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Mariah Carey

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10 Classic Songs To Ring In The New Year

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As you watch the ball drop and pop the champagne, hit “play” on these classic—but never musty—New Year’s tunes
Rachel Brodsky
GRAMMYs
Dec 31, 2018 - 9:50 am

New Year’s Eve is a time to celebrate, to embrace friends and family, reflect on life’s big changes and perhaps set a few resolutions. All the celebration calls for the perfect New Year’s Eve playlist, whether you’re heading out on the town or chilling at home by the television with a glass of wine.

There are plenty of New Year’s tunes out there—really there’s something for everybody, no matter what your genre tastes. We’ve found some all-time classics by GRAMMY winner and pop idol Mariah Carey, ‘70s disco queens Abba, blues legend Etta James and more for your NYE playlist. Trust us, these celebratory songs never go out of style.

1. "Auld Lang Syne (The New Year's Anthem)," Mariah Carey

For the reigning Queen of Christmas-pop, it makes perfect sense that, to close out her second holiday record, Merry Christmas II You (2010), Carey would do a whistling, dancefloor-ready take on Scottish poet and lyricist Robert Burns’ 18th century folk song. Listen to this one as soon as the clock strikes midnight for maximum effect.

2. Happy New Year,” ABBA

ABBA’s operatic 1980 gem might be pretty specific in terms of time period (the Swedish quartet bids farewell to the ‘70s while pondering “what lies waiting down the line/ In the end of eighty-nine”), but its sentiment gets to the heart of what New Year’s Eve is all about: the hope of better things to come.

3. "It's Just Another New Year's Eve," Barry Manilow

This ‘70s chestnut, which Barry Manilow has performed at Dick Clark’s New Year’s Rockin’ Eve numerous times, never goes out of style. Atop tinkling piano, the silky singer wisely encourages his audience not to be bummed out that another year is over. Instead, imagine the possibilities a new year can bring! “Tonight’s another chance to start again,” the GRAMMY winner warbles. And how right he is.

4. "Happy New Year," Judy Garland

Don’t be fooled by the title to Judy Garland’s '50s New Years’ staple: The lyrics within, written by midcentury composer Gordon Jenkins, are actually rather forlorn, bemoaning a New Year’s evening spent all by her lonesome.

And as if that weren’t enough, while partygoers are “donning their silly paper hats,” the beloved standards singer and actress is spending the night looking back to a time when the dawn of a new year wasn’t so solitary: “I love the days we spent together/ Before the old year lost its shine/ I'll keep that memory locked within my heart/ That happy new year you were mine.” Garland’s NYE tribute might be wistful, but it's real.

5. “Happy New Year," Nat "King" Cole

A few years later, in 1963, Nat “King" Cole sang a gorgeous rendition of Jenkins’ famous track, adding strings and cooing background vocals.

6. "Let's Start the New Year Right," Bing Crosby

"How can we go wrong if we start the New Year right?" wonders Bing Crosby in his 1943 anthem. It’s the ideal follow-up and optimistic sentiment to rival Crosby’s other holiday-season classic, “White Christmas.”

7. "Funky New Year," Eagles

In 1978, soft-rock greats Eagles released their cover of Charles Brown’s "Please Come Home For Christmas." Turn that single around, though, and you get the decade-appropriate B-side “Funky New Year.” Against a pop-funk bass line, Don Henley & Co. encourage every partygoer to “party hardy” (don’t mind if we do), before asking, "What year is this, anyway?”

8. "Champagne & Wine," Etta James

Recorded for Etta James' 28th and final record, The Dreamer, “Champagne & Wine” was originally done in 1968 by the great Otis Redding. Either version will do, when you’re building that New Year’s Eve playlist, but it never hurts to honor GRAMMY winner and Lifetime Achievement Award recipient James, who kept singing right up to the end of her life in 2014.

9. "New Year's Resolution," Otis Redding and Carla Thomas

While we’re on the topic of Otis Redding, it certainly wouldn’t hurt to include his and Carla Thomas’ horn-filled 1968 duet “New Year’s Resolution.” The two trade verses, portraying a couple who has experienced tough times but very badly want to make amends and keep their promises in the New Year. At least they’re both on the same page!

