MUSIC MONDAY “Skyfall” is a song recorded by English singer-songwriter Adele for the James Bond film of the same name!

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NO TIME TO DIE | Final US Trailer

007 : James Bond : Theme

Goldfinger Theme Song – James Bond

Diamonds Are Forever Theme Song – James Bond

Moonraker Theme Song – James Bond

Adele – Skyfall (Lyric Video)

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Skyfall” is a song recorded by English singer-songwriter Adele for the James Bond film of the same name. It was written by Adele and producer Paul Epworth and features orchestration by J. A. C. Redford. The film company Eon Productions invited the singer to work on the theme song in early 2011, a task that Adele accepted after reading the film’s script. While composing the song, Adele and Epworth aimed to capture the mood and style of the other Bond themes, including dark and moody lyrics descriptive of the film’s plot. “Skyfall” was released at 0:07 BST on 5 October 2012 as part of the Global James Bond Day, celebrating the 50th anniversary of the release of Dr. No, the first James Bond film.

“Skyfall” received worldwide acclaim, with critics praising its lyrics, production and Adele’s vocals, with numerous critics and publications ranking it among the best Bond themes ever. It became a global success, reaching number one in eleven countries and the top five in various other regions. It peaked at number two on the UK Singles Chart and number eight on the US Billboard Hot 100. With sales of 7.2 million copies worldwide, “Skyfall” is one of the best selling digital singles of all time.

“Skyfall” received various accolades, including the Academy Award for Best Original Song, Brit Award for British Single of the Year, Critics’ Choice Movie Award for Best Song, Golden Globe Award for Best Original Song, and the Grammy Award for Best Song Written for Visual Media, thus making it the first Bond theme to win all the aforementioned awards. During the 85th Academy Awards, Adele performed the song live for the first time.

 

Background and productionEdit

In early 2011, Sony Pictures President of Music Lia Vollack suggested to the James Bond film producers at Eon Productions that they ask Adele to record a theme song for their next Bond film, later revealed to be titled Skyfall.[1] Vollack thought that Adele would be a good choice to ask to record a Bond theme song because her music had a “soulful, haunting, evocative quality”, which Vollack considered would bring back the “classic Shirley Bassey feel” associated with several early Bond films.[2]

Adele, who had just released her second album, 21, admitted that initially she was a “little hesitant” about agreeing to write a Bond theme song.[3] On meeting with the Skyfall film crew, the singer had told Skyfall director Sam Mendes that she felt as though she was not the person they were looking for because “my songs are personal, I write from the heart”.[4] Mendes simply replied “just write a personal song”, telling her to use Carly Simon‘s “Nobody Does It Better” from The Spy Who Loved Me as an inspiration.[5] Adele left the meeting with the script of Skyfall and upon reading it, decided that it was a “no-brainer“, as she “fell in love” with the film’s plot. Producer Paul Epworth, who had worked with Adele on 21, was brought in to help her write the song.[3][4] Adele stated that she enjoyed working to a brief and set of guidelines, even though it was something she had never done before.[6]

Production of “Skyfall”, from the first contact with Adele to the song’s release, took 18 months to complete. Vollack stated that the reason for this was “fine-tuning” the song, as Adele and Epworth wanted to ensure that they “were getting it right”.[7]The first cut of the song was completed in October 2011. During an interview at their post-Academy Award for Best Original Song win in February 2013, Adele revealed that the first draft of the song was written in 10 minutes.[8][9] After Adele underwent throat microsurgery for vocal problems, she recorded a demo of the track and sent it to Mendes, who was doing the principal photography of Skyfall. The director in turn played the demo for film producer Barbara Broccoli and Bond actor Daniel Craig, both of whom “shed a tear”.[4] Adele stated that the final cut of the song lasted two studio sessions at Abbey Road Studios in London.[8] It features a 77-piece orchestra conducted by J. A. C. Redford.[10]

 

