#EMI America Records

[odk-2]

George Thorogood and The Destroyers - Bad to the Bone (1982) (Album Version) George Thorogood "Bad to the Bone" / "No Particular Place to Go" (Single) "Bad to the Bone" (LP)

Blues Rock | Slide Guitar

JukeHostUK (left click = play) (320kbps)

Personnel: George Thorogood: Guitar / Vocals Hank Carter: Saxophone Ian Stewart: Piano Billy Blough: Bass Jeff Simon: Drums

Produced by The Delaware Destroyers

Recorded: @ Dimension Sound Studios in Boston, Massachusetts USA 1981–1982

Album Released: on August 9, 1982

EMI America Records

Single Released: on September 17, 1982

EMI-Manhattan Records

[duranduratulsa]

On the turntable today...

Rio by Duran Duran (1982) (Canada - Harvest Records Label)

Rio by Duran Duran (1982) (USA - Capitol Records/ EMI Records)

Big Game by White Lion (1989)

Countdown America with John Leader (4/27/1985)

Countdown America with John Leader (3/9/1985)

#duranduran #rio #duranduranrio #harvestrecords #capitolrecords #emirecords #whitelion #biggame #countdownamericawithjohnleader #CountdownAmerica #johnleader #80s #records #album #LP #radioprogram #vinyl #vinylrecords

[doyoulikethissong-poll]

Roxette - The Look 1989

"The Look" is a song by pop duo Roxette; Sweden's second-best-selling music act after ABBA. It was released in early 1989 as the fourth single from their second studio album, Look Sharp! (1988). The album was an immediate commercial success in their home country, spending seven weeks at number one on the Swedish Albums Chart. "The Look" was written by Per Gessle as an exercise while learning how to operate the Ensoniq ESQ-1 synthesizer he had recently purchased, using a repeated A–G–D bass line as the song's core. The track's sixteenth-note rhythm was inspired by the work of ZZ Top. The original title was "He's Got the Look", with the lyrics using male pronouns. Gessle said this was done because he initially wanted Marie Fredriksson to sing the track. Both he and EMI Sweden had chosen to highlight Fredriksson as Roxette's lead vocalist. However, when recording the demo, Gessle realised the song "didn't fit her style that well, so I had a go and it sounded OK."

The singles from Look Sharp! at the time were only released in Sweden, Germany and France. However, an American exchange student from Minnesota named Dean Cushman returned from Sweden and gave his copy of the album to his local Top 40 radio station, KDWB-FM in Minneapolis. The station's program director Brian Phillips initially ignored Cushman's request to play a song from the album, leaving the CD unplayed in his office for several weeks. Phillips eventually listened to it after learning Cushman had come to the office requesting the return of his CD. Immediately impressed by the album's opening track, "The Look" was played by the station for the first time on US radio less than an hour later, and the response from listeners was overwhelmingly positive; the station immediately began receiving phone calls to replay the track.

KDWB began distributing the track to their sister radio operations, sending 500 copies to other stations throughout the United States. EMI America promptly signed the duo to a recording contract as a result of the airplay. The label had previously rejected Roxette as "unsuitable for the American market". The song had already entered the top fifty of the Billboard Hot 100 before official promotion began, peaking at number one on the chart eight weeks later. This made "The Look" the third number one single by a Swedish act on the Billboard Hot 100, following Blue Swede's "Hooked on a Feeling" (poll #152) in 1974 and ABBA's "Dancing Queen" in 1976.

The track went on to top the charts in 25 countries. It spent three weeks atop the New Zealand Singles Chart, and six weeks at number one in Australia, where it was certified platinum for sales in excess of 70,000 copies. It also topped the charts throughout Scandinavia. The song spent five weeks at number one in West Germany, and an additional five weeks at number two. It was a massive success in Spain and Switzerland, spending eight weeks at number one in both countries. It reached number seven on the UK Singles Chart.

"The Look" received a total of 80,5% yes votes!

[marvelstan0905]

"Hello"

Kenji Sato X Interviewer!Readers [afab] (Oneshot)

Strangers to Lovers AU!

