A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. 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. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular 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 and which would be a B-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, 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 record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis 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, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same 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, a song that does not fit into the story lin
Shades of Rock
Shades of Rock is the eighth rock album by British instrumental group The Shadows, released in 1970 through Columbia. Hank Marvin - Lead and rhythm guitar John Rostill - Bass guitar Brian Bennett - Drums and percussion Alan Hawkshaw - Piano and electric piano Dave Richmond - Bass guitar Herbie Flowers - Bass guitar Brian Odgers - Bass guitar Cover Photo by Alan Wilmoth Peter Vince - Producer
Jigsaw (The Shadows album)
Jigsaw is the sixth rock album by British instrumental group The Shadows, released in 1967 through EMI Records. Hank Marvin - Lead guitar and mandolin Bruce Welch - Rhythm guitar John Rostill - Bass guitar Brian Bennett - Drums and percussion Norrie Paramor - Producer The Shadows discography
Brian Laurence Bennett, is an English drummer, pianist and producer of popular music. He is best known as the drummer of the Shadows, he is father of Shadows band member Warren Bennett. Educated at Hazlewood Lane School, Palmers Green and Winchmore Council School, he finished school at the age of sixteen to play drums in a Ramsgate skiffle group performing for holiday makers. After returning to London he became the in-house drummer at The 2i's Coffee Bar in Soho and was a regular performer on Jack Good's TV show Oh Boy! He became a member of Marty Wilde's Wildcats in 1959. After a successful period with the Wildcats, during which he appeared on their instrumental record without Wilde, "Trambone", he backed Tommy Steele for some of his London stage performances, in October 1961 he joined Cliff Richard and the Shadows as the replacement for Tony Meehan. In 1967, Bennett released a solo album of jazz music, entitled Change of Direction, in mono and stereo; this was the first solo album by a member of the Shadows.
In the 1970s, music by Bennett was selected for several Radley Metzger films, including Barbara Broadcast and The Opening of Misty Beethoven. He stayed with the group throughout all of their subsequent line-ups, in May 2005 took part in the Shadows' European tour. During a show in Reykjavík, Iceland he sustained. A splinter from a drumstick pierced under his fingernail on his right hand, he removed it with a pair of old pliers and applied a plaster. A few days after arriving in Paris, France he was in so much pain he called a doctor; the doctor recommended Bennett go to hospital immediately. Thinking it would be a short visit he attended only to find out that it would involve a minor, but painful, operation to remove the poison, he was due to be playing on stage that evening and had missed the soundcheck. He arrived at the theatre 15 minutes before the show with his right-hand bandaged and still numb from the anaesthetic, he managed to play for the whole show using an altered playing style. In addition to his work with the Shadows he has appeared in Cliff Richard's backing band and plays piano and vibraphone.
He has composed many popular TV theme tunes including BBC sports themes such as Rugby Special and BBC Golf, Channel 9 Australia's cricket theme, the sitcoms Robin's Nest and Birds of a Feather, The Ruth Rendell Mysteries, Square Deal, Close to Home, Murder in Mind and, with his son Warren and played the incidental music in New Tricks. Two of his most famous works were "The Journey" and "Just a Minute" written under the alias James Aldenham and used for the ITV Schools on 4 broadcasts between 1987–1993, he scored the British-German film The Harpist in 1999. He is an orchestral conductor, having learned how to arrange and conduct music for orchestras from a correspondence course, his son Warren Bennett played keyboards for the band Glass Ties, is a composer and producer. He was appointed OBE in the 2004 Queen's Birthday Honours List for services to music. Bennett runs Honeyhill studios, in Radlett, Hertfordshire. In November 2009, at the age of 69, Bennett completed a 50th Anniversary reunion world tour with Cliff Richard and the Shadows.
AlbumsBrian Bennett – Change of Direction – LP/CD – Columbia/see4Miles. Brian Bennett – Illustrated London Noise – LP/CD – Columbia/see4Miles – 1969. Collage – Misty – - LP/CD – DJM/see4Miles. Brian Bennett Band – Rock Dreams – LP/CD – DJM/see4Miles – 1977. Brian Bennett Band – Voyage – LP/CD – DJM/see4Miles – 1978. Heat Exchange – One step ahead – LP/CD – EMI/see4Miles. Ruth Rendell Mysteries – LP/CD. Ruth Rendell Mysteries – LP/CD. Ruth Rendell Mysteries – LP/CD. Drumtrax – CD. Nomads of the wind – CD. Global sunrise – CD; the Works –. Greatest Guitar hits – CD. Greatest Guitar hits – CD. Living Britain – CD. Official Bootleg album – CD. SinglesCanvas/Slippery Jim De Grize – 7" – DB 8294 – Columbia. Ridin The Gravy Train/Bubble Drum – 7" – DB 8706 Chase side shoot up/Pegasus – 7" – 6007040 Thunderbolt/Clearing skies – 7" – DJS10714 Saturday night special/Farewell to a friend – 7" – DJS10756 Girls back home/Jonty Jump – 7" – DJS10791 Pendulum force/Ocean Glide – 7" – DJS10843 Top of the world/ Soul Ice – 7" – DJM10981 Shake down/Your gonna love this – 7" – EMI 2988 Shake down/Your Gonna Love this – 12" – 12EMI2988 Themes Records – LP KPM – solo & w/others – LP Bruton – solo & w/others – LP/CD Music House – solo & w/others – CD Reliable Source Music – CD Luxo, Jr. – music: "Chateau Latour", "Finesse", "Quicksilver" Light & Heavy – music: "Chateau Latour" Dennis Waterman – Downwind of Angels – LP – DJF 204830 – DJM – 1976 Dennis Waterman – Dennis Waterman – LP – DJF 20513 – DJM – 1977 Demis Roussos – The Demis Roussos Magic – – BX 523-2 Drake - "Summer Sixteen" – 2016 Official website Brian Bennett on IMDb Brian Bennett discography at Discogs
