AMERICA’S WEEKLY POP THIRTY: THE NATION’S TOP TUNES INDEX
SMOKE GETS IN YOUR EYES * The Platters * No. 01
CHIPMUNK SONG * David Seville * No. 02
MY HAPPINESS * Connie Francis * No. 03
16 CANDLES * The Crests * No. 04
DONNA * Ritchie Valens * No. 05
TO KNOW HIM IS TO LOVE HIM * The Teddy Bears * No. 06
GOTTA TRAVEL ON * Harry Belafonte * No. 07
A LOVER’S QUESTION * Clyde McPhatter * No. 08
TOM DOOLEY * The Kingston Trio * No. 09
WHOLE LOTTA LOVING * Fats Domino * No. 10
AMERICA’S TOP 10 | January 10, 1959
AMERICA’S WEEKLY POP THIRTY: THE NATION’S TOP TUNES INDEX
These hits were the hottest ‘TOP 10’ popular records played on Detroit radio stations WJBK, WXYZ, WKMH, CKLW and WJR for the week-ending January 10, 1959.
___
A MCRFB VIEWING TIP
ON YOUR PC? To fully appreciate this Billboard Honor Roll Of Hits,January 19, 1959 (week ending January 10) chart feature click on image 2x and open to second window for large detailed view. Click image anytime to return to NORMAL image size.
ON YOUR MOBILE DEVICE? Take your index finger and thumb and “stretch” across the featured article to magnify for largest print view.
(Click your server’s back button to return to MCRFB home page)
Field Reaps $15,000,000; Radio, Jukeboxes Answers Big Demand
NEW YORK (April 17) — Rhythm and blues records, once limited in sales appeal to the relatively small Negro market, has blossomed into one of the fastest growing areas of the entire record business.
The Spaniels. A Vee-Jay Records, Cashbox ad, early-1950s.(Click on image for largest view).
Rhythm and blues record sales last year reached an all-time high of $15,000,000. Indications are that 1954 sales will surpass that mark. The growing popularity of this music is reflected in its wide use by disk jockeys and juke box operators.
More than 700 disk jockeys across the country devote their air time exclusively to rhythm and blues recordings. Many disk jockeys who once restricted their programming only to popular records, are following the change in listener taste by including rhythm and blues selections with their regular popular offerings.
To satisfy the growing demand for this material more than 75 record companies regularly release rhythm and blues recordings. Their combined production effort results in more than 1,000 rhythm and blues records per year.
Teenage Demand
Teenagers have spearheaded the current swing to R&B, and are largely responsible for keeping its sales mounting. The teenage tide has swept down the old barriers which kept this music restricted to a segment of the population.
The present generation has not known the rhythmically exciting dance bands of the swing era. It therefore satisfy its hunger for “music with a beat” in the Earl Bostic, Buddy Johnson, Tiny Bradshaw bands or uses the rhythmically pronounced recordings of the Clovers, Ruth Brown and others, as its dance music.
Earl Bostic, 1952
The expansion of this field had resulted in a number of companies who find it highly profitable, devoting their exclusive production to R&B, and spiritual recordings.
Such companies as Atlantic-Cat, Apollo, Savoy, Peacock Duke, Specialty, Modern-RPM, Federal, Aladdin, Chess-Checker, United-States, Chance, Herald, Imperial and others emerge among the strongest independent labels of the entire record industry. In addition to the highly successful firms which specialize in the R&B field are such companies as RCA-Victor, Columbia, Decca, Dot, King and others, which either themselves or through their subsidiary labels issue many R&B records along with their regular record releases in other fields.
Juke Boxes Lead
Juke box operators are credited being among the first to sense the teenage swing to R&B. In noting the youngster preference for this music, they continued to increase its supply on those juke boxes which were exposed to teenage traffic.
This in turn fostered R&B popularity as reflected in requests to disk jockeys and in record stores. Dealers who heretofore didn’t stock R&B records were quick to pick up the ball and are now offering a healthy selection of R&B recordings.
Some California juke box operators say that machines located where young people congregate will show popular records taking a secondary position to R&B recordings. California distributors who specialize in R&B estimate that 35 per cent of their sales volume come directly from the juke box field.
