Back to the Basics (EP)
Back to the Basics is the second extended play by American hip hop recording artist Twista, released on December 10, 2013 under his record label, GMG Entertainment. The project is the Chicago emcee's second EP of his career – the first one is 2 for 10 – and follows his eighth studio album, The Perfect Storm, it serves as prelude to The Dark Horse. The seven-track EP features production from The Legendary Traxster, DJ Tight Mike and Lo-Key, two guest appearances, from Dra Day and DJ Victoriouz; the EP was preceded by two music videos – "Intro/Freestyle," and "Beast." In an interview with The Real Hip-Hop in December 2013, Twista explained that the title his EP "pertains" to him "more than the industry". "Sometimes I'll lose sense of self trying to try so many things. I'm so creative that I'll try different things that's out the box and when I feel like I'm going too far out the box I bring it back in. Right at that time when I was bringing it back in I said I wanted to title my new EP Back to the Basics that's what get to as far as the Twista sound and doing what I do that I know people like."The Chicago emcee selected a few songs that he felt was "a good warm-up for people to get reacquainted with Twista" before releasing his upcoming full-length album, titled The Dark Horse, in 2014.
Upon its release, Back to the Basics received mixed reviews from music critics. M. T. Richards of XXL gave the album an L, saying "There’s a a shortage of radio fodder on Back to the Basics: the hooks are modest, the beats conservative. Technique is Twista’s weapon of choice and foremost priority. We listen to the Rust Belt legend for stuttery but graceful thickets of rhyme, verses that wind like a labyrinth and smoke like black powder." NotesTrack 4 "Beast" & Track 7 "Want My love" were released on Twista's 9th album The Dark Horse in 2014
Atlantic Recording Corporation is an American record label founded in October 1947 by Ahmet Ertegün and Herb Abramson. Over its first 20 years of operation, Atlantic earned a reputation as one of the most important American labels, specializing in jazz, R&B, soul by Aretha Franklin, Ray Charles, Wilson Pickett and Dave, Ruth Brown and Otis Redding, its position was improved by its distribution deal with Stax. In 1967, Atlantic became a wholly owned subsidiary of Warner Bros.-Seven Arts, now the Warner Music Group, expanded into rock and pop music with releases by Led Zeppelin and Yes. In 2004, Atlantic and its sister label. Craig Kallman is the chairman of Atlantic. Ahmet Ertegün served as founding chairman until his death on December 14, 2006, at age 83. In 1944, brothers Nesuhi and Ahmet Ertegun remained in the United States when their mother and sister returned to Turkey after the death of their father Munir Ertegun, Turkey's first ambassador to the U. S; the brothers were fans of jazz and rhythm & blues, amassing a collection of over 15,000 78 RPM records.
Ahmet ostensibly stayed in Washington to undertake post-graduate music studies at Georgetown University but immersed himself in the Washington music scene and entered the record business, enjoying a resurgence after wartime restrictions on the shellac used in manufacture. He convinced the family dentist, Dr. Vahdi Sabit, to invest $10,000 and hired Herb Abramson, a dentistry student. Abramson had worked as a part-time A&R manager/producer for the jazz label National Records, signing Big Joe Turner and Billy Eckstine, he had no interest in its most successful musicians. In September 1947, he sold his share in Jubilee to his partner, Jerry Blaine, invested $2,500 in Atlantic. Atlantic was run by Abramson and Ertegun. Abramson's wife Miriam ran the label's publishing company, Progressive Music, did most office duties until 1949 when Atlantic hired its first employee, bookkeeper Francine Wakschal, who remained with the label for the next 49 years. Miriam gained a reputation for toughness. Staff engineer Tom Dowd recalled, "Tokyo Rose was the kindest name some people had for her" and Doc Pomus described her as "an extraordinarily vitriolic woman".
