Gary
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Post by Gary on Aug 4, 2015 17:04:42 GMT -5
Yes...the 1st one
This Week Title, Artist Peak 1 Poor Little Fool, RICKY NELSON 1 2 Patricia, PREZ PRADO AND HIS ORCHESTRA 1 3 Splish Splash, BOBBY DARIN 3 4 Hard Headed Woman, ELVIS PRESLEY 2 5 When, THE KALIN TWINS 5 6 Rebel-Rouser, DUANE EDDY 6 7 Yakety Yak, THE COASTERS 1 8 My True Love, JACK SCOTT 3 9 Willie And The Hand Jive, THE JOHNNY OTIS SHOW 9 10 Fever, PEGGY LEE 8 11 Ginger Bread, FRANKIE AVALON 9 12 Just A Dream, JIMMY CLANTON AND HIS ROCKETS 4 13 Left Right Out Of Your Heart (Hi Lee Hi Lo Hi Lup Up Up), PATTI PAGE 13 14 If Dreams Came True, PAT BOONE 12 15 For Your Precious Love, JERRY BUTLER AND THE IMPRESSIONS 11 16 One Summer Night, THE DANLEERS 16 17 Endless Sleep, JODY REYNOLDS 5 18 Little Star, THE ELEGANTS 1 19 Everybody Loves A Lover, DORIS DAY 14 20 Do You Want To Dance, BOBBY FREEMAN 5 21 Guess Things Happen That Way, JOHNNY CASH AND THE TENNESSEE TWO 11 22 A Certain Smile, JOHNNY MATHIS 19 23 Western Movies, THE OLYMPICS 8 24 The Purple People Eater, SHEB WOOLEY 1 25 What Am I Living For, CHUCK WILLIS 15 26 Born Too Late, THE PONI-TAILS 7 27 Think It Over, THE CRICKETS 27 28 Secretly, JIMMIE RODGERS 4 29 Enchanted Island, THE FOUR LADS 29 30 Angel Baby, DEAN MARTIN 30 31 Chantilly Lace, THE BIG BOPPER 6 32 Blue Blue Day, DON GIBSON 32 33 The Freeze, TONY AND JOE 33 34 Don't Ask Me Why, ELVIS PRESLEY 28 35 Rock-In Robin, BOBBY DAY 2 36 No Chemise, Please, GERRY GRANAHAN 23 37 Moon Talk, PERRY COMO 29 38 Somebody Touched Me, BUDDY KNOX with THE RHYTHM ORCHIDS 22 39 That's How Much I Love You, PAT BOONE 39 40 Crazy Eyes For You, BOBBY HAMILTON 40 41 Early In The Morning, BUDDY HOLLY 32 42 You Cheated, THE SLADES 42 43 Come What May, CLYDE McPHATTER 43 44 Jeannie Lee, JAN AND ARNIE 8 45 Kathy-O, THE DIAMONDS 45 46 (It's Been A Long Time) Pretty Baby, GINO AND GINA 34 47 I Wonder Why, DION AND THE BELMONTS 22 48 Return To Me, DEAN MARTIN 4 49 All I Have To Do Is Dream, THE EVERLY BROTHERS 1 50 Baubles Bangles And Beads, THE KIRBY STONE FOUR 50 51 By The Light Of The Silvery Moon, JIMMY BOWEN with THE RHYTHM ORCHIDS 51 52 Early In The Morning, THE RINKY DINKS (BOBBY DARIN) 24 53 Come Closer To Me (Acercate Mas), NAT KING COLE 41 54 Nel Blu Dipinto Di Blu (Volare), DOMENICO MODUGNO 1 55 Let's Go Steady For The Summer, THE THREE G'S 55 56 Leroy, JACK SCOTT 27 57 You Need Hands, EYDIE GORME 33 58 Fool's Paradise, THE CRICKETS 58 59 Young And Warm And Wonderful, TONY BENNETT 59 60 Over And Over, BOBBY DAY 41 61 Itchy Twitchy Feeling, BOBBY HENDRICKS 25 62 For Your Love, ED TOWNSEND 15 63 High School Confidential, JERRY LEE LEWIS 21 64 Padre, TONI ARDEN 18 65 You're Making A Mistake, THE PLATTERS 51 66 Delicious, JIM BACKUS AND FRIEND 42 67 Big Man, THE FOUR PREPS 5 68 Volare (Nel Blu Dipinto Di Blu), DEAN MARTIN 15 69 Op, THE HONEYCONES 69 70 Don't Go Home, THE PLAYMATES 37 71 Got A Match, FRANK GALLUP 59 72 Stupid Cupid, CONNIE FRANCIS 17 73 Hey Girl - Hey Boy, OSCAR McLOLLIE & JEANETTE BAKER 73 74 Gotta Have Rain, EYDIE GORME 63 75 Win You Love For Me, SAM COOKE 33 76 Midnight, PAUL ANKA 69 77 Happy Years, THE DIAMONDS 73 78 Betty Lou Got A New Pair Of Shoes, BOBBY FREEMAN 37 79 The Bird On My Head, DAVID SEVILLE 36 80 Johnny B. Goode, CHUCK BERRY 8 81 Beautiful Delilah, CHUCK BERRY 81 82 Blip Blop, BILL DOGGETT 82 83 Try The Impossible, LEE ANDREWS AND THE HEARTS 33 84 Summertime Blues, EDDIE COCHRAN 8 85 Got A Match, THE DADDY-O'S 40 86 To Be