In New York it is no longer uncommon for a box in an average teenage hangout to have at least a few R&B records featuring Dinah Washington, Ruth Brown, The Clovers, Earl Bostic, Tiny Bradshaw, among others. In Miami, boxes in taverns and milk bars in virtually every neighborhood sport R&B records in addition to pop releases.
Country – Wide
Operators in widely-scattered sections of the country have found that many R&B records have a wide enough appeal to go into boxes in any area. Indicative of the expansion of the rhythm and blues market is the large number of retail outlets which previously did not stock these platters, but has since found it necessary and especially profitable to do so.
Dance hall days. By 1953, teens were swinging more to “music with a beat,” spurring further rhythm and blues acceptance and popularity throughout the 1950s decade.
On the West Coast, such class retail outlets as Crawford’s, Martindale’s, and the Gramophone in Beverly Hills, California, now stock rhythm and blues and point to a successful sales volume with the line.
In the main, these stores and others of their type, are thus far only carrying the “hit” or chart listed items, although they’re continually adding to their inventory.
Where it was previously necessary for a teenager to go out of his immediate shopping neighborhood and buy a rhythm and blues recording, it is now the neighborhoods that are adding to their coffers through stocking R&B records. Significantly, some established R&B outlets have noticed a decline in their volume, apparently taken up by the “Johnny come lately’s” who now stock rhythm and blues.
Another Sign
Another sign that the popularity of rhythm and blues records is seen by the large number of record buyers of Mexican and Spanish descent who are avid devotees of the field. Music operators in routes in areas predominantly populated by Latin Americans report that this group has long been staunch supporters of R&B music.
Black and Latino teenagers dancing to popular rhythm and blues hits in the early-1950s.
A tremendous market exist in this Latin-American field in an area that spreads through West Texas, New Mexico, Arizona and California. Distributors in Dallas, Houston, El Paso and Los Angeles report that Latin Americans are among their largest buyers of rhythm and blues records. American disk jockey shows they frequently play rhythm and blues, along with similarly operated retail outlets which stock the line.
There has been an upsurge in the number of broadcast hours R&B records are played in cities all over the country. In Los Angeles there re more R&B jockeys than there were a year ago, and the pop jockey are spinning more R&B records. About 23 hours of R&B disks are played daily on eight Los Angeles stations. The same is true in Chicago and New York.
Air Time
In Chicago the increase in R&B records on the air is an increase about 20 percent over a year ago, and the increase is greater in New York.
The Crows 1953 R&B hit, “Gee.”
It is true that many pop jockeys are playing those R&B records such as “Gee” and “Crying In The Chapel,” but a few years ago even these hits were not played. Where pop jockeys are not spinning R&B records, the need is being fulfilled by more R&B air time. Audiences today are estimated by many jockeys to be 20 to 30 percent white listeners, in both the large cities and the Southern towns.
The increasing importance of R&B records and the growing appeal of many artists in the field are illustrated by some of the exceptionally successful dances and shows featuring R&B talent and produced by deejays in various sections of the country.
Probably the most remarkable record is held by Alan (Moondog) Freed, of station WJW in Cleveland. Freed’s “Coronation Ball” at the Cleveland Arena in March, 1952, which used all R&B talent, including singers and ork, attracted 25,000 people, with thousands turned away. This is one of the largest crowds to attend a dance since WWII. In July of 1952, a Freed dance at the Summit Beach Ballroom in Akron attracted over 3,000 people at $2 per person with thousands turned away. In July, 1953, at the Freed “Rhythm And Blues Show” at the arena in Cleveland, there were 10,000 paid admissions at a $3 top.
Alan Freed’s Coronation Ball, 1952.
Freed’s P. A.’s
Cleveland’s WJW Alan “Moondog” Freed.(Click on image for larger view).
Freed, with his manager Lou Platt, has staged a number of other shows and dances since then, with each attracting over 3,000 people, and again with many thousands invariably turned away. Here again, according to Lou Platt, up to one-third of the audience was composed of white teenagers, pointing out again the appeal of the R&B among whites as well as Negroes.
A check among R&B record firms and R&B distributors on the East and West Coast shows that they are now servicing pop stations and shows as well as R&B deejays with certain releases. They had found it to be a worthwhile policy to do so, since a pop jockey’s spinning an R&B disk can help increase the sales tremendously. The Crows’ recording of “Gee” on Rama Records, which is a hit both in the Pop and R&B markets, added thousands of additional sales due to the spins given by pop disk jockeys.