10. "What Are You Doing New Year's Eve" Ella Fitzgerald

1940s doo-wop troupe The Orioles originally sang this standard, but a little more than a decade later, jazz icon Ella Fitzgerald recorded her trilling, brass-led rendition. And you can never go wrong with a little Ella.

For The Record: B.B. King's "Auld Lane Syne"

Beyoncé

Beyoncé

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BTS, Beyoncé, Prince: 9 Songs To Play On New Year's Eve

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Need some adds to your NYE party playlist? These nine songs will help you countdown to 2018 in grand fashion
THE GRAMMYs
GRAMMYs
Dec 29, 2017 - 1:20 pm

No matter where you come from, there's one countdown we can all join in together to celebrate: the end of the year. And across all time zones, cultures and traditions, there's one constant in this New Year's ritual: music.

Whether the bar band kicks into that special tune, blaring it out over the noisemakers and silent kissers, or the DJ eases the crossfade into that perfect song she's been holding onto all night, the music playing on New Year's Eve represents so much — where we are, where we're going and, most importantly, the moment itself.

From Prince and Van Halen to BTS, Tiësto and Queen Bey, here are nine songs ripe for any New Year's celebration that we promise will help usher in 2018 in sonic style.

Prince, "1999"

Sure, we may not be entering the actual year 2000 this New Year's, but wasn't this timeless Prince hit always metaphorical anyway? Now, 18 years after the night it imagined and a whopping 36 years after the song was originally released (on the album of the same name), "1999" stands as a definitive party anthem. Few other artists' songs demand the listener to move the way Prince's do, and as "1999" suggests, "Life is just a party, and parties weren't meant to last." It also reminds us to live in the moment. — Nate Hertweck

Beyoncé, "Countdown"

If ever there's a couples jam for New Year's, it's gotta be Queen Bey's "Countdown." Through the "ups and downs" in love, Beyoncé professes love for her soul mate in this sweet and sexy confection, citing him as a perfect 10 and proclaiming, "He's still the one." Here's hoping you have someone to spend NYE with who's game to meet you at the finish line come midnight. — Tim McPhate

BTS, "Mic Drop"

K-Pop ambassadors BTS capture the attitude of living life to the fullest with their "Mic Drop" hit, which features a remix with Steve Aoki and Desiigner. The seven-member collective's "Mic Drop" boast — "Did you see my bag? It's hella trophies and it's hella thick" — bottles how BTS are capping their sensational year. If you're feeling unsure about the road ahead in 2018, try some BTS to bring your spirits up. — Philip Merrill

Otis Redding & Carla Thomas, "New Year's Resolution"

Get a jump start on making those New Year's resolutions with some classic soul by way of Otis Redding and Carla Thomas. As one might expect, the resolutions presented by the pair are perfect for couples looking back on a year's relationship: "Let's turn over a new leaf/And baby let's make promises/That we can keep." It all adds up to the perfect soundtrack for cuddling up to your honey as the ball drops and making a few resolutions to keep together. — Renée Fabian

Tiësto Feat. Jónsi, "Kaleidoscope" (Extended Mix)

Ethereal vocals courtesy of Jónsi, frontman/guitarist for the inscrutable Icelandic experimental rock band Sigur Rós, alternately counting upward from zero and encouraging collective unity, as "we sing in unison," open this extended mix version of the intro track from Dutch DJ/producer Tiësto's 2009 album of the same name. Over the course of more than five minutes, "Kaleidoscope" slowly builds across icy pads and airy, ratcheting percussion lines toward an ecstatic trance synth that burns like a bright white light before the bass finally drops and sets you free to dance your way into next year. Pro tip: Have the track cued up and press play at 11:54:05 p.m. The drop will kick in at exactly midnight. — Brian Haack

John Elliott, "At The End Of The Year"

In case you're feeling more reflective than turned up this New Year's, fear not — there's a perfect song for you, too. San Francisco singer/songwriter John Elliott's "At The End Of The Year," which was just released Dec. 15, is the perfect late-night/early-morning soundtrack for the baton pass from the old you, to the new you. On the first single from his upcoming album, North Star, Elliott sings with a fresh frankness, "Everything is changing down here at the end of the year," and somehow we know something better is just around the corner. It must be. — N.H.

