, the limited promo “comic book” sleeve becomes a sought after collector’s item. Entering the Hot 100 at #91 on July 13, 1985, it climbs to the top of the chart fourteen weeks later. The success of “Take On Me” propels a-ha’s debut album “Hunting High And Low” to Platinum status in the US and several other countries. “Take On Me” spends twenty seven weeks on the Hot 100, tying with Diana Ross’ “Missing You” for the longest run on the chart that year. The video is nominated for eight MTV Video Music Awards (winning six) including Best New Artist and Best Concept Video in 1986.

anonymous asked:

According to charts he is number #5 on billboard hot 100 😞😞😞

you know what? we got time. It’s only tuesday.  I’m sitting here streaming, i’m guessing you’re streaming, we’ll get other people streaming.  I bought the song, sadly I can’t personally gift because holy fuck I am broke right now but others are out there doing just that.  He’s still doing great.  Just keep on keepin’ on, my friend!  And while it won’t impact first week numbers, people are going to hear him on SNL- new people that have never heard the song before and are gonna be like “oh shit, dude, I need this song.  this kid’s great!” So that’ll definitely give him a boost as well.  I have a feeling this song’s gonna be a grower not a shower (yes I said that) 


Willie Mae “Big Mamma” Thornton (December 11, 1926-July 25, 1984) -was an American rhythm-and-blues singer and songwriter. She was the first to record Leiber and Stoller’sHound Dog”, in 1952,[1] which became her biggest hit, staying seven weeks at number one on the Billboard R&B chart in 1953[2] and selling almost two million copies.[3] However, her success was overshadowed three years later, when Elvis Presley recorded his more popular rendition of “Hound Dog”.[4] Similarly, Thornton’s “Ball ‘n’ Chain” (written in 1961 but not released until 1968) had a bigger impact when performed and recorded by Janis Joplin in the late 1960s.

Thornton’s performances were characterized by her deep, powerful voice and strong sense of self. She tapped into a liberated black feminist persona, through which she freed herself from many of the expectations of musical, lyrical, and physical practice for black women.[5] She was given her nickname, “Big Mama,” by Frank Schiffman, the manager of Harlem’s Apollo Theater, because of her strong voice, size, and personality. Thornton used her voice to its full potential, once stating that she was louder than any microphone and didn’t want a microphone to ever be as loud as she was. She was known for her strong voice.[6] Joplin’s biographer Alice Echols said that Thornton could sing in a “pretty voice” but did not want to. Thornton said, “My singing comes from my experience.…My own experience. I never had no one teach me nothin’. I never went to school for music or nothin’. I taught myself to sing and to blow harmonica and even to play drums by watchin’ other people! I can’t read music, but I know what I’m singing! I don’t sing like nobody but myself.”[7]

Her style was heavily influenced by gospel music, which she grew up listening to at the home of a preacher, though her genre could be described as blues.[5] Thornton was quoted in a 1980 article in the New York TImes: “when I was comin’ up, listening to Bessie Smith and all, they sung from their heart and soul and expressed themselves. That’s why when I do a song by Jimmy Reed or somebody, I have my own way of singing it. Because I don’t want to be Jimmy Reed, I want to be me. I like to put myself into whatever I’m doin’ so I can feel it”.[8]

Thornton was famous for her transgressive gender expression. She often dressed as a man in her performances, wearing work shirts and slacks. She did not care about the opinions of others and “was openly gay and performed risque songs unabashedly.”[9] Improvisation was a notable part of her performance. She often entered call-and-response exchanges with her band, inserting confident and subversive remarks. Her play with gender and sexuality set the stage for later rock-and-roll artists’ plays with sexuality.[5]

Scholars such as Maureen Mahon have praised Thornton for subverting traditional roles of African-American women.[5] She added a female voice to a field that was dominated by white males, and her strong personality transgressed stereotypes of what an African-American woman should be. This transgression was an integral part of her performance and stage persona.[10] Elvis Presley and Janis Joplin admired her unique style of singing and incorporated elements of it in their own work. Her vocal sound and style of delivery are key parts of her style and are recognizable in Presley’s and Joplin’s work.[7]

