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
The Verve were an English rock band formed in Wigan in 1990 by lead vocalist Richard Ashcroft, guitarist Nick McCabe, bass guitarist Simon Jones and drummer Peter Salisbury. Guitarist and keyboard player Simon Tong became a member. Beginning with a psychedelic sound with their debut LP A Storm in Heaven, by the mid-1990s the band had released several EPs and three albums, it endured name and line-up changes, break-ups, health problems, drug abuse and various lawsuits. The band's commercial breakthrough was the 1997 album Urban Hymns, one of the best-selling albums in UK Chart history; the album features the hit singles "Bitter Sweet Symphony", "The Drugs Don't Work" and "Lucky Man". In 1998, the band won two Brit Awards—winning Best British Group, appeared on the cover of Rolling Stone magazine in March, in February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song. Soon after their commercial peak, the Verve disbanded in April 1999. According to Billboard magazine, "the group's rise was the culmination of a long, arduous journey that began at the dawn of the decade and went on to encompass a major breakup, multiple lawsuits, an extensive diet of narcotics".
During an eight-year split, Ashcroft dismissed talk of a reunion, saying: "You're more to get all four Beatles on stage." The band's original line-up reunited in June 2007, embarking on a tour that year and releasing the album Forth in August 2008, which spawned the hit single "Love Is Noise". Amid revived tensions, the band broke up for the third time in 2009; the founding members of the Verve met at Winstanley Sixth Form College, in Wigan, Greater Manchester when Liam Begley introduced Ashcroft to the other band members. The band was known as just "Verve", their first gig was at a friend's 18th birthday party at the Honeysuckle Inn, in Wigan, on 15 August 1990. Most of the band's early material was created through extensive jam sessions. Fronted by singer Richard Ashcroft, the band caused a buzz in early 1991 for their ability to captivate audiences with their musical textures and avant-garde sensibilities; the group were signed by Hut Records in 1991 and their first studio releases in 1992, "All in the Mind", "She's a Superstar", "Gravity Grave" saw the band become a critical success, making an impression with freeform guitar work by McCabe and unpredictable vocals by Ashcroft.
Those first 3 singles reached the first spot in the UK Indie charts, "She's a Superstar" entered the UK Top 75 Singles Chart. The band saw some support from these early days in the United States in some music scenes in big cities like New York connected with psychedelic music. 1993's A Storm in Heaven was the band's full-length debut, produced by record producer John Leckie. "Blue" was released as the lead single and again managed to enter in the UK Top 75 at No. 69 and reached No. 2 in the Indie charts. The album was a critical success, but was only a moderate commercial success, reaching No. 27 in the UK album chart that summer. The second single from the album, topped the UK indie rock charts. During this period the band played a number of gigs with Oasis who, at the time, were unknown. Furthermore, the band supported The Smashing Pumpkins on the European Part of their Siamese Dream Tour in autumn of 1993. In 1994, the band released the album No Come Down, a compilation of b-sides plus a live version of "Gravity Grave" performed at Glastonbury Festival in 1993.
It was the band's first release under the name "The Verve", following legal difficulties with the jazz label Verve Records. The band played on the travelling US alternative rock festival, Lollapalooza, in the summer of 1994. A new mix of "Blue" was released in the US to promote the band; the tour became notorious for the events of 11 July – Ashcroft was hospitalised for dehydration after a massive session of drinking, Salisbury was arrested for destroying a hotel room in Kansas in a drug-fuelled delirium. However, the band were performing again the next day. Ashcroft recalled: "At the start, it was an adventure, but America nearly killed us." The Verve's physical and mental turmoil continued into the chaotic recording sessions of their second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work.
Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album Morning Glory? to Ashcroft, who returned the gesture by dedicating the song "A Northern Soul" to Gallagher. The band released the album's first single "This Is Music" in May, it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed better, reaching No. 28. This single was new for the Verve as it was a soulful ballad; the album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months just before the release of the third single "History", which reached No. 24 in September. Ashcroft stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it, it felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say,'Yeah man, you did the right thing.'
The others had been through the same thing. It was a
London is the capital and largest city of both England and the United Kingdom. Standing on the River Thames in the south-east of England, at the head of its 50-mile estuary leading to the North Sea, London has been a major settlement for two millennia. Londinium was founded by the Romans; the City of London, London's ancient core − an area of just 1.12 square miles and colloquially known as the Square Mile − retains boundaries that follow its medieval limits. The City of Westminster is an Inner London borough holding city status. Greater London is governed by the Mayor of the London Assembly. London is considered to be one of the world's most important global cities and has been termed the world's most powerful, most desirable, most influential, most visited, most expensive, sustainable, most investment friendly, most popular for work, the most vegetarian friendly city in the world. London exerts a considerable impact upon the arts, education, fashion, healthcare, professional services and development, tourism and transportation.
