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What’s Your “Fever”?

 

 

 

 

The origins of “Fever”

 

The idea for the song was presented to Otis Blackwell by an old friend, Eddie Cooley. Blackwell said: “Eddie Cooley was a friend of mine from New York and he called me up and said “Man, I got an idea for a song called “Fever”, but I can´t finish it. I had to write it under another name (John Davenport) because, at that time, I was still under contract to Joe Davis.”

Some famous songs he wrote/co-wrote are “Don’t Be Cruel,” “Great Balls of Fire,” and “All Shook Up.”

The original “Fever” by Little Willie John (1956)

“Fever” is a song written by Eddie Cooley and John Davenport and originally recorded by Little Willie John in 1956. In 1937, he was born William Edgar John in Arkansas. He was one of the first R&B singers, fairly popular in the late ’50s and early ’60s. His nickname came from his slight height – he was only 5’4″. After stabbing a man to death, he was jailed for manslaughter and died in prison when he was only 30 years old. The cause of his death is disputed – with reasons given ranging from a heart attack, pneumonia, asphyxiation, or as the result of beatings received in prison.

It was released as a double-sided hit along with the top-ten R&B song “Letter from My Darling”. The song reached number one for three weeks on the R&B Billboard Best Sellers Chart, and peaking at #24 at the Hot 100.

William Edward John (November 15, 1937 – May 26, 1968) was better known by his stage name Little Willie John. His best known for his popular music chart successes with songs such as, “All Arround the World” (1955), “Need Your Love So Bad” (1956) and “Fever” the same year (the latter covered in 1958 by Peggy Lee with more commercial success). Little Willie John reportedly disliked the song, but was persuaded to record it, on March 1, 1956, by King Records owner Syd Nathan and arranger and producer Henry Glover.

 

 

 

 

 

 

Grammy Nominated “Fever” by Peggy Lee (1958)

A few years later the song was famously covered by Peggy Lee who added a few lyrics she wrote herself (“Romeo loved Juliet”, “Captain Smith & Pocahontas”) and the song went into the Top 10 in US (Peaked at #08 in the Hot 100) becoming a signature song for Miss Lee. It also achieved #05 in UK Top 40 Singles chart.

She was born Norma Deloris Egstrom on May 26, 1920 in Jamestown, North Dakota. Her break came when she was discovered by bandleader Benny Goodman. Lee was a Blues-influenced Jazz singer and also a songwriter, with such hits as the songs from Disney’s Lady and the Tramp, in which she also sang and voiced a few characters.

The new verses now generally thought of as a standard part of the song, and have been included in most subsequent covers of “Fever”

Peggy Lee version was also nominated for “Record of the Year” at the 1959 Grammy Awards.

Thought it peaked higher on the Hot 100 it sold half what Little Willie John sold as it didn’t stay longer on the charts.

 

 

 

 

 

 

 

 

 

 

 

 

Elvis is back from the Army with “Fever” (1960)

 

Elvis Presley released a near identical version to Lee’s two years later for his 1960 album, Elvis is Back, after coming back from the army. It was not released as a single but it did became a famous version of the song too.

 

Naughty Girl Amanda Lear had “Fever” too

 

Amanda Lear (originally Tap\Tapp, born 18 November 1939 or 1946, in British Hong Kong) is a French singer, lyricist, composer, painter, TV presenter, actress and novelist.

Amanda Lear’s released in Europe a version of “Fever” as a single-only track in 1982. The singer did not enjoyed much commercial success at the time despite the media buzz and performances of “Fever” in a number of television shows, such as German “Ein Kessel Buntes or Italian “Premiatissima”. She also did a video filmed in Paris to promote the single. However didn’t chart high, the track “Fever” later appeared in the tracklist of Lear’s “SUPER 20” compilation album in 1989.

Dance to Madonna’s “Fever” (1992/1993)

In 1992, Madonna recorded a cover version of “Fever” for her fifth studio album “Erotica. She was in the studio putting down tracks for her the album and had just recorded a song called “Goodbye to Innocence”. She was going through the final stages of production on it when she suddenly started singing the lyrics to “Fever” over the top of it. Madonna liked the way it sounded so much that she recorded it.

“Fever” was released as the fourth single from Erotica Worldwide on March 22, 1993, by Maverick Records (her own company). It was released in the UK on 12″, CD single and as a limited edition 7″ picture disc. “Fever” became her highest debuting single from the “Erotica album in the UK, entering at its peak position of #06 and comfortably selling over 85,000 copies, many of which were sold on the back of airplay alone as the video only premiered one month after the single release.

In the United States and Canada it was never officially released as a single and instead was the B-side to “Bad Girl”, the third single from “Erotica”. Although this song enjoyed good airplay on pop radio was #01 on the Billboard Dance Charts Club Plays.

In 1993 she presented the song live on her Girlie Show Tour in a very “Erotica” dance using clips of the song on the show to be exposed on the news and promote the Tour.

Despite not being one of Madonna most successful singles of Madonna career (Madonna have 33 singles peaking Top 3 in UK) it was a considerable hit having heavy rotation on the radio. The video was featured on a DVD collection released in 1999 but the song missed Madonna’s greatest hits collections: GHV2 (2002) and Celebration (2009). On the Celebration DVD release are included 47 Madonna video’s but “Fever” is not one of them.

Glamorous Girl “Fever” by Beyonce (2003/2010)

“Fever” was re-recorded by Beyoncé Knowles on two different occasions. Knowles first recorded her version of “Fever” on September 9, 2003 for her film “The Fighting Temptations. Following the release of her first fragrance “Heat (2010), she recorded “Fever” again and officially released it in early February 2010 in the United States as well as the United Kingdom. It was included on her “Heat” EP (2011). The song failed to chart in the Top 100 in both 2003 and 2010.

 

 

After releasing her first fragrance Heat, Knowles re-recorded her version of “Fever” as promotion for the fragrance, using the song in advertisements for the fragrance. The re-recorded 2010 version of the song was later released for digital-download on iTunes on February 8, 2010. Ed Gonzalez of Slant Magazine wrote: “The seductive iciness of Peggy Lee’s “Fever” is successfully transplanted with a gumbo sound and sexy Southern comfort.”

The commercial for the fragrance found controversy in the UK with UK’s Advertising Standards Authority. The commercial was banned from the country’s daytime TV rotation due to its “sexy imagery” and was only shown after 7:30 in the afternoon. The UK’s Advertising Standards Authority commented on the ban decision stating “We considered that Beyoncé’s body movements and the camera’s prolonged focus on shots of her dress slipping away to partially expose her breasts created a sexually provocative ad that was unsuitable to be seen by young children.”

 

 

Knowles, herself, responded to the commercial’s ban jokingly stating: “Where’s the wind coming from? It started out only [to stay cool], and then it kind of created this effect with my hair. You can only imagine, the show is two and a half hours. It’s really, really warm onstage.”

 

Hundreds Different “Fever”s

Along the years hundreds of other artists recorded or sang “Fever” live. Among them you can easily find on “You Tube” Ella Fitzgerald, Ann Margret, Sarah Vaughan, James Brown, Joe Cocker, Tom Jones, The McCoy, Chuck Brown & Eva Cassidi, The Doors,  Celine Dion, Michael Bublé, Ray Charles & Natalie Cole, Helen Saphiro, Boney M, Diana Krall, The Cramps, Christina Aguilera and even The Muppets.

 

 

On this mix that I found on “You Tube” you have “Fever” by Celine Dion, A Fine Frenzy, Michael Bublé, Helen Shapiro, Beyoncé, Meiko, Peggy Lee, Superpitcher, Madonna, Amanda Lear, Elvis Presley, Daniel Ash, Boney M, Ray Charles & Norah Jones, Patti Drew.

Enjoy your favorite “Fever”!

 

As In:

http://en.wikipedia.org/wiki/Fever_(Little_Willie_John_song)

http://en.wikipedia.org/wiki/Little_Willie_John

http://en.wikipedia.org/wiki/Peggy_Lee

http://en.wikipedia.org/wiki/Amanda_Lear

http://en.wikipedia.org/wiki/Madonna

http://www.songfacts.com/detail.php?id=3496

http://johnesimpson.com/blog/2010/03/whats-in-a-song-fever-1/

http://en.wikipedia.org/wiki/Beyonc%C3%A9_Knowles_discography

http://www.everyhit.com

http://www.billboard.com

http://www.chartstats.com

Folk & Rock Guitar Songs (with chords and lyrics) & a Glossary of Music Terms + Tuning

Folk & Rock Guitar Songs (with chords and lyrics) & a Glossary of Music Terms + Tuning

 

A Compilation of Sing-Along Songs

(with chords and lyrics)

My mom has been transcribing and collecting songs for her guitar longer than I’ve been around. In recent years, I’ve started adding to these my own transcriptions of songs I enjoy. To me, many of these songs mean something about being a kid, singing with my mom, and being home with my family. Now, with two little ones of my own, I am hoping to pass the same songs on to another generation.