TW : flirting/crude comments/ fluffy/ blushing/petnames/persistence/skepticism/stuttering

©all rights reserved. the modification, translation, and plagiarism of my work is strictly prohibited.

Another interview. Kenji was getting sick of them. They're a waste of time and he's already answered these questions five thousand times. This interview he couldn't pass up, his manager was quite strict about it. Kenji just finished putting Emi to sleep which meant he had three hours for this dumb interview and hopefully he could spare a nap. Kenji was quick to ride to the location of his interview, considering he was 30 minutes late.

Kenji ran into the private room of the restaurant where he'd be having his interview, he stepped in and his whole world froze. Those dazzling eyes..those plum lips..the contours of her face. The glow of her soft skin, the contours of her beautiful, earth shaking figure. Her scent, even from where he stood, Kenji could smell the sweet decadent scent that surrounded her body. She was gorgeous. Kenji didn't believe in love at first sight but God..she was perfect. From head to toe. The man hadn't even spoken to her yet.

"Hello" Kenji cleared his throat with a hint of flirtation in his tone. I rose a brow and looked at my watch. I sighed and gestured for him to sit. I really needed the interview pay.

"You're late, Mr Sato but let's graze over that,hmm?" I smiled a small smile. Kenji sat down. I slid over a menu and I sipped on my virgin cocktail. "Are you ready to begin?"

Kenji didn't even notice he was staring at this woman for so long, he was practically a deer in headlights. I waved my hand in front of his face. "Are you okay, Mr Sato?"

"Y-Yeah..I'm sorry..please continue!" Kenji said a little startled as he looked to his menu and pushed up his sunglasses. I blinked and tilted my head.

"OK..are you sure you wanna wear sunglasses indoors?" I asked confused whiles looking at him. Kenji nodded and cleared his throat. I shrugged considering this is the Ken Sato were talking about. He does whatever he wants. "OK. Let's start. Can I have your consent to record and publish this interview later?"

"Yeah,yeah, sure" Kenji nodded dismissively. We quickly ordered our food before I started my recorder.

"Great..so Mr Sato-"

"Ken. You can call me Ken. Mr Sato is too formal." Kenji cut me off and smirked smugly. I nodded a little flustered but this should be expected.

"Okay uhmm...Ken. Is there a reason you left America and came back to Japan?" I asked. The interview was pretty mainstream and tedious from there. We finished up quicker than I thought. Kenji was pretty straightforward with his answers. We continued eating from there considering neither of us wanted to leave and waste food.

"So..um..off the record..how..how are you?" Kenji asked with a light pink dusting his cheeks. I stopped eating and raised a brow.

"I'm o-okay..how are you?" I say..unsure of where the hell this was going. Kenji removed his glasses and looked at me. I was confused by the look he gave me. Consider me dense and blind or am I seeing..interest and desire in his eyes?

"I'm good. So I never properly got your name, you know?" Kenji started eating his Ramen. I blinked in confusion.

"Y/N L/N." I answered skeptically. We just had an interview and the whole time he didn't know my name. That is..wow..and ouch.

"Nice to meet you..I'm Ken Sato" Kenji smiled offered his hand. I hesitantly shook his head and tilted my head.

"I'm sorry. Did we not just have a whole interview just now? I'm sure I know your name" I blinked in confusion with all these introductions.

"Yeah but it's kinda like a fresh start, kinda..we're off the record right?" Kenji smirked and cooked his head to the side whiles taking a long, tantalizing sip of his whiskey.

"I guess, you could say so. So what are your intentions,hmm?" I questioned skeptically as I propped my elbow on the table and laid my hand on my palm. "What's this all about?"

"I can't simply want to have conversation with a beautiful woman? I'm a little offended." Kenji mocked a dramatic gasp as he placed a hand on his chest. I blushed at the compliment and turned away

"I..I never said that..I'm just a little skeptical.." I shrugged flustered. Kenji leaned in slightly.

"You know..if you let me I can make you even more flustered." Kenji whispered suggestively whiles keeping hard eye contact. A smug, seductive smirk painted his lips."I want you and when I want something I get it...how about a date?"