London ranks 26 out of 300 major cities for economic performance. It is one of the largest financial centres and has either the fifth or sixth largest metropolitan area GDP, it is the most-visited city as measured by international arrivals and has the busiest city airport system as measured by passenger traffic. It is the leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. London's universities form the largest concentration of higher education institutes in Europe. In 2012, London became the first city to have hosted three modern Summer Olympic Games. London has a diverse range of people and cultures, more than 300 languages are spoken in the region, its estimated mid-2016 municipal population was 8,787,892, the most populous of any city in the European Union and accounting for 13.4% of the UK population. London's urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census.
The population within the London commuter belt is the most populous in the EU with 14,040,163 inhabitants in 2016. London was the world's most populous city from c. 1831 to 1925. London contains four World Heritage Sites: the Tower of London. Other landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Paul's Cathedral, Tower Bridge, Trafalgar Square and The Shard. London has numerous museums, galleries and sporting events; these include the British Museum, National Gallery, Natural History Museum, Tate Modern, British Library and West End theatres. The London Underground is the oldest underground railway network in the world. "London" is an ancient name, attested in the first century AD in the Latinised form Londinium. Over the years, the name has attracted many mythicising explanations; the earliest attested appears in Geoffrey of Monmouth's Historia Regum Britanniae, written around 1136. This had it that the name originated from a supposed King Lud, who had taken over the city and named it Kaerlud.
Modern scientific analyses of the name must account for the origins of the different forms found in early sources Latin, Old English, Welsh, with reference to the known developments over time of sounds in those different languages. It is agreed; this was adapted into Latin as Londinium and borrowed into Old English, the ancestor-language of English. The toponymy of the Common Brythonic form is much debated. A prominent explanation was Richard Coates's 1998 argument that the name derived from pre-Celtic Old European *lowonida, meaning "river too wide to ford". Coates suggested that this was a name given to the part of the River Thames which flows through London. However, most work has accepted a Celtic origin for the name, recent studies have favoured an explanation along the lines of a Celtic derivative of a proto-Indo-European root *lendh-, combined with the Celtic suffix *-injo- or *-onjo-. Peter Schrijver has suggested, on these grounds, that the name meant'place that floods'; until 1889, the name "London" applied to the City of London, but since it has referred to the County of London and Greater London.
"London" is sometimes written informally as "LDN". In 1993, the remains of a Bronze Age bridge were found on the south foreshore, upstream of Vauxhall Bridge; this bridge either reached a now lost island in it. Two of those timbers were radiocarbon dated to between 1750 BC and 1285 BC. In 2010 the foundations of a large timber structure, dated to between 4800 BC and 4500 BC, were found on the Thames's south foreshore, downstream of Vauxhall Bridge; the function of the mesolithic structure is not known. Both structures are on the south bank. Although there is evidence of scattered Brythonic settlements in the area, the first major settlement was founded by the Romans about four years after the invasion
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Australian Recording Industry Association
The Australian Recording Industry Association is a trade group representing the Australian recording industry, established in 1983 by six major record companies, EMI, Festival, CBS, RCA, WEA and Universal replacing the Association of Australian Record Manufacturers, formed in 1956. It oversees the collection and distribution of music licenses and royalties; the association has more than 100 members, including small labels run by one to five people, medium size organisations and large companies with international affiliates. ARIA is administered by a Board of Directors comprising senior executives from record companies, both large and small; as of October 2010, the directors were Denis Handlin, George Ash, Mark Poston, Sebastian Chase, David Vodica and Tony Harlow. In 1956, the Association of Australian Record Manufacturers was formed by Australia's major record companies, it was replaced in 1983 by the Australian Recording Industry Association, established by the six major record companies operating in Australia, EMI, Festival Records, CBS, RCA, WEA and Polygram.