Thornton’s birth certificate states that she was born in Ariton, Alabama,[11] but in an interview with Chris Strachwitz she claimed Montgomery, Alabama, as her birthplace, probably because Montgomery was better known than Ariton.[12] She was introduced to music in a Baptist church, where her father was a minister and her mother a singer. She and her six siblings began to sing at early ages.[13] Her mother died young, and Willlie Mae left school and got a job washing and cleaning spittoons in a local tavern. In 1940 she left home and, with the help of Diamond Teeth Mary, joined Sammy Greens Hot Harlem Revue and was soon billed as the “New Bessie Smith”.[12] Her musical education started in the church but continued through her observation of the rhythm-and-blues singers Bessie Smith and Memphis Minnie, whom she deeply admired.[14]

Thornton’s career began to take off when she moved to Houston in 1948. “A new kind of popular blues was coming out of the clubs in Texas and Los Angeles, full of brass horns, jumpy rhythms, and wisecracking lyrics.”[15] She signed a recording contract with Peacock Records in 1951 and performed at the Apollo Theater in 1952. Also in 1952, she recorded “Hound Dog” while working with another Peacock artist, Johnny Otis. The songwriters, Jerry Leiber and Mike Stoller,[4] were present at the recording, with Leiber demonstrating the song in the vocal style they had envisioned.[16][17] The record was produced by Leiber and Stoller. Otis played drums after the original drummer was unable to play an adequate part. It was the first recording produced by Leiber and Stoller. The record went to number one on the R&B chart.[18] The record made her a star, but she saw little of the profits.[19] On Christmas Day 1954 in a Houston, Texas theatre she witnessed fellow performer Johnny Ace, also signed to Duke and Peacock record labels, accidentally shoot and kill himself while playing with a .22 pistol.[8] Thornton continued to record for Peacock until 1957 and performed in R&B package tours with Junior Parker and Esther Phillips. Thornton originally recorded her song “Ball ‘n’ Chain” for Bay-Tone Records in the early 1960s, “and though the label chose not to release the song…they did hold on to the copyright—which meant that Thornton missed out on the publishing royalties when Janis Joplin recorded the song later in the decade.”[14] 

As her career began to fade in the late 1950s and early 1960s,[1] she left Houston and relocated to the San Francisco Bay area, “playing clubs in San Francisco and L.A. and recording for a succession of labels”,[14] notably the Berkeley-based Arhoolie Records. In 1965, she toured with the American Folk Blues Festival in Europe,[20] where her success was notable “because very few female blues singers at that time had ever enjoyed success across the Atlantic.”[21] While in England that year, she recorded her first album for Arhoolie, Big Mama Thornton – In Europe. It featured backing by blues veterans Buddy Guy (guitar), Fred Below (drums), Eddie Boyd (keyboards), Jimmy Lee Robinson (bass), and Walter “Shakey” Horton (harmonica), except for three songs on which Fred McDowell provided acoustic slide guitar.

In 1966, Thornton recorded her second album for Arhoolie, Big Mama Thornton with the Muddy Waters Blues Band – 1966, with Muddy Waters (guitar), Sammy Lawhorn (guitar), James Cotton (harmonica), Otis Spann (piano), Luther Johnson (bass guitar), and Francis Clay (drums). She performed at the Monterey Jazz Festival in 1966 and 1968. Her last album for Arhoolie, Ball n’ Chain, was released in 1968. It was made up of tracks from her two previous albums, plus her composition “Ball and Chain” and the standard “Wade in the Water”. A small combo including her frequent guitarist Edward “Bee” Houston provided backup for the two songs. Janis Joplin and Big Brother and the Holding Company’s performance of “Ball 'n’ Chain” at the Monterey Pop Festival in 1967 and the release of the song on their number one album Cheap Thrills renewed interest in Thornton’s career.[5]