My breath hitched and I blinked a few times in complete confusion. I thought about it..I mean I'm lonely, single and God this man was FINE..but then again his reputation and ego are far too douche bag like for me..it could be a front though..if I turn the other cheek, he's kinda my type.

"So? A date? Dinner..maybe we can catch a movie and a late night stroll? Yes?" Kenji suggested being quite persistent.

"Before I give you my response...are you playing some game? Or is this a dare or prank? Like I'll just be another girl to fall for your charms and then when you win you'll leave?" I rambled worried and skeptical. Kenji's smug look fell and it was replaced with sincerity.

"N-No..I-Im being really genuine. I promise! I-I know I don't exactly have the most humble reputation..but uh if you get to know the real me..you know, Kenji Sato. I promise you won't regret it" Kenji, spoke softly and sincerely almost pleading. I looked at him with widened eyes. I chewed on my lips and observed him skeptically. I sighed at the 'kicked puppy look' he gave me.

"Fine..fine. I'll go on a date with you." I sighed with a sheepish smile. Kenji smiled in triumph and grabbed a hold of my left hand giving my knuckles, a soft but firm kiss. I flushed once again as he was so quick to show affection.

"You WON'T regret it..God I promise I'll treat you like a queen. You won't know what hit you. I swear it." Kenji promised sternly. I blinked slowly in shock by his forwardness but it was refreshing from his arrogant persona. I nodded.

"O-Okay. You seem pretty determined, huh?"

"Yeah I am. I want you. I will make you mine. You're the finest specimen I've seen on this Earth. I'll move mountains to win you. I promise-no, I ultra promise"

[punkrockhistory]

45 years ago today

Entertainment! is the debut album by English post-punk band Gang of Four, released on this day in 1979 through EMI Records internationally and Warner Bros. Records in North America

[justforbooks]

Calvin Cordozar Broadus Jr. (born October 20, 1971), also known by his stage name Snoop Dogg (previously Snoop Doggy Dogg), is an American rapper, singer, songwriter, record producer, media personality, and actor. His initial fame dates back to 1992 following his guest appearance on Dr. Dre's debut solo single, "Deep Cover", and later on Dre's debut album, The Chronic that same year. Broadus has since sold over 23 million albums in the United States, and 35 million albums worldwide. His accolades include an American Music Award, a Primetime Emmy Award, and 17 Grammy Award nominations.

Produced entirely by Dr. Dre, Broadus's debut studio album, Doggystyle (1993) was released by Death Row Records and debuted atop the Billboard 200. Selling 800,000 copies in its first week, the album received quadruple platinum certification by the Recording Industry Association of America (RIAA) the following year and spawned the Billboard Hot 100-top ten singles "What's My Name?" and "Gin and Juice". He was the lead performer on Death Row's soundtrack album for the 1994 short film Murder Was the Case, wherein Broadus made his acting debut. His second album, Tha Doggfather (1996), likewise debuted atop the chart and received double platinum certification.

In 1998, he parted ways with Death Row in favor of Master P's No Limit Records, through which he saw largely continued success with his albums Da Game Is to Be Sold, Not to Be Told (1998), No Limit Top Dogg (1999), and Tha Last Meal (2000). He then signed with Priority, Capitol, and EMI Records to release his sixth album Paid tha Cost to Be da Boss (2002), which was further commercially oriented. This effectively continued upon him signing with Geffen Records to release his next three albums: R&G (Rhythm & Gangsta): The Masterpiece (2004), Tha Blue Carpet Treatment (2006), and Ego Trippin' (2008); the former spawned the single "Drop It Like It's Hot" (featuring Pharrell), which became his first to peak atop the Billboard Hot 100. He then returned to Priority and Capitol—upon his hiring as chairman of the former label—to release his tenth and eleventh albums, Malice 'n Wonderland (2009) and Doggumentary (2011), both of which saw mild critical and commercial response.

During this time, Broadus starred in films and hosted several television shows, including Doggy Fizzle Televizzle, Snoop Dogg's Father Hood, and Dogg After Dark. In 2012, following a trip to Jamaica, Snoop converted to Rastafari and adopted the alias Snoop Lion, under which he released a reggae album, Reincarnated (2013), and a namesake documentary film about his Jamaican experience.

