Join the DSO for a honky-tonking, heart-aching celebration of everything America loves about country music past and present. Featuring the classic country hits you know and love from legendary stars Patsy Cline, Dolly Parton, Willie Nelson and Johnny Cash to the biggest stars of today like Garth Brooks, Tim McGraw, The Chicks and Kacey Musgraves.
The new songs were written specifically for this new compilation project. The font used for the band's name on the album's cover is a return to the Bon Jovi logo used from 1985 to 1988 and it is also the first ever album to use the heart and dagger logo.
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In the United States the album debuted and peaked at number five on the Billboard 200 the week of November 27, 2010 with 88,000 copies sold, exceeding the first week sales of the band's 1994 hits collection, Cross Road, which sold 84,000 units in its debut week, the next week it dropped to number eighteen; it remained on the chart for eighty five weeks.[1][2][3] Additionally, it topped the Top Rock Albums and Top Hard Rock Albums charts.[4][5] It was certified platinum by the RIAA on February 25, 2015, for shipments of one million.[6]
Twelve songs from the Greatest Hits album were also released as downloadable content for music video game Rock Band 3 on November 9, 2010.[98] The pack features every song from the first disc of the North American album except "Born to Be My Baby", "Always", "What Do You Got?" and "No Apologies". It also includes the full-length version of "Lay Your Hands on Me", and not the radio edit featured on Greatest Hits.
"I walked into the studio and there was no 12 bodyguards, just him," Sheena Easton told Q in 1991, recalling her first meeting with Prince in the Eighties. "He was very quiet and shy." As quiet and shy as Prince may have been, there's nothing modest about his first collaboration with Easton, "Sugar Walls." Listed by Tipper Gore's Parents' Music Resource Council as one of the "Filthy Fifteen" songs that were sure to pervert the minds of young America, the Prince-penned "Sugar Walls" contains one of the most viscerally erotic double entendres in pop history: "Come spend the night inside my sugar walls," Easton croons over dreamy alien funk.
After seeing an early Bangles show in Los Angeles, Prince sent the band a tape with two original songs he wanted them to record. One was "Manic Monday," a jangly, infectious diary of 9-to-5 office blues, that Prince was able to accurately capture without experiencing. The track is relatively innocent, but Prince does get in a classic line: "Of all of my nights/Why did my lover have to pick last night to get down?" It was the band's first hit, reaching Number Two in the U.S. "I remember going in and singing that song and being on the mike and it was kind of like red light fever," Bangles singer Susanna Hoffs told Songfacts. "I knew it was a Prince song, and I wanted to do a great job on it." Her mind was eased when Prince listened to the track. "He was really thrilled with how it came out. I think he might have said something like, 'Oh, I was surprised you guys didn't use my track,' or something. But he was very happy with it."
Identifying hit songs is notoriously difficult. Traditionally, song elements have been measured from large databases to identify the lyrical aspects of hits. We took a different methodological approach, measuring neurophysiologic responses to a set of songs provided by a streaming music service that identified hits and flops. We compared several statistical approaches to examine the predictive accuracy of each technique. A linear statistical model using two neural measures identified hits with 69% accuracy. Then, we created a synthetic set data and applied ensemble machine learning to capture inherent non-linearities in neural data. This model classified hit songs with 97% accuracy. Applying machine learning to the neural response to 1st min of songs accurately classified hits 82% of the time showing that the brain rapidly identifies hit music. Our results demonstrate that applying machine learning to neural data can substantially increase classification accuracy for difficult to predict market outcomes.
Dolly Parton estimates that she has written close to 3,000 songs throughout her illustrious seven-decade career. While 450 of those songs have been recorded, Parton hasn't always been the artist to sing them: Merle Haggard, Hank Williams Jr. and Kenny Rogers have famously recorded and released tracks written by the 10-time GRAMMY winner.
"I love to write songs for men," Parton says in her 2020 book, Dolly Parton, Songteller: My Life in Lyrics. "And it's a good thing I do because back then, there weren't that many women in the country-music business to write songs for. Especially ones who weren't writing their own songs, like Loretta Lynn was. I didn't have a lot of space to write songs for women so I purposefully tried to write songs that men could record. Or songs that could go either way."
That's not to say women haven't been a part of Parton's canon. She penned songs that have been recorded by Emmylou Harris and Skeeter Davis, and even gave Whitney Houston one of the biggest songs of her career.
