1.
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.
The Intruders (band)
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The Intruders were an American soul music group most popular in the 1960s and 1970s. As one of the first groups to have hit songs under the direction of Kenny Gamble and Leon Huff, formed in 1960, the group originally consisted of Sam Little Sonny Brown, Eugene Bird Daughtry, Phillip Phil Terry and Robert Big Sonny Edwards. In 1969, Sam Brown was replaced as lead singer by Bobby Starr, Brown, Daughtry, Terry and Edwards had been recording and performing one-off singles together since 1961, blending Phillys street corner doo-wop tradition with black gospel fervor. The result was neither as pop-infected as Motown, nor as funky, the sound which The Intruders refined for the Excel, Gamble and Philadelphia International imprints reflected a different attitude than either Stax or Motown. Gamble and Huffs success with The Intruders helped convince Columbia Records to grant them the money to launch Philadelphia International, Gamble and Huff acknowledged that their work with The Intruders was the foundation of what they called The Sound Of Philadelphia. The Intruders, meanwhile, were undergoing some internal turmoil, when the group resurfaced on the 1970 Gamble LP, When We Get Married, lead singer Brown was replaced by Bobby Starr. The title song, When We Get Married, a Dreamlovers cover, became a hit on the charts, as was the follow-up Win, starrs tenure with the group included Soul Train television appearances, and the rare collectors single, Im Girl Scoutin. Brown returned to the group in 1973 for the album Save The Children, Kenny Gambles mother Ruby, the inspiration for Ill Always Love My Mama, died March 10,2012 in Mount Airy, Pennsylvania, at age 96. Cowboys to Girls remains the only topping single of their career. It was a 1968 Top 10 Pop and R&B smash. Gold disc for one million sales in mid May 1968 and it was covered by the Hacienda Brothers. The Duke of Earl, Gene Chandler, also covered the song, other artists, such as Sweet Blindness, Philly Cream, and Joe Bataan, have also covered the song. It was also covered by the Latin group Tierra, who took the song to Top 20 on the charts in 1980, in 2005, singer Keith Sweat covered The Intruders 1973 hit, I Wanna Know Your Name. In 1968, Peaches & Herb covered The Intruders1966 hit, United and this song also served as the basis for Peaches and Herbs even bigger 1978 #1 sequel hit, Reunited. During the late 1970s and early 1980s, their music was popular on the West Coast among Latino, specifically Chicano, youth, as evidenced by their covers by the Hacienda Brothers and Tierra. Daughtry died of cancer on December 25,1994 at age 55, according to Marc Taylor, in the book, A Touch Of Classic Soul of the Early 1970s, in 1975, Edwards and Terry walked away from the industry after becoming Jehovahs Witnesses. Edwards died on October 15,2016 from an attack at age 74. The Intruders today include Bobby Starr, Glenn Montgomery and Phil Gay, the group is featured on the My Music DVD hosted by Patti LaBelle on PBS, and tour with the Love Train, Sound of Philadelphia Concert series. There are also several groups including the best variation of The Intruders, The Philly Intruders who appear on The Big Show DVD
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
4.
Phonograph record
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The groove usually starts near the periphery and ends near the center of the disc. The phonograph disc record was the medium used for music reproduction until late in the 20th century. It had co-existed with the cylinder from the late 1880s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed, by the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. The phonograph record has made a resurgence in the early 21st century –9.2 million records were sold in the U. S. in 2014. Likewise, in the UK sales have increased five-fold from 2009 to 2014, as of 2017,48 record pressing facilities remain worldwide,18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new, only two producers of lacquers remains, Apollo Masters in California, USA, and MDC in Japan. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to heat or broken. The large cover are valued by collectors and artists for the space given for visual expression, in the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008, along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph, unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no evidence that Edisons phonograph was based on Scotts phonautograph. Edison first tried recording sound on a paper tape, with the idea of creating a telephone repeater analogous to the telegraph repeater he had been working on. The tinfoil was wrapped around a metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately, Edison also invented variations of the phonograph that used tape and disc formats. A decade later, Edison developed a greatly improved phonograph that used a wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device, the wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Berliners earliest discs, first marketed in 1889, but only in Europe, were 12.5 cm in diameter, both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality
5.