His thirteenth studio album, Bush (2015), was produced entirely by frequent collaborator Pharrell, while his fourteenth studio album, Coolaid (2016), was released the same year as his induction into the celebrity wing of the WWE Hall of Fame. In 2018, Broadus became "a born-again Christian" and released his first gospel album, Bible of Love in March of that year. In November of that year, Broadus was given a star on the Hollywood Walk of Fame. In 2022, Broadus acquired Death Row Records from MNRK Music Group (formerly known as eOne Music), and released his nineteenth studio album, BODR (2022)—preceded by the independently-released I Wanna Thank Me (2019) and From tha Streets 2 tha Suites (2021).

The Washington Post, Billboard, and NME have called him a "West Coast icon"; and Press-Telegram, "an icon of gangsta rap". In 2006, Vibe magazine called him "The King of the West Coast". ABC News journalist Paul Donoughue, cited him among the 1990s acts that took hip-hop into the pop music charts. Broadus received the BMI Icon Award in 2011. In 2023, he was inducted into the Songwriters Hall of Fame.

Broadus popularized the use of -izzle speak particularly in the pop and hip-hop music industry. A type of infix, it first found popularity when used by Frankie Smith in his 1981 hit song "Double Dutch Bus". The Guardian's Rob Fitzpatrick has credited his album Doggystyle for proving that rappers "could reinvent themselves", expanding rap's vocabulary, changing hip-hop fashions, and helping introduce a hip-hop genre called G-funk to a new generation. The album has been cited as an influence by rapper Kendrick Lamar, while fellow rappers ScHoolboy Q and Maxo Kream have also cited him as an influence.

Daily inspiration. Discover more photos at Just for Books…?

[scotianostra]

On July 17th 2009 the singer/songwriter Gordon Waller and one half of the duo Peter & Gordon passed away.

Waller, the son of a surgeon, was born in Braemar, and went to Westminster school, in London, where he met Peter Asher in 1959. Asher was already something of a jazz and blues fan, but Waller persuaded him to broaden his horizons to include pop and rock'n'roll. Both were keen guitarists and soon they were entertaining their fellow students. By 1963, they were playing (initially as Gordon and Peter) in pubs and small clubs at lunchtimes and evenings for small fees or for a meal, often singing their own compositions in the close harmony style of the Everly Brothers. Early in 1964, they were booked for a two-week engagement at the Pickwick nightclub. One of the diners was Norman Newell, an EMI record producer. Newell was charmed enough by Peter and Gordon's rendition of their song If I Were You to offer them a recording contract.

At this time, McCartney was dating Jane, and Peter and Gordon badgered McCartney to provide them with a song. He obliged with A World Without Love, which he had written six years earlier in Liverpool. McCartney told his biographer Barry Miles: "Gordon was a lot of fun – he was slightly less academic than Peter. It was he who persuaded Peter to jump school to do lunchtime sessions."

By the end of March 1964, A World Without Love had displaced the Beatles' own Can't Buy Me Love at the top of the charts. In May, just before Waller's 19th birthday and Asher's 20th, it was the biggest selling record in the US. The instant stardom created by A World Without Love was the beginning of two years of frantic activity for Peter and Gordon.

For the American media, they combined the cachet of a Beatles connection (McCartney wrote several more of their hits and fans discerned in Waller a slight resemblance to John Lennon) There were numerous television appearances, occasional tours of Japan and Australia as well as North America and dozens of recordings. In the next 12 months, Nobody I Know and I Don't Want to See You Again (both by McCartney) were transatlantic hits, as were I Go To Pieces, written by Del Shannon, and True Love Ways, a Buddy Holly song the duo had performed in their early days in London.

By now, Peter and Gordon were competing in North America with numerous other British imports, including another middle-class duo, Chad and Jeremy. Their star began to wane in 1966, when their only hits were Woman, another McCartney composition credited pseudonymously to "Bernard Webb", and Lady Godiva, a novelty number that was denounced as obscene by the mayor of Coventry, which helped it reach the Top 20 in Britain and the American Top 10. By 1967, Peter and Gordon's British career was over and in America they were reduced to peddling olde English material such as the minor hit The Knight in Rusty Armour and the album Sunday for Tea. They split up the next year, with Asher joining the Beatles' Apple project as an A&R man and Waller launching a career as a solo singer.

