Saturday, August 29, 2009

Jason Mraz spent record-setting 70th week on Hot 100 with “I’m Yours”

Last updated 2/27/2021.

I’m Yours

Jason Mraz

Writer(s): Jason Mraz (see lyrics here)

Released: February 12, 2008

First Charted: March 15, 2008

Peak: 6 US, 11 RR, 116 AC, 18 A40, 11 AA, 11 UK, 3 CN, 3 AU (Click for codes to singles charts.)

Sales (in millions): 10.0 US, 0.7 UK, 22.0 world (includes US + UK)

Airplay/Streaming (in millions): 0.8 radio, 443.7 video, 813.0 streaming

Awards: (Click on award for more details).

About the Song:

“I’m Yours” not only took a few years to get released, but set chart longevity records once it did come out as a single. The song initially turned up as a demo on Mraz’ 2005 EP Extra Credit before launching his third album, We Sing, We Dance, We Steal Things in 2008. WK

Once it was released as a single in February 2008, it wouldn’t go away. While it never achieved #1 status on the Billboard Hot 100 (it peaked at 36), it spent a whopping 76 weeks on the Billboard Hot 100, breaking the previous record of 69 weeks, which had been held for a decade by LeAnn Rimes’ “How Do I Live.” It has since been passed by Imagine Dragons’ “Radioactive” (87 weeks) and AWOL Nation’s “Sail” (79 weeks). WK Interestingly, none of the songs hit #1 on the Hot 100.

The song met a similar fate in the U.K. where it logged 84 weeks on the top 100 chart, a record for a song which never hit the top ten. WK It did top the charts in Sweden and Norway and was a top ten in Austria, Australia, Canada, Germany, Italy, Spain, and Switzerland. WK Its longevity and broad appeal did also land it atop a couple of other U.S. charts – it hit #1 on the Mainstream Top 40 and adult contemporary charts ten and twelve months after its release respectively. WK The song went on to be one of the ten best-selling digital songs of all-time in the U.S. WK and was nominated for a Grammy for Song of the Year as well as Best Male Pop Vocal Performance.

Mraz has said the song “came out of joy” and is about “generosity,” “giving into love and life’s possibilities,” and that “it can be a love song or a personal song of empowerment.” SF He had low expectations for what he called his “happy little hippie song,” SF but has speculated that maybe its longevity was because the song borrowed from multiple genres. Metromix Atlanta described it as “the best Jack Johnson song of the decade” that came not from Johnson, but “a scat-singing, fedora-clad dude from Mechanicsville, Virginia.” MX

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Wednesday, August 26, 2009

R.I.P. Ellie Greenwich/ Her Top 30 Songs

First posted 12/15/2019.

Ellie Greenwich and Jeff Barry, image from Cue Castanents! Blog

Ellie Greenwich was a pop songwriter and record producer born 10/23/1940 in Brookly, NY. Died 8/26/2009. She and husband Jeff Barry were one of the famous Brill Building songwriting teams. Discovered Neil Diamond. Click here for a detailed list of songs which Greenwich wrote or co-wrote, produced, or recorded. Greenwich and Barry wrote “Be My Baby,” which is featured in the DMDB book The Top 100 Songs of the Rock Era, 1954-1999. For a complete list of this act’s DMDB honors, check out the DMDB Music Maker Encyclopedia entry.

Top 30 Songs

Dave’s Music Database lists are determined by song’s appearances on best-of lists as well as chart success, sales, radio airplay, streaming, and awards. Songs which hit #1 on the following charts have been noted: Billboard Hot 100 pop charts (US), Cashbox (CB), Hit Records (HR), Radio & Records (RR), Billboard R&B chart (RB), Billboard country chart (CW), Billboard album rock chart (AR), United Kingdom pop chart (UK), Canadian pop chart (CN), and Australian pop chart (AU).