Composition and lyricsEdit

“Skyfall”
A green-tinted image of the James Bond gun barrel. Adele's face is stamped in the barrel, and Daniel Craig's Bond is coming out of the barrel towards the viewer. The text "Adele", "Skyfall" and the "007" logo are seen at the bottom of the image.
Single by Adele
Released 5 October 2012
Recorded 2012
Studio Abbey Road, London
Genre Orchestral pop
Length 4:46
Label
Songwriter(s)
Producer(s) Paul Epworth
Adele singles chronology
Turning Tables
(2011)
Skyfall
(2012)
Hello
(2015)
 
James Bond theme singles chronology
Another Way to Die
(2008)
Skyfall
(2012)
Writing’s on the Wall
(2015)
Lyric video
Skyfall (Lyric video) on YouTube

“Skyfall” is an orchestral pop song with a duration of four minutes and 46 seconds.[6][11] Epworth stated that although “Skyfall” is an original composition, he and Adele had worked to capture “the James Bond feeling” of previous theme songs. The song intentionally references Monty Norman‘s “James Bond Theme” after the first chorus.[3] Norman said that the song had his seal of approval and that including the leitmotif he wrote for the Bond character was “a pretty sensible thing to do, if you want to feel the ‘James Bond quality’ of the music”.[3] Epworth said that while “Skyfall” was his first experience writing film music, he had been involved with the production of James Bond musicbefore: while Epworth was a tape operator at AIR Studios, he recorded some film soundtracks including David Arnold‘s Tomorrow Never Dies.[12][13]

Epworth stated that the producers’ request was for “a dramatic ballad”, so he and Adele tried to “do something that was simultaneously dark and final, like a funeral, and to try and turn it into something that was not final. A sense of death and rebirth”.[9]Epworth watched the first thirteen Bond films seeking the “musical code” of the songs, “whatever the modal structure or the chord that always seemed to unify those songs” and contributed to the mood and “that kind of ’60s jazzy quality”. Epworth identified as a uniting factor “a minor ninth as the harmonic code … the Bond songs, they have that elaboration to it” and wrote what would become the instrumental part of “Skyfall”.[9] He described it as “a bit of a ‘Eureka!’ moment“.[9][14]

“Skyfall” was composed in the key of C minor using common time at 76 beats per minute (Adagietto).[15]Adele’s vocal range spans over one octave, from the low note of G3 to the high note of C5, on the song.[15] Heavily pregnant at the time of recording, Adele has commented that this was the reason for the song’s low range, and has often struggled to perform the song live due to the lower register.[16]The lyrics closely follow the plot of the film rather than focusing on romanticism.[3][8] According to Epworth, the song is about “death and rebirth”, saying “It’s like, when the world ends and everything comes down around your ears, if you’ve got each other’s back, you can conquer anything. From death to triumph, that was definitely something we set out to try and capture”.[2] The Daily Telegraph writer Neil McCormick described the lyrics as “slightly sinister” and containing references to a number of Bond tropes and motifs.[17]

 

Release and remixesEdit

Thomas Newman wearing a suit attending the Classic Brit Awards.

 

Thomas Newmancomposed Skyfalls musical score. A portion of “Skyfall” was included in the track “Komodo Dragon” as an interpolation due to not being included on the soundtrack album.

The theme song, and the identity of its singer, was kept secret, but rumours of Adele’s involvement still emerged. Adele first mentioned recording a “special project” in September 2011 in an interview on The Jonathan Ross Show, leading to speculation in the media that she was recording a Bond theme.[18] In an interview with NRJ in April 2012, the singer stated that she intended to release a new single by the end of the year; however, it would not be preceding a new album.[19] The song’s title was originally rumoured to be “Let the Sky Fall”.[20] In September 2012, OneRepublic vocalist Ryan Tedder posted a message on Twitter claiming he had heard the title track and that it was “the best James Bond theme in his lifetime”. Adele’s publicist, Paul Moss, mentioned the song on his Twitter feed; both later deleted their messages.[21] The artwork for the song was leaked online,[22] but Adele’s involvement in the project was not officially confirmed until 1 October.[23] “Skyfall” was released at 0:07 BST on 5 October 2012 as part of the “Global James Bond Day”, celebrating the 50th anniversary of the release of Dr. No, the first James Bond film.[24] A 12-inch single featuring unofficial remixes of the song was sold in Germany to promote the song.[25][26]