Despite the fact that he had been the stronger vocalist of the pair, this career was stillborn. A handful of singles were issued, plus a 1970 album of his own compositions called Gordon. He left showbusiness to run a landscape gardening business in Northamptonshire until, in 1971, he took the part of Pharaoh in Joseph and the Amazing Technicolor Dreamcoat, the musical by Andrew Lloyd Webber and Tim Rice.

In the 1980s and 90s Waller ran a music publishing business in America. In the last few years of his life, he reunited with Asher to play a few shows in Los Angeles, the Philippines and New York

[bitchysoulwasteland]

No one but you.

Bucky Barnes X Vamp!Reader

A/n: my Queen obsession once again reveals itself, but, hey, I’m happy, so who cares?

You and Bucky had known each other back in the 1970s when you had been the front woman of Queen. Back then, of course, he was the Winter Soldier and you were an unknown singer when you met in 1968 with a struggling band desperate to find a frontman and a bassist. It was just you, Roger Taylor and Brian May back then. You were all still college students in your final year in the band ‘Smile’, which was before Freddie’s flamboyant changing of the band’s name.

You had met the Winter Solder at a pub in London. You had brought him a drink after you saw him outside, looking physically beaten up. From then, he hung out with you and the band. He had been there when Freddie and Deacy joined. When you had recorded your first song. When you had left Trident Studios and joined EMI.

But, he then disappeared. He was gone without a trace which left a gaping hole of longing within your soul itself.

This was when your songs started to be discarded from albums. They began to not even be recorded. You had lost your muse, seemingly your reason for life itself. The lads in the band noticed this before anyone else did.

It was a few years of heartbreak before everyone lost you. More than metaphorically, of course.

It was 1975 when you disappeared. You wrote a note to the band, apologising for your absence, resigned from the contract with EMI and moved to America.

You had given up with your life, so you were pray to those who would try to harm you. You were vulnerable and loved a good alcoholic drink, so it was easy for the sod that turned you into a vampire to do so. You didn’t really remember it, but you did know that you had been fending for yourself since then.

The only good thing to come of it, was that you no longer had to worry about how your soldier left you. You didn’t have to. You pushed it to the back of your mind and tried to forget about it.

You had your mansion, your alcohol and your memories of Queen to get you through. You had also befriended a vampire called Damon Salvatore and another called Stefan Salvatore who lived a few roads away from you.

It got to the point where you were basically living in their place more than your own. You and Damon often got blackout drunk and would go around Mystic Falls just for the hell of it, which would then result in Stefan having to clear up your mess.

Present day: Mystic Falls

The Quinjet landed in a field beside a mansion. There had been a system failure, so Steve had to land it. The Avengers walked out of the jet, Bucky at the back. They walked to the door and Steve knocked on the oak.

Inside, you got up from the sofa and answered the door, somewhat shocked the Captain America was there.

“Win?” You said, seeing the soldier behind Steve.

“Y/n? You’re alive?”

“Un-bloody-fortunately, yeah. Come in, all of you.” You said, letting them in.

“I thought you’d died, doll.”

“I couldn’t do it after you left.”

“Do what?”

“Queen, life, any of it. I gave up. I wrote the lads a note before I left…. It hurt Win. It hurt so fucking much.” You said as Bucky wrapped his arms around you.

“I’m sorry, doll.” Bucky said, slightly tightening his embrace.

“It wasn’t your fault. With the whole Hydra and mind wipe thing I knew it would come eventually. Just maybe not so soon.”

A knock came from the door. “Y/n, I brought Jack Daniels.” It was Damon, there for the monthly drown your sorrows meeting you two would have.

“I guess you found someone else, huh doll?” Bucky said before letting go of you and walking into the living room as you answered the door, letting Damon in. You left the door open and vamp speeded to Bucky.

“It’s not like that, Win. It has never been like that. Not with him and not with anyone else, alright? And if you don’t believe me, you can ask him.”

Bucky looked you in your eyes. “You sure, doll?”

