I run out of space frequently. In fact at times I have been referred to
as "The Mad Titler" on this list. Here is an example of one particular
title (and keep in mind I try to title all my tracks like this if there
are enough characters:)
STEAL MY SUNSHINE (Album Edit) / LEN November 1999 Billboard Hot 100
Airplay No. 5 November 1999 Billboard No. 9 track from the LP's "You
Can't Stop The Bum Rush" and the "Go" soundtrack BPM:118
(There is also an LP Version of the same song)
or another example:
GENIE IN A BOTTLE (Eddy Arroyo Radio Club Mix) / CHRISTINA AGUILERA
August 1999 Billboard No. 1 (5 weeks) LP:"Christina Aguilera" BPM:125
September 1999 Billboard Hot 100 Airplay No. 1 (4 weeks)
It gets really involved when you have a song like "I'll Be There For
You" by the Rembrandts when the song was No. 1 on the Billboard Airplay
charts for about 13 weeks (or something like that) before being released
as a U.S. single, where it peaked at a comparatively lowly No. 19. Not
only do I note all the chart information and the BPM but also in this
case there is an album as well plus the folllowing must also be notated
in brackets after the title: (Theme from the NBC television series
"Friends"). Another example of this is Celine Dion's "My Heart Will Go
On" ("Love Theme From "Titanic") which spent many more weeks at No. 1 on
the Billboard Hot 100 Airplay charts than the actual Billboard Hot 100
chart, because it was released as a commercial single late in its peak
popularity period, but still managed to hold the No. 1 spot on the Hot
100 for 2 weeks (13 weeks or something like that on the Billboard Hot
100 Airplay chart) despite its being released as a limited edition
single with only 650,000 copies available at retail. Plus you have to
consider these factors as well if you wish to title all the information
properly: the song is found on two albums: the "Titanic" soundtrack, of
course, and "Let's Talk About Love". There are also a number of dance
versions of the song, which were not commercially available in the U.S.
as well as custom versions which interspersed dialogue from "Titanic"
throughout the song. Most of these dialogue versions were edited by
ambitious Top 40 Radio Station music programmers in various markets and
each had its own name as well, such as the "Titanic Z104 Mix" and
"Nick's KIIS Mix". There were several others as well.
Starting in the first week of December 1998 because of the growing trend
of record labels releasing hit songs to radio without accompying retail
singles, those songs were eligible to chart on the Billboard Hot 100
without a retail single being available. This is why, in the example
above, "Steal My Sunshine" has a higher airplay chart number (the
airplay chart is still published) than a Hot 100 chart number, because
all the song's points are from radio airplay and none from retail
singles sales, since there is no U.S. retail single. Other songs like
Lou Bega's "Mambo No. 5 (A Little Bit Of...)", although technically are
retail singles, in all practicality, are not because the Lou Bega song
is available in the U.S. only as a 12 inch VINYL single, a pretty
miniscule sales market compared to commercially available CD singles.
Thus, while it charted at No. 1 on the Billboard Hot 100 Airplay chart
for 6 weeks, the best "Mambo No. 5 (A Little Bit Of...)" could do on the
Billboard Hot 100 chart was No. 3
I always update the latest chart numbers each week on my MD recorder,
thereby doing a LOT of TOC updates, which has caused my MDS-JA20ES to be
replaced under warranty three times in a little under a year, no problem
since the deck has a five year warranty and is supposed to be able to
handle rigorous recording and editing sessions like this. My MZR55 is
also back in service for a different reason (spinning discs without
playing them at times.) This will be the fifth or sixth MZR55 replaced
by Sony in a little less than a year. Obviuosly, the Sony Service people
know me well and I get good service from them. I also buy a LOT of Sony
products.
I always make a habit of having the more cooler and popular tracks
towards the beginning of the disc, even if it means moving them weeks
after they are recorded. Sometimes I use so much titling information on
the big hit songs, I have to relegate a forgettable song like "Do I Love
You" by Paul Anka & Anthea Anka Featuring Kenny G & Barry Gibb to be
titled simply as "309A5" which refers to the HitDisc weekly series
(309), the disc of that series (A) and the track number (5). Of course,
that's providing I ever play the song. Songs like that are rarely played
and shoved towards the back of the disc, where the "sucky" material is.
I can always refer to the master HitDisc (I've been a subscriber to that
weekly service for over ten years and they send me four CD's a week
covering all the latest hits in all the popular (and not so popular)
radio formats as well as the latest club music from the dance, disco and
techno artists and labels) if I forget or need to know what a song is.
Why record it at all if it's such a so-so song? Because you never know
wen you might need it, so why not?
Rodney
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