The song was not included on the soundtrack album, marking the second time in the Bond series that the theme song was split from the soundtrack album, following “You Know My Name” from Casino Royale in 2006.[27] Wilson and Broccoli still asked composer Thomas Newman to include a reference to “Skyfall” in the film’s score “so that it didn’t appear as a kind of ‘one off’ at the top of the movie”. Newman opted to include an interpolation in the track “Komodo Dragon”, used in a scene where Bond enters a casino in Macau. According to Newman, the scene had “a real moment of ‘Bond’ swagger”, and the music fit the scene accordingly.[28][29] Epworth was visited by Newman for advice, and Redford, who was already doing the score’s orchestration, was requested to arrange “Komodo Dragon”; Newman was unable to do the arrangement because he felt that his task “was already so huge and daunting”.[28]

 

Critical receptionEdit

“Skyfall” received widespread critical acclaim. Entertainment Weekly wrote that there is “finally” a great James Bond theme.[30] The Huffington Postdescribed the song as a “brassy and soulful tune [that] fits perfectly alongside the work of Shirley Bassey in the oeuvre of James Bond title tracks”.[31]RedEye gave the song four out of four stars and declared that it “is a return to form, and if it doesn’t get you hyped for the movie, you’re not a Bond fan”.[32] The Daily Record named “Skyfall” its “Single of the Week” and gave the song five stars out of five.[33] PopCrush gave the song four-and-a-half stars out of five and called it “wholly satisfying and worth the wait”.[34] Idolator wrote that “during the song’s final third, Adele does, in fact, make the sky fall, in typical Adele fashion”.[35] Consequence of Sound commented that “rousing instrumentation elevates the vocals to soaring heights”,[36] while HitFix called the song a “majestic ballad” and a “classic James Bond theme”.[37] Newsday was also very positive, writing that “Skyfall” is “unlike anything else she’s done in her young career. It’s self-assured and grand, drawing inspiration from Dame Shirley Bassey, while adding her own powerful phrasing to make it her own. Adele’s style so far has been to downplay her massive voice with lyrics that are questioning and self-deprecating. On ‘Skyfall,’ though, it sounds like the diva point of view suits her, too”.[38]

The Los Angeles Times complimented the song and said that the song “tells good things for this winter’s blockbuster-to-be. It’s not a reimagining or a musical departure, but simply a righting of the ship. The song is big, bold and seems to have a little spot-o-fun”.[39] MTV was also positive, stating that “Adele’s lush song fits right in with classics by Shirley Bassey, Paul McCartney and Carly Simon“.[6]The Wall Street Journal felt similarly, writing that the song “has sweep and drama, [with] orchestral support [that] gives it a classical timelessness that sets it apart from typical pop songs. Because it is a theme for a Bond film, after all, the song is also shot through with the threat of violence and death”.[40] E! Online wrote that Adele’s song was “a cross, and a good one at that, between the 1971 Bassey classicand a more-focused version of Garbage‘s ‘The World Is Not Enough‘.”[41] The Hollywood Reporterwrote that the song “instantly feels like a Bond theme, with the singer’s sultry voice set against a minor chord progression. Done in big, orchestral style, the mood – like the singer – is all 1960s throwback, back when Bond themes like ‘Goldfinger‘ were smooth, seductive and larger than life”.[42]

Jim Farber of the New York-based Daily News wrote in his review: “It suffers from a similarly meandering melody and ponderous progression. The grandeur of its arrangement easily upstages the tune”, but “even so, the luster of Adele’s tone, and the bravura arc of her vocal, makes it enjoyable enough. And, fifty years down the line, isn’t that all we really expect from a Bond product these days?”[43] Yahoo!‘s Rob O’Connor gave the standalone song a positive review but felt that it was too soon to tell how the song would fit into the wider canon of Bond theme songs.[44] Neil McCormick of the Daily Telegraphwas less complimentary, describing the song as “classy” but at the same time, “overly predictable”.[17]