“There’s no one, Win. No one but you.”

Bucky smiled, embracing you once again. Damon stood in the doorway, happy that you had found Bucky again.

[posttexasstressdisorder]

Thursday, 11-28-24, 7pm Pacific

'Evenin', everyone...Mr. Baggins back with a set to soothe your achin' nerves and help ease us all into a good night. I've designed a fairly diverse evening's show, ending on a very special note. Let's start off with a concerto for the oboe, this one by George Philip Telemann, his Concerto in F minor for Oboe and Strings. Our oboist is Heinz Holliger, with Marriner/ASMF, a recording made in 1982. Enjoy!

Now let's hear Horowitz in the very first concerto recording he ever made, for EMI/HMV, as well as the first recording of this concerto, in 1930! This is the deservedly famous reading that is insanely fast, conducted by then bad-boy conductor Albert Coates at the helm of The London Symphony, in Rachmaninoff's Concerto No. 3 in D-minor, Op. 30. Historic reference recording for a reason! Just sit back and be amazed. This is 1930!

Now let's hear, as an encore, Horowitz' jack-hammer recording of Liszt's Hungarian Rhapsody Number 6, from 1947. Be amazed for a few minutes longer. It'll be ok.

Turning from Liszt to Finnish composer Jean Sibelius, we hear his Violin Concerto in D minor, Op. 47, played by the incomparable Jascha Heifetz, with The Chicago, led by then assistant-conductor Walter Hendl, from a 1960 RCA recording. Another jaw-dropping performance!

I thought we'd hear from Lenny and The Vienna next, conducting one of his signature pieces, the Dmitri Mitropolous transcription of Beethoven's String Quartets Nos. 14 and 16 for String Orchestra. Lovingly rendered live from 1979!

Next we hear another historic recording, this one of Mozart's Divertimento no. 17 in D major K334 for 2 horns and strings, K334, with father and son Aubrey and Dennis Brain on horns, with the Léner Quartet, from 1939.

Now a little Divertimento by Haydn, his Divertimento a Tre for Horn, Violin and Cello. Recorded for the NDR about 1985. Ab Koster Horn, Ingrid Götl Violin and Dieter Götl Cello

And this evening, I have saved the best for last, as it were. Here, finally, is the String Quartet whose performance of both the Debussy and Ravel Quartets was such that it blew me away: The Via Nova Quartet! For years all I had was my original "Musical Heritage Society" album of the Debussy and Ravel String Quartets. I didn't hear or read ANYTHING about them, or about any other recordings, after that, for literally decades.

I've always used those two performances as the ultimate reference recordings of the works when I'd play them for people, so I always wondered if there were more out there to hear. I've been searching on YouTube for awhile, and could not find them. I accidently stumbled upon the very recordings, plus the Roussel Quartet, all performed by The Via Nova Quartet (under their French name, Quatuor Via Nova), recorded some time around 1970.

I am SO HAPPY I FOUND IT! I have wanted to share this very album with y'all from the beginning, at least the first two quartets, that is, and I will be hearing the Roussel Quartet for the very first time, right along with y'all. Truly classic performances of the first two, so we can expect nothing less for the Roussel! Here is The Via Nova Quartet, Paris, playing the string quartets of Debussy, Ravel, and Roussel. Originally recorded for Erato in France, issued in America by The Musical Heritage Society.

While it might have been a touch "modern" for some ears, the Roussel was, indeed, also filled with moments of intense beauty. More listening is required! And so, those three beautiful string quartets bring our program to a close for this evening. This is Mr. Baggins signing off for another evening. I do hope you've enjoyed tonight selections, and possibly heard something new to your ear. I'll return tomorrow with Morning Coffee Music, at 8am Pacific.

Until then, dream sweet dreams, babies, dream sweet dreams.

Baggins out.

[randomvarious]

Today's compilation:

Totally Hits 3 2000 Alternative Rock / Pop-Rock / Pop / R&B / Adult Contemporary / Teen Pop

Time for yet another fun turn-of-the-millennium trip down memory lane, folks! Yesterday we got into a dispatch from America's bestselling contemporary hits series, Now That's What I Call Music!, but today we've got something from what was once their greatest competitor instead: Totally Hits.