By 1969, Thornton had signed with Mercury Records, which released her most successful album, Stronger Than Dirt, which reached number 198 in the Billboard Top 200 record chart. Thornton had now signed a contract with Pentagram Records and could finally fulfill one of her biggest dreams. A blues woman and the daughter of a preacher, Thornton loved the blues and what she called the “good singing” of gospel artists like the Dixie Hummingbirds and Mahalia Jackson. She had always wanted to record a gospel record, and with the album Saved (PE 10005), she achieved that longtime goal. The album includes the gospel classics “Oh, Happy Day,” “Down By The Riverside,” “Glory, Glory Hallelujah,” “He’s Got the Whole World in His Hands,” “Lord Save Me,” “Swing Low, Sweet Chariot,” “One More River” and “Go Down Moses”.[12]

By then the American blues revival had come to an end. While the original blues acts like Thornton mostly played smaller venues, younger people played their versions of blues in massive arenas for big money. Since the blues had seeped into other genres of music, the blues musician no longer needed impoverishment or geography for substantiation; the style was enough. While at home the offers became fewer and smaller, things changed for good in 1972, when Thornton was asked to rejoin the American Folk Blues Festival tour. She thought of Europe as a good place for her, and, with the lack of engagements in the United States, she agreed happily. The tour, beginning on March 2. brought Thornton to Germany, France, Switzerland, Austria, Italy, the Netherlands, Denmark, Norway, Finland, and Sweden, where it ended on March 27 in Stockholm. With her on the bill were Eddie Boyd, Big Joe Williams, Robert Pete Williams, T- Bone Walker, Paul Lenart, Hartley Severns, Edward Taylor and Vinton Johnson. As in 1965, they garnered recognition and respect from other musicians who wanted to see them.[12]

In the 1970s, years of heavy drinking began to damage Thornton’s health. She was in a serious auto accident but recovered to perform at the 1973 Newport Jazz Festival with Muddy Waters, B.B. King, and Eddie “Cleanhead” Vinson (a recording of this performance, The Blues—A Real Summit Meeting, was released by Buddha Records). Thornton’s last albums were Jail and Sassy Mama for Vanguard Records in 1975. Other songs from the recording session were released in 2000 on Big Mama Swings. Jail captured her performances during mid-1970s concerts at two prisons in the northwestern United States.[12] She was backed by a blues ensemble that featured sustained jams by George “Harmonica” Smith and included the guitarists Doug Macleod, Bee Houston and Steve Wachsman; the drummer Todd Nelson; the saxophonist Bill Potter; the bassist Bruce Sieverson; and the pianist J. D. Nicholson. She toured intensively through the United States and Canada, played at the Juneteenth Blues Fest in Houston and shared the bill with John Lee Hooker.[12] She performed at the San Francisco Blues Festival in 1979 and the Newport Jazz Festival in 1980. In the early 1970s, Thornton’s sexual proclivities became a question among blues fans.[15] Big Mama also performed in the “Blues Is a Woman” concert that year, alongside classic blues legend Sippie Wallace, sporting a man’s three-piece suit, straw hat, and gold watch. She sat at stage center and played pieces she wanted to play, which were not on the program.[22] Thornton took part in the Tribal Stomp at Monterey Fairgrounds, the Third Annual Sacramento Blues Festival, the Los Angeles Bicentennial Blues with BB King and Muddy Waters. She was a guest on an ABC-TV special hosted by the actor Hal Holbrook joined by Aretha Franklin and toured through the club scene. She was also part of the award-winning PBS television special Three Generations of the blues with Sippie Wallace and Jeannie Cheatham.[12]

Thornton was found dead at age 57 by medical personnel in a Los Angeles boarding house[23] on July 25, 1984. She died of heart and liver disorders due to her longstanding alcohol abuse. She had lost 255 pounds (116 kg) in a short time as a result of illness, her weight dropping from 350 to 95 pounds (159–43 kg).[14]