The appeal of R&B disks to more than just a limited market is also shown in the records made by pop artists and repertoire of burgeoning of R&B hits. The latest in a series are the records made of “Such A Night,” which was first released by Clyde McPhatter on Atlantic.
Johnny Ray, Bunny Paul and Jane Turzey made the record after the McPhatter record started to take off. This is merely the most recent case of covering an R&B record; the tradition goes back a number of years. However, in most cases the original record, the R&B disk, often sells more than the pop versions. This could be the case with “Such A Night” as well.
As R&B artists grow both in experience and popularity, they usually have a chance to break thru as pop artists and increase both their earning power in the business.
This is happening today with many artists as their records break through in the pop field. The Earl Bostic Band, the Dominoes, the Orioles, Dinal Washington, Ruth Brown and others have managed to build up as almost as strong an appeal in the pop market as they have in the R&B field. According to all indications, as the R&B market continues to expand this standard, this will happen with more and more artists gaining popularity in the rhythm and blues field.
(Information and news source, Billboard; April 24, 1954).
A Wichita, KS, Ruth Brown, appearance poster for February, 1957.
AMERICA’S WEEKLY POP TWENTY: THE NATION’S TOP TUNES INDEX
A MCRFB VIEWING TIP
To fully appreciate this Billboard Honor Roll Of HitsJuly 14, 1954 (week ending July 14) chart feature click on image 2x and open to second window for large detailed view. Click image anytime to return to NORMAL image size.
Click your server’s back button to return to MCRFB home page.
On your mobile device? Tap on images. Open to second window. “Stretch” image across your device screen to magnify for largest print view.
N E W Y O R K D I S T R I C T A T T O R N E Y Hogan and the Oren Harris Committee are boldly pursuing their investigations of the payola mess. This is all for the good, and may ultimately mean a better record and broadcasting industry — with cleaner business ethics and a fairer shake for the consumer.
Let us, however, urge the investigators to use utmost care in examining the evidence — in sifting the wheat from the chaff.
Many frustrated music men — out of step with current song and recording trends, see in the present goings-on a chance to a position of eminence. The ranks of the frustrated include artists, songwriters, publishers and record manufacturers — many of whom sigh for the good old days, blame their plight on rock and roll and construe that “rock ‘ n’ roll” is an outgrowth of payola.
Billboard November 30, 1959
T H E C A N C E R O F P A Y O L A cannot be pinned on rock and roll. Payola was rampart in the music business during the vaudeville era of the 1920s and the band era of the 1930s and 1940s. It did not affect major song trends then, and likewise, it is seen to have little effect in the 1950s.
The trend-setters are the Elvis Presleys, the Johnny Cashes, the Fats Dominoes, the Johnny Mathises, the Bobby Darins, etc. Artists of this stature make their mark despite payola. They make it because they reach kids with 98 cents in their pockets. They are the better arbiter.
Typical of the wild “evidence” being bandied about currently is the daily newspaper story about singer Don Anthony “whose record of ‘Careless’ became a hit on his own label, Barbizon Records . . . .”
Anthony made need police protection, as he claims, but his recording of ‘Careless’ never became a hit. Quite the contrary, all evidence indicates it was a complete bomb.
O T H E R S I M I L A R L Y W I L DA N D irresponsible pieces of “evidence” are lightly to come to light.
It would be highly unfair, and would do the record industry a great disservice, if irresponsible allegations by embittered has-beens were taken seriously by the investigators or the press.
There are many talented, creative peoplein the music business; there are many who are incompetent or no longer attuned; there are many who are, simply stated, evil.
The probers should aim carefully. A buckshot blast may do general and irreparable damage while missing the specific target: PAYOLA. END
___
(Information and news source: Billboard; November 30, 1959)
THE NEW YORK POST: NYC WINS (and WABC) air staff were alleged to have been heavily involved with payola in 1959. (Click on image 2x for largest detailed PC view).
Spells Hefty Career Damage For Many; Finis For Some; Policy Shifts Likely
NEW YORK — Judging by events of the past week, one effect of the current deejay-payola probe is likely to be that of at least 25 disk jockeys (ranging in importance from the moderate to the biggest names), program directors, record execs and publishers will have been substantially damaged as far as their careers in the music business is concerned.
