Men in Black: The Album is the soundtrack to the film Men in Black. It was released on July 1, 1997, distributed by Columbia Records and featured production from some of music’s top producers, such as Poke & Tone, Jermaine Dupri and The Ummah.
The album was a huge success, spending two consecutive weeks at #1 on the Billboard 200, as well as peaking at #2 on the Top R&B/Hip-Hop Albums and #3 on the Canadian Albums Chart. The RIAA certified the album 3× Platinum for shipments of over 3,000,000 copies in the United States.
Four singles were released from the album, Will Smith’s Men in Black and Just Cruisin, Nas’s Escobar ’97 and Jermaine Dupri and Snoop Dogg’s We Just Wanna Party with You. Except for the title song and the two Danny Elfman cues, none of the tracks on the album are in the film.
This soundtrack also marked the debuts of then-unknowns Alicia Keys and Destiny’s Child.
Beauty and the Beat is the debut album from California new wave band the Go-Go’s. Released in 1981 on the I.R.S. Records label, the album reached #1on Billboard‘s Top LPs & Tape chart in March 1982, bolstered by its two big Hot 100 hit singles: Our Lips Are Sealed (#20) and We Got the Beat (#2), initially released in 1980, but in a different version. After a long and steady climb, Beauty and the Beat reached #1 on the album chart March 6, 1982, the week before We Got the Beat entered the top ten of the Hot 100. The album stayed at the top for six consecutive weeks, and ranked second in Billboard‘s year-end Top 100 of 1982 (behind the self-titled debut album of Asia). The LP sold in excess of two million copies, and was RIAA certified double platinum, qualifying it as one of the most successful debut albums of all time. Critically acclaimed, it has been described as one of the “cornerstone albums of American new wave.”
The title is a play on the European fairy tale Beauty and the Beast.
In the late 1970s, Belinda Carlisle, Jane Wiedlin, and Margot Olavarria met while attending punk rock shows in California. The three attended the Sex Pistols’ final performance in San Francisco in January 1978, and afterwards were inspired to form their own band. Although none of them actually knew how to play instruments, they quickly learned, and began playing in Hollywood nightclubs under the name the Go-Go’s. Carlisle was the singer, Wiedlin played rhythm guitar, Olavarria played bass and the newly added Elissa Bello played drums. A few months later, Charlotte Caffey joined the band as the lead guitarist since she had experience writing music with other groups like the Eyes. The Go-Go’s developed a reputation within the Hollywood punk scene and were invited to open for the band Madness on a UK tour. While on tour, the Go-Go’s recorded an extended play for Stiff Records.
Tensions between band members resulted in Bello and Olavarria leaving the Go-Go’s and they were replaced by drummer Gina Schock and bassist Kathy Valentine. Around this time, the Go-Go’s began to move toward a more pop rock-driven sound, influenced by the burgeoning new wave genre. Although their reputation continued to grow, they were unable to attract attention from major record labels. At a special showcase for A&R representatives at the Starwood, the Go-Go’s didn’t get a single offer. Carlisle believes this was because record executives were sexist and did not want to sign an all-female band. The only label that expressed interest was the indie label I.R.S. Records. In a 1982 Rolling Stone interview, Valentine said: “IRS was where you went if you couldn’t get a deal with a real label.” On April 1, 1981, I.R.S. co-founder Miles Copeland III signed the Go-Go’s.
In the Go-Go’s documentary, Carlisle claimed to have come up with the idea for the album cover, saying she wanted something “timeless” and “incognito.” The towels the band used for the shoot were returned to the Macy’s they were bought from earlier that day. Initially the album was released with a peach colored cover but the band was displeased with the look and later pressings were released with a blue cover.
Somethin’ ‘Bout a Truck is a song co-written and recorded by American country music artist Kip Moore. It was released in September 2011 as the first single from his debut album Up All Night. Moore wrote this song with and Dan Couch. It garnered positive reviews from critics who praised Moore’s delivery for being able to elevate generic lyrics. Somethin’ ‘Bout a Truck reached #1 on the Billboard Hot Country Songs chart, the only single in Moore’s career to reach that peak to date. It also gave him his first and only top 40 hit on the Billboard Hot 100, peaking at #29. The song was certified 2× Platinum by the Recording Industry Association of America (RIAA), denoting sales of over two million units in the country. It also charted in Canada, peaking at #33 on the Canadian Hot 100. Two accompanying music videos were made for the single, the official version by Roger Pistole and an acoustic version by Stephen Shepherd.