Literature: Spörke, Michael: Big Mama Thornton - The Life And Music. Jefferson: McFarland, 2014. ISBN 978-0-7864-7759-3 

During her career, Thornton was nominated for the Blues Music Awards six times.[5] In 1984, she was inducted into the Blues Hall of Fame. In addition to “Ball 'n’ Chain” and “They Call Me Big Mama,” Thornton wrote twenty other blues songs. Her “Ball 'n’ Chain” is included in the Rock and Roll Hall of Fame list of the “500 Songs That Shaped Rock and Roll”.[18]

It wasn’t until Janis Joplin covered Thornton’s “Ball 'n’ Chain” that it became a huge hit. Thornton did not receive compensation for her song, but Joplin gave her the recognition she deserved by having Thornton open for her. Joplin found her singing voice through Thornton, who praised Joplin’s version of “Ball 'n’ Chain”, saying, “That girl feels like I do.”[24]

Thornton subsequently received greater recognition for her popular songs, but she is still underappreciated for her influence on the blues and soul music.[25] Thornton’s music was also influential in shaping American popular music. The lack of appreciation she received for “Hound Dog” and “Ball 'n’ Chain” as they became popular hits is representative of the lack of recognition she received during her career as a whole.[26]

Many critics argue that Thornton’s lack of recognition in the music industry is a reflection of an era of racial segregation in the United States, both physically and in the music industry.[5][26] Scholars suggest that Thornton’s lack of access to broader audiences (both white and black), may have been a barrier to her commercial success as both a vocalist and a composer.[5][26]

The first full-length biography of Thornton, Big Mama Thornton: The Life and Music, by Michael Spörke, was published in 2014.[12]

In 2004, the nonprofit Willie Mae Rock Camp for Girls, named for Thornton, was founded to offer a musical education to girls from ages eight to eighteen.[5]

Foo Fighters Score Second No. 1 Album on Billboard 200 With 'Concrete and Gold'
Foo Fighters score their second No. 1 album on the Billboard 200 chart with "Concrete and Gold," while BTS and Big & Rich debut in the top 10.

Lastly, BTS’ online fan army mobilized in high volume during street week in order to get the word out about the album. The passionate fandom was very focused on achieving high chart placement, as fan-run social media accounts helped fellow BTS fans understand how Billboard’s charts are compiled, and how sales and streams impact the Billboard 200 during an album’s first week, and so forth. (Some fans even went so far as to gift the album to friends via Apple’s iTunes Store in order to spread the word. However, sales of any specific album purchased on iTunes and gifted to another are not reported to Nielsen Music by Apple, and thus, do not count on Billboard’s charts.)

This is fucking ABSURD! Streaming counts for everything, but gifting counts for nothing?!


On this day in music history: September 3, 1983 - “Sweet Dreams (Are Made Of This)” by Eurythmics hits #1 on the Billboard Hot 100 for 1 week. Written by Annie Lennox and David A. Stewart, it is the biggest hit for the British/Scottish synthpop duo. The duos’ second album “Sweet Dreams (Are Made Of This)” is recorded in a makeshift studio housed above a timber factory on an eight track analog tape machine. Because of the noise generated by saws cutting timber during the day, all vocals for the album have to be recorded at night. After their first release, the 1981 album “In The Garden” fails to make an impact in the US, “Sweet Dreams (Are Made Of This)” is released fifteen months later in January of 1983. The record gets off to a slow start in the US, languishing until American audiences get their first view of the duo when the music video begins receiving play on MTV. Captivated by Lennox’s strikingly androgynous image and soulful voice, the buzz received from video play spreads to radio and “Sweet Dreams” finally hits the charts. Entering the Hot 100 at #90 on May 14, 1983, it begins its long climb up the charts, reaching the top of the chart sixteen weeks later, dislodging The Police’s “Every Breath You Take” from the top spot after holding at number two for four weeks. The single earns Eurythmics a Grammy nomination for Best New Artist in 1984. The duo turn in a memorable performance of the song on the Grammy telecast. Lennox stuns the audience, dressing in a man’s suit and wearing a black pompadour wig and sideburns, looking like rock & roll icon Elvis Presley. She revives the look on the picture sleeve for their single “Who’s That Girl” later in the year. Regarded as one of the quintessential 80’s songs, “Sweet Dreams” has endured in popularity over the years. It is later covered by Marilyn Manson in 1995, with the songs chorus being interpolated into Nas’ hit “Street Dreams” in 1996. “Sweet Dreams (Are Made Of This)” is certified Gold in the US by the RIAA.