When interviewed in 2009, she attributed her reputation to the company's chronic cash-flow shortage: "... most of the problems we had with artists were that they wanted advances, and, difficult for us... we were undercapitalized for a long time." The label's office in the Ritz Hotel in Manhattan proved too expensive, so they moved to a room in the Hotel Jefferson. In the early fifties, Atlantic moved from the Hotel Jefferson to offices at 301 West 54th St and to 356 West 56th St. Atlantic's first recordings were issued in late January 1948 and included "That Old Black Magic" by Tiny Grimes and "The Spider" by Joe Morris. In its early years, Atlantic concentrated on modern jazz although it released some country and western and spoken word recordings. Abramson produced "Magic Records", children's records with four grooves on each side, each groove containing a different story, so the story played would be determined by the groove in which the stylus happened to land. In late 1947, James Petrillo, head of the American Federation of Musicians, announced an indefinite ban on all recording activities by union musicians, this came into effect on January 1, 1948.
The union action forced Atlantic to use all its capital to cut and stockpile enough recordings to last through the ban, expected to continue for at least a year. Ertegun and Abramson spent much of the late 1940s and early 1950s scouring nightclubs in search of talent. Ertegun composed songs under the alias "A. Nugetre", including Big Joe Turner's hit "Chains of Love", recording them in booths in Times Square giving them to an arranger or session musician. Early releases included music by Sidney Bechet, Barney Bigard, The Cardinals, The Clovers, Frank Culley, The Delta Rhythm Boys, Erroll Garner, Dizzy Gillespie, Tiny Grimes, Al Hibbler, Earl Hines, Johnny Hodges, Jackie & Roy, Lead Belly, Meade Lux Lewis, Professor Longhair, Shelly Manne, Howard McGhee, Mabel Mercer, James Moody, Joe Morris, Art Pepper, Django Reinhardt, Pete Rugolo, Pee Wee Russell, Bobby Short, Sylvia Syms, Billy Taylor, Sonny Terry, Big Joe Turner, Jimmy Yancey, Sarah Vaughan, Mal Waldron, Mary Lou Williams. In early 1949, a New Orleans distributor phoned Ertegun to obtain Stick McGhee's "Drinking Wine, Spo-Dee-O-Dee", unavailable due to the closing of McGhee's previous label.
Ertegun knew Stick's younger brother Brownie McGhee, with whom Stick happened to be staying, so he contacted the McGhee brothers and re-recorded the song. When released in February 1949, it became Atlantic's first hit, selling 400,000 copies, reached No. 2 after spending six months on the Billboard R&B chart – although McGhee himself earned just $10 for the session. Atlantic's fortunes rose rapidly: recorded 187 songs were recorded in 1949, more than three times the amount from the previous two years, received overtures for a manufacturing and distribution deal with Columbia, which would pay Atlantic a 3% royalty on every copy sold. Ertegun asked about artists' royalties, which he paid, this surprised Columbia executives, who did not, the deal was scuttled. On the recommendation of broadcaster Willis Conover and Abramson visited Ruth Brown at the Crystal Caverns club in Washington and invited her to audition for Atlantic, she was injured in a car accident en route to New York City, but Atlantic supported her for nine months and signed her.
Contemporary R&B is a music genre that combines elements of rhythm and blues, soul, hip hop and electronic music. The genre features a distinctive record production style, drum machine-backed rhythms, pitch corrected vocals, a smooth, lush style of vocal arrangement. Electronic influences are becoming an increasing trend and the use of hip hop or dance-inspired beats are typical, although the roughness and grit inherent in hip hop may be reduced and smoothed out. Contemporary R&B vocalists are known for their use of melisma, popularized by vocalists such as Michael Jackson, R. Kelly, Craig David, Stevie Wonder, Whitney Houston and Mariah Carey. Contemporary R&B originated at the end of the disco era, in the late-1970s, when Michael Jackson and Quincy Jones added more electronic elements to the sound of the time to create a smoother dancefloor-friendly sound; the first result was Off the Wall, which—according to Stephen Thomas Erlewine from AllMusic—"was a visionary album, that found a way to break disco wide open into a new world where the beat was undeniable, but not the primary focus" and "was part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, alluring funk".