DMDB Top 1%:

1. Be My Baby (The Ronettes, 1963) #1 CB
2. River Deep, Mountain High (Ike & Tina Turner, 1966)

DMDB Top 5%:

3. Chapel of Love (The Dixie Cups, 1964) #1 US, CB, HR, RB, CN
4. Da Doo Ron Ron (The Crystals, 1963)
5. Do Wah Diddy Diddy (Manfred Mann, 1964) #1 US, CB, HR, UK, CN
6. Leader of the Pack (The Shangri-La’s, 1964) #1 US, CB, HR, RB
7. Hanky Panky (Tommy James & the Shondells, 1966) #1 US, CB, HR, CN
8. Then He Kissed Me (The Crystals, 1963)

DMDB Top 20%:

9. Take Me Home Tonight (Eddie Money with Ronnie Spector, 1986) #1 AR
10. Baby I Love You (The Ronettes, 1963)
11. I Can Hear Music (The Beach Boys, 1969)
12. A Fine Fine Boy (Darlene Love, 1963)
13. Today I Met the Boy I’m Gonna Marry (Darlene Love, 1963)
14. Why Do Lovers Break Each Other’s Hearts (Bob B. Soxx & the Blue Jeans, 1963)

Beyond the DMDB Top 20%:

15. Christmas (Baby Please Come Home) (Darlene Love, 1963)
16. Little Boy (The Crystals, 1964)
17. Wait ‘Til My Bobby Gets Home (Darlene Love, 1963)
18. Not Too Young to Get Married (Bob B. Soxx & the Blue Jeans, 1963)
19. I Have a Boyfriend (The Chiffons, 1963)
20. All Grown Up (The Crystals, 1964)

21. Good Night Baby (The Butterflys, 1964)
22. Out in the Streets (The Shangri-La’s, 1965)
23. One Boy Too Late (Mike Clifford, 1963)
24. Maybe I Know (Lesley Gore, 1964)
25. What a Guy (The Raindrops, 1963)
26. I Wanna Love Him (The Jelly Beans, 1964)
27. I’ll Take You Where the Music’s Playing (The Drifters, 1965)
28. Little Bell (The Dixie Cups, 1964)
29. The Kind of Boy You Can’t Forget (The Raindrops, 1963)
30. He’s Got the Power (The Exciters, 1963)


Monday, August 24, 2009

50 years ago: Bobby Darin charted with "Mack the Knife"

Mack the Knife

Bobby Darin

Writer(s): Kurt Weill (m)/Mark Blitzstein (l)/Berthold Brecht (l) (see lyrics here)

First Charted: August 24, 1959

Peak: 19 US, 18 CB, 15 HR, 6 RB, 12 UK, 12 CN (Click for codes to singles charts.)

Sales (in millions): 1.0 US, -- UK, 2.0 world (includes US + UK)

Airplay/Streaming (in millions): -- radio, 24.03 video, 44.7 streaming

Awards: (Click on award for more details).

About the Song:

“Mack the Knife” originated in 1928 as “Moritat,” which translates to “murder deed.” RCG Bertlot Brecht and Kurt Weill wrote the original German song about “a bloodthirsty Berlin gangster” RS500 on the prowl for the musical The Three Penny Opera. Despite the song’s gruesome subject matter, the irresistible melody made the song hit-worthy. KL Instead of translating the lyrics literally, Marc Blitzstein was assigned to give the song a rewrite. SJ

The song had become a standard before Darin ever recorded it. “Mack” charted six times in 1956; the Dick Hyman Trio’s #8 instrumental version being the most successful. However, Darin’s version trumped them all. A year earlier, at age twenty-two, Darin first hit with the “Splish Splash”, followed by three more hits which cemented his appeal to the teen market. However, Darin wanted the kind of longevity enjoyed by Frank Sinatra. At the time he even told Billboard, “In night clubs I learn to other things. I even do ‘Mack the Knife.’” BB100

Engineer and producer Tom Dowd said Darin’s label, Atlantic Records, was “always on the look-out for new and innovative artists who could preserve the blues or jazz tradition, but the company was concerned that songs should be timely and would cater to the root of the artist, and at the same time would be merchandisable.” TC Ahmet Ertegun, the co-president of the record company, was interested in taking Darin “out of the pop world and into a more adult sphere.” TC

For his standards album That’s All, Darin recorded the song, but he never saw it being a single. SJ Atlantic thought otherwise and the song transformed Darin’s image into that of “a finger-snapping sophisticate at home in the cocktail lounge.” RS500 It also gave the label its first non-R&B pop hit. TC

Resources and Related Links:

  • DMDB Encyclopedia entry for Bobby Darin
  • BB100 Billboard (9/08). “All-Time Hot 100
  • TC Toby Creswell (2005). 1001 Songs: The Great Songs of All Time. Thunder’s Mouth Press: New York, NY. Pages 61-2.
  • JA David A. Jasen (2002). A Century of American Popular Music: 2000 Best-Loved and Remembered Songs (1899-1999). Routledge: Taylor & Francis, Inc. Page 126.
  • SJ Bob Shannon and John Javna (1986). Behind the Hits: Inside Stories of Classic Pop and Rock and Roll. New York, NY; Warner Brothers, Inc. Page 196.
  • KL Jon Kutner and Spencer Leigh (2005). 1000 UK Number One Hits: The Stories Behind Every Number One Single Since 1952. London, Great Britain: Omnibus Press. Page 59.
  • RCG The Old Songs (1900-1929)
  • RS500 Rolling Stone (2011). “The 500 Greatest Songs of All Time

First posted 8/24/2011; last updated 4/13/2021.

Wednesday, August 19, 2009

Arctic Monkeys released Humbug

First posted 6/8/2011; updated 9/12/2020.


Arctic Monkeys

Released: August 19, 2009

Peak: 15 US, 12 UK, 6 CN, 2 AU

Sales (in millions): -- US, -- UK, 0.52 world (includes US and UK)

Genre: garage rock revival

Tracks: (Click for codes to singles charts.)

  1. My Propeller (3/22/10, --)
  2. Crying Lightning (6/29/09, 12 UK)
  3. Dangerous Animals
  4. Secret Door
  5. Potion Approaching
  6. Fire and the Thud
  7. Cornerstone (11/16/09, --)
  8. Dance Little Liar
  9. Pretty Visitors
  10. The Jeweller’s Hands

Total Running Time: 39:15

The Players:

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


3.458 out of 5.00 (average of 6 ratings)

Quotable:Humbug makes two things clear: Arctic Monkeys are serious about being in a band, about making music, and they are the first major British band in generations unencumbered by fear or spite for America.” – Stephen Thomas Erlewine, All Music Guide

About the Album:

After becoming wildly successful in the U.K. with their 2006 debut album Whatever People Say I Am, That’s What I’m Not, the Arctic Monkeys quickly released a follow-up with 2007’s Favourite Worst Nightmare. Showing no signs of slowing down the band had already started working on songs for album #3 “towards the end of summer 2008, and finished it entirely on spring 2009.” WK

The resulting album, 2009’s Humbug, was recorded entirely in the United States. As on their previous album, and Turner’s side project, the Last Shadow Puppets’ The Age of the Understatement, the band tapped James Ford as a producer. WK However, they also enlisted Queens of the Stone Age’s Josh Homme. “On first glance, it’s a peculiar pair – the heirs of Paul Weller meet the heavy desert mystic – but this isn’t a team of equals, it’s a big brother helping his little siblings go wayward and get weird.” AMG Homme, “renowned for his collaborations but heretofore untested as a producer” AMG “doesn’t imprint his own views on the Monkeys but encourages them to follow their strange instincts, whether it’s a Nick Cave obsession or the inclination to emphasize atmosphere over energy.” AMG

Cave is only one of the influences Turner and the band’s drummer Matt Helders have cited as influences on the album. They also turned to Jimi Hendrix, Cream, Jake Thackray, John Cale, and Roky Erickson. WK

The result is an album that is “not always immediately accessible or pleasurable to an outside listener” AMG but “the Monkeys still favor angular riffs and clenched rhythms, constructing tightly framed vignettes not widescreen epics.” AMG “They’re working with a darker palette and creating vaguely abstract compositions, sensibilities that extend to Alex Turner’s words too, as he trades keen detail for vivid scrawled impressions. Every element of the album reflects a band testing its limits, seeing where they could – not necessarily will – go next.” AMGHumbug makes two things clear: Arctic Monkeys are serious about being in a band, about making music, and they are the first major British band in generations unencumbered by fear or spite for America.” AMG

Many critics praised “the band’s newfound maturity;” WK Billboard magazine said that the band justifies “the hype by shifting its best qualities into different, equally dazzling shapes” WK while The Record Review said that with Humbug the band “surpasses most of its colleagues in terms of songwriting and performance ability.” WK While Pitchfork’s Joe Tangari noted that the album “isn’t better than either of its predecessors, but it expands the group’s range… and…demonstrates a great deal of staying power for a band that could have imploded before it ever got this far.” WK

“While overall response was positive, the album was criticized by some for not containing the same hooks” WK as previous efforts. In particular, Spin called the album “accomplished, but not particularly infectious.” WK

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