 

Chart performanceEdit

The song went to number one at the UK’s iTunes online store less than ten hours after it was released, surpassing “Diamonds” by Rihanna.[3] At 6 am on 5 October, Clear Channel began airing “Skyfall” on 180 radio stations around the United States every hour, on the hour; within 24 hours, “Skyfall” had garnered 10 million audience impressions and had already begun to rank within the top 50 of the Nielsen Broadcast Data Systems-based Radio Songs chart.[45] On 7 October, “Skyfall” entered the UK Singles Chart at number 4 after less than 48 hours on sale. The single sold 84,000 copies in the UK during its first two days of release.[46] On 14 October, “Skyfall” rose to number 2 on the UK Singles Chart with sales of 92,000 copies. This tied “Skyfall” with Duran Duran‘s “A View to a Kill” as the highest-charting James Bond theme song on the UK Singles Chart.[47] This has since been broken when, in 2015, Sam Smiths “Writing’s on the Wall” debuted at number 1 on the UK Singles Chart. The song was the 20th best-selling song of 2012 in the UK with 547,000 sold.[48] “Skyfall” debuted at number one in Ireland.[49] It also charted at number one on the French Singles Chart for six weeks and spent 24 weeks in the top 10.

The song entered the Billboard Hot 100 at number 8 for the week ending 20 October 2012, becoming Adele’s first song to debut in the top 10 with 261,000 copies sold in the United States during its first three days.[50][51] Although “Skyfall” debuted at number 8, it was actually the third best-selling single in the US that week – the Hot 100 ranks songs based on sales, radio airplay, and online streaming. “Skyfall” is the first James Bond theme to chart within the top 10 in the US since Madonna‘s “Die Another Day” a decade earlier[52] and is the first James Bond theme to debut in the top 10.[53]Interest in “Skyfall” led to a 10% increase in sales of Adele’s last album, 21, in the US.[54] For the week ending 27 October 2012, the second week after its release, the song fell from number 8 to number 13.[55]

After Skyfall was released in cinemas in North America, Adele’s song saw a sales increase of 66%.[56] In January 2013, unofficial remixes also warranted the song an inclusion on the Billboard Hot Dance Club Songs chart,[25] peaking at the 10th spot.[57] After Adele won the Oscar for the song, sales in the US increased by 56% with 56,000 downloads.[58] The following week, “Skyfall” sold an additional 103,000 downloads and climbed 28 spots on the Billboard Hot 100.[59] As of July 2013, “Skyfall” has sold over five million copies worldwide.[citation needed] As of January 2013, it had sold 1,600,000 copies in the US according to Soundscan and is the first Bond song to sell a million digital copies.[60]

Billie Eilish – No Time To Die

 

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The Man with the Golden Gun Opening Title Sequence

 

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LICENCE TO KILL HIGH DEFINITION

 

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Barry, Beatles, Billie: 60 years of Bond tunes

<img class=”i-amphtml-intrinsic-sizer” role=”presentation” src=”data:;base64,” alt=”” aria-hidden=”true” />Barry, Beatles, Billie: 60 years of Bond tunes

 

British actor Daniel Craig poses during a photocall to promote the 24th James Bond film ‘Spectre’ on February 18, 2015 at Rome’s city hall. AFP PHOTO / TIZIANA FABI (Photo by VINCENZO PINTO and TIZIANA FABI / AFP)

Paris, France — Ever since the twanging guitar of John Barry’s theme song first appeared in “Dr No” in 1962, music has been crucial to the James Bond phenomenon.

The songs written for each title sequence have become a way of marking out the evolution of pop music through the past 60 years, from the classics of Shirley Bassey and Paul McCartney to Adele and Billie Eilish.

Nobody remembers Monty

Many assume the original theme was written by John Barry, in part because he became so closely associated with the Bond franchise, composing the soundtrack for 11 of the films.