Van Halen, "Bottom's Up!"

This deep track from Van Halen's 1979 sophomore LP truly bottles the template for the Southern California group's early combustible sound. There's Alex Van Halen's frenetic groove, Michael Anthony's steady bass playing and Eddie Van Halen's other-worldly riffing. Overseeing the musical proceedings is David Lee Roth, whose ringleader vocal antics make you feel like you're partying with the group right there in the room. Of course, the subject matter couldn't be more appropriate for celebrating New Year's. Per Diamond Dave, remember to fill your cup up. But please do so responsibly. — T.M.

Idina Menzel, "What Are You Doing New Year's Eve?"

This classic New Year's Eve tune dates back to 1947, when it was written by Frank Loesser. It first charted for the Orioles in 1949 and since then it's been covered by everyone from Ella Fitzgerald to Kacey Musgraves, and in 2014, Broadway powerhouse Idina Menzel. The "Rent" star included the track on her 2014 album, Holiday Wishes, and it reflects what so many of us are wondering on New Year's Eve: "Whose arms will hold you good and tight/When it's exactly 12 o'clock that night?" — R.F.

The Glitch Mob, "We Can Make The World Stop"

Bumping this massive 2011 dancefloor burner from electronic production wizards the Glitch Mob at full volume in a house filled with people is sure to help you forget the inevitable passage of time for at least the first five and a half minutes of 2018. "Stand still/pause clocks/we can make the world stop." Bonus points if your house comes pre-equipped with smoke machines and lasers. — B.H.

For The Record: B.B. King's "Auld Lane Syne"

 

Otis Redding

Otis Redding

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1968: A Year Of Change For The World, Memphis & Stax Records

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How the voices of soul featured in Stax's new 1968 singles collection created "a new sound" through the pain of tumultuous times
Philip Merrill
Nate Hertweck
GRAMMYs
Sep 6, 2018 - 2:34 pm

The year 1968 saw some of the nation's most confrontational and transcendent moments in the civil rights movement and protests against the Vietnam War. In Memphis for the soul label Stax, it was a disruptive year on the corporate front, ending their relationship with Atlantic. The top soul artist in America, Otis Redding, died in a plane crash shortly before the year began. Martin Luther King Jr. was assassinated on April 4, 1968 at the Lorraine Motel, which is now the National Civil Rights Museum.  

Now, the most enduring soul music of the era takes centerstage in an upcoming Stax '68 compilation promising new reflections on what Stax has meant to Memphis and to music. The five-disc, 134-song box set will include every single, both A- and B-sides, Stax and its sub-labels released in 1968, a year when so much changed.

We spoke with Deanie Parker who in addition to her songwriting talent, started work in 1963 as publicist for the label. From 1999 through 2007 she also supported revitalization of Stax's local presence as president of the Soulsville Foundation.

"During my lifetime here in Memphis, 1968 was one of those years where our expectations and achievements were challenged, and our beliefs were shattered," said Parker. "We didn't have an opportunity to exhale, to regroup." Even the start of the year felt like a challenge. "Between Otis Redding's death and the disappointment that Atlantic caused in our group and development, then to go to 1968, that was like the climax of the worst of times." Things did get worse ahead, but the music that came from the struggles, conflicts and joy of 1968 lives on.

Singer/songwriter William Bell contributed mightily to the Stax sound, cracking Billboard's Hot 100 in 1968 with "Private Number" and "A Tribute To A King," dedicated to the departed Otis Redding. His 2016 comeback This Is Where I Live won Best Americana Album at the 59th GRAMMY Awards, but this is the same artist who co-wrote the 1967 Albert King-classic "Born Under A Bad Sign" with Booker T. Jones. Bell shows up several times on the new Stax box-set, a testament to how prominent a role he plays in the label's legacy.