anonymous asked:

Cris, what's the impact of them releasing this on a Thursday instead of Friday? Will it hurt him in the charts for the first week, since he's losing a day?

Yes. It doesn’t appear to be being released as a single, so my guess is that a mid-week is to intentionally not be competitive in the singles ranking. But that’s just a guess, idk, I’m just having a meltdown that it’s happening at all!!

Originally posted by queenc-x

ninidaes replied to your post:

Ok not sure whether intl lufans know about this…

They have the same popularity lol

Your statement shows that you definitely didn’t do much research and is blinded by your biasness. 

below are the most recent and most trustable charts that shows how influential an artist is (including all artists from China) according the data. i’m only showing you two, cos there are too many and it might overwhelm you.

This is the chart from Bomoda released today (170821). This chart is based on how the artist positively impact their endorsing brands, bringing up sales rate, increasing social engagement and so on. Only two artists scored 100 points and one of them is Luhan. Where’s Dilraba? Not even 50 points earned.

second, this is a top 10 chart from Datawin that ranks how many active fans there are and interaction rate(new following, mentions and so on) on Weibo for week 32 of 2017. Again, Luhan ranked first. Dilraba? where?

and what i am telling you is they are not of the same level of popularity yet, at most a B-class. Luhan is really popular in China, way more popular than you thought. Ranking first on important charts, ranked second on highest income among the Chinese artists after Fan Bing Bing and countless endorsement deals from international brands. hence, why should she leech off Lu? it’s clearly seen, no?

anonymous asked:

In answer to the anon, it IS American MUSIC Awards. Niall has had much more impact musically than Harry. Both TT (out for a > year) and SH has done extremely well, SH in top charts for months, while Harry's album dropped down after the first week. SH hit #1 pop radio, something 1D never did, also with multi platinum certifications. He's gained gp attention, something Harry has yet to accomplish. Idk if Azoff tried to swing a deal, but if so, nobody was trading.



On this day in music history: September 8, 1984 - “Caribbean Queen (No More Love On The Run)” by Billy Ocean hits #1 on the Billboard R&B singles chart for 4 weeks, topping the Hot 100 for 2 weeks on November 3, 1984, also topping the Club Play chart for 1 week on September 8, 1984. Written by Billy Ocean and Keith Diamond, it is the first US chart topper for the Trinidadian born/UK raised singer and songwriter. Working with fellow Trinidad native Keith Diamond (Starpoint, Mick Jagger, Donna Summer), Billy Ocean records his fifth album “Suddenly”, his first for Jive Records from the Summer of 1983 to early 1984. The song is originally recorded as “European Queen” (a further version titled “African Queen” issued on the B-side of “Mystery Lady” is also recorded), and initially fails to make any impact. Ocean re-records the chorus with the amended title “Caribbean Queen” and the record takes off. The record is the former Savile Row tailor’s breakthrough hit on a worldwide basis, having had previous encounters with chart success with the singles “Love Really Hurts Without You” (#22 Pop) in 1976 and “Night (Feel Like Getting Down)” (#7 R&B, #103 Pop) in 1981. “Queen” wins Ocean a Grammy Award for Best R&B Vocal Performance, Male in 1985. Singer Melba Moore records an answer record to “Caribbean Queen” titled “King Of My Heart” on her 1985 album “Read My Lips”, which is also produced by Diamond. Over the years, the songs popularity has endured, being reissued as a digital single in 2004, “Caribbean Queen” re-charts, peaking at #25 on the Billboard Digital Singles chart. “Caribbean Queen (No More Love On The Run)” is certified Gold in the US by the RIAA.