 

In fact, Barry only arranged and performed the theme tune.

The famous dung-digger-dung-dung line was actually written by theater composer Monty Norman, developed from an unused Indian-themed score he had written for an adaptation of VS Naipaul’s “A House for Mr Biswas.”

It was Barry’s job to jazz it up, adding the blaring horns that made it so dramatic.

While Norman was given a one-off payment of just £250, Barry built a Hollywood career that has included five Oscars and classic soundtracks to “Midnight Cowboy,” “Out of Africa,” and many more.

Golden girl Shirley Bassey

Bassey became almost as closely linked to Bond as Barry — the only singer to deliver three title tracks: “Goldfinger” (1964), “Diamonds are Forever” (1971), and “Moonraker” (1979).

The first two are considered the most memorable in Bond history, the latter less so — Bassey later admitted she hated the “Moonraker” song and only did it as a favor to Barry.

“Goldfinger” made her a star, but the recording sessions were grueling, with Barry insisting that Bassey, then 27, hold the last belting note for seven full seconds.

“I was holding it and holding it — I was looking at John Barry and I was going blue in the face and he’s going — hold it just one more second. When it finished, I nearly passed out,” she later recalled.

 A new Beatles beginning

The first Bond film without Barry on the baton was “Live and Let Die” in 1973.

For this, the producers turned to another famous “B” The Beatles.

The group’s producer George Martin took over composing duties and brought in Paul McCartney and his band Wings for the theme song.

It became another classic and spawned a famous cover by Guns’N’Roses in later years.

From this point on, the Bond title song became its own mini-industry, without the involvement of the composer.

Big pop tie-ins followed, ranging from the not-so-successful (Lulu’s “The Man with the Golden Gun”) to classics like Carly Simon’s “Nobody Does it Better” and Duran Duran’s “A View to a Kill.”

<img class=”i-amphtml-intrinsic-sizer” role=”presentation” src=”data:;base64,” alt=”” aria-hidden=”true” />Barry, Beatles, Billie: 60 years of Bond tunes

FILE PHOTO: Auctioneer specialists hold a rare intact James Bond ‘Thunderball’ (1965) film poster (estimate £8,000-£12,000), featuring two panels of poster illustrations on the left by Frank McCarthy and two on the right by Robert McGinnis, at Ewbank’s Auctioneers, ahead of an upcoming sale, in Woking, Britain, April 7, 2021. REUTERS/Hannah McKay

 

The next generation

After a few desultory outings during the Pierce Brosnan years, the Bond genre got a shot of adrenaline with Adele’s “Skyfall” in 2012, which was the first to win an Oscar for best song.

<img class=”i-amphtml-intrinsic-sizer” role=”presentation” src=”data:;base64,” alt=”” aria-hidden=”true” />Barry, Beatles, Billie: 60 years of Bond tunes

 

Image: Twitter/@007

The following year’s “Writing’s on the Wall” by Sam Smith also won an Oscar, though it got a more mixed critical reception.

The latest incarnation is pop princess Billie Eilish with “No Time to Die,” which she co-wrote with her brother Finneas.

It already has a thumbs-up from the doyenne of the Bond theme world, with Bassey telling The Big Issue: “She did a good job.”

Golden girl Shirley Bassey Bassey became almost as closely linked to Bond as Barry -- the only singer to deliver three title tracks: "Goldfinger" (1964), "Diamonds are Forever" (1971), and "Moonraker" (1979).  The first two are considered the most memorable in Bond history, the latter less so -- Bassey later admitted she hated the "Moonraker" song and only did it as a favor to Barry.

