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Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
2.
96 Tears (album)
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96 Tears is the debut album by the American garage rock band. And the Mysterians, released in 1966, a re-recorded version was eventually released on the Collectables label in 1997. It peaked at #66 on Billboards Pop Albums chart, first pressings had a misprinted Side 2 label listing the last track as Tears instead of 96 Tears. All tracks written by Rudy Martinez, except where noted, vocals, Rudy Martinez Lead Guitar, Bobby Balderrama Bass Guitar, Frank Lugo Organ, Frank Rodriguez Drums, Eddie Serrato Producer, Neil Bogart, Rudy Martinez Singles
3.
A-side and B-side
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The terms A-side and B-side refer to the two sides of 78,45, and 33 1/3 rpm phonograph records, whether singles, extended plays, or long-playing records. Creedence Clearwater Revival had hits with both A-side and B-side releases, others took the opposite approach, producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side, the earliest 10-inch,78 rpm, shellac records were single sided. Double-sided recordings, with one song on side, were introduced in Europe by Columbia Records. There were no record charts until the 1930s, and radio stations did not play recorded music until the 1950s, in this time, A-sides and B-sides existed, but neither side was considered more important, the side did not convey anything about the content of the record. The term single came into use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side, under this random system, many artists had so-called double-sided hits, where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, however, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the company wanted radio stations to play. It was not until 1968, for instance, that the production of albums on a unit basis finally surpassed that of singles in the United Kingdom. In the late 1960s stereo versions of pop and rock songs began to appear on 45s. The majority of the 45s were played on AM radio stations, by the early 1970s, double-sided hits had become rare. Album sales had increased, and B-sides had become the side of the record where non-album, non-radio-friendly, with the advent of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. With the decline of cassette singles in the 1990s, the A-side/B-side dichotomy became virtually extinct, as the dominant medium. However, the term B-side is still used to refer to the tracks or coupling tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other media have declined. B-side songs may be released on the record as a single to provide extra value for money. There are several types of material released in this way, including a different version, or, in a concept record
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Garage rock
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Garage rock is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada. The term derives from the perception that groups were made up of young amateurs who rehearsed in the family garage. The style, a precursor to rock, is characterized by aggressive and unsophisticated lyrics and delivery. In the US and Canada, surf rock—and later the Beatles, hundreds of acts produced regional hits, and some had national hits. Though largely associated with North America, counterparts were present elsewhere as part of the beat boom of the era. As critics of the period began to prescribe a scope for genre, they used the term punk rock. Garage rock has experienced various revivals in the years and continues to influence acts who prefer a back to basics. In the early- to mid-1980s, several garage revival scenes sprung up featuring acts that consciously attempted to replicate the look, in the 2000s, a wave of garage rock revival acts associated with the post-punk revival emerged, and a handful achieved airplay and commercial success. The term garage rock comes from the perception that its performers were young and amateurish, while numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties. The term garage band often refers to acts in this genre. Garage bands performed in a variety of venues, less-established groups typically played at parties, school dances, and teen clubs. For acts of legal age, bars, nightclubs, and college fraternity socials also provided regular engagements, occasionally, local groups had the opportunity to open at shows for famous touring acts. Some garage rock bands went on tour, particularly better-known acts, groups often competed in battles of the bands, which gave musicians an opportunity to gain exposure and a chance to win a prize, such as free recording time in a local studio. Battles of the bands were held, locally, regionally and nationally, and two of the most prestigious contests were held annually by the Tea Council of the U. S. A. and the Music Circus. Performances often sounded amateurish, naïve or intentionally raw, with typical themes revolving around the traumas of high school life, instrumentation was characterized by electric guitars often distorted through a fuzzbox, teamed with bass and drums. Guitarists sometimes played using aggressive-sounding bar chord riffs, sometimes referred to as power chords, organs such as the Farfisa were commonly used as well as mouth harmonicas or hand-held percussion such as tambourines. Occasionally, the tempo sped up in certain passages, sometimes referred to as raveups, Garage rock acts were diverse in both musical ability and in style, ranging from crude two- and three-chord music to near-studio musician quality. There were also variations in flourishing scenes, such as in California
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Psychedelic rock