Richard J. Ripani wrote that Janet Jackson's Control was "important to the development of R&B for a number of reasons", as she and her producers, Jimmy Jam and Terry Lewis, "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, sound effects, a rap music sensibility." Ripani wrote that "the success of Control led to the incorporation of stylistic traits of rap over the next few years, Janet Jackson was to continue to be one of the leaders in that development." That same year, Teddy Riley began. This combination of R&B style and hip hop rhythms was termed new jack swing and was applied to artists such as Michael Jackson, Bobby Brown, Keith Sweat, Al B. Sure!, Guy and Bell Biv DeVoe. In contrast to the works of Boyz II Men and similar artists, other R&B artists and groups from this same period began adding more of a hip-hop sound to their work, like the innovative group Jodeci; the synthesizer-heavy rhythm tracks of new jack swing were replaced by grittier East Coast hip hop-inspired backing tracks, resulting in a genre labeled hip hop soul by Mary J. Blige and producer Sean Combs who had mentored group Jodeci in the beginning and helped them with their unique look.
The style became less popular by the end of the 1990s, but experienced a resurgence. In 1990, Mariah Carey released Vision of Love, it was immensely popular peaking at number 1 in many worldwide charts including the Billboard Hot 100, it propelled Mariah's career. The song is said to have popularized the use of melisma and brought it in to mainstream R&B. During the mid-1990s, Whitney Houston's The Bodyguard: Original Soundtrack Album sold over 40 million copies worldwide becoming the best-selling soundtrack of all time. Janet Jackson's self-titled fifth studio album janet. which came after her historic multimillion-dollar contract with Virgin Records, sold over twenty million copies worldwide. Boyz II Men and Mariah Carey recorded several Billboard Hot 100 No. 1 hits, including "One Sweet Day", a collaboration between both acts, which became the longest-running No. 1 hit in Hot 100 history. Carey released a remix of her 1995 single "Fantasy", with Ol' Dirty Bastard as a feature, a collaboration format, unheard of at this point.
Carey, Boyz II Men and TLC released albums in 1994 and 1995 -- II and CrazySexyCool. In the late 1990s, neo soul, which added 1970s soul influences to the hip hop soul blend, led by artists such as D'Angelo, Erykah Badu, Lauryn Hill and Maxwell. Hill and Missy Elliott further blurred the line between hip hop by recording both styles. Beginning in 1995, the Grammy Awards enacted the Grammy Award for Best R&B Album, with II by Boyz II Men becoming the first recipient; the award was received by TLC for CrazySexyCool in 1996, Tony Rich for Words in 1997, Erykah Badu for Baduizm in 1998 and Lauryn Hill for The Miseducation of Lauryn Hill in 1999. At the end of 1999, Billboard magazine ranked Mariah Carey and Janet Jackson as the first and second most successful artists of the 1990s. In the second half of the 1990s, The Neptunes and Timbaland set influential precedence on contemporary R&B and hip hop music. R&B acts such as Michael Jackson, Whitney Houston, Janet Jackson, Mariah Carey and Toni Braxton are some of the best-selling music artists of all time.
Following periods of fluctuating success, urban music attained commercial dominance during the early 2000s, which featured massive crossover success on the Billboard charts by R&B and hip hop artists. In 2001, Alicia Keys released "Fallin"', it peaking at number one on the Billboard Hot 100, Mainstream Top 40 and Hot R&B/Hip-Hop Songs charts. It won three Grammy Awards in 2002, including Song of the Year, Best R&B Song, Best Female R&B Vocal Performance, it was nominated for Record of the Year. Beyoncé's solo studio debut album Dangerously in Love has sold over 5 million copies in the United States and earned five Grammy Awards. Usher's Confessions sold 1.1 million copies in its first week and over 8 million copies in 2004, since it has been certified Diamond by the Recording Industry Association of America and, as of 2016, has sold over 10 million copies in the US and over 20 million copies worldwide. Confessions had four consecutive Billboard Hot 100 number one singles—"Yeah!", "Burn", "Confessions Part II" and "My Boo".