For your convenience, there are versions of this page with songs ordered by titleartist, and first line. At long last, I have reimplemented the transposer tool, but you will now have to have javascript enabled in your browser to view the songs.

The Songs

1. A Most Peculiar Man (Simon & Garfunkel) 65. Golden Vanity (Peter Paul & Mary) 129. Red Rag Top (Tim McGraw)
2. A-Soalin’ (Peter Paul & Mary) 66. Goodbye Again (John Denver) 130. Red Rubber Ball (Cyrkle)
3. Alberta Bound (Gordon Lightfoot) 67. Goodnight Irene (Leadbelly, Weavers) 131. Rock-a My Soul (Traditional)
4. All Along the Watchtower (Bob Dylan, Jimi Hendrix) 68. Gospel Ship (Traditional) 132. Rocky Mountain High (John Denver)
5. All You Need Is Love (Beatles) 69. Green, Green Grass Of Home (Tom Jones, Englebert Humperdink) 133. Scarborough Fair (Simon & Garfunkel, Traditional)
6. And When I Die (Peter Paul & Mary) 70. Greenland Fishery (Peter Paul & Mary) 134. Sing In The Sunshine (Gale Garnett)
7. Anna Begins (Counting Crows) 71. Haul Away, Joe (Traditional) 135. Sinner Man (Peter Paul & Mary)
8. Annie’s Song (John Denver) 72. Hey Jude (Beatles) 136. Sloop John B. (Beach Boys)
9. April Come She Will (Simon & Garfunkel) 73. Homefires (Sons of Ralph) 137. Someday Soon (Ian Tyson, Judy Collins)
10. Autumn To May (Peter Paul & Mary) 74. Homeward Bound (Simon & Garfunkel) 138. Somewhere Over the Rainbow (Israel Kamakawiwo’ole)
11. Away With Rum (Bikel Theo) 75. Hotel California (Eagles, Gypsy Kings) 139. Song For Adam (Jackson Browne)
12. Back Home Again (John Denver) 76. House Of The Rising Sun (Bob Dylan, Animals) 140. Sound Of Silence (Simon & Farfunkel)
13. Bamboo (Peter Paul & Mary) 77. Hurry Sundown (Peter Paul & Mary) 141. Springhill Mine Disaster (Martin Carthy)
14. Big Rock Candy Mountain (Harry McClintock) 78. I Ain’t Marchin’ Anymore (Phil Ochs) 142. Stewball (Peter Paul & Mary)
15. Blowin’ In The Wind (Bob Dylan) 79. I Am A Rock (Simon & Garfunkel) 143. Streets Of Laredo (Kingston Trio)
16. Bob Dylan’s Dream (Bob Dylan) 80. I’ll Never Find Another You (Seekers) 144. Sultans of Swing (Dire Straits)
17. Bobby Mcgee (Janis Joplin) 81. I’m In Love With A Big Blue Frog (Peter Paul & Mary) 145. Suzanne (Leonard Cohen)
18. Bottle Of Wine (Tom Paxton) 82. I’m Not Sayin’ (Gordon Lightfoot) 146. Sweet Baby James (James Taylor)
19. Box Of Rain (Grateful Dead) 83. I’m Only Sleeping (Beatles) 147. Sweet Sir Galahad (Joan Baez)
20. Bridge Over Troubled Water (Simon & Garfunkel) 84. I’m Sorry (John Denver) 148. Swing Low, Sweet Chariot (Traditional)
21. Careless Love (W.C. Handy) 85. I’ve Been Working On The Railroad (Traditional) 149. Teach Your Children (Crosby Stills & Nash)
22. Carolina in my Mind (James Taylor) 86. If I Had A Hammer (Pete Seeger) 150. That Was The President (Phil Ochs)
23. Cats In The Cradle (Harry Chapin, Ugly Kid Joe) 87. If I Had My Way (Rev. Gary Davis) 151. Thats What You Get For Loving Me (Gordon Lightfoot, Peter Paul & Mary)
24. Cecilia (Simon & Garfunkel) 88. If I Were Free (Traditional) 152. The Blue-tail Fly/Jimmie Crack Corn (Traditional)
25. Changes (Phil Ochs) 89. It Ain’t Me, Babe (Bob Dylan) 153. The Boxer (Simon & Garfunkel)
26. China Grove (Doobie Brothers) 90. Jesse James (Traditional) 154. The Boy Who Wouldn’t Hoe Corn (Alison Kraus & Union Station)
27. City Of New Orleans (Steve Goodman, Arlo Guthrie) 91. Jesus Met The Woman (Traditional) 155. The Cat Came Back (Harry Miller)
28. Clementine (Traditional) 92. Jet Plane (John Denver) 156. The Czar Song (Unknown)
29. Copper Kettle (Traditional) 93. Kisses Sweeter Than Wine (Weavers) 157. The Gambler (Kenny Rogers)
30. Country Roads (John Denver) 94. Knockin’ on Heaven’s Door (Bob Dylan, Eric Clapton) 158. The Good Times We Had (Noel Stookey, Peter Paul & Mary)
31. Cruel War (Peter Paul & Mary) 95. Lady Mary (Traditional) 159. The House Carpenter (Joan Baez)
32. Cryin’ (Aerosmith) 96. Last Night I Had The Strangest Dream (Kingston Trio) 160. The Klan (Traditional)
33. Daddy, You’ve Been On My Mind (Joan Baez) 97. Layla (Eric Clapton) 161. The Last Thing On My Mind (Tom Paxton)
34. Dancing Bear (Mamas & Papas) 98. Le Deserteur (Traditional) 162. The MTA (Kingston Trio)
35. Day Is Done (Peter Paul & Mary) 99. Lemon Tree (Peter Paul & Mary) 163. The Night They Drove Old Dixie Down (Traditional)
36. Desperado (Eagles) 100. Let Me Be There (Olivia Newton John) 164. The Rooster Song (Jake Thackery)
37. Did She Mention My Name (Gordon Lightfoot) 101. Little Boxes (Malvina Reynolds) 165. The Story In Your Eyes (Moody Blues)
38. Don Quixote (Gordon Lightfoot) 102. Lo Yisa Goy (Traditional) 166. The Times They Are A-changing (Bob Dylan)
39. Don’t Think Twice (Bob Dylan) 103. Logger Love (Traditional) 167. The Unicorn (Irish Rovers)
40. Dona (Donovan) 104. Long Black Veil (Traditional, Joan Baez) 168. The Weight (The Band)
41. Doo Doo Doo Doo Doo/Heartbreaker (Rolling Stones) 105. Lookin’ Out My Back Door (Creedence Clearwater Revival) 169. There But For Fortune (Phil Ochs)
42. Draft Dodger Rag (Phil Ochs) 106. Man Of Constant Sorrow (Joan Baez) 170. There Is A Ship (Peter Paul & Mary)
43. Dragon Song (Billy Berson) 107. Man Of Constant Sorrow (Union Station) 171. There Is Love/Wedding Song (Paul Stookey)
44. Drill Ye Tarriers (Traditional) 108. Margaritaville (Jimmy Buffett) 172. This Land Is Your Land (Woody Guthrie)
45. Duncan (Paul Simon) 109. Marvelous Little Toy (Peter Paul & Mary) 173. Three Ravens (Peter Paul & Mary)
46. Dust In The Wind (Kansas) 110. Mary Jane’s Last Dance (Tom Petty) 174. Today (New Christy Minstrels)
47. Early Mornin’ Rain (Gordon Lightfoot) 111. Matthew (John Denver) 175. Tom Dooley (Kingston Trio)
48. Erev Shel Shoshanem (Traditional) 112. Michael Row Your Boat Ashore (Peter Paul & Mary, Traditional) 176. Turn, Turn, Turn (Pete Seeger, Byrds)
49. Eye of the Tiger/Rocky III Theme (Survivor) 113. Mr. Jones (Counting Crows) 177. Universal Soldier (Buffy St. Marie)
50. Fennario (Joan Baez) 114. Mr. Tambourine Man (Bob Dylan) 178. Violets Of Dawn (Eric Anderson)
51. Fire And Rain (James Taylor) 115. Mrs. Brown, You’ve Got A Lovely Daughter (Herman’s Hermits) 179. Waltzing Matilda (Roger Clarke)
52. Fire On The Mountain (Marshall Tucker Band) 116. Mrs. Robinson (Simon & Garfunkel) 180. What Did You Learn In School Today (Tom Paxton, Pete Seeger)
53. Five Hundred Miles (Kingston Trio) 117. Nellie, Nellie (Traditional) 181. What Have They Done To The Rain (Malvina Reynolds)
54. Foggy, Foggy Dew (Traditional) 118. Nights In White Satin (Moody Blues) 182. What’s That I Hear (Phil Ochs)
55. For Baby, For Bobby (John Denver) 119. Nine Hundred Miles (Traditional) 183. When I First Came To This Land (Traditional)
56. Forever And Ever Amen (Randy Travis) 120. No Other Name (Peter Paul & Mary) 184. When The Ship Comes In (Bob Dylan)
57. Four Strong Winds (Ian Tyson) 121. Oden (Traditional) 185. Where Have All The Flowers Gone (Pete Seeger)
58. Fox (Traditional) 122. Omaha (Counting Crows) 186. Will The Circle Be Unbroken (Willie Nelson, Traditional)
59. Frank Mills (Hair) 123. Once I Had A Sweetheart (Joan Baez) 187. Will You Love Me Tomorrow (Carol King, Shirelles)
60. Frankie And Johnnie (Traditional) 124. Pack Up Your Sorrows (Judy Collins) 188. With God On Our Side (Bob Dylan)
61. Friend of the Devil (Grateful Dead) 125. Plaisir D’amour (Joan Baez) 189. Worried Man Blues (Kingston Trio)
62. Friends in Low Places (Garth Brooks) 126. Puff, The Magic Dragon (Peter Paul & Mary) 190. Wreck of the Edmund Fitzgerald (Gordon Lightfoot)
63. Games People Play (Joe South) 127. Rain King (Counting Crows) 191. Wynken, Blynken, And Nod (Donovan)
64. Geordie (Joan Baez) 128. Reason To Believe (Tim Hardin, Rod Stewart) 192. You Ain’t Goin’ Nowhere (Bob Dylan, Nitty Gritty Dirt Band)