Booker T. & The M.G.'s were the Stax house band, playing behind countless artists and setting a shining example as a racially integrated group during a time and in a place of considerable racial tension. Keyboard player Booker T. Jones co-founded the crew in the 1960s playing beside Steve Cropper on guitar, among others. The group received the Recording Academy's Lifetime Achievement Award in 2007 and their 1962 recording "Green Onions" has been inducted into the GRAMMY Hall Of Fame. Their Hot 100 track in 1968 was titled "Soul-Limbo," reaching No. 17.

Brought on board by David Porter, Isaac Hayes and Porter as a songwriting pair combined composing and arranging with producing, establishing the Stax flair and anticipating the later role that producer-stars play in hip-hop. Their work on Sam & Dave's 1967 "Soul Man" was seminal and contributed to the duo's win at the 10th GRAMMY Awards for Best Rhythm & Blues Group Performance, Vocal Or Instrumental. Hayes also has keyboards credits on Otis Redding's The Dock Of The Bay from 1968. A few years later his 1971 "Theme From Shaft" made Isaac Hayes a household word, on Stax's Enterprise label. The single was inducted in the GRAMMY Hall Of Fame in 1999.

Producers Listen To And Admire Old Isaac Hayes

Blues guitarist Albert King released his masterpiece Born Under A Bad Sign in 1967, inducted into the GRAMMY Hall Of Fame in 1999. As mentioned above, the title track was written by William Bell and Booker T. Jones. It was King's first of many albums on Stax, advantageously pairing his blues with Booker T. & The M.G.'s, staying true to the musical core of King's music but with enhanced crossover appeal. A pair of King '68 singles with their B-sides appear on the new Stax collection.

In March 1968, Redding's "(Sittin' On) The Dock Of The Bay" was No. 1 on the Hot 100. Redding had written the song with guitarist Cropper. Although he had other posthumous hits, no other tracks came close. Redding and his song won at the 11th GRAMMY Awards for Best Rhythm & Blues Vocal Performance, Male and Best Rhythm & Blues Song. The song was inducted into the GRAMMY Hall Of Fame where it rests beside Redding's "I've Been Loving You Too Long" and "Try A Little Tenderness." He received his Lifetime Achievement Award in 1999. The song kicks off disc one of the new collection just ahead of its B-side, "Sweet Lorene."

The Staple Singers received their Lifetime Achievement Award in 2005 and received many GRAMMY nominations including Best Soul Gospel Performance for their 1968 album Long Walk To D.C. That same year Soul Folk In Action, with Cropper producing as well as playing, provides a magical viewing port into the dreams and optimism that pushed alongside of 1968's struggles, protests and sorrow. It shows some of why the family's influence extends to songwriters today, writing today's lines to help people speak up and speak out. Their songs in the GRAMMY Hall Of Fame include 1956's "Uncloudy Day" on Vee-Jay, and "Respect Yourself" (1971) and "I'll Take You There" (1972) on Stax.

Johnnie Taylor helped Stax finish the year strong as his "Who's Making Love" reached No. 5 on the Hot 100 in December of 1968. It was nominated for Best Rhythm & Blues Vocal Performance, Male at the 11th GRAMMY Awards, losing to Otis Redding. After 1975, Taylor enjoyed hits and created an impressive body of work away from Stax.

Carla Thomas's presence was felt in her 10th GRAMMY Awards nominations, including for her 1967 duets with Otis Redding on King And Queen. Their duet "Tramp" set the stage for 1968 and Otis Redding's greater elevation. Their single "Lovey Dovey" reached No. 60 on the Hot 100 in March 1968. A second-generation Memphis musical powerhouse, Thomas was regarded as a queen of the city's sound and its soul scene.

"We were creating a new sound, a new music, a music that made you feel so good," Parker said of the atmosphere at Stax in '68. "You could write about your personal experiences and world conditions and not have to apologize for it, and then identify with millions of other people around the world who were having the same challenges in their lives. It was just the right time."

She also let on that she was "amazed at what Concord went in that vault and found" for Stax '68, especially her less-well-known favorites, Ollie & The Nightingales. Parker also expressed boundless enthusiasm for Memphis' potential, wishing more would invest in the Memphis Tourism organization's emphasis on the city's many magical music destinations.

