Paul McCartney - Os 40 Hits Na Billboard

Paul McCartney's Top 40 Biggest Billboard Hot 100 Hits

In honor of Sir Paul McCartney’s birthday (June 18), Billboard looks back at his top 40 biggest songs on the Billboard Hot 100 as a solo artist and with his band Wings.

With nine No. 1s  -- outside of The Beatles’ record-holding 20 -- McCartney is no stranger to the Hot 100. His first solo appearance on the chart came with the release of the double single “Another Day”/“Oh Woman Oh Why,” which eventually peaked at No. 5 in April 1971. He went on to chart 22 more top 10 smashes, and a total of 46 hits on the list.

McCartney’s biggest Hot 100 hit (see our exclusive recap, below) is Wings’ “Silly Love Songs,” which ruled the weekly chart for five nonconsecutive weeks in May, June and July of 1976. His No. 2 biggest hit is his chart-topping collaboration with Michael Jackson, “Say Say Say,” which spent six weeks at No. 1 in late 1983 and early 1984.

McCartney -- an 18-time Grammy Award winner -- has also reigned on the list with further collaborative efforts. “Uncle Albert”/“Admiral Halsey,” his duet with his late wife, Linda McCartney, topped for one week in 1971; while “Ebony and Ivory” with Stevie Wonder spent seven weeks at No. 1 in 1982.

McCartney most recently charted on the Hot 100 with three collaborations with Kanye West, back in 2015, and all of them reached the top 40 on the weekly tally. West’s “Only One,” featuring McCartney, peaked at No. 35; “FourFiveSeconds,” a joint collaboration with West and Rihanna, reached No. 4; and West’s “All Day,” featuring Theophilus London, Allan Kingdom and McCartney, hit No. 15.

Paul McCartney’s Top 40 Biggest Billboard Hot 100 Hits
Rank, Title, Act, Peak Position, Peak Date

1. “Silly Love Songs,” Wings, No. 1 (5 weeks), May 22, 1976
2. “Say Say Say,” Paul McCartney & Michael Jackson, No. 1 (6 weeks), Dec. 10, 1983
3. “Ebony and Ivory,” Paul McCartney & Stevie Wonder, No. 1 (7 weeks), May 15, 1982
4. “My Love,” Paul McCartney & Wings, No. 1 (4 weeks), June 2, 1973
5. “Coming Up (Live at Glasgow),” Paul McCartney & Wings, No. 1 (3 weeks), June 28, 1980
6. “Band on the Run,” Paul McCartney & Wings, No. 1 (1 week), June 8, 1974
7. “The Girl is Mine,” Michael Jackson & Paul McCartney, No. 2, Jan. 8, 1983
8. “Listen to What the Man Said,” Wings, No. 1 (1 week), July 19, 1975
9. “With a Little Luck,” Wings, No. 1 (2 weeks), May 20, 1978
10. “Live and Let Die,” Wings, No. 2, Aug. 11, 1973
11. “Let 'Em In,” Wings, No. 3, Aug. 14, 1976
12. “Junior's Farm/Sally G,” Paul McCartney & Wings, No. 3, Jan. 11, 1975
13. “Uncle Albert/Admiral Halsey,” Paul & Linda McCartney, No. 1 (1 week), Sept. 4, 1971
14. “Goodnight Tonight,” Wings, No. 5, May 19, 1979
15. “No More Lonely Nights,” Paul McCartney, No. 6, Dec. 8, 1984
16. “Spies Like Us,” Paul McCartney, No. 7, Feb. 8, 1986
17. “Another Day/Oh Woman Oh Why,” Paul McCartney, No. 5, April 17, 1971
18. “Jet,” Paul McCartney & Wings, No. 7, March 30, 1974
19. “Take it Away,” Paul McCartney, No. 10, Aug. 21, 1982
20. “FourFiveSeconds,” Rihanna & Kanye West & Paul McCartney, No. 4, Feb. 28, 2015
21. “Helen Wheels,” Paul McCartney & Wings, No. 10, Jan. 12, 1974
22. “Hi, Hi, Hi,” Wings, No. 10, Feb. 3, 1973
23. “Maybe I'm Amazed,” Wings, No. 10, April 2, 1977
24. “Venus and Mars Rock Show,” Wings, No. 12, Dec. 13, 1975
25. “Press,” Paul McCartney, No. 21, Sept. 13, 1986
26. “So Bad,” Paul McCartney, No. 23, Feb. 11, 1984
27. “My Brave Face,” Paul McCartney, No. 25, July 8, 1989
28. “Getting Closer,” Wings, No. 20, July 28, 1979
29. “Give Ireland Back to the Irish,” Wings, No. 21, April 8, 1972
30. “I've Had Enough,” Wings, No. 25, Aug. 5, 1978
31. “Girls’ School,” Wings, No. 33, Jan. 14, 1978
32. “Arrow Through Me,” Wings, No. 29, Oct. 13, 1979
33. “Mary Had a Little Lamb/Little Woman Love,” Wings, No. 28, July 22, 1972
34. “Letting Go,” Wings, No. 39, Oct. 25, 1975
35. “London Town,” Wings, No. 39, Oct. 14, 1978
36. “All Day,” Kanye West Featuring Theophilus London, Allan Kingdom & Paul McCartney, No. 15, March 21, 2015
37. “Tug of War,” Paul McCartney, No. 53, Oct. 23, 1982
38. “Only One,” Kanye West Featuring Paul McCartney, No. 35, Jan. 17, 2015
39. “The World Tonight (From “Fathers’ Day”),” Paul McCartney, No. 64, May 24, 1997
40. “Stranglehold,” Paul McCartney, No. 81, Nov. 29, 1986