 


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How to Tune a Guitar

| 1.1 Names of the Parts on a Guitar | Back to Free Guitar Lessons | 1.3 Tone, Volume & Selector Switch |

Contents
…………….1.2.1 Standard E Tuning
…………….1.2.2 Using an Electronic Tuner
…………….1.2.3 Alternative Method of Tuning
…………….1.2.4 Drop D Tuning

1.2.1   Standard E Tuning

The first thing you should know is what the strings should be tuned to, which is shown below:

Guitar Tuning

There are several options when it comes to achieving this tuning:

1.2.2   Using an Electronic Tuner

A very easy way of tuning your guitar. You either connect the guitar to the tuner via a cable, or use the in-build microphone. The tuner will then tell you whether the string is sharp or flat etc… Some tuners however seem to fluctuate a lot, which makes it difficult. Tuners come relatively cheap so it’s worth the investment. You could also consider using our online guitar tuner.

1.2.3   Alternative Method of Tuning

If you tune the bottom E string correctly (for example by using a piano), the other strings can be tuned using this method:

  1. Play the 5th fret on the E string and tune the A string to this note.
  2. Now play the 5th fret on the A string and tune the D string to this note.
  3. Now play the 5th fret on the D string and tune the G string to this note.
  4. Now play the 4th fret on the G string and tune the B string to this note.
  5. Finally play the 5th fret on the B string and tune the e string to this note.

1.2.4   Drop D Tuning

The guitar can in fact be tuned in many other different ways, on of the most common being drop D tuning, in which the E string is tuned down to a D. This can be achieved from a guitar tuned to E by tuning down the E string until the 7th fret on this string plays an A.

| 1.1 Names of the Parts on a Guitar | Back to Free Guitar Lessons | 1.3 Tone, Volume & Selector Switch |

A glossary of music theory terms

scale - A group of notes that work well togetherchromatics - These are basically all twelve (12) notes in an octave. The naturals (7) and non-naturals (5) together make up the chromatics. (7+5=12).

naturals - The notes that do not have sharp or flat names (A, B, C, D, E, F, G). There are seven (7) of them.

non-naturals - The notes that do have the sharps or flats in their names (A#, C#, D#, F#, G#). There are five (5) of them. These notes are also often called the “accidentals”.

octave - In traditional music there are only 12 different notes, then they repeat themselves. When you move up or down 12 notes, you will find a higher or lower version of the note you started on. This is an octave. Same note, but one octave higher or lower.

sharps - Sharp generally just means higher. Sharp of the note you are on would be one note higher. To tune sharp you would tune “up”.

flats - Flat generally just means lower. Flat of the note you are on would be one note lower. To tune flat you would tune “down”.

major - This is a type of scale or chord that sounds bright, happier, and more upbeat. It has no flats in it. This is kind of subjective, and will be explained much more in-depth in the lessons.

minor - This is a type of scale or chord that sounds darker, maybe more sad, kinda gloomy. Minor scales or chords do use flats. This is kind of subjective, and will be explained much more in-depth in the lessons.

root-note - This is basically the same thing as “key”. The root note is the note that the music is centered on or built from. You could say its the “main note” in a song.

transpose - Transposing to another key or root simply means to move our scale, etc to another key or root note. It will be the same scale, etc. but now centered on a different key.

position - This would be the four frets that your hand is over at any given time. You have four fingers, one for each fret. Position also refers to the pattern of notes you would play at any four frets for your chosen scale, etc.

fret - Technically, the frets are the small metal bars across the neck of your guitar or bass. When you press your fingertip down between two “frets” you will fret the string and make the appropriate corresponding note. (you do not actually press your fingertip down “on” the frets, but between them)

interval - This is the space between notes. (see whole-step and half-step)

half-step - This is the shortest interval. It is the next note up or down from where you are. For guitar and bass players, this would simply be moving up or down one fret.

whole-step - This is a longer interval than the half-step. With a whole-step you would skip a note and play the second one. For guitar and bass players you would simply “skip a fret” up or down.

pentatonic - This is a type of scale using five different notes. Penta means five and tonic means tone. So a pentatonic scale is a “five tone scale”.

mode - If theory is learned properly, the meaning of this would be different, but this term generally applies to a group of seven note scales.

melodic-interval - A single note.

harmonic-interval - Two notes at a time.

chordal-interval - Three or more notes at a time.

barre - The use of your index finger to hold down more than one string at one fret in a single chord, in order to build chords with that fret as the “nut”.

barre chord - A guitar chord in which your index finger barres all strings at one fret, and the rest of the chord is built using that fret as the nut. For example, in an F# chord, the index finger barres the second fret, and the other three fingers make an E chord using the second fret as the nut.

bass note - The lowest note played in a chord, shown either by the chord name (e.g. E in E) or the note listed after a slash (e.g. F# in G/F#).

chord - Three or more pitches played simultaneously, usually a root, third, and fifth, though sometimes a seventh is added.

circle of fifths - A musical tool showing the relatedness of keys.

closely related keys - The fifth up and fifth down (fourth up) from any key. For example, the keys closely related to G are C (fifth down) and D (fifth up).

diminished fifth - An interval made up of two whole steps and two half steps. For example, the distance between D and Ab is a diminished fifth.

diminished chord - A chord consisting of a minor third and a diminished fifth. For example, a D diminished chord (D?) contains D, F, and Ab.

dominant - The fifth note of the major scale. The major chord built on the dominant, designated V, leads strongly toward the tonic.

fifth - In a scale, the distance between a certain note and another note four notes above it. The certain note is counted as I, the note four notes above that is V.

half step - The smallest recognized interval in Western music. The distance represented by one fret on a guitar is a half step.

interval - The musical distance between two notes, measured by the number of whole and half steps between the two notes.

inversion - The use of notes in the chord other than the root as the bass note (e.g. F# bass in a D chord).

