Monday, April 23, 2007

Arctic Monkeys released sophomore album, Favourite Worst Nightmare

Favourite Worst Nightmare

Arctic Monkeys

Released: April 23, 2007

Peak: 7 US, 13 UK, 4 CN, 2 AU

Sales (in millions): 0.36 US, 1.0 UK, 1.61 world (includes US and UK)

Genre: garage rock revival

Tracks: (Click for codes to singles charts.)

  1. Brianstorm (4/16/07, 2 UK)
  2. Teddy Picker (12/07, 20 UK)
  3. D Is for Dangerous
  4. Balaclava
  5. Fluorescent Adolescent (7/07, 5 UK)
  6. Only One Who Knows
  7. Do Me a Favour
  8. This House Is a Circus
  9. If You Were There, Beware
  10. The Bad Thing
  11. Old Yellow Bricks
  12. 505

Total Running Time: 37:18

The Players:

  • Alex Turner (vocals, guitar)
  • Jamie Cook (guitar, vocals)
  • Nick O’Malley (bass, vocals)
  • Matt Helders (drums, vocals)


4.022 out of 5.00 (average of 24 ratings)

Awards: (Click on award to learn more).

About the Album:

“Breathless praise is a time-honored tradition in British pop music, but even so, the whole brouhaha surrounding the 2006 debut of the Arctic Monkeys bordered on the absurd. It wasn’t enough for the Arctic Monkeys to be the best new band of 2006; they had to be the saviors of rock & roll. Lead singer/songwriter Alex Turner had to be the best songwriter since Noel Gallagher or perhaps even Paul Weller, and their debut, Whatever People Say I Am, That’s What I’m Not, at first was hailed as one of the most important albums of the decade, and then, just months after its release, NME called it one of the Top Five British albums ever.” AMG

Instead of basking in the abundance of praise, the Monkeys went right back to work. Favourite Worst Nightmare came out just a little over a year after their debut and the result is “the vibrant, thrilling sound of a band coming into its own.” AMG The album “hardly abandons the pleasures of their debut but instead frantically expands upon them.” AMG “This isn’t a quartet that bashes out simply three-chord rock & roll.” AMG “They’ll play art punk riffs without pretension.” AMG

“Born in the ‘80s and raised on the Strokes and the Libertines, they treat all rock as a level playing field, loving its traditions but not seeing musical barriers between generations.” AMG They absorb their influences and “spit it all out in a giddy, cacophonous blend of post-punk and classic rock that sounds fresh.” AMG They “haven’t stumbled on their second album” like those bands did by overthinking it. AMG

In fact, Nightmare has been described as a “faster, meaner” WK “more ambitious, heavier” WK album. They “sound like they’ll try anything, which makes this a rougher album in some ways than their debut, which indeed was more cohesive. All the songs on Whatever shared a similar viewpoint, whereas the excitement here is that there’s a multitude of viewpoints.” AMG “It reveals the depth and ambition of the band.” AMG

“The Monkeys may start with an infectious riff, but then they’ll violently burst into jagged yet tightly controlled blasts of post-punk squalls or they’ll dress a verse with circular harmonies as they do at the end of Fluorescent Adolescent.” AMG “Their signature is precision, evident in their concise songs, deftly executed instrumental interplay.” AMG

There’s also “Turner’s wry wordplay, which is clever but never condescending.” AMG Even the title of the album’s lead single is a play on words. Often mistakenly assumed to be titled “Brainstorm,” the song is actually called Brianstorm, a reference to the song’s protagonist named Brian. The song hit #2 on the UK charts, paving the way for the album to have another big debut like its predecessor. It debuted at #1 on the UK album chart, eventually selling a million copies.

Resources and Related Links:

First posted 6/8/2011; updated 3/13/2022.

Saturday, April 21, 2007

One Republic released Timbaland version of “Apologize”


One Republic with Timbaland

Writer(s): Ryan Tedder (see lyrics here)

Released: April 30, 2006

First Charted: April 21, 2007

Peak: 2 US, 17 RR, 4 AC, 16 A40, 60 RB, 3 UK, 113 CN, 18 AU (Click for codes to charts.)

Sales (in millions): 6.0 US, 1.2 UK, 20.0 world (includes US + UK)

Airplay/Streaming (in millions): 0.8 radio, 858.05 video, 680.93 streaming


Click on award for more details.

About the Song:

Ryan Tedder, a songwriter and record producer, formed One Republic in Colorado with high school friend Zach Filkins. Once the pair moved to Los Angeles, they fleshed out the band and garnered attention via the online community, especially MySpace. SF The song was initially written for the band’s debut album, Dreaming Out Loud, but didn’t take off until it was remixed by hip-hop producer Timbaland for his Shock Value album SF and released again in April 2007 – a year after its initial release.

Tedder told that the Timbaland connection was not as unusual as it might seem. They’d known each other about six years and after One Republic exploded on MySpace, labels started calling, but Timbaland offered the most interesting deal. SF While Timbaland made changes to the instrumental track, the vocals were still Ryan Tedder. However, because Timbaland had just made a name for himself the track was billed as “Timbaland featuring One Republic.”