On this day in music history: August 22, 1987 - “Casanova” by Levert hits #1 on the Billboard R&B singles chart for 2 weeks, also peaking at #5 on the Hot 100 on October 31, 1987. Written by Reggie Calloway, it is the second R&B chart topper and biggest pop hit for the Canton, OH based R&B trio fronted by lead singer Gerald Levert. The group featuring Gerald and Sean Levert (the sons of legendary O'Jays vocalist Eddie Levert) and family friend Marc Gordon, first make an impact in 1986 with their second album (and major label debut) “Bloodline”, scoring three hit singles including their first R&B number one “(Pop, Pop, Pop, Pop) Goes My Mind”. For their third album, Levert are paired with songwriter and producers Reggie and Vincent Calloway of the R&B/Funk band Midnight Star, by Atlantic A&R executive Sylvia Rhone. Reggie Calloway is inspired to write the song after hearing Club Nouveau’s arrangement of the Bill Withers classic “Lean On Me” which tops the Pop and R&B charts earlier in the year. The syncopated rhythm of “Casanova” is an early precursor to the New Jack Swing sound that dominates R&B music for the next several years, “Casanova” is an immediate smash on black radio and crosses over to top 40 pop stations on the heels of it topping the R&B chart. “Casanova” is certified Gold in the US by the RIAA.


On this day in music history: July 4, 1992 - “Baby Got Back” by Sir Mix-a-Lot hits #1 on the Billboard Hot 100 for 5 weeks, also peaking at #27 on the R&B singles chart on the same date. Written and produced by Sir Mix-a-Lot, it is the biggest hit for the Seattle, WA based rapper born Anthony Ray. Following two successful albums for the Seattle based independent label Nastymix Records, Sir Mix-a-Lot signs with Rick Rubin’s Def American Recordings (distributed through Warner Bros/Reprise at the time). Mix releases his major label debut album “Mack Daddy” in February of 1992. When the albums first single “One Time’s Got No Case” fails to make an impact, the label quickly shifts gears, issuing “Baby Got Back” as the follow up. The ode to shapely and full figured women immediately attracts controversy with its blatantly sexual lyrics about women and the female anatomy, as well for its music video which is briefly restricted from daytime airplay by MTV. The media attention the record receives quickly leads to it becoming the most added record at pop Top 40 radio within two weeks of its release. Entering the Hot 100 at #75 on April 11, 1992, it climbs to the top of the chart twelve weeks later. The single wins Mix a Grammy Award for Best Rap Solo Performance in 1993. “Baby Got Back” is certified 2x Platinum in the US by the RIAA.


On this day in music history: July 12, 1986 - “Holding Back The Years” by Simply Red hits #1 on the Billboard Hot 100 for 1 week, also peaking at #29 on the R&B singles chart on the same date. Written by Mick Hucknall and Neil Moss, it is the first US chart topper for the British pop/soul band from Manchester, UK. Lead singer Mick Hucknall initially begins writing what becomes “Holding Back The Years” when he is only seventeen years old, inspired by his mother leaving the family when he is three years old. Hucknall completes the song a few years later with band mate Neil Moss, while both are members of The Frantic Elevators. The band originally record “Holding Back The Years” in 1982, making only a minimal impact. After the Elevators break up, Hucknall forms Simply Red in 1985, re-recording the song for their debut album “Picture Book” with veteran producer Stewart Levine (The Crusaders, Hugh Masekela). When it is first released as the album’s third single in the UK, it stalls at #51 on the charts. Undaunted, WEA reissues it in the Spring of 1986 where it soars to #2. On the heels of its UK chart success, Elektra Records in the US releases it as a single. Entering the Hot 100 at #88 on April 5, 1986, it climbs to the top of the chart fourteen weeks later. The success of “Holding Back The Years” drives “Picture Book” to Platinum status in the US, also earning Simply Red two Grammy nominations including Best New Artist of 1986.