Paul McCartney's Biggest Billboard Hot 100 hits chart is based on actual performance on the weekly Billboard Hot 100, through the June 24, 2017, ranking. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods.

SPOTIFY Tem Agora 140 Milhões De Usuários, Acima De 100 Milhões Comparado Com 2016

SPOTIFY NOW HAS 140M ACTIVE USERS, UP FROM 100M A YEAR AGO

Spotify now has more than 140 million active users, but the company is not saying how many of them are paying for a subscription to the music-streaming service.

The company announced the milestone on the eve of advertising conference the Cannes Lions, where it will be courting brands and agencies – and thus where its overall reach will likely be a more important metric than its paying subscribers.

“This is a particularly meaningful development, as our brand partners now have a bigger opportunity than ever to activate Spotify’s free user base,” blogged its VP and global head of ads monetisation Brian Benedik.

“Spotify’s high-velocity audience growth cements our place as the leading media platform for music, fans and brands. As our global monthly active user number continues to climb, more consumers engage with us across their day and devices.”

The 140m milestone comes almost exactly a year after Spotify reached 100 million active users. Its most recent public figure for subscribers came in March 2017, when it passed 50 million subs.

(The company offered similarly-staggered milestones last year, announcing 30 million subscribers in March and then 100 million active users in June for the Lions conference.)

Adding 40 million active users in a year means – and no, we don’t need super-advanced maths for this – that Spotify has been adding an average of just over 3.3 million new users a month over that year.

Unsurprisingly, Benedik’s post focuses mainly on the advertising angle.

“It’s an exciting time for our Spotify global advertising business. We launched our free, ad-supported tier on mobile three years ago, and the business is still growing fast with more than 50% year over year growth in 2016,” he wrote.

“As brands are catching on, I’m really excited about the creative opportunity. Brands can mine new audience insights for inspiration and explore dynamic, innovative messaging. When you pair the emotional power of music, podcasts, and videos with engaging ad formats, the creative terrain is rife with possibility.”

There is also evidence that Spotify may be planning to allow brands to sponsor individual tracks within its service.

Music Ally contacted Spotify to ask about sponsored songs, and the company’s spokesperson provided this response: “We are always testing new ways of putting the right music in front of the right audiences. But we don’t have any more information to share right now.”

We suspect the topic will come up during Spotify’s meetings with brands and agencies in Cannes, however.

WaterTower Music Anuncia A Trilha Sonora De "Mulher Maravilha"

WaterTower Music Announces 'Wonder Woman' Soundtrack

WaterTower Music today announced the release details of the Wonder Woman soundtrack, which features an original score by composer Rupert Gregson-Williamsand the new end title track "To Be Human" by Sia Feat. Labrinth. The soundtrack to this epic action adventure film from director Patty Jenkins will be released both digitally and on CD on the same date that the film is in theatres, June 2.

"Patty and I worked together to find the themes for the movie," Gregson-Williams related. "She has a great ear, and guided me early on to colors she felt had an affinity with the characters."