key - The basis of musical sounds in a piece. Each key uses the notes and chords of the corresponding major scale. The key is named after the tonic (e.g. the tonic in the key of A is A).

leading - The tendency that certain notes and chords have to resolve to other specific notes or chords.

leading tone - The seventh note of the major scale, one half step below the tonic. This note leads strongly toward the tonic.

major chord - A chord consisting of a major third and a perfect fifth. For example, a D major chord (D) contains D, F#, and A.

major scale - A group of eight notes with the following whole step/half step pattern between them: W-W-H-W-W-W-H. For example, the A major scale consists of A, B, C#, D, E, F#, G#, and A.

major seventh - An interval made up of five whole steps and one half step. For example, the distance between D and C# is a major seventh.

major third - An interval made up of two whole steps. For example, the distance between D and F# is a major third.

minor chord - A chord consisting of a minor third and a perfect fifth. For example, a D minor chord (Dm) contains D, F, and A.

minor seventh - An interval made up of four whole steps and two half steps. For example, the distance between D and C is a minor seventh.

minor third - An interval made up of one whole step and one half step. For example, the distance between D and F is a minor third.

modulate - To change keys.

muting - Pressing your finger against a string while playing a chord to avoid playing that string. Muting is represented by an x in my chord diagrams (as in E/G#: 4×2400).

perfect fifth - An interval made up of three whole steps and one half step. For example, the distance between D and A is a perfect fifth.

resolve - A musical progression which brings finality to part of a piece.

root - The note a chord is built on.

seventh - In a scale, the distance between a certain note and another note six notes above it. The certain note is counted as I, the note six notes above that is vii.

seventh chord - A chord consisting of a major third, a perfect fifth, and a minor seventh. For example, a D seventh chord (D7) contains D, F#, A, and C. Major seventh chords (notated maj7) contain a major seventh instead of a minor seventh.

suspended chord - A chord containing either the root, second, and fifth (sus2), or the root, fourth, and fifth (sus4).

third - In a scale, the distance between a certain note and another note two notes above it. The certain note is counted as I, the note two notes above that is iii.

tonic - The note on which the major scale is based. The major chord built on the tonic, designated I, is the eventual goal of any song.

transpose - Moving the musical position of a piece, keeping all intervals as they were in the original piece. For example, if you have C, F, and G (I, IV, and V), and you want to transpose to the key of G, then use the I, IV, and V of G, which are G, C, and D

 


PianoSystem.com

POPULAR CHORD SONGS

 


BeginnerGuitarSystem.com

As in

setiathome.ssl.berkeley.edu/~aparsons/guitar/guitar1.html/

http://www.all-guitar-chords.com/guitar_chords_glossary.php

http://www.all-guitar-chords.com/song_list.php

http://www.igdb.co.uk/pages/beginners/tuning_a_guitar.htm


BeginnerGuitarSystem.com


PianoSystem.com

Billboard 2011 Popularity Poll

The year’s most recognizable pop divas remained the fan favorites in the Billboard.com 2011 Readers’ Poll, with Adele, Britney Spears, Lady Gaga and Nicki Minaj scoring the most votes the poll’s major categories. Once Billboard.com readers weighed in on their favorite songs, albums and artists over the past 12 months and the hundreds of thousands of votes were tallied, Spears emerged as our 2011 MVP, and her “Til The World Ends” remix partner, Nicki Minaj, was voted Newcomer of the Year. Meanwhile Adele snagged the most votes for Favorite Hot 100 No. 1 (“Rolling in the Deep”) and Favorite Billboard 200 No. 1 for sophomore album “21.”

 

Best Of 2011: Year In Music Main | Mid-Year Readers’ Poll Awards

 

 

2011 MVP

1. Britney Spears (43%)

2. Lady Gaga (22%)

3. Adele (17%)

 

 

Best Newcomer

1. Nicki Minaj (63%)

2. Foster The People (13%)

3. Scotty McCreery (10%)

 

Favorite Hot 100 No. 1

1. Adele, “Rolling in the Deep” (32%)

2. Britney Spears, “Hold It Against Me” (31%)

3. Lady Gaga, “Born This Way” (16%)

Spears, who returned with a new album, “Femme Fatale,” that topped the Billboard 200 albums chart upon its March release, was narrowly edged out by Adele for the top prize in the Favorite Billboard 200 No. 1 category. But the veteran pop star came in on top for Best Music Video for her sultry “Til The World Ends” clip, and her Femme Fatale trek beat out U2 and Taylor Swift for Best Tour. Spears also shared the Best Awards Show Performance trophy with Rihanna, whom she joined onstage for the “S&M” remix at the 2011 Billboard Music Awards.

 

Favorite Billboard 200 No. 1

1. Adele, “21″ (35%)

2. Britney Spears, “Femme Fatale” (33%)

3. Lady Gaga, “Born This Way” (17%)

 

Best Music Video

1. Britney Spears, “Til The World Ends” (45%)

2. Lady Gaga, “Born This Way” (23%)

3. Rihanna feat. Calvin Harris, “We Found Love” (11%)

 

Best Tour

1. Britney Spears’ Femme Fatale Tour (58%)

2. U2′s 360 Tour (11%)

3. Taylor Swift’s Speak Now Tour (10%)

Meanwhile, Nicki Minaj — who was named Billboard’s Rising Star at this year’s Women in Music event and who dominated the Newcomer field, easily taking down Foster The People and “American Idol” champ Scotty McCreery — fell into third place behind leader Lady Gaga in the Best Fashion category. Gaga ironically finished second in Best Music Video (for “Born This Way”) and 2011 MVP votes but won in the Most Overrated category.

 

Best Awards Show Performance

1. Rihanna & Britney Spears, Billboard Music Awards (47%)

2. Adele, MTV Video Music Awards (17%)

3. Beyonce, Billboard Music Awards (13%)

 

 

Most Overrated

1. Lady Gaga (30%)

2. Britney Spears (29%)

3. Justin Bieber (21%)

 

 

Best Fashion

1. Lady Gaga (31%)

2. Rihanna (25%)

3. Nicki Minaj (13%)

Other noteworthy Readers’ Poll results included Coldplay winning Best Festival Performance, Jay-Z being part of the Hottest Couple AND Best Bromance, and Madonna fans already salivating for an album from her next year. Check out the rest of the results below, including the percentage of the votes that each candidate received in each category, and give us your feedback in the comments section.

 

Best Festival Performance

1. Coldplay at Glastonbury (36%)

2. Kanye West at Austin City Limits (15%)

3. Robyn at Bonnaroo (12%)

 

 

Hottest Couple

1. Jay-Z and Beyonce (51%)

2. Justin Bieber and Selena Gomez (27%)

3. Wiz Khalifa and Amber Rose (7%)

 

 

Best Bromance

1. Jay-Z and Kanye West (36%)

2. Justin Bieber and Usher (22%)

3. Eminem and Royce Da 5’9″ (14%)

 

 

Best Comeback

1. Jennifer Lopez (47%)

2. Kelly Clarkson (17%)

3. Evanescence (12%)

 

 

Biggest Controversy

1. Amy Winehouse’s death (59%)

2. Michael Jackson’s doc Conrad Murray on trial (19%)

3. Justin Bieber’s baby drama (11%)

 

 

Saddest Band Break Up

1. R.E.M. (47%)

2. The White Stripes (31%)

3. LCD Soundsystem (13%)

 

 

Most Anticipated 2012 Album

1. Madonna (42%)

2. Nicki Minaj (18%)

3. No Doubt (11%)

 

Billboard Year End Charts 2011

Who sold more and was popular in 2011?

 

 

 

It’s not exactly 2011 as the year end chart counts sales and airplay from 01 December to 30 November. In the case of 2011 Year End Chart data is from December 2010 to the end of November 2011. Sales and airplay December 2011 will be part of next year chart. This way Billboard can publish the Year End Chart on the Year End edition. But online they were published this weekend!

It’s not necessary to be an expert to imagine that Adele and Katy Perry are way talked about on 2011 Year End Charts. They both are enjoying a lot of commercial success in US right now and they both broke a few Billboard Chart Records during 2011.

Since Billboard added the top overall artist category to its year-end recaps in 1981, no woman has ever pulled off the triple crown win until this year (Artist, Single and Album).

 

 

 

 

 

 

 

Aside from Adele, the only time a woman has earned the No. 1 titles on both the year-end Billboard 200 and Hot 100 recaps was in 1993. That year, Whitney Houston reigned with the soundtrack to “The Bodyguard” and the ubiquitous “I Will Always Love You” single.