Loved, JACKIE WILSON 86 87 Jealousy, KITTY WELLS 81 88 Just Like The Movies, THE UPBEATS 88 89 Blue Boy, JIM REEVES 45 90 Stay, THE AMES BROTHERS 90 91 The Purple People Eater Meets The Witch Doctor, JOE SOUTH 71 92 Bird Dog, THE EVERLY BROTHERS 2 93 Are You Really Mine, JIMMIE RODGERS 10 94 She Was Only Seventeen (He Was One Year More), MARTY ROBBINS 27 95 Little Mary, FATS DOMINO 50 96 Over And Over, THURSTON HARRIS 96 97 I Believe In You, ROBERT AND JOHNNY 93 98 Little Serenade, THE AMES BROTHERS 98 99 I'll Get By (As Long As I Have You), BILLY WILLIAMS 87 100 Judy, FRANKIE VAUGHAN 100
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Gary
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Joined: January 2014
Posts: 45,595
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Post by Gary on Aug 4, 2015 17:06:31 GMT -5
Seymour Stein on His Billboard Beginning & How the Hot 100 Was Born: Exclusive News /
By Gary Trust | August 04, 2015 3:45 PM EDT
"I look at my schooling as, in part, my early years at Billboard."
That's how Sire Records co-founder and chairman and Warner Bros. Records VP Seymour Stein, 73, recalls his industry education. On this date 57 years ago, that upbringing included the launch of the Billboard Hot 100 chart in the magazine's Aug. 4, 1958, issue. At the time, Stein was a high school student eager to learn, and help shape, the music business, soaking up information firsthand from inside Billboard's offices.
The Hot 100's hot shot debut wasn't front-page news, but it did make page two, in an editorial succinctly headlined "The Billboard Hot 100." "On pages 36 and 37 of this issue, we are proud to present The Billboard Hot 100, the fastest, most complete and most sensitive index to the popularity of recorded music in America. This new chart feature, which each week will list the 100 most popular recorded sides, is a guide to potential, as well as the current hits."
The more things change, the more the Hot 100's mission has stayed the same. From the first No. 1, Ricky Nelson's "Poor Little Fool," to the 1,044th, and current, leader, OMI's "Cheerleader," the Hot 100 has served as the chart of record for the biggest songs in the U.S. each week. ("It's every artist's dream," OMI told Billboard when "Cheerleader" hit the chart's summit three weeks ago.)
The Entire First Hot 100: Aug. 4, 1958, From No. 1 to No. 100
When the ranking premiered, it encompassed "such factors as [radio] disc jockey plays, jukebox activity and record sales." Today, airplay is still a third of the Hot 100's data mix, with downloads continuing the form of record sales. Streaming is essentially a modern-era, digital jukebox, with clicks of a mouse having replaced the clicks of a mechanical arm selecting and dropping a 45 perfectly into place.
At the heart of the Hot 100's launch was then-head of charts Tom Noonan, along with music-radio-TV editor Paul Ackerman and Stein. "Tom and Paul were great mentors to me," says Stein. "It was such an honor when Tom asked me to help start the Hot 100."
Similar to today, as Billboard wrote in its story unwrapping the first Hot 100, "Data is obtained and tabulated right up to deadline time" (with Nielsen Music having fueled chart data since 1991, and multiple streaming sources having joined more recently, including on-demand Apple Music information as of the current Hot 100, dated Aug. 15, 2015). "Weighted factors in the carefully-designed formula result [in] the fastest and most complete guide to the national popularity of records."