And the biggest difference between these two series was ultimately the partnerships between the labels that put them out: the US version of Now was the result of a link-up between Capitol, EMI, Universal, Virgin, and their many subsidiaries, and Totally Hits represented Sony, BMG, Warner, Elektra, Atlantic, and their many subsidiaries. Now always wound up having the upper hand with the more popular collective catalog, but Totally Hits wasn't any slouch, either, even if they were Now's perpetual kid sister.

So, here we have a pretty solid collection of late 90s and early 2000s commercial fare that should provide for a nice nostalgia rush, but the most glaring omission on this third Totally Hits installment is that there aren't any boy bands at all. And that's because, by the time this album had come out, NSYNC—who had made an appearance on the prior volume—had successfully left their label, RCA, citing the glaring and overt exploitative practices of their manager, Lou Pearlman. And as a result, at the height of the teen pop explosion, the massive conglomerate that made up Totally Hits only had acts like Christina Aguilera and Vitamin C to show for it, whereas Now, with Jive Records appearing to fall under their umbrella, had not only NSYNC, but also the Backstreet Boys and Britney Spears as well. And as a result, Totally Hits suffered because of it.

But TH wasn't to be totally ignored, because their releases still had plenty of good pop music on them, and although they may have faltered in the teen pop arena, where they seemed to make up for it was in alternative pop-rock and R&B, with late 90s-early 00s entities like Matchbox Twenty, Barenaked Ladies, and Third Eye Blind holding down the rock side of things, while dominant forces like Whitney Houston and Toni Braxton were able to supply some of the quality R&B.

And another dimension that Totally Hits had that Now really didn't was country. I might dislike the pair of tunes that TH selected here for this album, between Faith Hill's super poppy "The Way You Love Me,“ and John Michael Montgomery's eyeroll-inducing and deeply Christian-overtoned "The Little Girl," but including a very popular genre that Now wasn't paying much of any mind to at all definitely helped Totally Hits to differentiate themselves.

So, I'd expect a lot of people to be familiar with most of these songs, but two that I'd like to point out especially are Dido's "Here With Me" and Next's "Wifey." Both of these acts each had a hit that was far more popular than the one that ended up on this album—Dido's "Thank You," which was also liberally sampled for Eminem's "Stan," and Next's "Too Close," a #1 hit song about trying to suppress an erection while grinding on someone 😂. But "Here With Me," which was actually Dido's debut single, is a beautiful piece of tender female singer-songwriter pop, and "Wifey," the lead single off of Next's sophomore album, is a terrific slice of dreamy and softly funky male group R&B.

So if you're ever trying to piece together an eclectic representation of a turn-of-the-millennium American commercial pop music landscape, Now is, of course, essential, but it'd be foolish to sleep on what Totally Hits had to offer, because while Now was definitely better, they weren't monopolistic, and TH was there to capitalize on that circumstance.

Highlights:

Pink - "Some Girls" Matchbox Twenty - "Bent" Vertical Horizon - "Everything You Want" Third Eye Blind - "Deep Inside of You" Barenaked Ladies - "Pinch Me" Dido - "Here With Me" Toni Braxton - "He Wasn't Man Enough" Christina Aguilera - "What a Girl Wants" Next - "Wifey" Vitamin C - "Graduation" The Corrs - "Breathless" Whitney Houston - "Fine"

[myvinylplaylist]

David Bowie: Modern Love 7” Single (1983)

Side A: Modern Love

Side B: Modern Love (Live Version)

EMI America Records

[duranduratulsa]

On the turntable today...