Adele simply took over Billboard’s charts in 2011, storming both the Billboard 200 and Hot 100. Her “21″ album, released Feb. 22, debuted at No. 1 on the former tally and has spent 13 nonconsecutive weeks atop the list. It also spent 39 weeks inside the TOP 5 breaking the previous record that belonged to Michael Jackson (38 weeks). Two of its singles, “Rolling in the Deep” and “Someone Like You,” spent seven and five weeks at No. 1, respectively, on the Hot 100.

While “21″ could certainly return to No. 1, its 13 weeks in the penthouse mark the most weeks atop the list since the soundtrack to “Titanic” spent 16 weeks at No. 1 in 1998. She also one of the 5 Woman that spend 13 or more weeks at the Top Billboard Album Chart.

Adele’s triumph as the top artist of 2011 also rewrites a bit of history: This is the third year in a row where a woman takes home the honors. That’s the longest women have ruled the Top Artists chart. Adele follows Lady Gaga (2010) and Taylor Swift (2009).

Top Artists 2011

 

The Top Artists recap ranks the best-performing acts of the year derived from activity on the Billboard 200 albums tally and the Billboard Hot 100 singles list, as well as streaming, social, touring boxscore and ringtone data.

For the first time in 30 years there are only solo acts on the Top 10 of Top Artist Year End Chart. The first group/duo comes in at #11 and are The Black Eyed Peas.

 

 

 

 

 

 

 

#01 – Adele

 

 

 

 

#02 – Rihanna

 

 

 

 

 

 

 

 

#03 – Katy Perry

 

 

 

 

 

 

#04 – Lady Gaga

 

 

 

 

#05 – Lil Wayne

 

 

 

 

#06 – Bruno Mars

 

 

 

 

 

 

 

#07 – Nicki Minaj

 

 

 

 

 

#08 – Taylor Swift

 

 

 

 

 

 

 

#09 – Justin Bieber

#10 – Chris Brown

Hot 200 Albums 2011

 

This shows what are the best selling albums in US in the past 12 months. Adele “21 is by far the #01. The album moved almost 5 million units selling more than twice than Taylor Swift’s “Speak Now”, the number #02 of the year that moved little more than 2.1 millions. Lady Gaga and her announced  as “best selling album of the century” managed to get the #03 album of the year selling around 1.8 million copies. The last time the number #01 album of the year doubled the #02 numbers was in 2004 when Usher was #01 with “.

Adele is also the first British artist to have the year’s best-selling album since Spice Girls scored in 1997 with Spice. “21″ debuted at #1 the week ending Feb. 27. It has logged 13 weeks at #1, more than any other album since the Titanic soundtrack had 16 weeks on top in 1998.

 

 

 

 

 

Year End Position / Artist / Album name / Peak position at Billboard 200

 

#01 Adele –  ”21″ / 13 weeks at #01 (2011)
#02 Taylor Swift / “Speak Now” / 4 weeks at #01 (2011)
#03 Lady Gaga / “Born This Way / 2 weeks at #01 (2011)
#04 Jason Aldean / “My Kind of Party” / #02 (2010)
#05 Susan Boyle / “The Gift” / 4 weeks at #01 (2010)
#06 Lil Wayne / “Tha Carta IV” / 2 weeks at #01 (2011)
#07 Nicki Minaj / “Pink Friday” / 1 week at #01 (2011)
#08 Mumford & Sons / “Sigh No More” / #02 (2011)
#09 Rihanna / “Loud” / #03 (2010)
#10 Katy Perry / “Teenage Dream” / 1 week at #01 (2010)

 

Hot 200 Albums Artists 2011

 

This chart show what artist sold more albums that were in the Hot 200 during the past 12 months. Not surprisingly Adele is #01 with 2 albums among the Top 200 Best Selling Albums of the year in US: “21″ at #01 and “19″ at #37.
Justin Bieber comes as the second best seller album artist as he unbelievably puts 5 albums on the Top 200 Best Sellers (and almost all Top 100): #18 “My World 2.0″, #28 “Never Say Never – The Remixes”, #29 “My Worlds Accoustic”, #94 “Under The Mistle Toe” (the just released Christmas album) and #108 “My World”.

 

#01 Adele
#02 Justin Bieber
#03 Taylor Swift
#04 Lady Gaga
#05 Lil Wayne
#06 Susan Boyle
#07 Lady Antebellum
#08 Jason Aldean
#09 Kanye West
#10 Jackie Evancho

 

Hot 200 Digital Albums 2011

 

This shows what are the best selling albums as downloads in virtual internet shops like iTunes in US in the past 12 months. Adele “21 is by far the #01 again. Not surprisingly Lady Gaga’s “Born This Way” comes in at #02. Her album first week sales Amazon promotion did help as it sold almost half a million copies at 99 cents (instead the regular price of 10$) in order to promote their Cloud Drive music offer. Even though they only charged 6.99$ per the digital version of the album after the 2 day promotion.
Almost half of the the digital album Top 10 sellers aren’t featured on the main Top 10 sellers of the year that includes digital and physical sales. It’s notorious that both Rock and Rap sell better on downloads than physical at shops.

 

Year End Position / Artist / Album name
#01 Adele / “21″
#02 Lady Gaga / “Born This Way
#03 Mumford & Sons / “Sigh No More”
#04 Jay Z & Kanye West / Watch the Throne
#05 Lil Wayne / “Tha Carta IV”
#06 Kanye West / “My Beautiful Dark Twisted Fantasy”
#07 Coldplay / “Mylo Xyloto”
#08 Rihanna / “Loud”
#09 Katy Perry / “Teenage Dream”
#10 Bruno Mars / “Doo-Whops & Hooligans”

 

 

Hot 100 Songs 2011

 

Not surprisingly Adele it’s #01 again as “Rolling In The Deep” broke that records and stayed 7 weeks at #01. Surprise is “Someone Like You” that was #01 for 5 weeks appear only at #24 on the Year End List. “Someone Like You” holds also the record biggest rise to #01 in Billboard history as the single climbed 18 positions from #19 to #01. Katy Perry, that had 3 #01′s during the past 12 months was able to get 2 of the TOP 5 Best Selling Singles. Another surprise is Lady Gaga’s “Born This Way” missing the Top 10 of the year being only at #18 when it spent 6 weeks at #01 during 2011.

#01 Adele – “Rolling In The Deep” / 7 weeks at #01
 

#02 LMFAO – “Party Anthem” / 6 weeks at #01

 

#03 Katy Perry – “Firework” / weeks at #01

 

#04 Katy Perry feat. Kanye West – “E.T.” / weeks at #01

 

#05 Pitbull feat. Ne-Yo, Afrojack & Nayer – Give Me Everything / 1 week at #01

 

#06 Bruno Mars – “Grenade” / weeks at #01

 

#07 Cee Lo Green – “F**k You (Forget You)” / weeks at #01

 

#08 Nicki Minaj – “Super Bass” / weeks at #01

 


Maroon 5 – Moves Like Jagger por umusic

#09 Maroon 5 feat. Christina Aguilera – “Moves Like Jagger” / weeks at #01

 

#10 The Black Eyed Peas – “Just Can’t Get Enough” / weeks at #01

 

Hot 100 Songs Artists 2011

 
Katy Perry that got 5 #01 songs from her album “Teenage Dream”, puting her on a tie with Michael Jackson for the Artist with Most #01 Hits from an Album. Michael Jackson scored 5 #01 Hits from his “Bad” album during 1987 and 1988. Bruno Mars come in second place that got a number #01 song (“Grenade” was #01 for 4 weeks) and two other songs peaking at Top 10 of the Hot 100 (one of them is currently at #03 and still climbing). Riahnna comes in third because she released 8 singles during the past 12 month. Not all of them were very successful and some even failed the Hot 100 but three of them got to the #01 position. During 2011 Rihanna got her 11th #01 single putting her on a tie with Whitney Houston as the female artist with most #01′s in US. Only Madonna and Mariah Carey have more #01 on the Billboard Hot 100. Adele comes at #04 despite being the artist that spent more weeks at #01 during 2011 (a total of 12 weeks at the #01 of the Hot 100).