It included smaller record companies representing independent acts/labels and has over 100 members. By 1997, the six major labels provided 90% of all recordings made in Australia. ARIA is administered by a Board of Directors comprising senior executives from record companies, both large and small; as of October 2010, the directors were Denis Handlin, George Ash, Mark Poston, Sebastian Chase, David Vodica and Tony Harlow. Australian TV pop music show Countdown presented its own annual awards ceremony, Countdown Music and Video Awards, co-produced by Carolyn James during 1981–1984 in collaboration with ARIA. ARIA provided peer voting for some awards, while Countdown provided coupons in the related Countdown Magazine for viewers to vote for populist awards. At the 1985 Countdown awards ceremony, held on 14 April 1986, fans of INXS and Uncanny X-Men scuffled during the broadcast and as a result ARIA decided to hold their own awards. Since 2 March 1987, ARIA administered its own peer-voted ARIA Music Awards, to "recognise excellence and innovation in all genres of Australian music" with an annual ceremony.
Included in the same awards ceremonies, it established the ARIA Hall of Fame in 1988 and has held separate annual ceremonies since 2005. The ARIA Hall of Fame "honours Australian musicians' achievements have had a significant impact in Australia or around the world". In February 2004, the Australian Record Industry Association announced its own legal action against Kazaa, alleging massive copyright breaches; the trial began on 29 November 2004. On 6 February 2005, the homes of two Sharman Networks executives and the offices of Sharman Networks in Australia were raided under a court order by ARIA to gather evidence for the trial. In 2006, ARIA formed sponsorship deals with Motorola and Nova and changed the appearance and conduct of the charting. Motorola took naming-rights sponsorship seeing the charts referred to in the media as the Motorola ARIA Charts. ARIA, have commented that as part of the same marketing printed charts would be reintroduced into media retailing shops and their website would be redesigned.
As part of the deal Nova began broadcasting the charted singles in reverse order on a Sunday afternoon show before it was released on the ARIA charts website. The ARIA Charts is the main Australian music sales charts, issued weekly by the Australian Recording Industry Association; the charts are a record of albums in various genres. All charts are compiled from data of both digital sales from retailers in Australia. A music single or album qualifies for a platinum certification if it exceeds 70,000 copies shipped to retailers and a gold certification for 35,000 copies shipped; the diamond certification was created for albums in November 2015 to mark 500,000 sales/shipments. For music DVDs, a gold accreditation represented 7,500 copies shipped, with a platinum accreditation representing 15,000 units shipped. Prior to ARIA taking on the role of certification authority in 1983, the music industry used the following certification levels: The ARIA No. 1 Chart Awards were established in 2002 to recognise Australian recording artists, who reached number one on the ARIA albums and music DVDs charts.
The ARIA Music Awards is an annual series of awards nights celebrating the Australian music industry. The event has been held annually since 1987. Like most recording industry associations, ARIA has been criticised for fighting copyright infringement matters aggressively, although in Australia this has taken the form of aggressive advertising campaigns in cinemas directly preceding movies; this criticism is stauncher in Australia due to the absence of an equivalent Digital Millennium Copyright Act or state crimes acts which establish copyright infringement as a crime. In February 2004, the Australian Record Industry Association took legal action against Kazaa, alleging massive copyright breaches; the trial began on 29 November 2004. On 6 Febr
Lista Przebojów Programu Trzeciego
Lista Przebojów Programu Trzeciego is the oldest and the longest-running music chart in Poland. Aired by Polskie Radio Program III, a division of the Polskie Radio public broadcaster, the list has been broadcast weekly since 24 April 1982. Hosted by Marek Niedźwiecki, since 2010 the hosting duties have been alternated by Niedźwiecki and Piotr Baron. Although Poland of the 1970s and 1980s had been behind the Iron Curtain, its music scene was far from closed to outside influence. Foreign music arrived to Poland through a variety of channels, including direct import of records by people who were permitted to cross the borders and through foreign radio stations available in Poland. Moreover, the contemporary Polish copyright laws were more liberal than those in non-Soviet-controlled countries and copyright infringements were not penalized; because of that various western artist gained popularity in Poland regardless of the fact that their records were never released in Poland or approved by the censorship office.
At that time the Radio 3 was one of the few radio stations in Poland airing both foreign music and Polish music not supported by the authorities. The latter category included domestic rock artists, electronic music, sung poetry and many other genres looked down upon by the authorities; because of that the Radio 3 gained wide popularity among the younger generations of Poles. The first list was compiled and aired by Marek Niedźwiecki on 24 April 1982, with the top three songs being "I'll Find My Way Home" by Jon and Vangelis, "O! Nie rób tyle hałasu" by Maanam and "For Those About to Rock" by AC/DC. Since the list has been compiled and aired weekly on Saturdays between 20:00 and 22:00. Since September 1989 the list was extended to four hours. A year it was moved to the Friday 19:00–22:00 slot. Between 2007 and 2010 it was moved back to Saturday evenings, only to be returned to the previous Friday evening slots in April 2010; every person is allowed to vote for up to ten songs. The votes had to be mailed to the radio station for compiling or the audience had to call the station and dictate the names of the songs.