While the Hot 100 celebrates nearly six decades of unparalleled acclaim as the chronicle of American hits, Stein's legacy has likewise become legendary. Sire's first signee? Steven Tallarico. Then in a band called Chain Reaction, he'd change his name to Steven Tyler as frontman for Aerosmith. In 1975, Sire signed the Ramones and Talking Heads. The Pretenders followed in 1980 and Madonna in 1982. ("I realized, 'This woman is smarter than all of us. Just get out of her way,'" Stein said of Madonna in 2012.) Other acts Sire signed in that formative era: Depeche Mode, The Cure, The Smiths and Ice-T.
In 2005, Stein was inducted into the Rock and Roll Hall of Fame, in its lifetime-achievement category. In 2012, he was honored as Billboard's first Icon Award recipient, presented to him at the annual MIDEM industry gathering in Cannes, France.
"That was a long, long time ago," Stein says when looking back at the Hot 100's start. But, with a new chart released every Monday, and the first Hot 100 Music Festival ahead on Aug. 22-23, the list's impact remains as vital as it did upon its launch 57 years ago today.
Here, in Stein's words, is his recollection of how the Hot 100 originated, how it helped speed up the measurement of hits, thanks to the inclusion of radio airplay data, and the story of how the chart's name was (possibly) chosen.
Back in the day, before the Hot 100, there were many different charts in Billboard reflecting the success of singles in the marketplace [including] Best-Selling Pop Singles in Stores, Jukebox Favorites, Most-Heard on the Radio and Sheet Music.
Then, there was an overall chart which was called the Honor Roll of Hits. This was a [composition, not singles] chart, because back in those days, there were multiple versions of just about every song. Sometimes three or four or more were successful, like in the case of "Unchained Melody." To show the strength of the song, the Honor Roll of Hits would list the points of all versions to obtain a position.
Back then, jukebox sales were enormous. If a hot artist like Perry Como, Patti Page, Nat "King" Cole with a successful track record put out a new single, record stores knew how to order based on their recent sales. But, in the case of new artists, and there were a lot of them in those early days of rock & roll, stores had no way of being guided. More urgently, jukebox operators needed to know quickly to get these new records into their machines.
It was the jukeboxes, in particular, that first instigated the need for a faster way of making the charts. Fortunately, this was around the same time as the dawn of top 40 radio, and the Hot 100 used radio playlists from across the country weighted by the size of the market to help compile this new chart.
It wasn't entirely error-free or 100 percent accurate; remember, this was 57 years ago. I was just 16, working at Billboard after school. From the time I was 9 years old, I knew I wanted to be in the music business.
On Billboard's editorial impact: As important as the charts were, the Billboard review sessions that picked spotlight winners of the week were even more important. If a record was accorded a spotlight review, it could stir the sales upwards of 75,000 copies by jukebox operators alone in the first week. Before the Hot 100, the charts were so slow, the jukebox operators couldn't wait for these records to prove themselves and had to go by the reviews in Billboard.
Paul Ackerman invited me to attend these music review sessions on Wednesday nights and even provided me with a due-bill to stay at one of the hotels close to the Billboard offices and that way I could get up and take the subway to Lafayette High School in Brooklyn. It was at these sessions that I met people like Syd Nathan of King Records, Leonard Chess, George Goldner, Lew Chudd of Imperial, Herman Lubinksy of Savoy, Don Pierce of Starday and publishers like Freddy Bienstock and Al Gallico, to name a few.
As for the name Hot 100? I can only imagine that what the industry was looking for was a hotter, quicker way of getting chart information. Tom [Noonan] could have come up with the name. I certainly did not. It might have been one of the reporters, or Paul Ackerman. I just don't remember. Then we added star performers to show quick movement upward, a.k.a. bullets.
Reaction was, of course, positive from every corner of the music business. These were still the early days of rock & roll. Mitch Miller and Hugo Winterhalter were still the heads of A&R of Columbia and RCA Victor, the two leading majors, and rooting for rock & roll not to happen. Milt Gabler over at Decca was the first of the majors to embrace rock & roll and it was Steve Sholes at RCA who arranged to buy Elvis Presley's contract from Sun; but not without first taking the advice of Paul Ackerman.
Record stores certainly reacted favorably and radio stations, too.
Through the success of the chart, more execs were drawn up to the Billboard offices, often with their artists in tow, whether it was for a story or just to say thanks for acknowledging their No. 1 position.
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HolidayGuy
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Joined: December 2003
Posts: 33,871
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Post by HolidayGuy on Aug 5, 2015 9:16:41 GMT -5
Thanks for posting the chart here.
Three years until the 60th anniversary.
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