The Timbaland version went all the way to #2 in the U.S. in late 2007. It spent 4 non-consecutive weeks there, as well as another 11 weeks at #3. It totalled 25 weeks in the top 10, the most weeks since Santana’s “Smooth” logged 30 weeks there. BB It also set the record in North America as the most played song in one week at Mainstream Top 40, a record broken by Leona Lewis’s “Bleeding Love,” a song also written by Tedder. WK

The song topped the charts in 16 countries, WK most notably spending 14 weeks atop the Eurochart Hot 100 Singles, where it was dethroned by – none other than – “Bleeding Love.” SF One Republic would have more hits and Tedder was established as a go-to songwriter, working with Adele, Christina Aguilera, Backstreet Boys, BeyoncĂ©, Camila Cabello, Kelly Clarkson, Chris Cornell, Hilary Duff, The Fray, Ellie Goulding, Ariana Grande, Jennifer Lopez, Demi Lovato, Maroon 5, Paul McCartney, Shawn Mendes, the Pussycat Dolls, Rascal Flatts, Ed Sheeran, Gwen Stefani, Taylor Swift, Train, Carrie Underwood, Westlife, Stevie Wonder, and more.


Last updated 8/6/2023.

Friday, April 13, 2007

50 years ago: Elvis at #1 for 8th week with “All Shook Up”

All Shook Up

Elvis Presley

Writer(s): Otis Blackwell, Elvis Presley (see lyrics here)

Released: March 22, 1957

First Charted: March 30, 1957

Peak: 18 US, 13 HP, 17 CB, 16 HR, 11 CW, 14 RB, 17 UK, 11 CN, 5 AU (Click for codes to singles charts.)

Sales (in millions): 4.0 US, -- UK, 7.0 world (includes US + UK)

Airplay/Streaming (in millions): 2.0 radio, 32.3 video, -- streaming


Click on award for more details.

About the Song:

The song is credited to Otis Blackwell and Elvis although the singer had nothing to do with writing it. Elvis’ manager, Colonel Tom Parker, often demanded a share of the songwriting credit be given to his client. SF However, accounts of Elvis’ involvement are disputed. In his book Last Train to Memphis, Peter Guralnick says Elvis came up with the idea for the refrain, WK and Elvis himself claimed he got the idea for the song from a dream when he woke up all shook up. He then phoned a friend and told him about it and by morning had a new song. WK

Meanwhile Al Stanton, one of the owners of Shalimar Music – Blackwell’s publishing company – says the song came out of an incident in which he shook up a bottle of Pepsi and then suggested Blackwell write a song based on the phrase “all shook up.” WK Blackwell was struggling to write a follow-up to “Don’t Be Cruel,” his first chart-topping hit for Elvis. He took up the challenge as a dare and finished the song in a couple of days. SF

Regardless of its origins, Elvis was not the first to record it. Under the stage name David Hill, the actor David Hess recorded it for Aladdin Records. Hess claimed he came up with the title, Blackwell wrote it, and then Elvis was given a co-writing credit in order to get him to record it. WK Elvis recorded it at Radio Recorders in Hollywood on January 12, 1957. The Jordaniares and the Blue Moon Boys are featured on the record. WK Four gospel songs recorded from the two-day session were released on the Peace in the Valley EP the same month as the “All Shook Up” single. BR

“All Shook Up” logged eight weeks atop the Billboard Hot 100 which, in 1957, was a mix of three charts – Best Sellers in Stores, Most Played by Jockeys, and Most Played in Jukeboxes. The song topped all three of those charts. All told, its time atop the four charts spanned from April 13, 1957 to June 17, 1957. The latter chart was discontinued in June 1957, making “All Shook Up” the last song to top that chart. WK

“All Shook Up” was named Billboard’s song of the year, following his “Heartbreak Hotel” song topping the list for 1956. This makes him the only artist to top the year-end chart in two simultaneous years. BR All told, Elvis spent 50 weeks at #1 in 1956 and 1957 with eight different songs. SF

In The Complete Beatles Chronicle, author Mark Lewisohn says the Beatles (when they were known as the Quarrymen) regularly performed the song from 1957 through at least 1960 with Paul McCartney on lead vocal. In his book John, Paul & Me, Len Garry, a former member of the Quarrymen, says it was one of the songs the group played on July 6, 1957 – the day when John Lennon and Paul McCartney met. WK There’s no known recording of their version. WK

Resources and Related Links:

  • DMDB Encyclopedia entry for Elvis Presley
  • BR Fred Bronson (2003). The Billboard Book of Number One Hits (5th edition). Billboard Books: New York, NY. Page 21.
  • SF Songfacts
  • WK Wikipedia

Other Related DMDB Pages:

First posted 10/30/2019; last updated 10/4/2021.

