Complete Original #1 Hits of the ’60s & ’70s

UPC · Release

Complete Original #1 Hits of the ’60s & ’70s

Conway Twitty

848064000013
29 tracksReleased 2011-01-01Real Gone Music

Last verified:

848064000013 is the Universal Product Code (UPC barcode) for the release Complete Original #1 Hits of the ’60s & ’70s by Conway Twitty, released 2011-01-01 on Real Gone Music. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 29 tracks, each with its own ISRC. Tracks include USMC17301384, USMC17301546.

Format

8Number system
48064Manufacturer
00001Product
3Check digit
Number system:
Identifies the product category (0/1/6/7/8 = general retail, 2 = variable measure, etc.).
Manufacturer:
5-digit code identifying the label or distributor that owns the release.
Product:
5-digit code identifying this specific release within the manufacturer's catalog.
Check digit:
Modulo-10 check digit that validates the rest of the barcode.

Credit Chain

UPCComplete Original #1 Hits of the ’60s & ’70s
ISRC2 recordings
ISWC23 works
IPI2 songwriters

Track List (29)

It’s Only Make Believe
It’s Only Make Believe
Next in Line
Next in Line
I Love You More Today
I Love You More Today
To See My Angel Cry
To See My Angel Cry
Hello Darlin’
Hello Darlin’
Fifteen Years Ago
Fifteen Years Ago
After the Fire Is Gone
After the Fire Is Gone
How Much More Can She Stand
How Much More Can She Stand
Lead Me On
Lead Me On
(Lost Her Love) On Our Last Date
(Lost Her Love) On Our Last Date
I Can’t Stop Loving You
I Can’t Stop Loving You
She Needs Someone to Hold Her When She Cries
She Needs Someone to Hold Her When She Cries
There’s a Honky Tonk Angel (Who’ll Take Me Back In)
There’s a Honky Tonk Angel (Who’ll Take Me Back In)
As Soon as I Hang Up the Phone
As Soon as I Hang Up the Phone
I See the Want to in Your Eyes
I See the Want to in Your Eyes
Linda on My Mind
Linda on My Mind
Touch the Hand
Touch the Hand
Feelins’
Feelins’
This Time I’ve Hurt Her More Than She Loves Me
This Time I’ve Hurt Her More Than She Loves Me
After All the Good Is Gone
After All the Good Is Gone
The Game That Daddies Play
The Game That Daddies Play
I Can’t Believe She Gives It All to Me
I Can’t Believe She Gives It All to Me
Play, Guitar, Play
Play, Guitar, Play
I’ve Already Loved You in My Mind
I’ve Already Loved You in My Mind
Don’t Take It Away
Don’t Take It Away
I May Never Get to Heaven
I May Never Get to Heaven
Happy Birthday Darlin’
Happy Birthday Darlin’

Credits Graph

People also ask

What is UPC 848064000013?
UPC 848064000013 is the Universal Product Code (barcode) for "Complete Original #1 Hits of the ’60s & ’70s" by Conway Twitty, released on Real Gone Music.
What is a UPC code in music?
A UPC (Universal Product Code) — also called an EAN barcode — is a unique numeric identifier assigned to a music release by its distributor. It identifies the release as a whole (album, EP, or single) and is required by every digital storefront and physical retailer.
How is a UPC different from an ISRC?
A UPC identifies a release (the bundle of tracks sold as one product). An ISRC identifies a specific sound recording (a single track). Every track on a UPC release has its own ISRC, but they all share the same UPC.
How many tracks are on UPC 848064000013?
UPC 848064000013 contains 29 tracks, each with its own ISRC.
SourcesMusicBrainzDiscogs2 sources

Verified on

What is UPC 848064000013?

848064000013 is a Universal Product Code (UPC) assigned to Complete Original #1 Hits of the ’60s & ’70s by Conway Twitty. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.

This release contains 29 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.

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