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America's Number Ones of the 50's Box-Set


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Audio-CD, Box-Set, 30. Mai 2014
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Produktinformation

  • Audio CD (30. Mai 2014)
  • Anzahl Disks/Tonträger: 1
  • Format: Box-Set
  • Label: Acrobat / Trapeze Records (Membran)
  • ASIN: B00442AHY4
  • Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
  • Amazon Bestseller-Rang: Nr. 870.651 in Musik (Siehe Top 100 in Musik)
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Titelverzeichnis

Disk: 1

  1. Disc 1 - Various

Produktbeschreibungen

Compiling a collection of American Number One hits from the 1950s is not as simple an exercise as it might seem. The problem was that the criteria on which various charts were based, even in the definitive music trade magazine Billboard, changed during the decade. For much of the decade, Billboard not only published a listing of the Best Sellers on Record the most obvious and recognised basis for record charts but it also compiled charts to reflect the Most Played on Radio, and the Most Played on Jukeboxes. From 1955, it then added a Top 100 chart, which was based on a combination of the three criteria, which in 1958 became the definitive Hot 100. We could have used every No. 1 from all the charts, but we decided this was a bit too cumbersome, and chose to use the No. 1s from the Best Sellers chart, which after all is what it s really all about, and include any others that were so popular in the other media that they made No. 1 in the Top 100 despite not being a Best Sellers No. 1. There will no doubt be those amongst you who will disagree with our approach if so, apologies. Even among the Best Seller No. 1s, there were some quandaries. The listings include a significant number of double A-sides, especially in the 1956-58 period, and especially involving a number of Elvis Presley releases. These were tricky, as some of them would have involved using some very obscure tracks which were somewhat questionable as genuine double A-sides. Examples are The Platters My Prayer/Heaven On Earth and Pat Boone s April Love/When Swallows Come Back To Capistrano. We therefore decided just to include the primary A-side, although applying this consistently did mean losing some strong sides like Hound Dog (b/w Don t Be Cruel ) and Claudette (b/w All I Have To Do Is Dream ). We could have made arbitrary exceptions, but wanted to have a collection that reflected consistent selection criteria. The chart positions noted are those from the Best Sellers chart except where noted as Top 100 and Hot 100 in some cases the tracks featured in both Best Sellers and Top 100, and in these cases the Best Sellers data appears first. The 1950s was perhaps the most momentous decade in the history of popular music, as it saw the dramatic combined impact of mass market broadcasting and the social changes that were the aftermath of the Second World War. The comfortable world of crooners, dance bands and orchestras, Hollywood movie hits and Broadway stage shows an essentially middle-of-the-road mainstream musical scene, with jazz existing as the underground escape route for the rebellious young was overturned by the impact of rock n roll as the vehicle for the expression of an assertive teenage generation on both sides of the Atlantic. Rock n roll, of course, was nothing new the R&B and jump blues of the 40s and early 50s race records market were the musical precursors, but when combined with southern country music and performed by white artists, it provided an electric musical catalyst for the nascent social upheaval that was looming as the younger generation looked for emancipation and fresh outlets as the world emerged from post-war austerity. The first three years were pretty much of a kind, but from 1955 onwards the chart, and the roll-call of Number Ones, takes on a distinctly schizophrenic look, as rock n roll and pop takes over from the established order, and the collection inevitably is an eclectic pot-pourri of musical styles that reflects the battles going on in the boardrooms of Tin Pan Alley, as the old guard consistently dismissively forecast the imminent demise of rock n roll, while the influences reaching into the business from the r&B, country, doowop and even jazz markets played alongside the familiar forces of radio, TV and movie

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