Some will recover, but other may truly “go down the drain,” in the words of Alan Freed, who lost both his jobs at WABC and WNEW-TV last week.
Budget Angle
One of the most immediate effects of the probe may very well be a sharp decrease in the number of local record-hop type shows. Freed’s parting with WNEW-TV was said to have been at least partially sparked by AFTRA’s ruling that Freed (who reportedly was paid only $450.00 weekly for six-hour long daily TV shows) paid scale (about $140) to each act for lip-synching to records on his show.
Freed — and many other TV record hop emcees across the country — usually had from four to eight disks guests daily, thereby posing a practically impossible budget problem.
In line with this, station WJBK, Detroit, has said it had no intention of scheduling another “Detroit Bandstand” show replacement for emcee Dale Young, who resigned from that station last week, refusing to comment on the reason for his exit.
Tom Clay was fired from WJBK over the weekend, after he admitted accepting payola. Clay admitted he received about $6,000 over the last year and a half from small record companies. Another Detroit broadcaster, Jack Le Goff, was fired last week from WJBK after he aired an editorial defending payola “as a part of American culture.” Still another Detroit radio jock, Dom McLeod, resigned also from WJBK last week, making three spinners out in a 36-hour period.
Other Resignations
Although the payola probe wasn’t necessarily involved, several other deejays resigned from stations across the country last week. Joe Niagara moved his previously announced December 19 resignation date (from WIBG Philadelphia) up to last Monday (November 23) following a conference with WIBG managing director John C. Moler.
Three of Boston’s top jocks (Stan Richards, Bill Marlowe, Joe Smith) were given notice by WILD,in what was described as a move “to de-emphasize the role of the deejays and to emphasize the role of the station from now on.”
The WILD story suggests what many in the trade believe to be a strong possibility — namely that the probe may result in the selection of music being taken out of the hands of individual disk jockeys and program directors almost entirely.Confronted with a threat to their FCC licenses, station management may decide the only solution is to ride herd on record programming personally.
It has been suggested that they elimination of payola will mean the return of “good music” (i.e. non-rock and roll) to radio. However, station management usually places more emphasis on the importance of ratings than anybody else in a radio operation, so the only conclusion is that they will give the public what surveys and rating indicate it wants to hear — be it rock and roll, far-out jazz or the minuet. Ratings services, of course, have also been recently been accused of hanky panky.
‘Payola’ Not Defined
The word ‘Payola’ itself has yet to be defined. Some stations believe it perfectly proper for jocks to have ownership interests in publishing companies, record firms, distributing outfits, etc. — as long as they don’t infringe on station programming; while other consider such activities just as much a part of payola as cash on the line.
For example, John V. B. Sullivan, general manager of WNEW, New York, says he doesn’t consider it real payola “unless it affects the music.” Consequently, said Sullivan, he has no objections to WNEW jockey Lonnie Starr’s ownership in a couple of firms. Because his investigations have shown they don’t show up on his radio program. In fact, notes Sullivan, last year the firm actually cost Starr $400.
Sullivan also said that, “I don’t care if Frank Sinatra wants to give WNEW jockey Bill Williams a Cadillac because Williams would be playing Sinatra record already — thus such a gift wouldn’t affect the music.”
Westinghouse View
On the other hand Westinghouse Broadcasting last week said, “WBC does not condone disk jockeys’ ownership of record companies, distributing companies, publishing companies or ownership of talent. That is because of the actual or potential conflict of interest between ownership on the one hand and the creative selection of programming on the other.” Westinghouse did not say if it would take any action if investigation reveals that any of it’s jockeys are involved in such outside activities.
Harold Anderson, general manager of WINS, New York, agrees with WNEW manager Sullivan, in that he doesn’t think ownership of labels, etc., necessarily constitute payola. For example, he said the station is aware of jockey Murray Kaufman’s publishing and recording activities but he doesn’t think they may influence the spinner’s programming, because jocks at WINS don’t select records played on their own shows.
The disks are selected by the program department, with the assistance of a rotating trio of jocks. Anderson said he is convinced “our people are perfectly clean,” and that instant dismissal would follow if he discovered anything to the contrary.
