Friday, November 27, 2015

Herb Alpert's Whipped Cream album hit #1 50 years ago today

First posted 3/25/2008; updated 9/6/2020.

Whipped Cream & Other Delights

Herb Alpert & the Tijuana Brass

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Charted: May 15, 1965

Peak: 18 US, 2 UK, -- CN, -- AU

Sales (in millions): 5.0 US, -- UK, 5.0 world (includes US and UK)

Genre: traditional pop

Tracks: (Click for codes to singles charts.)

Song Title (Writers) [Time] (chart date, peaks on charts)

  1. A Taste of Honey (Bobby Scott, Rick Marlow) [2:43] (9/4/65, #7 US, #1 AC)
  2. Green Peppers (Sol Lake) [1:31]
  3. Tangerine (Johnny Mercer, Victor Schertzinger) [2:46]
  4. Bittersweet Samba (Sol Lake) [1:46]
  5. Lemon Tree (Will Holt) [2:23]
  6. Whipped Cream (Naomi Neville) [2:33] (2/20/65, #68 US, #13 AC)
  7. Love Potion No. 9 (Jerry Leiber, Mike Stoller) [3:02]
  8. El Garbanzo (Sol Lake) [2:13]
  9. Ladyfingers (Toots Thielemans) [2:43]
  10. Butterball (Mike Henderson) [2:12]
  11. Peanuts (Luis Guerrero) [2:09]
  12. Lollipops and Roses (Tony Velona) [2:27]

Total Running Time: 28:22


4.275 out of 5.00 (average of 11 ratings)


About the Album:

“It’ll never be known exactly what made Whipped Cream & Other Delights Herb Alpert’s big commercial breakthrough – the music or the LP jacket’s luscious nude model covered almost entirely with simulated whipped cream. Probably both.” AMG

“In any case, Alpert’s most famous album is built around a coherent concept; every song has a title with food in it. Within this concept, Alpert’s musical tastes are still refreshingly eclectic; he uses Brazilian rhythms on Green Peppers and Bittersweet Samba, reaches back to the big-band era for the haunting Tangerine, uses Dixieland jazz on Butterball, and goes to New Orleans for the Allen Toussaint-penned title track (familiar to viewers of TV’s The Dating Game).” AMG

“He also has developed a unique sense of timing as a producer, using pauses for humorous effect, managing to score his second Top Ten hit with a complex, tempo-shifting version of A Taste of Honey.” AMG

“No wonder Alpert drew such a large, diverse audience at his peak; his choices of tunes spanned eras and generations, while his arrangements were energetic enough for the young and melodic enough for older listeners.” AMG

Notes: A 2005 reissue added bonus tracks “Rosemary” and “Blueberry Park.”

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Saturday, November 21, 2015

Chris Stapleton’s Traveller hit #1 on country album chart for 1st of 29 weeks


Chris Stapleton

Released: May 5, 2015

Peak: 12 US, 129 CW, 67 UK, 4 CN, 47 AU

Sales (in millions): 4.25 US

Genre: country


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

  1. Traveller (4/27/15, 87 US, 17 CW, 7x platinum)
  2. Fire Away (25 CW)
  3. Tennessee Whiskey (11/21/15, 20 US, 12 CW, 39 CN, sales: 6 million)
  4. Parachute (12/10/16, 78 US, 31 CW, platinum single)
  5. Whiskey and You (35 CW)
  6. Nobody to Blame (11/9/15, 68 US, 10a CW, 83 CN, platinum single)
  7. More of You
  8. When the Stars Come Out
  9. Daddy Doesn’t Pray Anymore
  10. Might As Well Get Stoned (44 CW)
  11. Was It 26
  12. The Devil Named Music
  13. Outlaw State of Mind (45 CW)
  14. Sometimes I Cry

Total Running Time: 63:04


4.200 out of 5.00 (average of 13 ratings)

Awards: (Click on award to learn more).

About the Album:

“Like many country troubadours, Chris Stapleton cut his teeth as a songwriter in Nashville, churning out tunes that wound up hits in the hands of others. Kenny Chesney brought ‘Never Wanted Anything More’ to number one and Darius Rucker had a hit with ‘Come Back Song,’ but those associations suggest Stapleton would toe a mainstream line when he recorded his 2015 debut, Traveller. This new release, however, suggests something rougher and rowdier – an Eric Church without a metallic fixation or a Sturgill Simpson stripped of arty psychedelic affectations. Something closer to a Jamey Johnston, in other words, but where Johnston often seems weighed down by the mantle of a latter-day outlaw, Stapleton is rather lithe as he slides between all manners of southern styles.” AMG

“Some of this smoothness derives from Stapleton’s supple singing. As the rare songwriter-for-hire who also has considerable performance chops, Stapleton is sensitive to the needs of an individual song, something that is evident when he's covering Tennessee Whiskey – a Dean Dillon & Linda Hargrove tune popularized by George Jones and David Allan Coe in the early ‘80s – lending the composition a welcome smolder.” AMG

“The strength of Traveller lies in how he can similarly modulate the execution of his originals. He has a variety of songs here, too, casually switching gears between bluegrass waltz, Southern rockers, crunching blues, soulful slow-burners, and swaggering outlaw anthems – every one of them belonging to a tradition, but none sounding musty due to Stapleton’s casualness. Never once does he belabor his range, nor does he emphasize the sharply sculpted songs. Everything flows naturally, and that ease is so alluring upon the first spin of Traveller that it’s not until repeated visits that the depth of the album becomes apparent.” AMG

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First posted 8/1/2021; last updated 2/5/2022.