 

#01 – Katy Perry
#02 – Bruno Mars
#03 - Rihanna
#04 – Adele
#05 – Lil Wayne
#06 - Lady Gaga
#07 – Nicki Minaj
#08 – Pit Bull
#09 – Chris Brown
#10 – Britney Spears

 

Hot 100 Digital Songs 2011

 

It’s all about sales here. Not surprisingly Adele it’s #01 again as “Rolling In The Deep” digital single sold 5.6 million payed downloads. Katy Perry, that had 3 #01′s during the past 12 months was able to get 2 songs on the TOP 5 Best Selling Singles.

 

#01. Adele – “Rolling In The Deep”
#02. Katy Perry feat. Kanye West – “E.T.”
#03. LMFAO – “Party Rock Anthem”
#04. Katy Perry – “Firework”
#05. Cee-Lo Green – “F**k You (Forget You)”
#06. Bruno Mars – “Grenade”
#07. Pitbull, Ne-Yo, Afrojack, Nayer – “Give Me Everything”
#08. Maroon 5 feat. Christina Aguilera – “Moves Like Jagger”
#09. Lady Gaga – “Born This Way”
#10. Jennifer Lopez feat. Pitbull – “On The Floor”

 

Hot 100 Digtal Artists

Looking at the first 4 places one would say that radio plays what it sells… or that what it sells is what plays on the radio. But looking at the whole Top 10 we find that it’s not that equal to the Hot 100 Radio Songs. Katy Perry was the best selling singles artist and Bruno Mars got the second most played. Rihanna comes at third  (8 singles released and scored 3 Hot 100 #01 hits).

 

#01. Katy Perry
#02. Bruno Mars
#03. Rihanna
#04. Adele
#05. Nicki Minaj
#06. Pitbull
#07 Chris Brown
#08. Lil Wayne
#09. P!nk
#10. Lady Gaga

 

Hot 100 Radio Songs 2011

Pitbull’s “Give Me Everything” was more played by radio than Adele’s “Rolling In The Deep” but the Katy Perry was able to put 3 songs on the Top 10 (2 of the songs are even Top 5!) and Bruno Mars had 2 songs there making them favorites of radio DJ’s.

 

#01. Pitbull, Ne-Yo, Afrojack, Nayer – “Give Me Everything”
#02. Adele – “Rolling In The Deep”
#03. Katy Perry – “Firework”
#04. LMFAO – “Party Rock Anthem”
#05. Katy Perry feat. Kanye West – “E.T.”
#06. Bruno Mars – “Grenade”
#07. Bruno Mars – “Just The Way You Are”
#08. Nicki Minaj – “Super Bass”
#09. Black Eyed Peas – “Just Can’t Get Enough”
#10. Katy Perry – “Last Friday Night (T.G.I.F.)”

 

Hot 100 Radio Songs Artists 2011

As we could guess by the Hot 100 Radio Songs Katy Perry was the artist most played by US radios and Bruno Mars got the second most played. No surprise that Rihanna comes at third as she released 8 singles and scored 3 Hot 100 #01 hits. Surprise that with all the media support and 6 single releases (all of them Top 40 hits – 4 got even Top 10 and 1  hit the #01 spot) Lady Gaga only comes at #10 on the most played at radio.

 

#01. Katy Perry
#02. Bruno Mars
#03. Rihanna
#04. Adele
#05. Nicki Minaj
#06. Pitbull
#07 Chris Brown
#08. Lil Wayne
#09. P!nk
#10. Lady Gaga

 

Most Grossing Tours 2011:

This is a worldwide chart and not only US. With only 44 sold out shows in 2011 U2 were able to make around 293 million dollars and got the #01 spot on this list. They also broke a record as 360º Tour is now the Best Grossing Tour Ever. After 3 years it made 736 millions in more than 100 stadium concerts and 7.7 million people attended. Bon Jovi come in second with 192 million dollars with 68 shows and Take That managed to do 185 million dollars with only 29 shows!

 

 

 

 

 

 

#01 – U2

Total Gross: $293,281,487 Number of Shows: 44
Total Attendance: 2,887,972 Number of Sell-Outs: 44

Setlist Essential: “Where The Streets Have No Name”

#02 – Bon Jovi

Total Gross: $192,947,951 Number of Shows: 68
Total Attendance: 1,851,385 Number of Sell-Outs: 68

Setlist Essential: “Wanted Dead Or Alive”

#03 – Take That

Total Gross: $185,175,360 Number of Shows: 29
Total Attendance: 1,806,473 Number of Sell-Outs: 29

Setlist Essential: “Kidz”

4 – Roger Waters

Total Gross: $149,904,965 Number of Shows: 92
Total Attendance: 1,362,993 Number of Sell-Outs: 92

Setlist Essential: “Comfortably Numb”

5 – Taylor Swift

Total Gross: $97,368,416 Number of Shows: 89
Total Attendance: 1,356,720 Number of Sell-Outs: 87

Setlist Essential: “You Belong With Me”

6 – Kenny Chesney

Total Gross: $84,576,917 Number of Shows: 55
Total Attendance: 1,160,132 Number of Sell-Outs: 37

Setlist Essential: “Somewhere With You”

7 – Usher

Total Gross: $74,954,681 Number of Shows: 73
Total Attendance: 922,327 Number of Sell-Outs: 58

Setlist Essential: “DJ Got Us Falling In Love”

8 – Lady Gaga

Total Gross: $71,900,434 Number of Shows: 45
Total Attendance: 745,735 Number of Sell-Outs: 43

Setlist Essential: “Born This Way/Edge Of Glory”

9 – André Rieu

Total Gross: $67,104,756 Number of Shows: 102
Total Attendance: 657,757 Number of Sell-Outs: 15

Setlist Essential: “Qué Será Será”

10 – Sade

Total Gross: $53,178,550 Number of Shows: 59
Total Attendance: 588,693 Number of Sell-Outs: 21

Setlist Essential: “No Ordinary Love”

11 – Michael Bublé

Total Gross: $49,856,921 Number of Shows: 57
Total Attendance: 520,242 Number of Sell-Outs: 36

Setlist Essential: “For Once In My Life”

12 – Eagles

Total Gross: $49,759,190 Number of Shows: 24
Total Attendance: 286,684 Number of Sell-Outs: 3

Setlist Essential: “Long Road Out Of Eden”

13 – Katy Perry

Total Gross: $48,851,454 Number of Shows: 98
Total Attendance: 1,002,656 Number of Sell-Outs: 54

Setlist Essential: “Firework”

14 – Lil Wayne

Total Gross: $46,300,000 Number of Shows: 69
Total Attendance: 712,000 Number of Sell-Outs: 14

Setlist Essential: “How To Love”

15 – Justin Bieber

Total Gross: $44,124,922 Number of Shows: 35
Total Attendance: 567,544 Number of Sell-Outs: 27

Setlist Essential: “One Less Lonely Girl”

16 – Glee Live! In Concert!

Total Gross: $40,854,811 Number of Shows: 40
Total Attendance: 485,852 Number of Sell-Outs: 40

Setlist Essential: “I Wanna Hold Your Hand”

17 – NKOTBSB

Total Gross: $40,415,307 Number of Shows: 51
Total Attendance: 609,426 Number of Sell-Outs: 22

Setlist Essential: “The Right Stuff/Larger Than Life”

18 – Journey

Total Gross: $39,069,939 Number of Shows:73
Total Attendance: 688,871 Number of Sell-Outs: 17

Setlist Essential: “Don’t Stop Believin’”

19 – Britney Spears

Total Gross: $37,100,000 Number of Shows: 39
Total Attendance: 396,000 Number of Sell-Outs:14

Setlist Essential: “Hold It Against Me”

20 – Iron Maiden

Total Gross: $33,085,671 Number of Shows: 33
Total Attendance: 473,285 Number of Sell-Outs: 17

Setlist: Essential: “The Talisman”

21 – Kylie Minogue

Total Gross: $32,559,439 Number of Shows: 41
Total Attendance: 307,135 Number of Sell-Outs: 2

Setlist Essential: “Closer/There Must Be An Angel/Love At First Sight”

22 – Neil Diamond

Total Gross: $31,303,070 Number of Shows: 20
Total Attendance: 239,723 Number of Sell-Outs: 4

Setlist Essential: “Sweet Caroline”

23 – Enrique Iglesias

Total Gross: $30,811,001 Number of Shows: 38
Total Attendance: 397,857 Number of Sell-Outs: 32

Setlist Essential: “Tonight”

24 – Jason Aldean

Total Gross: $27,768,963 Number of Shows: 58
Total Attendance: 790,530 Number of Sell-Outs: 47