Rio by Duran Duran (1982) (Canada - Harvest Records Label)

Rio by Duran Duran (1982) (USA - Capitol Records/ EMI Records)

Big Game by White Lion (1989)

Countdown America with John Leader (4/27/1985)

Countdown America with John Leader (3/9/1985)

#duranduran #rio #duranduranrio #harvestrecords #capitolrecords #emirecords #whitelion #biggame #countdownamericawithjohnleader #CountdownAmerica #johnleader #80s #records #album #LP #radioprogram #vinyl #vinylrecords

[shardblaster]

Yesterday and Today (also rendered as "Yesterday" ... and Today in part of the original packaging) is a studio album by the English rock band the Beatles. Released in the United States and Canada in June 1966, it was their ninth album issued on Capitol Records and twelfth American release overall. Typical of the Beatles' North American discography until 1967, the album contains songs that Capitol had withheld from its configurations of the band's recent EMI albums, along with songs that the group had released elsewhere on non-album singles. Among its 11 tracks are songs from the EMI albums Help! and Rubber Soul, and three new 1966 recordings that would appear on Revolver in countries outside North America.

Yesterday and Today is remembered primarily for the controversy surrounding its original cover image. Known as the "butcher cover", it was taken by photographer Robert Whitaker and shows the band dressed in white coats and covered with decapitated baby dolls and pieces of raw meat. Although the photo was intended to be part of a larger work critiquing the adulation afforded the Beatles, the band members insisted it was a statement against the Vietnam War. Others interpreted it as the Beatles protesting the record company's policy of "butchering" their albums for the North American market. In response to retailers' outrage at the gory subject matter, Capitol immediately withdrew the LP and replaced the cover image with a shot of the band posed around a "steamer" trunk.

[punkrockhistory]

44 years ago today

Entertainment! is the debut album by English post-punk band Gang of Four, released on this day in 1979 through EMI Records internationally and Warner Bros. Records in North America

#punkrock #postpunk #postpunkmusic #gangoffour #punkrockhistory #history #otd

[marilynlennon]

Don’t Dictate: How DIY Punk Changed Music

Defiantly anti-establishment, punk’s DIY stance shocked the music industry in the 70s, but its influence can still be felt today – as uDiscover reveals.

Published on August 1, 2016 By Tim Peacock

After the UK’s premier punks, Sex Pistols, lambasted presenter Bill Grundy during their expletive-stuffed slot on Thames TV’s Today show in December 1976, the music industry received a short – but very sharp – shock.

Daily Mirror Filth And The Fury Headline - 300The immediate fallout was far-reaching. With the press having a field day, Sex Pistols became household names overnight, and the term “punk” (previously of cult-level interest) suddenly gained widespread exposure. Petrified promoters duly cancelled most of Sex Pistols’ scheduled Anarchy UK tour dates, and, early in January ’77, a beleaguered EMI eventually dropped the band from their roster, reputedly paying £40,000 for the privilege.

Suddenly, punk appeared too hot to handle. Yet while this defiant new genre’s very existence apparently posed a threat to the music industry’s established status quo, it ultimately dissipated with a whimper, rather than a bang. Having eventually signed to Virgin Records, Sex Pistols split in disarray in January ’78; their nearest rivals, The Clash, set their sights on America; by the turn of the 80s, “punk” had been neutered and hijacked by hordes of identikit, Mohican-sporting Exploited clones.

Punk Politics: Fighting The Power, From Sex Pistols To Anti-Flag

‘Metal Box’: Lifting The Lid On Public Image Ltd’s Seminal Second Album

‘Autoamerican’: How Blondie Became ‘The Most Modern Band’ On Earth

The Beatles - Now And Then

Sniffin' Glue - Now Form A Band - 300However, one aspect of punk’s anti-establishment ideology endures to this day: its inherent DIY ethos, most often identified with the quintessential punk commandment: “This is a chord, this is another, this is another… now form a band!” Incorrectly attributed to Mark Perry’s seminal punk fanzine Sniffin’ Glue (the quote actually appeared, along with the relevant chord shapes, in the January ’77 edition of punk ’zine, Sideburns), this impassioned plea to create – and promote – music independently is always associated with 1976, yet there are pre-punk precedents. In North America, for example, Californian power-pop label Beserkley had been operating outside of the mainstream since 1973, while Cleveland’s avant-garde pioneers Pere Ubu released their landmark debut single ‘30 Seconds Over Tokyo’ on their own Hearthan label in 1975.

DIY, however, figured prominently in punk’s manifesto right from the start.

[thriftstorerecords]

Body Rock Original Motion Picture Soundtrack Various EMI America Records/USA (1984)