Saturday, November 14, 2015

Justin Bieber’s “Sorry” debuts at #2


Justin Bieber

Writer(s): Justin Bieber, Julia Michaels, Justin Tranter, Sonny Moore, Michael Tucker (see lyrics here)

Released: October 23, 2015

First Charted: October 25, 2015

Peak: 13 US, 13 RR, 11 AC, 3 A40, 34a RB, 11 UK, 17 CN, 2 AU (Click for codes to singles charts.)

Sales (in millions): 8.0 US, 2.4 UK, 13.5 world (includes US + UK)

Airplay/Streaming (in millions): -- radio, 3614.1 video, 1653.0 streaming


Click on award for more details.

About the Song:

“Sorry” was the second single from Justin Bieber’s album Purpose. Like its predecessor, “What Do You Mean?,” it topped the Billboard Hot 100, but it had to wait awhile. It debuted at #2 on the 11/14/2015 chart – behind Adele’s “Hello.” It spent eight non-consecutive weeks at #2 before finally dethroning Adele. WK The song would ultimately top the chart in thirteen countries. WK

The dance-pop song featured a “smooth but electrifying EDM beat incorporating brassy horn bleats, a reggaeton rhythm, [and] warm island rhythms.” WK Bieber enlisted Skrillex to produce songs for his album after working with him on top-ten hit “Where Are Ü Now.” Bieber said, “Skrillex is a genius. He’s super futuristic and I just love his sounds. I think being able to incorporate that sound with what I’m doing has been super cool because …I feel like no one’s done it before.” WK

Michael Tucker, aka BloodPop, crafted the melody with Bieber in Mind and songwriters Justin Traner and Julia Michaels helped on the lyrics. WK The idea grew out of a personal event Michaels had. WK She said the idea was to “capture that moment in a relationship…where you realize you made a mistake and you’re finally read to admit and apologize.” WK In Bieber’s hands, he wasn’t just asking a lover for a second chance, but the public as well. He called the song “the end-all of apologies that I’m giving to people, to the media” SF for “a run of boorish behavior that included reckless driving, public urination, and even an incident involving a black market monkey.” SF He later recanted that comment, saying, “It really had nothing to do with that…It was about a girl.” SF

At first, Bieber considered the song “too safe and simple,” but came to love the song and “changed a couple things to make it feel like him” WKWK Of the final results, BloodPop said “Justin’s vocal delivery and the triumphant key of the song gave the narrative a warm color…The beat is…exciting and fun.” WK

Time’s Nolan Feeney said, “with a beat this breezy…that’s nothing to be sorry about.” WK Spin’s Brennan Carley called “Sorry” “a subdued step forward for the Biebs” WK and USA Today’s Maeve McDermott said it was “just as much of an earworm as his previous single ‘What Do You Mean?’” WK AllMusic’s Andy Kellman praised both songs as showing Bieber “makinga deeper connection with his material and that…he was progressing from performer to artist.” WK Pitchfork’s Brad Nelson called them “his best performances to date.” WK


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Last updated 11/7/2021.

Adele’s “Hello” debuted at #1



Writer(s): Adele Adkins, Greg Kurstin (see lyrics here)

Released: October 23, 2015

First Charted: November 7, 2015

Peak: 110 US, 14 RR, 116 AC, 17 A40, 14 AA, 10a RB, 13 UK, 17 CN, 16 AU (Click for codes to singles charts.)

Sales (in millions): 7.0 US, 1.86 UK, 13.45 world (includes US + UK)

Airplay/Streaming (in millions): -- radio, 2883.9 video, 970.0 streaming

Awards: (Click on award for more details).

About the Song:

Adele’s second album, 21, made her a superstar – and set the expectations high for her new album, 25. She introduced new material via a commercial in the United Kingdom on The X Factor on October 18, 2015. Vanity Fair’s Josh Duboff said “the internet collectively lost its mind” after the thirty-second broadcast of “Hello.” WK The single was released five days later. It debuted at #1 in 20 countries, including the United States’ Billboard Hot 100 where it stayed for 10 weeks. It was her fourth #1 in the United States and her second in the U.K. It became the first song to sell more than a million digital copies in a week WK and set a record for 7.32 million streams in its first week. WK

The video also set a record with more than 27.7 million views in a 24-hour span, beating the previous record of 20.1 million views by Taylor Swift’s “Bad Blood.” WK It set the Vevo record for the fastest video to reach 100 million views in five days. WK The video also became the quickest to reach one billion views on YouTube – 88 days. WK MTV named it Video of the Year at its 2016 Video Music Awards. WK

The song won Grammys for Record of the Year, Song of the Year, and Best Pop Solo Performance. 25 won for Album of the Year and Pop Vocal Album, giving Adele five Grammys for the night. She became the first artist in history to win the three general field awards in the same ceremony twice. WK

The “piano ballad with soul influences” WK was marked by lyrics focused on “themes of nostalgia and regret and plays out like a conversation.” WK The song took six months to write – her co-writer, Greg Kurstin, said he wondered “if Adele was ever going to come back and finish it.” WK Kurstin ended up playing bass, guitar, drums, piano, and keyboards on the song. WK The result was what The Guardian’s Alex Petridis described as “precisely the kind of lovelorn epic ballad that made Adele one of the biggest stars in the world.” WK

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Last updated 9/8/2021.