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On this day in music history: February 15, 1969 - “Everyday People” by Sly & The Family Stone hits #1 on the Billboard Hot 100 for 4 weeks, also topping the R&B singles chart for 2 weeks on February 22, 1969. Written and produced by Sylvester Stewart (aka Sly Stone), it is the first chart topper for the San Francisco, CA based R&B/Funk band fronted by singer, songwriter and musician Sly Stone. The song is written as an appeal for equality and harmony among all people, a message that will resonate with the public. It will be especially potent coming from the first racially integrated band to enjoy mainstream pop success. Released as the first single from the band’s fourth album “Stand!”, it will quickly make an impact. Entering the Hot 100 at #93 on November 30, 1968, it will climb to the top of the chart eleven weeks later.“Everyday People” is certified Gold in the US by the RIAA.


gaon has released their weekly chart for the week of sunday, august 2nd - saturday, august 8th! firstly, with the album chart, we see shinee making quite an impact with both “married to the music”, which took the first place spot for the week, along with older albums. taemin and jonghyun also took spots in the top one hundred again with their respective debut solos albums. on the digital chart, we see every song from the repackage debuting in the top one hundred, along with “view” keeping a steady hold in the top seventy. (rising up a spot on the chart, even.) on the download chart, we see “married to the music” debuting in the top five with a total of 103,543 downloads. as for the other songs that charted: “savior” brought in 42,435, “hold you” brought in 28,032, and “chocolate” brought in 27,713. “view”, which has remained on the download chart since it’s week of release, brought in 18,954 downloads for the week which brings the grand total of downloads since it’s release to, roughly, 586,510. on the streaming chart, we see “married to the music” debuting in the top twenty five with a total of 2,410,841 streams. “view”, which rose back into the top fifty after dropping out last week, brought in 1,235,217 which brings it’s grand total of streams since it’s release to (roughly) 31,651,878.

along with these main charts, “married to the music” also debuted in the thirty third spot on the bgm chart (ie: background music) and in first place on the mobile chart.

for reference: this is obviously the first week of charting for “married to the music” (which was released on august 3rd), while it’s the twelfth week for “view” (which was released on may 18th).

Troye Sivan Reaches New High on Social 50 Chart

By Emily White | September 10, 2015 5:52 PM EDT

Troye Sivan hits a new high on the Social 50 chart dated Sept. 19 (jumping 30-15) following the release of his Wild EP on Sept. 4. On the same day, Sivan participated in a #WILDparty livestream on YouTube (where he holds 3.5 million subscribers) to answer fan questions and announce his first tour, starting in the U.S. in October. “This is like my twitter timeline in real life,” Sivan said of the event.

The Social 50 is powered by data tracked by music analytics company Next Big Sound and ranks the most popular artists on Facebook, Twitter, Instagram, YouTube, Wikipedia, Instagram, Tumblr and Vine. The chart’s methodology blends weekly additions of friends/fans/followers along with artist page views and engagement.

For the tracking week ending Sept. 6, Sivan added 56,000 YouTube subscribers and 224,000 reactions on the platform (a 6,366 percent increase) according to Next Big Sound. Also on Sept. 4, he released a cinematic music video for the title track “Wild,” the first of a video trilogy titled “Blue Neighbourhood,” which has gathered over 1.7 million global views on YouTube.

Sivan counted down the days to the release of the EP with lyric quotes on his Tumblr (where he adds 30,000 Tumblr notes for the week) as well as video teasers on Instagram (adding 1.2 million Instagram reactions).

Watch for another big gain for Sivan next week, as Taylor Swift issued a glowing endorsement of Sivan’s EP (calling it “stunning and awesome”) across her social networks early on Sept. 7 (which will impact the Sept. 26-dated chart). In addition, Wild is expected to debut in the top 10 on the Billboard 200 albums chart.