Monday, April 9, 2007

Marillion Somewhere Else released

Somewhere Else


Released: April 9, 2007

Peak: -- US, 24 UK, -- CN, -- AU

Sales (in millions): --

Genre: neo-progressive rock


Song Title [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. The Other Half [4:23]
  2. See It Like a Baby [4:32] (3/6/07, 45 UK)
  3. Thank You, Whoever You Are [4:51] (6/11/07, 15 UK)
  4. Most Toys [2:47]
  5. Somewhere Else [7:51]
  6. Voice from the Past [6:21]
  7. No Such Thing [3:58]
  8. The Wound [7:18]
  9. The Last Century for Man [5:51]
  10. Faith [4:11]

All songs written by Hogarth/Rothery/Kelly/Trewavas/Mosley.

Total Running Time: 52:03

The Players:

  • Steve Hogarth (vocals, percussion)
  • Steve Rothery (guitar)
  • Pete Trewavas (bass)
  • Mark Kelly (keyboards)
  • Ian Mosley (drums)


2.867 out of 5.00 (average of 17 ratings)

Awards: (Click on award to learn more).

About the Album:

“With Somewhere Else Marillion have played to their strengths and cut one of their very best records. With their innate sense of drama and pomp tempered by a winning melancholy, Marillion have produced a set of rich and vivid soundscapes. Somewhere Else is a genuinely remarkable testament to Marillion’s enduring creativity and crystal vision and Pete Trewavas, Ian Mosley, Mark Kelly, Steve Rothery, and Steve Hogarth have yet again proved that they are slaves to no-one, instead being prophets calling proudly in an uncaring musical wilderness.” AZ

“This album sees the band give their music more space to breathe without it feeling sparse.” VR “Excellent guitar rock, the occasional subtle drum computer, the nice string arrangements in the backgrounds, and the lovely live sound of the instruments – suddenly all the pieces come together and the puzzle's complete: this is Marillion's sound for the future!” TM

“Maybe the most surprising element of this album is its production; producer Mike Hunter seems to have managed to give the band a fresh and modern sound, which is quite the opposite of the dark and warm sound that Dave Meegan achieved on Marbles…People have compared it to the ‘live’ sound of the band and it sounds indeed far more dynamic than any of the other recordings…The songs included here have this really psychedelic yet modern feel to them.” TM

“As with a lot of Marillion albums, the first listen failed to make an instant connection…THIS IS A GOOD SIGN THOUGH. Holidays in Eden made a great first impression (it’s very commercial) but has failed to stand the test of time as a true Marillion classic. Brave, on the other hand, took ages…but…is unstoppable once it’s got you. This album could be the same.” BD

Lead single See It Like a Baby finds Marillion “innocently crooning through the verses and crying out the choruses.” VR It “has chart potential as does Most Toys,” VR which is “really the only track on the album that shows any sort of ferocity or rock vibe.” VR It is “quite good apart from the fact that it seems to have no beginning. It starts in the middle (the first word is BUT) and so it appears to be a song based on a chorus. It would perhaps have been a better choice for the single than ‘See It Like a Baby’, if it had an intro and first verse.” BD

“That said, the rest of the album has some great tracks” BD with some “unusual and almost experimental sounds…such as the ‘underwater’ vocal” BD on the “darkly soulful and sleepy” VR No Such Thing. The song is “carried by Rothery’s straight and direct riff complemented by an almost sine-wave keyboard sound which lifts the listener into a dreamy and relaxed state.” BD

Thank You, Whoever You Are “is notable [for] the chorus…and the piano melody…[and] the guitar solo in the middle.” VR It was released as the album’s second single.

The title track “is an instant new era Marillion classic, combining elements of the epic ‘Ocean Cloud’ and the airy ‘Neverland’ tracks, but dipped in a sauce of ‘This Is the 21st Century’ electronics” (Mulder).

The Wound harks back to previous albums with its opening guitar riff sounding a little like the riff in ‘Season’s End’; while the opening vocal conjours up memories of ‘Accidental Man’ in it’s approach but not in its content. It’s a great fusion which makes for a great track.” BD

The last track on the album is quiet and understated Faith.” VR The song “was written a while ago and fans have been waiting for it to be put onto an album. It’s found its place here.” BD “Vocal and acoustic guitar only. Contemplative. Beautiful and reassuring. A couple of minutes in and the track swells with the usual drums, rhythm and echo on the vocal, every piece of this song is delicate and perfectly crafted.” VR “It’s a touch of genius…[that] ends the album on a great note, and really gives the listener something to think about.” BD

“Each and every song is not what they at first might appear to be.” TM “There are plenty of lovely long tracks that you can get lost in.” VR “They aren’t lengthy... they aren’t overly complex... yet they aren’t exactly radio friendly either... Yet on first listen it might appear that Marillion have gone in a…modern rock direction with Somewhere Else, but in a while the listener will discover that this is just trademark Marillion with all those classic elements.” TM

Notes: A limited edition of the CD included a DVD with three live performances of songs from the album.

Resources and Related Links:

Other Related DMDB Pages:

First posted 3/14/2008; last updated 3/6/2022.