Moore discussed the album in an interview with American Songwriter. He stated, “I made a conscious effort on this record to try to capture the youthful spirit that we all have inside of us. So often people as they get older they feel like things have to change inside their spirit. We all have to mature and take on different responsibilities. I tried to really capture…that you don’t have to let your soul die or spirit die. You can still keep that youthful way and still live that way.”
All Things Must Pass is the third studio album by English rock musician George Harrison. Released as a triple album in November 1970, it was Harrison’s first solo work after the break-up of the Beatles in April that year. It includes the hit singles My Sweet Lord and What Is Life, as well as songs such as Isn’t It a Pity and the title track that had been overlooked for inclusion on releases by the Beatles. The album reflects the influence of Harrison’s musical activities with artists such as Bob Dylan, the Band, Delaney & Bonnie and Friends and Billy Preston during 1968–70, and his growth as an artist beyond his supporting role to former bandmates John Lennon and Paul McCartney. All Things Must Pass introduced Harrison’s signature slide guitar sound and the spiritual themes present throughout his subsequent solo work. The original vinyl release consisted of two LPs of songs and a third disc of informal jams titled Apple Jam. Several commentators interpret Barry Feinstein’s album cover photo, showing Harrison surrounded by four garden gnomes, as a statement on his independence from the Beatles.
Production began at London’s EMI Studios in May 1970, with extensive overdubbing and mixing continuing through October. Among the large cast of backing musicians were Eric Clapton and members of Delaney & Bonnie’s Friends band – three of whom formed Derek and the Dominos with Clapton during the recording – as well as Ringo Starr, Gary Wright, Billy Preston, Klaus Voormann, John Barham, Badfinger and Pete Drake. The sessions produced a double album’s worth of extra material, most of which remains unissued.
All Things Must Pass was critically and commercially successful on release, with long stays at number one on charts worldwide. According to Colin Larkin, writing in the 2011 edition of his Encyclopedia of Popular Music, All Things Must Pass is “generally rated” as the best of all the former Beatles’ solo albums.
During the final year of his life, Harrison oversaw a successful reissue campaign to mark the 30th anniversary of the album’s release. After this reissue, the Recording Industry Association of America certified the album six-times platinum. It has since been certified seven-times platinum. Among its appearances on critics’ best-album lists, All Things Must Pass was ranked 79th on The Times‘ “The 100 Best Albums of All Time” in 1993, while Rolling Stone placed it 368th on the magazine’s 2020 update of “The 500 Greatest Albums of All Time.” In 2014, All Things Must Pass was inducted into the Grammy Hall of Fame.
Dreamboat Annie is the debut studio album by American rock band Heart. At the time, the band was based in Vancouver, British Columbia; the album was recorded in Vancouver and first released in Canada by the local label Mushroom Records in September 1975, eventually reaching #20 on RPM’s Top Album chart and earning a double platinum certification. It was released in the United States on February 14, 1976, through the U.S. subsidiary of Mushroom Records in Los Angeles, peaking at #7 on the Billboard 200. It also reached the top 10 in the Netherlands and Australia in early 1977. The album contains three commercially successful singles, two of which, Crazy on You and Magic Man, became staples on North American FM radio. Producer Mike Flicker helped the group to polish their sound and obtain a recording contract with the label.
Heart’s first single, How Deep It Goes (backed with Here Song), received little attention when released in Canada by the small Mushroom label in early 1975. The second single, Magic Man (backed with How Deep It Goes), was first picked up for radio play by CJFM-FM 96 in Montreal, while the band was on tour playing small club dates.
Dreamboat Annie was released in Canada in September 1975 following the success of Magic Man. The album cover was designed by current Emily Carr University of Art and Design communication design instructor Deborah Shackleton Heart’s first radio success earned them a spot opening a Montreal concert for Rod Stewart in October 1975 which prompted sales and airplay to increase in that region and then gradually across other regions of the country, partly because Heart’s recording qualified as Canadian content thereby assisting radio stations in meeting their Canadian content requirements. The album sold an impressive 30,000 copies across Canada in its first few months, eventually being certified as double platinum for sales of 200,000.