The happiest result of the probe should be that it will make payola deals so difficult to manage in the future, that legitimate forms of record promotion will have a tremendous resurgence moving forward. END
___
(Information and news source: Billboard; November 30, 1959)
Famed Detroit radio personality Tom Clay, by his own admission before reporters on November 22, 1959, alluded having taken cash while employed at WJBK. Clay’s tenure at WJBK was immediately terminated at the height of the payola scandal which rocked the radio industry across the country throughout the year.
(Click on image 2x for enlarged and detailed PC view)
Jukebox 1954 AMI-F120 (Click on image for larger view)
DETROIT (November 13) — The switch to juke box dime play in this area, is scheduled for January 1, will probably offer music fans four tunes for a quarter, rather than the customary three.
This was indicated by early returns on the post card survey undertaken by the United Music Operators of Michigan. Results of the questionnaire will be used as a guide by the association in making the conversion.
Surprising were the numbers of returns received by non-members, according to Roy Small, conciliator of UMO. Small said that non-members indicated without a doubt their willingness to go along with the change, even offering contributions to the joint promotional fund to acquainted the public with the facts necessitating the move.
Of all the returns, only two indicated opposition to the program, he said.
Previous feelings by some operators against the change was removed when UMO announced plans for a large-scale public relations program, now in the preliminary planning stage.
Actual mechanical conversion of equipment to dime play is scheduled to start November 29, two days after the educational exhibit to be held jointly by juke box distributors at the Fort Wayne Hotel. END
(Information and news source: Billboard; November 20, 1954).
’50s JUKE BOX Memories(Post War Models; click on image 2x for largest view).
Presley topped parade with five singles on all three best selling charts plus high album sales
Jock assists made ’56 sock comeback year for half dozen vet artists via concentrated spinning
B y J A C K B U N D Y | B i l l b o a r d ; J a n u a r y 2 3 , 1 9 5 7
Rock and roll — as in 1955 — was the most important artist and repertoire trend during 1956, in spite of numerous wishful predictions and reports of its “grossly exaggerated” importance and early demise.
Elvis Presley, of course, led the popularity parade, and was an outstanding example of the growing trend toward “integration” of chart categories. In fact, Presley was something of a trend all by himself. As many as five of his single discs appeared on all three best-selling charts, while his first two albums registered high on the jockey and retail package lists.
Fats Domino, whose “I’m In Love Again,” on the Imperial label, was the record most played by rhythm and blues jockeys during 1956, according to year-end recap of The Billboard R&B jockey charts.
Last year also lined up as a sock “comeback” year, with such veteran artists as Bing Crosby, Vic Damone, Johnnie Ray, Guy Mitchell and, most recently, Frankie Laine, showing up amongst the most-played platter fraternity for the first time in several years. In each case, concentrated deejay play was largely responsible for putting each disk on top with repeated plays.
Vic Damone, with his “On The Street Where You Live”waxing was the most dramatic illustration of the power of jockey play. The Damone record had been out for more than three months and was considered a dead disk both by Columbia Records and the retailer, when persistent deejay exposure finally turned the sales tide and put the disk high on the charts. It’s also worthy of note that four of the five comeback stars record for Columbia.
Male warblers dominated The Billboard in the year 1956 year-end recapitulation of the jockey and retail charts, with nine disks by men making the year’s top 20. This compares to four by female vocalists (Gogi Grant, Kay Starr, Doris Day, Patti Page), four by vocal groups, (two by the Platters and two by the Four Lads), and three instrumental as well.
Many Newcomers
Many newcomers made the year’s top 50, but few managed to break through with more than one record. Gogi Grant, for instance, who holds down the No. 1 spot on the jockey’s 1956 list, only made it once last year with “The Wayward Wind,”following her initial hit, “Suddenly There’s A Valley,” Cathy Carr andDonRobertson, both newcomers, had but one hit in 1956.
Harry Belafonte, RCA Victor artist, who won top honors in the pop album field in 1956. His LP ‘Calypso,’ was the best seller of the year, according to the annual recap of The Billboard pop album charts. (Click image for larger view).
Established artists who continued to rate plays during 1956 included Perry Como, Pat Boone and Gale Storm, each with three records in the top 50; Teresa Brewer with two, and one each for Doris Dayand the Chordettes, Bill Haley, Mitch Millerand Dean Martin. Martin, however, is evidently not as popular with jocks as he is with buyers. His “Memories Are Made Of This”was No. 9 on the retail re-cap list, but only No. 46 on the most-played jockey list for 1956.