Katy Perry & Missy Elliott See Super Sales Bump Thanks to Super Bowl

Plus: Lenny Kravitz’s catalog of albums & digital songs rises by 111 percent

Thanks to Katy Perry’s Super Bowl halftime show, both she and guest star Missy Elliott earned some sizzling sales gains.
In the week ending Feb. 1 – the day of the big game – Perry’s albums and song downloads earned a 92 percent sales gain in the United States, according to Nielsen Music. Elliot, meanwhile, tallied a whopping 996 percent rise.

The 2015 Super Bowl halftime show featured nine songs performed by Perry and Elliott (along with another guest star, Lenny Kravitz). Six of Perry’s hits were showcased, while Elliott performed three of her own singles. The spectacular was the most-watched Super Bowl halftime show ever, according to Nielsen, with 118.5 million viewers.
Let’s break down the artists’ individual sales for the week.

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Super Bowl Bounces Bruno Mars Up Billboard Charts


Following Bruno Mars’ Super Bowl halftime performance on Sunday, February 2, the entertainer’s albums and songs rocket up Billbord’s charts.

Mars’ second album, “Unorthodox Jukebox,” flies from No. 18 to No. 7 on the Billboard 200 chart with 42,000up 180%, according to Nielsen SoundScan. His first album, “Doo-Wops & Hooligans,” jumps from No. 82 to No. 19 with 16,000 (up 303%).

Both albums rise in the wake of less than one full day of impact from the Super Bowl – as the new sales tracking week finished on the same night as the game. Mars’ sales could increase further next week, after a full seven days of sales are generated after the big game.

The impact of the Super Bowl on Mars’ music sales – and on the Billboard charts – is unique compared to all other halftime headliners in the modern era of Super Bowl halftime entertainment.

Since 1993, when Michael Jackson headlined the halftime festivities, the main performer on the show has generally been an act with a fairly deep catalog of albums and songs. Mars, however, has only released two albums – “Unorthodox Jukebox” (released in 2012) and “Doo-Wops & Hooligans” (2010).

Thus, all of the sales and chart impact felt by Mars will be concentrated on just those two albums (and their respective singles). Unlike previous years, where everyone from Beyonce and Madonna to Paul McCartney and Bruce Springsteen saw their post-Super Bowl chart impact spread across multiple albums and songs.

Last year, Beyonce headlined the Super Bowl halftime show, where she was briefly joined by her Destiny’s Child group members Kelly Rowland and Michelle Williams. Unlike Mars, Beyonce didn’t have a current album riding high on the charts at the time.

In the week ending February 3, 2013, Beyonce saw her most recent album, 2011’s “4,” re-enter the Billboard 200 at No. 100 with 4,000 sold (up 123%). The following week – after a full week of sales impact was felt from the game – the album climbed to No. 79 with 6,000 (up 59%). 

In terms of digital songs sales, Mars has 10 of the top 200 selling songs of the past week, led by “Locked Out of Heaven,” which he performed at the Super Bowl. “Locked” re-enters at No. 32 on the Digital Songs chart with 54,000 downloads sold (up 134%), while “Young Girls” also re-enters at No. 41 with 46,000 (up 94%). He also returns to the chart with “Just the Way You Are” at No. 47 with 41,000 (up 285%).

Below the chart – but among the top 200 sellers – he gains with “Treasure” (38,000; up 105%), “When I Was Your Man” (33,000; up 75%), “Gorilla” (15,000; up 56%), “Runaway Baby” (13,000; up 627%), “Count On Me” (10,000; up 171%), “Grenade” (10,000; up 75%) and “Marry You” (10,000; up 60%).

Red Hot Chili Peppers, who joined Mars on the former’s hit single “Give It Away,” also dent the charts this week. “Give It Away” sold 10,000 downloads for the week (up 620%), while the Peppers’ “Greatest Hits” re-enters the Billboard 200 chart at No. 41 with 9,000 (up 445%).