Internationally, Dreamboat Annie reached #7 in the Netherlands, #9 in Australia, and #36 in the United Kingdom. Magic Man was the first single in these countries, followed by Crazy on You.
The success of the album indirectly led to a break between the band and label. The first cracks appeared when the group tried to renegotiate their royalty rate to be more in keeping with what they thought a platinum band should be earning. For this Michael Fisher, who was Ann Wilson’s boyfriend at the time, stepped aside as de facto manager and Ken Kinnear was hired. Mushroom’s tough stance in negotiations, and their opinion that perhaps the band was a one-hit wonder, led to Mike Flicker leaving the label. He did, however, continue to produce for Heart.
The relationship broke down completely when the label bought a full-page ad in Rolling Stone mocked up like a National Enquirer front page. The ad used a photo similar to the one on the Dreamboat Annie album cover, showing Ann and Nancy back to back with bare shoulders. The caption under the photo read “It Was Only Our First Time!” The band had not been consulted and was furious with the double meaning of the caption.
Since the label could no longer provide Flicker as producer as the contract specified, the band took the position that they were free to move to another label and signed with Portrait Records. Mushroom insisted that the band was still bound to the contract which called for two albums. So, Mushroom released Magazine with incomplete tracks, studio outtakes and live material and a disclaimer on the cover.
The band got a federal injunction to stop distribution of the 1977 edition of Magazine. Most of the initial 50,000 pressings were recalled from stores. The court eventually decided that the band could sign with Portrait, but that they did owe Mushroom a second album. The band returned to the studio to re-record, remix, edit, and re-sequence the recordings. Magazine was re-released in 1978 and sold a million copies in less than a month.
Shelley Siegel, the promoter behind the “First Time” ad and vice president of the record label, died a few months after the re-release, and Mushroom Records went bankrupt two years later. The episode had at least one more repercussion. Not long after the ad appeared, a radio promoter asked Ann about her lover; he was referring to Nancy, thus implying that the sisters were incestuous lesbian lovers. The encounter infuriated Ann who went back to her hotel and wrote the words to what became one of Heart’s signature songs, Barracuda.
Freshlyground is a South African Afro-fusion band that was a one-hit wonder when the group collaborated on this pop tune with Colombian singer Shakira (who is not a one-hit wonder). While some critics panned the song as “sonic vomit,” fans disagreed. It became the official song of the 2010 FIFA World Cup, held in South Africa and became a viral video and global chart-topper. The upbeat song provides encouragement to pick your battles, stay focused on your goals, and when you face setbacks, redouble your efforts.
The song became a success across Europe. In Austria, Waka Waka (This Time for Africa) displaced Somali-Canadian artist K’naan’s song Wavin’ Flag (which was also another promotional song for the World Cup) from the top spot on the Ö3 Austria Top 40 chart, ending its four-week-long run at number one. Waka Waka (This Time for Africa) went on the spend six consecutive weeks atop the chart and a total of 63 weeks, making it Shakira’s longest-charting single in the region. It is also Shakira’s most successful single in the country and was certified double-platinum by the International Federation of the Phonographic Industry (IFPI) Austria, denoting sales of 60,000 units In both the Dutch-speaking Flanders and French-speaking Wallonia regions of Belgium, the song reached #1 on the Ultratop charts, logging a total of five and eight weeks at the spot, respectively. It was the best-selling single of 2010 in Wallonia and was certified double-platinum by the Belgian Entertainment Association (BEA) in 2012 for completing sales of 60,000 units. In Denmark, the song topped the Hitlisten chart and was certified double-platinum by the IFPI Denmark.
Waka Waka (This Time for Africa) debuted at #1 on the French Singles Chart and stayed at the position for six consecutive weeks. The success of the song was such in the country that it appeared on the chart for three consecutive years (2010–13) and for a total of 132 weeks. The Syndicat National de l’Édition Phonographique (SNEP) certified the single platinum for sales of 150,000 units. It was the best-selling single in the country in 2010 with sales of 373,068 copies. The song peaked at #1 on the German Singles Chart for six weeks and became the second highest selling single in the country in 2010. It was certified quintuple-gold by the Bundesverband Musikindustrie (BVMI), denoting shipments of 750,000 units, making Waka Waka (This Time for Africa) Shakira’s highest-selling single in the country. In Italy, the song entered the FIMI singles chart at #2 and peaked at #1 a week later. It stayed at number one for 16 consecutive weeks. In 2014, the single was certified six times-platinum by the Federazione Industria Musicale Italiana (FIMI) for selling 180,000 units in the country.