From Hank, Bruce, Brian and John
From Hank, Bruce and John is the seventh rock album by British instrumental group The Shadows, released in 1967. It was the last album to be issued in both mono as well as stereo. Hank Marvin – Lead guitar and vocals Bruce Welch – Rhythm guitar and vocals John Rostill – Bass guitar and vocals Brian Bennett – Drums and percussion Alan Hawkshaw - Organ Olivia Newton-John - Guest vocals on "The Day I Met Marie" Norrie Paramor - Producer Peter Vince - Engineer
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; 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. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
Hank Brian Marvin is an English multi-instrumentalist and songwriter. He is best known as the lead guitarist for the Shadows, a group which performed instrumentals and was the backing band for Cliff Richard, subsequently for Marvin, Welch & Farrar. Hank Marvin was born Brian Robson Rankin in Newcastle upon England; as a child, he played piano. After hearing Buddy Holly, he decided to learn the guitar, he chose his stage name while launching his career. It is an amalgamation of his childhood nickname, which he used to differentiate himself from friends named Brian, Marvin Rainwater, the country and rockabilly singer. Sixteen-year-old Marvin and his Rutherford Grammar School friend, Bruce Welch, met Johnny Foster, Cliff Richard's manager, at The 2i's Coffee Bar in Soho, London. Foster was considering Tony Sheridan. Instead he offered Marvin the position. Marvin joined the Drifters, as Cliff Richard's group was known, provided there was a place for Welch. Marvin met Richard for the first time at a nearby Soho tailor's shop, where Richard was having a fitting for a pink stage jacket.
The Drifters had their first rehearsal with Richard at the Webb family home in Cheshunt, Hertfordshire. His first critically lauded, self-titled solo album of instrumentals, which featured guitar set to orchestrated backing, was released in 1969, following the first disbanding of the Shadows, in late 1968; the single "Sacha" topped the singles chart in New South Wales, having been'discovered' by two DJs at 2WG Wagga Wagga. Marvin's solo career was suspended due to Shadows reunions, first for a Far East tour and'live' album in 1969 a studio album in 1970 and again in the early 70s, he has experimented with styles and material, doing instrumental albums, some with vocals, one with only acoustic guitars and one with a guitar orchestra. In 1970, Marvin and Welch formed Marvin, Welch & Farrar, a vocal-harmony trio which failed to appeal to Shadows fans or to contemporary music fans, they became'Marvin & Farrar' for a vocal album in 1973 and reverted to the Shadows in late 1973, for the instrumental Rockin' with Curly Leads album.
The Shadows came second for the United Kingdom in the 1975 Eurovision song contest. Marvin wrote "Driftin'", "Geronimo", "Spider Juice", "I Want You to Want Me" for the Shadows, "The Day I Met Marie", he co-wrote Richard's 1960 hit. With Welch, Brian Bennett, John Rostill, he wrote hits for Cliff Richard, including. In 1969 and 1970, he teamed with Richard for: his own song. In 1977, Marvin played lead guitar on Roger Daltrey's third solo album, One of the Boys, on the tracks Parade and Leon, he co-wrote Olivia Newton-John's 1977 hit'Sam' with John Farrar and Don Black, produced albums for the British showman Des O'Connor. In 1988, Marvin collaborated with French keyboardist and composer Jean Michel Jarre on the track "London Kid", on Jarre's Revolutions album and was a guest in Jarre's Destination Docklands concert at London's Royal Victoria Dock. Jarre said the Shadows' success had influenced him and led to his decision to devote his career to instrumental music. Marvin appeared with Leslie Nielsen in an advert for Red Rock Cider, done as a parody of Nielsen's Police Squad! films.
In a bar scene, Nielsen calls out, "Hey, you over there, in the shadows!", after which Marvin steps forward. When Nielsen asks Marvin to "accompany" him, Marvin accompanies him, on the guitar, as Nielsen sings the product's jingle. In 1992, Duane Eddy guested on Marvin's album Into the Light on the track "Pipeline". Marvin and the Shadows reformed for a 2004 Final Tour, a 2005 European tour was organised. Marvin dueted twice with French guitarist Jean-Pierre Danel – on his 2007 and 2010 albums, both top-ten hits and certified gold, their two singles hit the iTunes charts in France, Norway and Germany, in Ireland, United Kingdom, United States, South Africa and Thailand. Marvin participated on one of his DVDs and wrote the foreword for Danel's book about the Fender Stratocaster. While Welch and Bennett became the Officers of the Order of the British Empire in the 2004 Queen's Birthday Honours List for services to music, Marvin declined for "personal reasons". On 28 October 2009, Marvin was presented with a BASCA Gold Badge Award in recognition of his unique contribution to music.
In London, "Hank Marvin" is cockney rhyming slang for "starvin". This slang conceived by Marc Lowry of Leicester in 1978, was referenced in a 2012 television advertisement for Mattessons meat company, his first wife was Beryl. He is married to Carole, with whom he had two children. Since 1986, Marvin has lived in Western Australia, he has made impromptu appearances on stage when musician friends visit the area, such as in February 2013 when Cliff Richard held a concert at Sandalford Winery. He is a Jehovah's Witness. Marvin runs a recording studio, Nivram studios, part of Sh-Boom studios in Tiverton Street, owned by Trevor Spencer and Gary Taylor, he has developed a keen interest in the music of jaz