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Many psychedelic groups differ in style, and the label is often used indiscriminately. Musically, the effects may be represented via novelty studio tricks, electronic or non-Western instrumentation, disjunctive song structures, some of the earlier 1960s psychedelic rock musicians were based in folk, jazz, and the blues, while others showcased an explicit Indian classical influence called raga rock. In the 1960s, there existed two main variants of the genre, the whimsical British pop-psychedelia, and the harder American West Coast acid rock. While acid rock is often deployed interchangeably with the psychedelic rock, it can also refer more specifically to the heavier. The genre bridged the transition from early blues- and folk-based rock to rock and hard rock. Since the late 1970s it has revived in various forms of neo-psychedelia. The term psychedelic was first coined in 1956 by psychiatrist Humphry Osmond as a descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy. As the countercultural scene developed in San Francisco, the acid rock. In the popular music of the early 1960s, it was common for producers, songwriters, and engineers to freely experiment with form, arrangements, unnatural reverb. Some of the best known examples are Phil Spectors Wall of Sound production formula, there was no transition to be made. You go from things like Flying Purple People Eater to I Am the Walrus, music critic Richie Unterberger says that attempts to pin down the first psychedelic record are therefore nearly as elusive as trying to name the first rock & roll record. Some of the far-fetched claims include the instrumental Telstar and the Dave Clark Fives massively reverb-laden Any Way You Want It, the first mention of LSD on a rock record was the Gamblers 1960 surf instrumental LSD25. American folk singer Bob Dylan was an influence on mid 1960s rock music. He led directly to the creation of rock and the psychedelic rock musicians that followed. Molly Longman of mic. com writes that, in terms of bridging the relationship between music and hallucinogens, the Beatles and the Beach Boys were the eras most pivotal acts. The considerable success enjoyed by these two bands allowed them the freedom to experiment with new technology over entire albums. In Unterbergers opinion, the Byrds, emerging from the Californian folk scene, with their ominous minor key melodies, hyperactive instrumental breaks, and use of Gregorian chants. In the songs lyric, the requests, Take me on a trip upon your magic swirling ship
6.
Cameo-Parkway Records
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Cameo-Parkway Records was the parent company of Cameo Records and Parkway Records, which were major American Philadelphia-based record labels from 1956 and 1958 to 1967. Among the types of music released were doo-wop, dance hits, popular/rock, rockabilly, big band, garage rock, soul, until 1962 Cameo was also the parent company name for both labels, and Parkway was a subsidiary. In 1962 the parent company was renamed from Cameo to Cameo-Parkway, in some foreign markets Cameo-Parkway was also a label name, issuing records by artists from both labels. Today the Cameo-Parkway catalogue is owned by ABKCO Records, Cameo Records was founded in December 1956 in Philadelphia by Bernie Lowe and Kal Mann. Parkway, initially a subsidiary label, was formed in 1958, dave Appell joined the label from its inception as A&R director, and the three worked together as a production team on many early Cameo releases. Lowe, also a musician, played piano on many early tracks, the first hit for Cameo was Butterfly by Charlie Gracie, which reached #1 nationally in early 1957, it was also Cameo-Parkways first of five chart-toppers. Throughout the remainder of the decade Cameo continued to have hits by groups like the R&B group the Rays, who had a #3 hit with Silhouettes later that year. In 1958 the label had further hits with Dinner With Drac, a novelty record by John Zacherle in the top 10, and Mexican Hat Rock, a major factor in Cameo-Parkways success was its relationship with the Philadelphia-based TV program American Bandstand. The label benefited tremendously from the arrangement, as the exposure many Cameo-Parkway artists received on American Bandstand helped propel them to stardom, in 1959 Bobby Rydell scored his first hits with Kissin Time and We Got Love on Cameo. From 1960 to 1964, Rydell was the second largest hit maker after Chubby Checker, scoring with such hits as Wild One, Swingin School, Volare, The Cha-Cha-Cha, Forget Him. In 1960 Checkers cover of Hank Ballards The Twist became Parkways first big hit, although Ballards version only reached #16 on the R&B chart in 1958, Checkers version went to #1 in 1960, and again in early 1962. Checker had several hits, including Pony Time, Lets Twist Again, The Fly, Slow Twistin, Limbo Rock, Popeye, Birdland, around 1961 the Cameo and Parkway labels began developing some new stars. You Cant Sit Down, a version of the Phil Upchurch instrumental hit, was #35 in Cash Box magazines year end-survey for 1963. The R&B quartet the Orlons released The Wah-Watusi, which hit #2 in the summer of 1962 and they had a few more top 20 hits, including Dont Hang Up, South Street, Not Me and Crossfire. Fifteen-year-old Dee Dee Sharp had done a duet with Chubby Checker on Slow Twistin and it went to #2 in the spring of 1962. More dance songs followed, including the follow-up Gravy and another dance song, in the summer of 1963 the #1 hit So Much in Love by the smooth R&B group the Tymes marked the last hit from Cameo-Parkways peak period. In early 1964, three near-simultaneous events sent Cameo-Parkway into a decline from which it would never fully recover. The first was the move of American Bandstand from Philadelphia to Los Angeles in February, suddenly, Cameo-Parkways primary source of national exposure and promotion was gone