The latest James Bond movie “Skyfall” stars Daniel Craig. 007 boozed so much that in all reality he would have had the tremulous hands of a chronic alcoholic, according to an offbeat study published by the British Medical Journal. PHOTO FROM FACEBOOK.COM/JAMESBONDOO7

Live And Let Die Theme Song – James Bond

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Paul McCartney Uncle Albert Rare Studio Demo

Paul McCartney; Uncle AlbertAdmiral Halsey. (RAM 1971)

Uncle Albert/Admiral Halsey

From Wikipedia, the free encyclopedia
 
 
“Uncle Albert/Admiral Halsey”
Single by Paul and Linda McCartney
from the album Ram
B-side Too Many People
Released 2 August 1971 (US only)
Format 7″
Recorded 6 November 1970
Genre
Length 4:49
Label Apple
Writer(s) Paul and Linda McCartney
Producer(s) Paul and Linda McCartney
Paul and Linda McCartney singles chronology
Another Day
(1971)
Uncle Albert/Admiral Halsey
(1971)
The Back Seat of My Car
(1971)
Ram track listing
 

Uncle Albert/Admiral Halsey” is a song by Paul and Linda McCartney from the album Ram. Released in the United States as a single on 2 August 1971,[1] but premiering on WLS the previous week (as a “Hit Parade Bound” (HPB)),[2] it reached number one on the Billboard Hot 100 on 4 September 1971,[3][4] making it the first of a string of post-Beatles, McCartney-penned singles to top the US pop chart during the 1970s and 1980s. Billboard ranked it number 22 on its Top Pop Singles of 1971 year-end chart.[5]

Elements and interpretation[edit]

https://youtu.be/XI6C7L66zq8
“Uncle Albert/Admiral Halsey” is composed of several unfinished song fragments that McCartney stitched together similar to the medleys from the Beatles‘ album Abbey Road.[6] The song is noted for its sound effects, including the sounds of a thunderstorm, with rain, heard between the first and second stanza, the sound of a telephone ringing, and a message machine, heard after the second stanza, and a sound of chirping sea birds and wind by the seashore. Linda’s voice is heard in the harmonies as well as the bridge section of the “Admiral Halsey” portion of the song.

McCartney said “Uncle Albert” was based on his uncle. “He’s someone I recall fondly, and when the song was coming it was like a nostalgia thing.”[7] McCartney also said, “As for Admiral Halsey, he’s one of yours, an American admiral”, referring to Fleet Admiral William “Bull” Halsey (1882–1959).[7] McCartney has described the “Uncle Albert” section of the song as an apology from his generation to the older generation, and Admiral Halsey as an authoritarian figure who ought to be ignored.[8]

Despite the disparate elements that make up the song, author Andrew Grant Jackson discerns a coherent narrative to the lyrics, related to McCartney’s emotions in the aftermath of the Beatles’ breakup.[9] In this interpretation, the song begins with McCartney apologizing to his uncle for getting nothing done, and being easily distracted and perhaps depressed in the lethargic “Uncle Albert” section.[9] Then, after some sound effects reminiscent of “Yellow Submarine,” Admiral Halsey appears to him calling him to action, although McCartney remains more interested in “tea and butter pie.” McCartney stated that he put the butter in the pie so that it would not melt at all.[9] Jackson sees a possible sinister allusion in the use of Admiral Halsey as a character in the song, since Halsey was famous for fighting the Japanese in World War II and claiming that “after the war, the Japanese language will be spoken only in hell,” and McCartney’s ex-Beatle partner John Lennon had recently married a Japanese woman, Yoko Ono.[9] The “hands across the water” section which follows could be taken as evocative of the command “All hands on deck!”, rousing McCartney to action, perhaps to compete with Lennon.[9] The song then ends with the “gypsy” section, in which McCartney resolves to get back on the road and perform his music, now that he was on his own without his former bandmates who no longer wanted to tour.[9]

Reception[edit]

Paul McCartney won the Grammy Award for Best Arrangement Accompanying Vocalists in 1971 for the song.[10][11] The single was certified Gold by the Recording Industry Association of America for sales of over one million copies.[12]

According to Allmusic critic Stewart Mason, fans of Paul McCartney’s music are divided in their opinions of this song.[13] Although some fans praise it as “one of his most playful and inventive songs” others criticize it for being “exactly the kind of cute self-indulgence that they find so annoying about his post-Beatles career.”[13] Mason himself considers it “churlish” to be annoyed by the song, given that song isn’t intended to be completely serious, and praises the “Hands across the water” section as being “lovably giddy.”[13]

On the US charts, the song set a songwriting milestone as the all-time songwriting record (at the time) for the most consecutive calendar years to write a #1 song. This gave McCartney eight consecutive years (starting with “I Want to Hold Your Hand“), leaving behind Lennon with only seven years.