Having inspired the digging in this piece, the makers of Stax '68 deserve additional call-outs. Liner-notes writer for Stax '68, Robert Gordon has GRAMMY nominations related to Stax, Johnny Cash and Muddy Waters, and he won "Best Album Notes" at the 53rd GRAMMY Awards for Keep An Eye On The Sky, a compilation box set of Big Star. Producer Steve Greenberg has also been nominated for deep-Stax history and shared in Baha Men's 43rd GRAMMY Awards Best Dance Recording win for "Who Let The Dogs Out" as a producer/mixer.

Another noteworthy moment was covered in Nov. 2013 when the Recording Academy's Memphis Chapter celebrated its 40th anniversary at a special interactive exhibit hosted at the Stax Museum. The Chapter was founded in 1973. Attendees at the exhibit's opening night included Steve Cropper and David Porter, Memphis Horns trumpet player Wayne Jackson, songwriter/publicist Deanie Parker as well as Stax '68 liner-notes writer Robert Gordon. The exhibit featured a prominent folk-art portrait of Carla Thomas.

The Stax heritage lives on, its mystery grows and even 1968 itself remains a combination of many tumultuous expressions from its time. Some of the best were thanks to Stax and its teams. Stax '68 is due out Oct. 19 and is available now for pre-order.

Marvin Gaye 'Let's Get It On' | For The Record

Stevie Wonder, Michael Jackson, Beyoncé, Mariah Carey

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Michael Jackson, Beyoncé, Jay-Z: 25 GRAMMY Record Setters | Black History Month

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From wins and nominations to momentous firsts and incredible feats, take a look at 25 GRAMMY records set by African-Americans
Paul Grein
GRAMMYs
Feb 8, 2018 - 3:50 pm

African-American artists have been making history at the GRAMMYs since the awards were first presented on May 4, 1959. Ella Fitzgerald and Count Basie each took home two awards that night.

Watch: Kendrick Lamar Wins Best Rap Album

And they have continued to be at the forefront right through this year, when Kendrick Lamar scooped up five GRAMMYs (bringing his total to date to an even dozen).

To help celebrate Black History Month, here are 25 GRAMMY records set by African-American artists. Note: This isn't just a list of the first African-American winners in various categories — though those milestones are meaningful in their own right. These are instances where an African-American artist or producer set a record in competition with everybody.

1. Michael Jackson

The first artist to win eight GRAMMYs in one night: Michael Jackson (1983). In that Thriller of a year, Jackson also became the first artist to amass 12 nominations in one night.

Michael Jackson Wins Record Of The Year

2. Quincy Jones

Artist with the most GRAMMY nominations: Quincy Jones (79). Jones landed his first noms in 1960; his most recent in 2001.

3. Beyoncé And Jay-Z

The only couple where both individuals have received 20 or more GRAMMYs: Beyoncé and Jay-Z. At last count, she has amassed 22 GRAMMYs. He has won 21.

Beyoncé wins Best Urban Contemporary Album GRAMMY

4. Beyoncé

The youngest artist to amass 20 career GRAMMYs: Beyoncé, who was 33 when she picked up her 18th, 19th and 20th GRAMMYs at the 2014 awards. She broke a record that was held by Kanye West, who was 35 when he collected his 19th, 20th and 21st GRAMMYs at the 2012 awards.

5. Mariah Carey

The youngest artist to receive nominations in each of the four General Field categories (Record, Album and Song Of The Year and Best New Artist): Mariah Carey, who was 20 when she was nominated in all four categories for 1990. She won for Best New Artist.

Mariah Carey Wins Best New Artist

6. Stevie Wonder

The only artist in GRAMMY history to win Album Of The Year with three consecutive studio albums: Stevie Wonder. He achieved this extraordinary three-peat with Innervisions (1973), Fulfillingness' First Finale (1974) and Songs In The Key Of Life (1976).

7. Stevie Wonder

The first artist to win Album Of The Year with an entirely self-produced album: Stevie Wonder (Innervisions).

8. Stevie Wonder

The youngest artist to win his third GRAMMY for Album Of The Year: Stevie Wonder, who was just 26 when he won for the third time with Songs In The Key Of Life.