Parton's songs have taken on new life thanks to artists across countless genres. In celebration of the Country Music Hall of Famer's 76th birthday on Jan. 19, GRAMMY.com takes a look back at 10 songs you may not have known Dolly Parton wrote.
Before Parton became a household name for her own music, she was a songwriter for other artists. In January 1966, Bill Phillips released one of the songs she penned, "Put It Off Until Tomorrow," on which she provided backing vocals. The song peaked at No. 6 on Billboard's Hot Country Songs chart three months later, and the track's success helped garner Parton a recording contract with Monument Records. (Phillips also recorded Parton's "The Company You Keep," which became another top 10 hit later that year.)
Like many of Parton's songs that were recorded by someone else, the singer still included her own version of "I'm In No Condition" on her 1967 album Hello, I'm Dolly. But after listening to Hank Williams Jr.'s rendition, it's hard to believe it was written for anyone but him.
Hymnal references are interlaced throughout the album, particularly in songs like "II HANDS II HEAVEN" and in the lyrical nuances on "JUST FOR FUN." In the later track, Beyonc's voice soars with gratitude in a powerful delivery of the lines, "Time heals everything / I don't need anything / Hallelujah, I pray to her."
The gospel-inspired, blues-based "16 CARRIAGES" reflects the rich history of country songs borrowing from the blues while simultaneously calling back to songs sung by field laborers in the colonial American South. "Sixteen dollars, workin' all day/ Ain't got time to waste, I got art to make" serves as the exhausted plea of an artist working tirelessly long hours in dedication to a better life.
Iglesias followed in the footsteps of his father, singer/songwriter Julio Iglesias, and made his own debut in the 1990s with Spanish-language love songs. He began singing in English at the end of the decade, and subsequently led an explosion of interest in Latin pop alongside acts like Ricky Martin, Jennifer Lopez, and later Shakira.
The song is a highlight on the last album of his career, Final (Vol. 2). And while it seems like this may be the singer's final hurrah, Iglesias told PEOPLE in 2021: "No, I'm never gonna retire! I'm gonna keep on writing songs but that doesn't mean I need to be putting out albums every so often."
In this episode of GRAMMY Rewind, we travel to 1985, when Turner won a golden gramophone for one of her many iconic hits, "What's Love Got to Do with It?," in the Best Pop Vocal Performance, Female, category.
This classic 1990 country song hits all the right notes. McEntire delivers an impressive vocal range as she sings about a man too afraid to be honest that a relationship has reached its end, so he lies and pretends nothing is wrong. In the music video, McEntire seemingly takes control of the relationship despite the heartbreak, symbolically releasing a horse to be free.
before her untimely passing, aaliyah had 3 albums out in her career & i enjoyed seeing her in the hot 100 top 10. i still remember 'try again' @ #1. @ that time, i remember her going to #1 being a big deal. nothing tech. unique about her going to #1, that's why i was like 'why is everyone so happy that aaliyah went to #1'? she already had some previous top 10 hits. but a GREAT album to listen from start to finish & aaliyah was a very talented singer & no doubt would've given beyonce & rihanna a run for the money on the charts! enjoy everyone!
Yes guys, the new album from TayTay, The Tortured Poets Department, hit the shelves last week, and it may as well have been released on a Thursday given how dominant it was compared to poor old Pearl Jam and UB40. By Monday it had nearly 200,000 takers, so no matter what you think of the world's most omnipresent popstar, you can't deny she gets the job done. The 270K it sold is the highest tally for any album since all that Ed Sheeran garbage in 2017, which says a lot given I thought physical sales were dead in the water at this point. That's 12 chart-topping albums for the lass now, and it's definitely not impossible that she can set the record for most No.1 albums in the UK by the end of the decade (The Beatles lead the way with 16, if you're wondering). It also helps that the same day this album dropped, she just CASUALLY swung another 15 songs our way as part of the deluxe edition, in a move that puts everyone else to shame. Given she's virtually the 21st century Bob Dylan in the lyrical musical department (see what I did there?), critically judging this album will get me crucified by anyone I find out loves songs like Guilty As Sin?, I Can Fix Him (No Really I Can), loml, Chloe or Sam or Sophia or Marcus, and my personal fave title, Florida!!!, with Florence Welch reduced to mumbling away in the background like a lost spirit. 0852c4b9a8
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