"Engaging with the emotional language of music is a part of the filmmaking process that I deeply cherish, and its importance cannot be overstated," Jenkins explained. "With Wonder Woman, we had an exceptional undertaking at hand: bringing a legendary character to life with a score befitting one of the greatest Super Heroes of all time, while musically bridging three entirely different worlds. Not a small task for anyone, but not beyond the beauty and elegance of Rupert Gregson-Williams. He embraced the challenge and created an entire world of themes and textures that organically grew with Diana's storyline. He found her voice, her hope and all of her dreams, and brought them to life around her."

On his philosophy of the merging of the music with the storyline, Gregson-Williams expounded: "Wonder Woman is an origin story; we meet Diana before she understands her powers, so her theme needed to reflect her innocence and naiveté. She moves from young girl to a woman who knows her path through the journey of the film.

"I used a hybrid of orchestra and ethnic drums and vocals for the origin story, and as the character grew I introduced electric cello and more electronic colors," continued Gregson-Williams. "By the end of the movie I brought in orchestra, full choir, percussion, and a large palette of electronica."

"I am immensely proud of the score Rupert created and so grateful he was able to bring such integrity and beauty to the movie through his music," Jenkins elaborated. "He is a special and unique talent, whose art sings throughout our film."

7 Maneiras De Ganhar Dinheiro Na Sua Carreira Como Músico

7 WAYS TO MAKE ENOUGH MONEY TO LIVE OFF YOUR MUSIC CAREER

#1  Digital Sales

Selling your songs from itunes , bandcamp , etc is a must. Make every song you put out available for purchase.

#2 Streaming

Streaming payouts are small but one hit song can pay you a nice amount of money. The more songs you have available the more money you can make from streaming.

 #3 Gigs

 This is a no brainier!!!

Play the show -> bring the crowd -> make the money

#4 Merchandise

Of course you want to make T shirts , stickers , pins , etc. but try niche merchandise. If your crowd of fans includes potheads why not make your own lighters or grinders. Think out of the box when it comes to merchandise.

#5 Publishing royalties

SIGN UP WITH A PERFORMANCE ROYALTY ORGANIZATION NOW!! If you don’t have any money please note that BMI is free. Anytime your music is played you will receive royalties.

#6 Licensing

Commercials , Films , etc. need music  and if the budget for the project is good you can receive a nice payout for your song.

#7 Youtube

YouTube ads are a great way to make passive income. Put your music on YouTube and get paid from the views your receive.

O Futuro Da Música No Celular - Dinheiro Ganho

The Future of Mobile Music Revenue

According to this infographic by mobile app creators Mobile Roadie, the future of how artists earn money from mobile is changing. It’s hard to believe, but ringtones and ringback tones (whatever they are?) represent the biggest chunk of global mobile music revenues at the moment. However, in 2013 it’s estimated that full track downloads via mobile will overtake this. Here’s the full infographic.

Merlin Pagou US$353 Milhões Para Os Membros Do Selo, Um Salto De 52%

Merlin Reveals $353 Million in Payments to Label Members, a 52 Percent Jump

Merlin said on Thursday that payouts to its 700 indie label members rose 52 percent to $353 million during the year ended March 2017, up from $232 million in the prior year.

Its overall revenue has grown considerably, compared to back when streaming was still in its infancy, and Merlin's payout to member labels totaled $42 million for the year ending March 2013.

As part of its operation, Merlin polls its label members every year about business conditions; and Merlin CEO Charles Caldas presented the results of that survey today at the A2IM annual conference, held in New York City. Merlin's 700 label members operate in 39 countries and combined have an estimated 12 percent of the global digital recorded music market, according to Merlin.

Merlin is a global rights licensing and collection agency that collectively represents indie labels in negotiating deals with digital services that allows the service to offer the recorded masters of the Merlin labels to their subscribers. In turn, the services pay Merlin royalties, which funnels the money back to the labels, based on pro-rata plays.

For the year ended May 2017, most labels reported that their business had grown from 2016's levels, with only 14 percent of labels saying their overall business revenue decreased from year-end 2016. Merlin tracks June to May for its survey.

Looking at the business another way, 42 percent of labels said that over half their digital revenues originated from outside their home territory. That's up from 39 percent in 2016.

Overall, 67 percent of labels say that all digital revenue -- whether from downloads or streaming -- now accounts for over half of their overall business, which includes physical sales too.

Looking at the digital channel only, in 2015, only one-third reported that their audio streaming subscription business was over 50 percent of their digital revenue. In 2017, that doubled to 64 percent of labels claiming streaming as accounting for over 50 percent of their business. In 2016, half the labels had reached the point where streaming accounted for over 50 percent of digital revenue.