9. Ray Charles

The artist with the longest span of Album Of The Year nominations: Ray Charles. His noms in the category span 43 years, from Genius + Soul = Jazz (1961) to Genius Loves Company (2004).

10. Ella Fitzgerald

The first woman to receive an Album Of The Year nomination: Ella Fitzgerald, who was nominated in 1958, the awards' first year, for Ella Fitzgerald Sings The Irving Berlin Song Book.

11. Roberta Flack

The first artist to win back-to-back awards for Record Of The Year: Roberta Flack ("The First Time Ever I Saw Your Face," 1972, and "Killing Me Softly With His Song," 1973).

Roberta Flack Wins Record of the Year

12. The 5th Dimension

The first group or duo to win twice for Record Of The Year: The 5th Dimension. The vocal quintet won for "Up, Up And Away" (1967) and "Aquarius/Let The Sunshine In (The Flesh Failures)" (1969).

13. Ray Charles

The artist with the longest span of Record Of The Year nominations: Ray Charles. His noms in the category span 44 years, from "Georgia On My Mind" (1960) to "Here We Go Again," a collaboration with Norah Jones (2004).

14. Thom Bell

The first producer to win for Producer Of The Year, Non-Classical: Thom Bell (1974, the first year the award was presented).

15. Quincy Jones

The first producer to win twice for Producer Of The Year, Non-Classical: Quincy Jones. He shared his second award with Michael Jackson. Jones was also the first producer to win three times in the category.

Quincy Jones Wins Producer Of The Year

16. Babyface

The only producer to win four times for Producer Of The Year, Non-Classical: Babyface. He shared the first of these awards with his partner, L.A. Reid.

17. Jimmy Jam & Terry Lewis

The producer(s) with the most nominations for Producer Of The Year, Non-Classical: Jimmy Jam & Terry Lewis. The hit-making team amassed 11 noms from 1986–2005. They won the award for 1986.

18. Aretha Franklin

Most consecutive awards in any category: Aretha Franklin, eight consecutive awards for Best R&B Vocal Performance, Female (1967–1974). The streak kicked off with the immortal "Respect." They don't call her the "Queen Of Soul" for nothing.

19. Ella Fitzgerald

The first woman to receive a GRAMMY Lifetime Achievement Award: Ella Fitzgerald (1967).

20. Lauryn Hill

The first woman to win five GRAMMYs in one night: Lauryn Hill (1998). Her awards included Album Of The Year for The Miseducation Of Lauryn Hill.

21. Beyoncé

The first woman to win six GRAMMYs in one night: Beyoncé (2009). Her awards included Song Of The Year for "Single Ladies (Put A Ring On It)."

22. Ray Charles

Most posthumous GRAMMYs in one night (five): Ray Charles (2004). His awards included Album Of The Year for Genius Loves Company.

23. Pinetop Perkins

The oldest artist to win a GRAMMY: Pinetop Perkins, who was 97 when he won Best Traditional Blues Album for Joined At The Hip (2010).

24. Elizabeth Cotten

The oldest female artist to win a GRAMMY: Elizabeth Cotten, who was 90 when she won Best Ethnic Or Traditional Folk Recording for Elizabeth Cotten Live! (1984). (She was 26 days older than Betty White was when she won the 2011 award for Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling). Hey, days count in GRAMMY record-setting.)

25. Deleon Richards

The youngest individual artist to receive a GRAMMY nomination: Deleon Richards, who was just eight when she was nominated for Best Soul Gospel Performance — Female for her album Deleon (1985).

(Paul Grein is a veteran music journalist and historian whose work appears regularly at Yahoo.com and Hitsdailydouble.com.)