The song topped the Spanish Singles Chart for 17 consecutive weeks and charted for 69 weeks in total. Waka Waka (This Time for Africa) was the best-selling single in Spain in 2010. It was later certified six times-platinum by the Productores de Música de España (PROMUSICAE) for selling 240,000 units in the country. The song is one of the best-selling singles in Spain. Waka Waka (This Time for Africa) became Shakira’s biggest single in Sweden, where it peaked atop the Sverigetopplistan chart and appeared on the chart for 58 weeks. By 2012, the single had sold 360,000 downloads in the country and had been certified nine times-platinum by the IFPI. The ring tone format of the song has received a triple-platinum certification. In Switzerland, the song debuted at #5 and later peaked atop the chart for four weeks. It spent 86 weeks on the chart and was certified triple-platinum in 2011 by the IFPI. Waka Waka (This Time for Africa) peaked at #21 in the United Kingdom and was certified gold by the British Phonographic Industry (BPI) in 2015 for completing shipments of 400,000 units.
Waka Waka (This Time for Africa) was the most-downloaded song of 2010 on the Nokia Music Store, based on its performance in 38 countries, including India and China. In India, it peaked at number three on the Radio Mirchi Angrezi Top 20 chart. According to Manoj Gairola of Hindustan Times, the song was downloaded by more than 300,000 subscribers of a telecom company that held exclusive rights to sell Waka Waka (This Time for Africa) on mobile phones.
The song attained #1 positions in Argentina, Chile and Shakira’s native country Colombia. In Mexico, it spent five successive weeks at #1, and was certified double-platinum by the Asociación Mexicana de Productores de Fonogramas y Videogramas (AMPROFON) in 2012 for completing sales of 120,000 downloads. In the United States, the song debuted at #43 on the Billboard Hot 100 – Shakira’s second-highest debut on the chart at that time. It later peaked at number 38. The Recording Industry Association of America (RIAA) certified the song platinum in 2011 after it completed sales of 1,000,000 downloads. According to Nielsen SoundScan, the single has sold 1,763,000 downloads in the United States, making it Shakira’s third-highest selling digital single in the country (as of March 2014).
Saturday Night Fever is the soundtrack album from the 1977 film Saturday Night Fever starring John Travolta. The soundtrack was released on November 15, 1977. It is one of the best-selling albums in history, and remains the second-biggest-selling soundtrack of all time, after The Bodyguard, selling 40 million copies worldwide (double-disc album).
In the United States, the album was certified 16× Platinum for shipments of at least 16 million units. The album stayed atop the charts for 24 straight weeks from January to July 1978 and stayed on Billboard’s album charts for 120 weeks until March 1980. In the UK, the album spent 18 consecutive weeks at #1. The album epitomized the disco phenomenon on both sides of the Atlantic and was an international sensation. Saturday Night Fever topped the album charts in Australia, Austria, Canada, France, Japan, New Zealand, Norway, Sweden, West Germany, the United States and the UK as well as the Netherlands. The album has been added to the National Recording Registry in the Library of Congress for being culturally significant.
Six singles were released:
1. How Deep Is Your Love It was a number three hit in the United Kingdom and Australia. In the United States, it topped the Billboard Hot 100 on 25 December 1977 (becoming the first of six consecutive U.S. number one hits), ended the 10-week reign of Debby Boone’s You Light Up My Life and stayed in the Top 10 for 17 weeks, being the first song to spend 17+ weeks in the top ten since Chubby Checker’s The Twist. It was also the longest song to be in the top ten in one run. It would hold the record until End of the Road by Boyz II Men. The single spent 19 weeks in the top ten after the introduction of Nielsen Soundscan in 1991 allowed singles to achieve longer runs on the charts. It spent six weeks atop the US adult contemporary chart.