Later release[edit]

“Uncle Albert/Admiral Halsey” also appears on Wings Greatest from 1978, even though Ram was not a Wings album, and again on the US version of McCartney’s 1987 compilation, All the Best!, as well as the 2001 compilation Wingspan: Hits and History.

Personnel[edit]

Song uses[edit]

Charts[edit]

Peak positions[edit]

Chart (1971) Position
Australian Kent Music Report[14] 5
Canadian RPM Top 100 Singles[15] 1
Mexican Singles Chart[16] 3
U.S. Billboard Hot 100[4] 1
West German Media Control Singles Chart[17] 30

Year-end charts[edit]

Chart (1971) Position
Canadian RPM Singles Chart[18] 14
U.S. Billboard Top Pop Singles[16] 22

Certifications[edit]

Region Certification
United States (RIAA)[19] Gold

Notes[edit]

  1. Jump up^ McGee 2003, p. 195.
  2. Jump up^ “89WLS Hit Parade”. 1971-08-02. Retrieved 2013-12-21.
  3. Jump up^ Billboard.
  4. ^ Jump up to:a b “Allmusic: Paul McCartney: Charts & Awards”. allmusic.com. Retrieved 2 May 2013.
  5. Jump up^ “Top Pop 100 Singles” Billboard December 25, 1971: TA-36
  6. Jump up^ Blaney, J. (2007). Lennon and McCartney: together alone: a critical discography of their solo work. Jawbone Press. pp. 46, 50. ISBN 978-1-906002-02-2.
  7. ^ Jump up to:a b McGee 2003, p. 196.
  8. Jump up^ Benitez, V.P. (2010). The Words and Music of Paul McCartney: The Solo Years. Praeger. pp. 30–31. ISBN 978-0-313-34969-0.
  9. ^ Jump up to:a b c d e f Jackson, A.G. (2012). Still the Greatest: The Essential Songs of The Beatles’ Solo Careers. Scarecrow Press. ISBN 978-0810882225.
  10. Jump up^ “Past Winners Search”. National Academy of Recording Arts and Sciences. Retrieved 2 May 2014.
  11. Jump up^ “1971 Grammy Awards”.
  12. Jump up^ riaa.com
  13. ^ Jump up to:a b c Mason, S. “Uncle Albert/Admiral Halsey”. Allmusic. Retrieved 2013-12-25.
  14. Jump up^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6.
  15. Jump up^ “Top Singles – Volume 16, No. 5”. RPM. 18 September 1971. Retrieved 5 May 2013.
  16. ^ Jump up to:a b Nielsen Business Media, Inc (25 December 1971). Billboard – Talent in Action 1971. Retrieved 1 May 2014.
  17. Jump up^ “Single Search: Paul and Linda McCartney – “Uncle Albert/Admiral Halsey”” (in German). Media Control. Retrieved 20 February 2013.
  18. Jump up^ “RPM 100 Top Singles of 1971”. RPM. 8 January 1972. Retrieved 11 March 2014.
  19. Jump up^ “American single certifications – Paul Mc Cartney – Uncle Albert”. Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Single, then click SEARCH

References[edit]

Preceded by
How Can You Mend a Broken Heart” by Bee Gees
Billboard Hot 100 number-one single
4 September 1971 (one week)
Succeeded by
Go Away Little Girl” by Donny Osmond
Preceded by
Sweet Hitch-Hiker” by Creedence Clearwater Revival
Canadian “RPM” Singles Chart number-one single
18 September 1971 – 2 October 1971 (three weeks)
Succeeded by
Maggie May” by Rod Stewart

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