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Ed Sheeran

Ed Sheeran

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Ed Sheeran, Mariah Carey & More Broke Big Music Records In 2018

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Find out which artists made massive waves with record-breaking numbers this year, including GRAMMY winner Sheeran, whose Divide Tour made the most money in a single year of any tour ever
Ana Yglesias
GRAMMYs
Dec 28, 2018 - 9:37 am

Before you can listen to all of your favorite songs from this year one more time, we'll be saying "Thank U, Next" to 2018 and ringing in the New Year. As we jump into 2019, let's take a look back at some of the biggest music records your favorite artists broke this year. From Ariana Grande's viral "Thank U, Next" earning the popstar her first No. 1 song while breaking YouTube and other streaming records to BTS earning the title of the first-ever Korean artist with a No. 1 album in the U.S. to Drake beating a record previously held by the Beatles, 2018 was a landmark year for music. Read on to learn more about the big achievements these artists, along with Mariah Carey, Ed Sheeran, Cardi B and Queen, hit this year.

GRAMMY nominee Grande really lived up to her name in 2018—in addition to releasing her currently-GRAMMY-nominated fourth studio album, Sweetener, and her third No. 1 album, she landed her first-ever No. 1 single on Billboard's Hot 100, "Thank U, Next." Following the release of the song's hotly anticipated, 2000s-nostaglia-inspired video, she earned the biggest ever streaming week for a female artist with 93.8 million U.S. streams. A testament to the video's viral success, it also holds the current record for YouTube's most-viewed video in the first 24-hours of its release with 55.4 million views in its first day on the platform, taking the place of BTS' "Idol," which racked up 45.9 million upon its release earlier in the year.

Speaking of the K-pop phenoms, BTS had a record-breaking year as well. They made news in May when their album Love Yourself: Tear debuted at No. 1 on the Billboard 200, making them the first K-pop artist with a No. 1 album in the U.S. on the all-genre chart. As the songs are sung mostly in Korean, this was the first primarily foreign-language album to reach No. 1 in over 12 years. This follows their previous record as the first-ever K-pop group to break the top ten on the same chart when Love Yourself: Her hit No. 7 after its release in October 2017.

BTS On What They're Listening To Now & More

GRAMMY winner Drake also had a big year, thanks to the June release of his eighth studio album, Scorpion, which earned the rapper several more GRAMMY nominations for the upcoming 61st GRAMMY Awards. The double album debuted at No. 1 on the Billboard 200, earning his eighth in a row to do so, tying him with fellow GRAMMY winners the Beatles, Jay-Z and Kanye West, who all also have eight No. 1 albums.

In July Drake broke another record previously-held by the Beatles: having the most songs in the top 10 of the Hot 100 at the same time. Drake had seven top 10 songs (from Scorpion) at once, while the Beatles hit the previous record of five back in 1964. With four of the album's singles debuting in the top 10 in the same week, he became the first artist with that many top 10 songs in a week; the previous record was J. Cole's three top 10 debuts earlier in the year.

This year was a huge year for hip-hop, with GRAMMY nominee Cardi B also helping lead the charge for the genre. Her debut studio album, Invasion Of Privacy, also earned her several more GRAMMY nods and other big accolades, including the title of the first female artist to have an album with all of its songs certified gold or above by the RIAA. The LP itself was certified gold only hours after its release in April and ends the year with a double-platinum stamp in the organization's end of year count, tying it for No. 1 with Post Malone's Beerbongs & Bentleys and Migos’ Culture II.

It was a big year for music overall, with 2018 clocking in as the biggest-earning year to-date for live music. Global concert sales hit a record-setting high of $2 billion dollars in 2018, up from $1.8 million in 2017. Leading the charge was GRAMMY winner Ed Sheeran, who's Divide Tour made the most money in a single year of any tour ever, earning $432 million across 94 events in 53 cities.

It was also a good year for movies about music, with the Queen film, Bohemian Rhapsody, taking the place of highest-grossing music biopic of all time. As of Dec. 12, the movie had earned $608.7 million globally, surpassing 2015's Straight Outta Compton, the film about gangsta rap pioneers N.W.A.

Ending the year on a festive note, Mariah Carey's holiday classic "All I Want For Christmas" ended 2018 with another record broken. On Dec. 24, the 1994 song broke Spotify's one-day streaming record, racking up 10.8 million streams on Christmas Eve.

Which music records will be shattered in 2019? We'll have to wait for the next viral hits and game-changing albums to find out…

Mariah Carey's "All I Want For Christmas" Breaks Streaming Record