Since voting by Internet is the main means of voting. Since late 1980s every weekly broadcast is accompanied by a short correspondence from the Netherlands and the United States, with reports on the latest European Hot 100 Singles, Dutch Top 40 and the Top 10 of the Billboard Hot 100; the chart gained a large fan following, with a busy internet forum and fan-made Internet Archive of the List of Hits, presenting all charts so far, with all songs and their respective places. On 11 November 2010 the fans of Radio Three chose the chart as the most popular Radio Three programme in its history. One vote for a Polish-language song and one for a foreign one were permitted, but soon the limit was extended and now every voter can choose up to ten songs in no particular order; the eligible songs are those. The list, variously compiled into a Top 20, 30, 40 or 50, is divided into two parts; the lower, for ranks between 31 and 50, are called the waiting room. Songs in the waiting room are traditionally not aired in full and only mentioned by their title and the chart rank during the weekly broadcast.
The top 30 songs have more chances of being aired in full. Official website Internet archive of the chart Fan forum
The Drugs Don't Work
"The Drugs Don't Work" is a song by the English rock band The Verve, written by Richard Ashcroft and is featured on their third album, Urban Hymns. It was released on 1 September 1997 as the second single from the album, debuting at number one on the UK Singles Chart and becoming a top 40 hit in several other countries. In October 2011, NME placed it at number 78 on its list "150 Best Tracks of the Past 15 Years". Lead singer Richard Ashcroft wrote the song in early 1995, he mentioned it in an interview at the time, relating it to his drug usage: "There's a new track I've just written It goes'the drugs don't work, they just make me worse, I know I'll see your face again'. That's, they make man. But I still take'em. Out of boredom and frustration you turn to something else to escape."Ashcroft performed the song when the band was touring in support of A Northern Soul. The song was recorded for Urban Hymns; the album's producer, Chris Potter referred to it as both the best song and best vocal he had recorded.
The single was noted during Channel 4's 100 Greatest #1 Singles programme as unintentionally capturing the spirit of the nation as it was released the day after Princess Diana died. The music video for the song was directed by Andy Baybutt; the video begins with several references to The Verve's earlier work. The band appears in the same formation and clothes as they did at the end of the video for "Bitter Sweet Symphony"; the cover of the machine on the front of the album No Come Down appears briefly. The band turns around a corner and walks over to a vending machine called "Feelings"; this refers to the song "Life's an Ocean" from their second album, A Northern Soul, where Ashcroft sings, "I was buying some feelings from a vending machine". The rest of the video shows in black and white, the band playing the song indoors; the video ends with a piece of burning wood, with the words'Urban Hymns' written on it, floating on water. The original concept for the video was to have the band filmed in a maze to illustrate "loss of direction".
The song was covered by Ben Harper on his live album Live from Mars. It has been covered by Skin. James Walsh covered it. In Australia, it was covered by Grinspoon for youth radio station Triple J's Like a Version CD. Adam Gontier released a version of the song. A Eurohouse cover of the song was performed by Devorah, a short-lived covers project, along with "Bitter Sweet Symphony", in 1996, it was covered by Australian pop vocalist/entertainer Kate Ceberano on her live album Kate Ceberano and the West Australian Symphony Orchestra. In 2009, Taiwanese rock singer Faith Yang recorded the song as a part of her album Self-Selected of English-language covers. Terra Naomi performed an acoustic cover of the song on YouTube in August 2008. Howie Day covered the song for a promotional EP for Australia. CD 1 HUTDG 88"The Drugs Don't Work" "Three Steps" "The Drugs Don't Work" CD 2 HUTDX 88"The Drugs Don't Work" "Bitter Sweet Symphony" "The Crab" "Stamped"Cassette HUTC 88"The Drugs Don't Work" "Three Steps"7" HUTLH 88"The Drugs Don't Work" "The Drugs Don't Work" 12" HUTT 88"The Drugs Don't Work" "Three Steps" "The Drugs Don't Work" "The Crab"Promo CD HUTCDP 88"The Drugs Don't Work" CD 8949382"The Drugs Don't Work" "Three Steps" "The Drugs Don't Work" "Bitter Sweet Symphony" Music video Lyrics