2. More Than a Woman The soundtrack includes two versions — one by the Bee Gees and the other by Tavares. Both versions are featured in the film as well. The song has been recorded and performed by various artists but in different forms. The song by the Bee Gees was not released as a single in the U.S. and the UK, but only in some other territories. It peaked at #31 in Australia and #39 in the U.S. Despite that, it has remained a staple on radio, and is one of their best known songs. An abridged live version of the song, performed by the Bee Gees in 1997, is available on both the DVD and CD versions of One Night Only. The Tavares version peaked at #29 in Canada, #34 in the Netherlands, #7 in the UK and #32 on the Hot 100 and #36 on the American R&B chart.
3. Stayin’ Alive is a song written and performed by the Bee Gees and was released in 1977. The band co-produced the song with Albhy Galuten and Karl Richardson. It is one of the Bee Gees’ signature songs. In 2004, Stayin’ Alive was placed at number 189 on the list of Rolling Stone’s 500 Greatest Songs of All Time. In 2004, it ranked No. 9 on AFI’s 100 Years…100 Songs survey of top tunes in American cinema. In a UK television poll on ITV in December 2011 it was voted fifth in “The Nation’s Favourite Bee Gees Song”. On its release, Stayin’ Alive climbed the charts to hit the number one spot on the Billboard Hot 100 the week of February 4, 1978, remaining there for four consecutive weeks. In the United States, it would become the second of six consecutive number one singles, tying the record with the Beatles for most consecutive number ones in the United States at the time (a record broken by Whitney Houston who achieved seven consecutive number ones).
4. If I Can’t Have You, a Barry Gibb composition, was recorded by Yvonne Elliman that gave her an international hit. It was originally intended that Elliman’s contribution to the Saturday Night Fever soundtrack would be another ballad written by the Gibb brothers (How Deep Is Your Love). Meanwhile, the Bee Gees recorded their own version of If I Can’t Have You for the film. However, RSO Records chairman and Bee Gees manager Robert Stigwood, who was executive-producing the Saturday Night Fever album, dictated that the Bee Gees record How Deep Is Your Love and Elliman be given the disco style If I Can’t Have You. Stigwood’s decisions proved a success as the soundtrack’s first single, the Bee Gees’ version of the ballad How Deep Is Your Love, shot to number one, followed to the top spot by the soundtrack’s second and third singles, also by the Gibb brothers, Stayin’ Alive and Night Fever. Elliman’s If I Can’t Have You was released as the fourth single off the Saturday Night Fever album in February 1978. As the first single off the Saturday Night Fever soundtrack not performed by the Bee Gees, If I Can’t Have You would become the fourth number 1 hit from the album, reaching the number one spot on the US Hot 100 in Billboard dated May 13, 1978, ending an eight-week number 1 tenure by Night Fever. If I Can’t Have You was the fourth consecutive U.S. number 1 to be co-written by Barry Gibb, and the RSO record label’s sixth consecutive number one on the U.S. Hot 100.
5. Boogie Shoes is a song by the disco group KC and the Sunshine Band, which first appeared on their 1975 self-titled album. The song became a hit after it appeared on the Saturday Night Fever soundtrack in 1977. It was subsequently released as a single and peaked at #35 on the Billboard Hot 100 and #29 on the soul chart in 1978.Before its 1978 release as an A-side, the song was the B-side to the 1976 single Shake Your Booty.
6. Night Fever is a song written and performed by the Bee Gees. Stigwood wanted to call the film Saturday Night, but singer Robin Gibb expressed hesitation at the title. Stigwood liked the title Night Fever but was wary of marketing a movie with that name. The song bounded up the Billboard charts while the Bee Gees’ two previous hits from Saturday Night Fever soundtrack (How Deep is Your Love and Stayin’ Alive) were still in the top ten. It peaked at #1 for eight weeks (the most for any single that year), and ultimately spent 13 weeks in the top 10. For the first five weeks that Night Fever was at #1, Stayin’ Alive was at #2. Also, for one week in March, Bee Gees related songs held five of the top positions on the Hot 100 chart, and more impressively, four of the top five positions, with Night Fever at the top of the list. The B-side of Night Fever was a live version of Down the Road taken from the Bee Gees 1977 album, Here at Last… Bee Gees… Live.
In 1978, How Deep is Your Love won a Grammy for Best Pop Vocal Performance by a Group. In 1979, Saturday Night Fever won two Grammy Awards for Album of the Year and Best Pop Vocal Performance by a Duo or Group. Stayin Alive also won a Grammy for Best Arrangement of Voices. The producers of the soundtrack Barry Gibb, Albhy Glauten and Karl Richardson won Grammys as Producer of the Year. In 2004, Saturday Night Fever won a Hall of Fame Grammy Award. In 1979, Saturday Night Fever also won an American Music Award for Favorite Soul/R&B album.