Setlist Essential: “See You When I See You”

25 – Toby Keith

Total Gross: $27,313,132 Number of Shows: 52
Total Attendance: 673,668 Number of Sell-Outs: 19

Setlist Essential: “Made In America”

 

Billboard Year End Charts 2011 complete list:

http://www.billboard.com/#/charts/charts-year-end?year=2011

As in:

http://www.billboard.biz/bbbiz/touring/the-year-in-touring-1005644662.story

http://www.billboard.biz/bbbiz/industry/record-labels/2011-year-in-charts-1005644672.story

http://www.billboard.com/#/news/adele-artist-of-the-year-q-a-1005641752.story

http://www.billboard.com/#/features/the-year-in-pop-adele-makes-history-1005644432.story

http://www.billboard.com/news/the-best-of-2011-1005616852.story#/news/the-best-of-2011-1005616852.story

http://www.dailymail.co.uk/tvshowbiz/article-2072592/The-success-continues-Adele-makes-Billboard-history-named-2011s-artist–scoring-album-single.html

http://www.geekwire.com/2011/amazons-99-cent-lady-gaga-promotion-mirrors-walmarts-ageold-strategy

http://en.wikipedia.org/wiki/Billboard_Year-End

http://en.wikipedia.org/wiki/Best-selling_albums_by_year_in_the_United_States

http://www.ukmix.org/forums/viewtopic.php?t=78284&postdays=0&postorder=asc&start=1050

http://www.ukmix.org/forums/viewtopic.php?t=86160

 

Billboard Charts (NOW & THEN) – how are they compiled and what do they show exactly (Part II)

Billboard Charts (NOW & THEN) – how are they compiled and what do they show exactly (Part II)

The part 1 of this article is here in case you haven’t read it and wish to read it first.

Billboard Rock Era – From July 1955 to Soundscan System (1991)

The rock era started on July 9, 1955 (by consensus of pop historians) when “(We’re Gonna) Rock Around the Clock” by Bill Haley & His Comets went to No. 1 on the Billboard pop singles chart. For the record we believe we still are in the Rock Era though this was only settled by music historians a few decades after it started so we also are in Digital Era and we don’t know exactly how if this Era will be treated different in the future. For now the Digital Years belong to the Rock Era too.

1955 the charts were compiled in a different way. The first chart to rank the top 10 songs was contained in Billboard’s 1940 magazine. The Billboard Hot 100 list began in 1955 but was only a TOP 20 at the very beginning and was still called Honor Roll of Hits. Every week, Billboard Magazine gathers diverse sets of data from around the country to put together a list of the most popular songs of the week. The list was based on music sales and Top 40 radio figures, and it charts what songs people want to hear.


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Top 20 becomes Top 100

Although officially all three charts had equal “weight” (Best Sellers in Stores, Most Played by Jockeys, Most Played in Jukeboxes) in terms of their importance, many chart historians refer to the Best Sellers In Stores chart when referencing a song’s performance prior to the creation of the Hot 100. Billboard eventually created a fourth singles popularity chart that combined all aspects of a single’s performance (sales, airplay and jukebox activity), based on a point system that typically gave sales (purchases) more weight than radio airplay. On the week ending November 12, 1955, Billboard published The Top 100 for the first time. The Best Sellers In Stores, Most Played By Jockeys and Most Played In Jukeboxes charts continued to be published concurrently with the new Top 100 chart.

On June 17, 1957, Billboard discontinued the Most Played In Jukeboxes chart, as the popularity of jukeboxes waned and radio stations incorporated more and more rock-oriented music into their playlists. The week ending July 28, 1958 was the final publication of the Most Played By Jockeys and Top 100 charts, both of which had Perez Prado’s instrumental version of “Patricia” ascending to the top.


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Billboard Hot 100 – The official US singles chart

The first Billboard Hot 100 (with that name) was only published for the first time in 1958. The first number one song of the Hot 100 was “Poor Little Fool” by Ricky Nelson on August 4, 1958.

The methods and policies by which this data is obtained and compiled have changed many times throughout the chart’s history. As the advent of a singles music chart spawned chart historians and chart-watchers and greatly affected pop culture and produced countless bits of trivia, the main purpose of the Hot 100 is to aid those within the music industry – to reflect the popularity of the “product” (the singles, the albums, etc.) and to track the trends of the buying public. Billboard has (many times) changed its methodology and policies to give the most precise and accurate reflection of what is popular. A very basic example of this would be the ratio given to sales and airplay. During the Hot 100’s early history, singles were the leading way by which people bought music. At times when singles sales were robust, more weight was given to a song’s retail points than to its radio airplay.

It’s all about the money…

As the decades passed, the recording industry concentrated more on album sales than singles sales. Musicians eventually expressed their creative output in the form of full-length albums rather than singles, and by the 1990s many record companies stopped releasing singles altogether (especially in US). Selling albums was much more profitable. Eventually a song’s airplay points were weighted more so than its sales. Billboard has adjusted the sales/airplay ratio many times to more accurately reflect the true popularity of songs. That goal wasn’t always achieved as rules changed a lot to face music the consumer new habits and labels new tricks but usually with more delay than would be expected by the industry.

Starting with the Hot 100 chart for the week ending November 29, 1969, this rule was altered; if both sides received significant airplay, they were listed together. This started to become a moot point by 1972, as most major record labels solidified a trend they had started in the 1960s by putting the same song on both sides of the singles it serviced to radio. More complex issues began to arise as the typical A and B side format of singles gave way to 12 inch singles and maxi-singles, many of which contained more than one B-side. Further problems arose when, in several cases, a B-side would eventually overtake the A-side in popularity, thus prompting record labels to release a new single, featuring the former B-side as the A-side, along with a “new” B-side.

In late 90’s the inclusion of album cuts on the Hot 100 put the double-sided hit issues to rest permanently.


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Radio & Records – The Official Airplay Chart from 1974 – 1991

Music charts, for the most part, are a reflection of how musical products performed in a given week. The Billboard Hot 100 reflects a combination of airplay and sales while many other trades only report airplay. For many years since its inception in 1974, Radio & Records (belonging to a different company) commanded the attention of radio program directors and music directors around the country.

Rules on Billboard Charts were not giving with accuracy the most popular songs in the country. Billboard’s charts have changed dramatically over the years. In the fifties through the mid-seventies chart action displayed much more volatile behavior than from the mid-seventies through late eighties. It is interesting how records began to move in more predictable chart patterns after 1974 on the Billboard Hot 100. Instead of songs falling from #1 to #12 in one week, which was common in 1974, top records quit falling out of the top ten starting in 1975 for many years to come. That same year also saw the end of records making big jumps to peak positions. Usually the industry was warned before a drop with a slowing trend of just a couple upward positions or less before the actual decline.

Airplay Hits Not Allowed to Chart Hot 100: 1974 – 1991

Singles were pretty cheap back then, ranging from .99 cents to $1.99 depending on where you went to buy them. If you liked a song, it was much better for the consumer to spend a couple of bucks on a single instead of $9-10 or more on a full-length album.  Music labels started releasing some singles as 12” only and not being released as commercially singles at all. They wanted to force people to buy the album instead of the singles. One of the best examples of this was the 1985 Hit Madonna’s “Into The Groove” that spent 6 weeks at the Radio & Record Airplay Chart  #01 and didn’t even appeared on the Billboard Hot 100 Airplay chart because it was a B side from the “Angel” single (that reached #05 on the Billboard Hot 100 Chart) and so was not allowed to chart separately. The single was only available has B side of the 12” single of “Angel” in US. It wasn’t considered a proper single release for Hot 100 by Billboard rules though it had a video on heavy rotation on MTV and so it wasn’t able to chart. It got to #01 on the Club Play Chart and later was considered the Best Dance Single of the Decade by Billboard. But in 1985 they didn’t think it was a proper single so the sales rules for singles chart only allowed sales for 7” singles ignoring the 12” releases for the Hot 100 Chart. Besides B sides couldn’t chart. There was a Maxi-Single Chart for those releases and sales didn’t count for main sales chart. On that chart both songs would be credited. Not counting for the main chart is bit weird when you think that 12” singles were double the price of 7” singles. “Into The Groove” was the only song that stayed more than 2 weeks at the Top of Radio & Records chart and didn’t made Billboard Hot 100 Airplay #01 because wasn’t allowed to chart. It also helped Radio & Records to gain more importance over Billboard when one wanted to check what was really popular on the radio. Several other songs that charted on Radio & Records Top 100  failed to chart on Billboard Hot 100 Airplay for the same reason.