Moreover, 29 percent of labels reported that audio streaming accounted for over 75 percent of their digital revenue.

Meanwhile, video-based streaming services are not producing the same kind of growth and appear to have stalled, even though use of video appears to be growing. About 84 percent of Merlin members say that video streaming accounts for less than a quarter of their overall digital business, the same level as last year. Within that, 42 percent, or half of the labels that comprise the 84 percent just mentioned, say that video-based services account for less than 5 percent of their digital revenues.

Meanwhile, 19 percent of members responded that downloads still account for over 50 percent of their digital revenue, while 39 percent of member labels say that downloads now account for less than 25 percent of digital revenue.

Looking at the future, 83 percent of members say they were optimistic about the future of their business, while only 6 percent were not optimistic.

Como 'Stranger Things' Ajudou Uma Nova Categoria No EMMY Para 'Music Supervisors'

How 'Stranger Things' Helped Prompt a New Emmy Category For Music Supervisors

As TV soundtracks top the charts, the Primetime Emmys are finally embracing music supervisors 

For the first time in the Emmy Awards' nearly 70-year history, music supervisors will be recognized for the artistic role they play in crafting the tone of TV programs.

Outstanding music supervision is one of 10 new or amended categories added to the 69th Primetime Emmys, which will air Sept. 17 on CBS. The award will go to a single episode of a series, TV movie or special, and it honors creative contributions through music, including original or pre-existing songs, scores and performances. Voting for all 119 categories begins June 12.

Two years ago, the Emmys admitted music supervisors into the Television Academy as full members for the first time. The Guild of Music Supervisors (GMS) lobbied for both that and the new award, to challenge the notion that they serve primarily as rights-clearing administrators, says music peer group executive committee member Tracy McKnight.

The award comes at a time when TV music is resonating strongly with viewers. Since 2015, 12 TV-show soundtracks have landed in the top 30 of the Billboard 200, including two No. 1s: Empire: Original Soundtrack From Season 1in March 2015 and Disney's Descendants in August 2015. And the theme from the hit 2016 Netflix series Stranger Things, written by Kyle Dixon and Michael Steinof the band SURVIVE, has tallied more than 3.4 million on-demand audio streams, according to Nielsen Music.

Late last year, several top music supervisors, including McKnight and GMS president John Houlihan, made their case for the award before the Emmys' board of governors, arguing that a supervisor's role was as valuable as Emmy-eligible craftspeople in wardrobe, casting, hair and makeup. "It was nerve-racking, because we knew that there was a culture in the academy to limit the number of Emmy categories, and most requests are shot down," says Houlihan.

For now, supervisors are not eligible to vote for the five other music categories, says musical director/producer Rickey Minor, who is one of the music peer group's two governors. "Until we are all educated on how it works, it makes sense to go slow," he says. "Just because you're a composer or director, that doesn't mean you understand the job of a supervisor."

For the GMS, which honors its own in a February awards show, this is a first step in broader recognition for the role supervisors play. Next up is persuading the Motion Picture Academy, which puts on the Oscars, to invite music supervisors to join the music branch as full members. “Our conversations are in early stages,” Houlihan says. “We are looking for a new era of consideration, but we're not antagonistically gunning for film academy membership. We come in peace.”

7 Supervisors To Watch

1. Season Kent, 13 Reasons Why
The use of emotional, melancholic music in the Netflix drama about a high school student’s suicide has drawn comparisons to John Hughes' coming-of-age films.

2/3. Jen Ross and David Jordan, Empire
Though ratings for the show have fallen, Fox’s drama about a rap label remains a creative leader for the music-immersive show’s use of both licensed source cues and strong original music performed by the main characters.

4/5. Zach Cowie and Kerri Drootin, Master of None
Aziz Ansari’s Netflix comedy about his search for love isn’t afraid to go for obscure tunes, even including music from Burundi.

6. Liza Richardson, The Leftovers
Bold, bizarre, beautiful and bitter, the choices on HBO's critically-acclaimed existential drama accent the show's far-reaching plots and accent its twists.

7. Nora Felder, Stranger Things
The Netflix sci-fi horror thriller, set in the early ‘80s, is noteworthy for its eerie score and smart covers, such as Peter Gabriel’s haunting rendition of David Bowie’s “Heroes.”