R&B
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Rhythm and blues, often abbreviated as R&B or RnB, is a genre of popular African-American music that originated in the 1940s. In the commercial rhythm and blues music typical of the 1950s through the 1970s, R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy. Lyrics focus heavily on the themes of triumphs and failures in terms of relationships, freedom, economics, aspirations, the term rhythm and blues has undergone a number of shifts in meaning. In the early 1950s it was applied to blues records. This tangent of RnB is now known as British rhythm and blues, by the 1970s, the term rhythm and blues changed again and was used as a blanket term for soul and funk. In the 1980s, a style of R&B developed, becoming known as Contemporary R&B. It combines elements of rhythm and blues, soul, funk, pop, hip hop, popular R&B vocalists at the end of the 20th century included Michael Jackson, R. Kelly, Stevie Wonder, Whitney Houston, and Mariah Carey. Although Jerry Wexler of Billboard magazine is credited with coining the term rhythm and blues as a term in the United States in 1948. It replaced the term race music, which came from within the black community. The term rhythm and blues was used by Billboard in its chart listings from June 1949 until August 1969, before the Rhythm and Blues name was instated, various record companies had already begun replacing the term race music with sepia series. In 2010 LaMont Robinson founded the Rhythm & Blues Hall of Fame Museum, writer and producer Robert Palmer defined rhythm & blues as a catchall term referring to any music that was made by and for black Americans. He has used the term R&B as a synonym for jump blues, however, AllMusic separates it from jump blues because of its stronger, gospel-esque backbeat. Lawrence Cohn, author of Nothing but the Blues, writes that rhythm, according to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts. Well into the 21st century, the term R&B continues in use to music made by black musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, while singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. The bands dressed in suits, and even uniforms, an associated with the modern popular music that rhythm. Lyrics often seemed fatalistic, and the music typically followed predictable patterns of chords, there was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone
6.
Philadelphia International Records
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Philadelphia International Records is an American record label based in Philadelphia. It was founded in 1971 by the duo, Kenneth Gamble and Leon Huff. It was famous for showcasing the Philadelphia soul music genre that was founded on the gospel, doo-wop and this Philly Soul sound later became a prominent and distinct era within R&B itself. During the 1970s the label released a string of hits which emphasized lavish orchestral instrumentation, heavy bass. Some of their most popular and best selling acts included Patti LaBelle, The OJays, Harold Melvin & the Blue Notes, Teddy Pendergrass, MFSB, Billy Paul, between 1971 and the early 80s, the label sold over 170 gold and platinum records. Philadelphia International Records has been defunct since 1987, and finally shut down in 2001. As of 2007, Sony Music Entertainment owns all rights to the Philadelphia International Records music catalogue, in 1965, Huff joined Gambles band, The Romeos, a popular moniker at the time, by replacing future Philadelphia International Records producer and arranger Thom Bell on piano. Kenny Gamble and The Romeos had seen little success up to that point playing for their label, Arctic Records, the success of their biggest signing, The Intruders, brought attention to Gamble and Huff, which allowed them to create Neptune Records in 1969. Neptune Records, an ambitious project for the duo, was financed by Chess Records Group. When Chess Records Groups management changed hands in 1969, Neptune Records folded, with the collapse of Neptune Records, Gamble and Huff transferred their signed artists onto a new project, Philadelphia International Records. The label was set up in connection with Mighty Three/Assorted Music, Jones by Billy Paul,1972, When Will I See You Again by The Three Degrees,1974, and Youll Never Find Another Love Like Mine by Lou Rawls,1976. The label had a deal with CBS Records until 1984. Distribution of the catalog from 1976 onwards was then taken over by EMI, in 2007, Sonys Legacy Recordings regained the rights to Philadelphia Internationals full catalog and the following year, PIR/Legacy released a box set titled Love Train, The Sound of Philadelphia. Most of the released by the label was recorded and produced at Sigma Sound Studios in Philadelphia. More than 30 resident studio musicians, known collectively as MFSB Mother Father Sister Brother, were based at this studio, some of these musicians also acted as arrangers, writers or producers for Philadelphia International as well as for other labels recording in the city. They included Bobby Martin, Norman Harris, Thom Bell, Ronnie Baker, Vince Montana and later, Jack Faith, Gamble and Huff worked as independent producers with a series of artists in the late 1960s and early 1970s, including Jerry Butler, Wilson Pickett and Dusty Springfield. They also produced The Jacksons first two albums for Epic/CBS after the group had left Motown in 1976, the first, titled The Jacksons featured the platinum-selling single Enjoy Yourself, and a second album, Goin Places followed in 1977. Although on CBS subsidiary Epic, both albums and the singles carried a Philadelphia International logo
7.
Songwriter
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A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as rock or country music. A songwriter can also be called a composer, although the term tends to be used mainly for individuals from the classical music genre. The pressure from the industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with a gift for creating original melodies, pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own publishers, while others have outside publishers. The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees and college diplomas, a knowledge of modern music technology, songwriting elements and business skills are necessary requirements to make a songwriting career in the 2010s. Several music colleges offer songwriting diplomas and degrees with music business modules, the legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law, song pitching can be done on a songwriters behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters. Skills associated with song-writing include entrepreneurism and creativity, songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. In the Nashville country music scene, there is a staff writer culture where contracted writers work normal 9-to-5 hours at the publishing office and are paid a regular salary. This salary is in effect the writers draw, an advance on future earnings, the publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright. In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up, unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of work for hire agreements, the compositions created are fully owned by the publisher. In Nashville, young writers are often encouraged to avoid these types of contracts. Staff writers are common across the industry, but without the more office-like working arrangements favored in Nashville. All the major publishers employ writers under contract, songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company, so that he could. keep as much as possible, songwriters are also often skilled musicians. In addition to selling their songs and musical concepts for other artists to sing, songwriters need to create a number of elements for a song