But there are a lot other songs that appeared on the Hot 100 airplay but were not commercially released  and didn’t appear on the main Hot 100 chart. During the 70’s there are a lot of examples like Led Zeppelin’s “All My Love” and Elton John’s “Pinball Wizard”  that were both Top 10 airplay and weren’t allowed to enter the Hot 100 main chart as were not commercially released. During the 80’s this was common for a lot of Hits like Janet Jackson’s “State of Mind” that reached #05 on Hot 100 Airplay and wasn’t allowed to chart on Hot 100 main Billboard Chart.

In the late 1980′s though, the first signs of true corporate greed within the music industry began to take hold. Record companies were looking at ways to generate more revenue. Singles cut dramatically into album sales and as result, the physical single started to become harder to come by in 1989 as record labels began to limit their releases. Billboard wasn’t molding their charts to the market enough.

When Billboard introduced its electronic methodology in 1991, unpredictable volatility returned to the charts and Radio & Records stopped being so important. But during the 90’s the airplay hits not available commercially not being allowed to chart the main Hot 100 became a bigger problem for Billboard. This and the fact that airplay was counting almost 90% for the Hot 100 while sales only counted 10% because ratios weren’t being updated. We’ll check out this later on the part III of this article.


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Singles Double A sides on Billboard

Billboard has also changed its Hot 100 policy regarding “two-sided singles” several times. The pre-Hot 100 chart “Best Sellers in Stores” listed popular A- and-B-sides together, with the side that was played most often (based on its other charts) listed first. One of the most notable of these, but far from the only one, was Elvis Presley’s “Don’t Be Cruel” / “Hound Dog.”

During the Presley single’s chart run, top billing was switched back and forth between the two sides several times. Later Billboard decided that only one side of the singles could be counted for Artist cumulative number one hits and Top 10 Hits as would be unfair to compare this hits to others with different rules. This happened because sales from these multiple hit singles (like these Elvis Presley songs) counted twice on the billboard chart as were both added to each song total points to calculate popularity of the songs rather than divided by both songs. Since 1974 only one hit could be counted. Today Bilboard look back as this single as only one number one hit rather than two as it was the same physicall single.

But on the concurrent “Most Played in Juke Boxes”, “Most Played by Jockeys” and the “Top 100″,  the two songs were listed separately, as was true of all songs. When Hot 100 got this name in 1958 A and B side from a single charted separately, as they had on the former Top 100.

Starting with the Hot 100 chart for the week ending November 29, 1969, this rule was altered; if both sides received significant airplay, they were listed together. This started to become a moot point by 1972, as most major record labels solidified a trend they had started in the 1960s by putting the same song on both sides of the singles it serviced to radio. So after 1972 Billboard decided just to ignore the B side of a single no matter what. This caused some big hits to become invisible on Billboard charts during the 70’s and the 80’s.

The double A sides issue was a problem that Billboard never solved until the Digital Era where songs are sold individually. So was it a song popularity chart or a Singles Chart? The fact is that this question doesn’t exist on the Digital Era where one song is downloaded individually counting as a single sale separately from a B side (the 45 inch is long over).

Where do EP Chart?

Extended play (EP) releases were listed by Billboard on the Hot 100 and in pre-Hot 100 charts (Top 100) until the mid-to-late 1960s. With the growing popularity of albums, it was decided to move EPs (which typically contain four to six tracks) from the Hot 100 to the Billboard 200, where they are included to this day.

Billboard Album Charts

Initially albums were collections of successful singles. The industry was single oriented. Later that changed as singles became a tool to promote albums. Billboard album charts (Hot 200) was introduced in 1956. On the first chart this is how the chart TOP 5 looked like:

May 5, 1956


1) Elvis Presley - Elvis Presley [10 weeks]
2) Belafonte - Harry Belafonte
3) The Man with the Golden Arm - Soundtrack
4) Carousel - Soundtrack
5) Songs for Swingin’ Lovers - Frank Sinatra

If you examine the charts closely, you’ll notice some discrepancies in the chronology and number of weeks at number one.  This is due to Billboard’s policy of tracking stereo and mono recordings separately from May 25, 1959 through August 17, 1963.


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Top Pop Catalog Albums

On March 25 1991 Billboard created the Top Pop Catalog Albums is a fifty-position weekly albums chart produced by Billboard magazine which ranks the best selling catalog titles, regardless of genre. Billboard defines a catalog title as one that is more than eighteen months old and that has fallen below position 100 on the Billboard Hot 200 – since 2008 as from 1991 to 2008 were tittles 24 months old. Albums meeting these criteria are removed from the Billboard Current Albums ranking and begin a new chart run on Top Pop Catalog Albums. Effectively, the Billboard Current Albums is equivalent to the Billboard Hot 200, with the catalog titles removed.

Top Pop Catalog Albums also contains reissues of older albums. An album need not have spent any weeks on the Billboard 200 to be eligible for Top Pop Catalog Albums (this occasionally occurs if an act has a breakthrough release which prompts a significant increase in sales of prior albums that were not big sellers upon their initial release).

Music Labels didn’t want old albums to get media attention for still being at the charts as they want the charts to help them to promote new albums.

The only exception to the “eighteen months old” rule pertains to holiday releases (for example, Christmas albums). A “holiday” release is eligible for the Billboard 200 only during its initial year of release. After its first year, a holiday-related album appears on Top Pop Catalog Albums. Many consistent-sellers make return trips to Top Pop Catalog Albums each November through January (it is not rare to see the top 20 or 30 positions occupied by holiday albums during December).

A unique feature of the Top Pop Catalog Albums chart is the replacement of the “weeks on chart” column (a standard in Billboard’s other charts) with a “total weeks” column, which is a cumulative total of weeks an album spent on both the Billboard 200 and the Top Pop Catalog Albums chart. The “total weeks” longevity record (by a large margin) is held by Pink Floyd’s “The Dark Side of the Moon”, which has a cumulative total of over 1,600 chart weeks (more than 31 years). The Top Pop Catalog Albums week are added to the previous Hot 200 Album weeks spent by the album.

Catalog and Hot 200 had to change

The issue dated July 11, 2009 was the first time any catalog album outsold the number-one album on the Billboard 200. Following Michael Jackson death there a phenomenon happened. Three of Michael Jackson’s albums (Number Ones, The Essential Michael Jackson and Thriller) claimed positions 1-3 respectively on Top Pop Catalog Albums and Top Comprehensive Albums in the week following Jackson’s death. Additionally, the entire top nine positions on Top Pop Catalog Albums were owned by Jackson, including Hits set by The Jackson 5.

This was when Billboard decided to make some changes on the Billboard Hot 200. There were albums on the Top Catalog selling enough to be Top 10 and even #01 so the Billboard 200 wasn’t truly reflecting the popularity of the albums sold in US. On December 2009 the Billboard 200 started reflecting comprehensive sales of all albums, old and new.


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As In:

http://www.billboard.com/#/footer/about-us

http://www.billboard.com/#/footer/biz

http://en.wikipedia.org/wiki/Billboard_Hot_100

http://en.wikipedia.org/wiki/Billboard_(magazine)

http://en.wikipedia.org/wiki/Billboard_200

http://en.wikipedia.org/wiki/Billboard_Comprehensive_Albums

http://rateyourmusic.com/list/QuartzM386/billboards_number_one_albums_of_the_rock_era__pt__1__1956_1995_

http://curiosity.discovery.com/question/billboard-magazine-compile-hot-100

http://tsort.info/music/charts.htm

http://en.wikipedia.org/wiki/American_Top_40

http://jcole77.wordpress.com/2008/08/

http://www.ukmix.org/forums/viewtopic.php?t=69859&highlight

http://en.wikipedia.org/wiki/Top_Pop_Catalog_Albums

http://music-mix.ew.com/2009/11/10/michael-jackson-beatles-billboard-chart

http://www.billboard.biz/bbbiz/content_display/industry/news/e3i1472d5304a5c1a500b617534fa859950

Editions of Billboard from 1955 to 1991:

http://books.google.com/books?id=hUd1o0aCe10C&as_pt=MAGAZINES&hl=pt-PT&source=gbs_all_issues_r&cad=1&atm_aiy=1950#all_issues_anchor

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