Johnny Cash at Folsom Prison is the first live album by American singer-songwriter Johnny Cash, released on Columbia Records on May 6, 1968. After his 1955 song Folsom Prison Blues, Cash had been interested in recording a performance at a prison. His idea was put on hold until 1967, when personnel changes at Columbia Records put Bob Johnston in charge of producing Cash’s material. Cash had recently controlled his drug abuse problems, and was looking to turn his career around after several years of limited commercial success. Backed by June Carter, Carl Perkins and the Tennessee Three, Cash performed two shows at Folsom State Prison in California on January 13, 1968. The album consists of 15 songs from the first show and two from the second.
Despite little initial investment by Columbia, Johnny Cash at Folsom Prison was a hit in the United States, reaching number one on the country charts and the top 15 of the national album chart. The lead single, a live version of Folsom Prison Blues, was a top 40 hit, Cash’s first since 1964’s Understand Your Man. At Folsom Prison received positive reviews and revitalized Cash’s career, becoming the first in a series of live albums recorded at prisons that includes At San Quentin (1969), På Österåker (1973), and A Concert Behind Prison Walls (1976). The album was rereleased with additional tracks in 1999, a three-disc set in 2008, and a five LP box set with bonus rehearsals in 2018 for Record Store Day. It was certified triple platinum in 2003 for US sales exceeding three million.
Fight Song is a song recorded by American singer and songwriter Rachel Platten, released as a single by Columbia Records on February 19, 2015. It appears on her extended play (EP) of the same name (2015) and on her major label debut studio album, and third overall, Wildfire (2016). Platten co-wrote the song with Dave Bassett.
The song peaked at #6 on the Billboard Hot 100 and topped the charts in the United Kingdom and Poland. It also peaked within the top ten of the singles charts in Australia, Canada, New Zealand and Ireland, and the top twenty in Slovakia. It has sold six million copies in the United States, earning a 6× platinum certification by the RIAA. Platten narrowly avoided being a one hit wonder in her native U.S. with her third single, Stand By You which peaked at #37. Fight Song remains her solo charting single currently in much of Europe, including the UK.
Na Na Hey Hey Kiss Him Goodbye is a song written and recorded by Paul Leka, Gary DeCarlo and Dale Frashuer, attributed to a then-fictitious band they named “Steam”. Leka, DeCarlo and Frashuer wrote a blues shuffle version of the song in the early 1960s when they were members of a doo-wop group from Bridgeport, Connecticut, called the Glenwoods, the Citations, and the Chateaus, of which Leka was the piano player. The group disbanded when Leka talked Frashuer into going into New York City with him to write and possibly produce. In 1968, DeCarlo recorded four songs at Mercury Records in New York with Leka as producer. The singles impressed the company’s executives, who wanted to issue all of them as A-side singles. In need of a B-side, Leka and DeCarlo resurrected an old song from their days as the Glenwoods, Kiss Him Goodbye, with their old bandmate, Frashuer. With DeCarlo as lead vocalist, they recorded the song in one recording session. Instead of using a full band, Leka played keyboards and had engineer Warren Dewey splice together a drum track from one of DeCarlo’s four singles and a conga drum solo by Ange DiGeronimo recorded in Leka’s Bridgeport, Connecticut studio for an entirely different session. “I said we should put a chorus to it (to make it longer)”, Leka told Fred Bronson in The Billboard Book of Number One Hits. “I started writing while I was sitting at the piano going ‘na, na, na, na, na, na, na, na’… Everything was ‘na na’ when you didn’t have a lyric.” Gary added “hey hey”. The group that is seen on the album cover and in the old black and white video was a road group that had nothing to do with the recording. The road group was lip syncing to DeCarlo’s vocal in the video. Na Na Hey Hey Kiss Him Goodbye reached number one in the United States for two weeks, on December 6 and 13, 1969. In Canada, the song reached number six. By the beginning of the 21st century, sales of Na Na Hey Hey Kiss Him Goodbye had exceeded 6.5 million records, attaining Multi-Platinum record status.