Absent from the top 50 last year was Eddie Fisher, the McGuire Sisters, Georgia Gibbs, the Four Aces and — surprisingly — Frank Sinatra. Sinatra, however, did show up strongly on the most-played and best selling album charts, thus accounting for the heavy jockey play he received throughout 1956 regardless of his “single” stature.
Almost half of the top 50 most-played pop disks were in the rock and roll category, with many appearing simultaneously on the pop and rhythm and blues charts. and several originating first on the R&B list. Platters by Presley, Carl Perkins’ “Blue Suede Shoes,”and Fat Domino’s “Blueberry Hill”actually showed up on all three charts (pop, r&b and country and western); while Jim Lowe’s “Behind The Green Door,”“Canadian Sunset,” by Eddie Heywoodand Winterhalter, and disks by the Platters, Bill Haley, Little Richard, Otis Williams, Frankie Lymanand the Teenagers,and Bill Doggettall made both pop and R&B charts.
Other R&B artists, who showed up in pop last year — although not in the top 50 — were Chuck Berry,the Teen Queens, Little Willie John, Clyde McPhatter,and the Cadets. Tennessee Ernie, Gene Vincent, Presleyand Carl Perkins showed up strongly on both the pop and country and western charts.
Instrumentally, the jocks went for sweet, sentimental wax last year, particularly platters with a romantic European flavor, such as the Nelson Riddleretail favorite “Lisbon Antigua,”and Les Baxterwith “Poor People Of Paris,”and “Theme From The Three-Penny Opera”by Dick Hyman. Counterpoint was also spotlighted, via Morris Stoloff‘s and George Cates’waxing of “Moonglow”and “Picnic.“Also in the soft and gentle groove was “Song For A Summer Night,”a TV-theme click by Mitch Miller.
New Rhythm Styling
An ironic footnote to the longstanding battle between veteran publishers and the rock and roll music clique last year was the trend for top-flight rock and roll stars to revive old pop standards into the hit class, via new rhythm styling, epitomized by the Platters’ “My Prayer,”and Fat Domino‘s “Blueberry Hill,”and so on.
LPs celebrated a banner ’56, with jockeys across the country spinning more and more selections from albums. As a result, some albums selections — notably several Elvis Presleysides, Bing Crosby‘s“True Love,”from his ‘High Society’ sound track album, and “My Prayer,”from the Plattersfirst Mercury package — were spun into the hit single class by heavy jockey radio and dance play.
“My Fair Lady” vied with Harry Belafontefor top album honors in 1956, with other Broadway original-cast and Hollywood sound track LP’s grabbing off sizeable most-played honors in the field, including, “The King And I,” “Oklahoma!” “Eddie Duchin Story,” “Carousel,” “Most Happy Fella” and“Picnic.”
Bill Doggett, whose “Honkey Tonk,” on the King recording label, was the best selling R&B disk of the year for 1956, according to the annual year-end recap of The Billboard retail charts. (Click image for larger view).
The jockeys gave heavy play to all Belafonte albums (thereby giving him a solid start into the single best-seller class in 1957), and to Pat Boone‘s ‘Howdy’album. Ella Fitzgerald‘s ‘Cole Porter Song Bookalbum showed up in the top 25 LP’s, thus indicating the jockey’s increasing exposure to the best in jazz, along with Stan Kenton‘s extended-play‘Kenton In Hi-Fi’and June Christy‘s own “Misty Miss Christy.”
Jockeys played somewhat less Lawrence Welkthan moved across retail counters last year, but on the other hand, helped boost bands by putting several orchestras on their most-play list that didn’t make the retail top 25. Capitol Records’ ‘Dance To The Bands,’ Percy Faith‘s ‘Passport To Romance’andSammy Kaye‘s “What Makes Sammy Swing And Sway,”are examples of these popular top band packages.
The turntable set also gave heavy play to several vocal albums which failed to hit the top 25 best-selling album list, including Vic Damone‘s “That Towering Feeling,” Julie London‘s “Lonely Girl,”and Don Cherry‘s “Swingin’ For Two.”END.
(Information and news source: Billboard; January 26. 1957).
Ray Price, Columbia artist, whose “Crazy Arms” recording won top country honors as the best selling and most played by disk jockeys during last year, according to a recap of The Billboard charts.