In 2004, all 12 songs that topped Billboard Hot 100 were
A CD single is a music single in the form of a compact disc. The standard in the Red Book for the term CD single is an 8cm CD, it now refers to any single recorded onto a CD of any size the CD5, or 5-inch CD single. The format was introduced in the mid-1980s but did not gain its place in the market until the early 1990s. With the rise in digital downloads in the early 2010s, sales of CD singles have decreased. Commercially released CD singles can vary in length from two songs up to six songs like an EP; some contain multiple mixes of one or more songs, in the tradition of 12" vinyl singles, in some cases, they may contain a music video for the single itself as well as a collectible poster. Depending on the nation, there may be limits on the number of songs and total length for sales to count in singles charts. Dire Straits' "Brothers in Arms" is reported to have been the world's first CD single, issued in the UK in two separate singles as a promotional item, one distinguished with a logo for the tour, Live in'85, a second to commemorate the Australian leg of the tour marked Live in'86.
Containing four tracks, it had a limited print run. The first commercially released CD Single was Angeline by John Martyn released on 1 February 1986. CD singles were first made eligible for the UK Singles Chart in 1987, the first number 1 available on the format in that country was "I Wanna Dance with Somebody" by Whitney Houston in May 1987; the Mini CD single CD3 format was created for use for singles in the late 1980s, but met with limited success in the US. The smaller CDs were more successful in Japan and had a resurgence in Europe early this century, marketed as "Pock it" CDs, being small enough to fit in a shirt pocket. By 1989, the CD3 was in decline in the US, it was common in the 1990s for US record companies to release both a two-track CD and a multi-track maxi CD. In the UK, record companies would release two CDs but these consisted of three tracks or more each. During the 1990s, CD single releases became less common in certain countries and were released in smaller editions, as the major record labels feared they were cannibalizing the sales of higher-profit-margin CD albums.
Pressure from record labels made singles charts in some countries become song charts, allowing album cuts to chart based only on airplay, without a single being released. In the US, the Billboard Hot 100 made this change in December 1998, after which few songs were released in the CD single format in the US, but they remained popular in the UK and other countries, where charts were still based on single sales and not radio airplay. At the end of the 1990s, the CD was the biggest-selling single format in the UK, but in the US, the dominant single format was airplay. With the advent of digital music sales, the CD single has been replaced as a distribution format in most countries, most charts now include digital download counts as well as physical single sales. In Australia, the Herald Sun reported the CD single is "set to become extinct". In early July 2009, leading music store JB Hi-Fi ceased stocking CD singles because of declining sales, with copies of the week's No. 1 single selling as few as only 350 copies across all their stores nationwide.
While CD singles no longer maintain their own section of the store, copies are still distributed but placed with the artist's albums. That is predominantly the case for popular Australian artists such as Jessica Mauboy, Kylie Minogue and, most Delta Goodrem, whose then-recent singles were released on CD in limited quantities; the ARIA Singles Chart is now "predominantly compiled from legal downloads", ARIA stopped compiling their physical singles sales chart. "On a Mission" by Gabriella Cilmi was the last CD single to be stocked in Kmart and Big W, who concluded stocking newly released singles. Sanity Entertainment, having resisted the decline for longer than the other major outlets, has ceased selling CD singles. In China and South Korea, CD single releases have been rare since the format was introduced, due of the amount of infringement and illegal file sharing over the internet, most of the time singles have been album cuts chart based only on airplay, but with the advent of digital music the charts have occasionally included digital download counts.
In Greece and Cyprus, the term "CD single" is used to describe an extended play in which there may be anywhere from three to six different tracks. These releases charted on the Greek Singles Chart with songs released as singles; the original CD single is a music single released on a mini Compact Disc that measures 8 cm in diameter, rather than the standard 12 cm. They are manufactured using the same methods as standard full-size CDs, can be played in most standard audio CD players and CD-ROM disc drives; the format was first released in the United States, United Kingdom, France, West Germany, Hong Kong in 1987 as the replacement for the 7-inch single. While mini CDs have fallen out of popularity among most major record labels, they remain a popular, low cost way for independent musicians and groups to release music. Capable of holding up to 20 minutes of music, most mini CD singles contain at least two tracks, ofte
Fly Like a Bird
"Fly Like a Bird" is a song by American singer and songwriter Mariah Carey, first released on February 13, 2006 by Island Records as the sixth single from her tenth studio album, The Emancipation of Mimi. Written and produced by Carey and James "Big Jim" Wright, the song is influenced by Gospel, R&B music genres, its arrangement is built on piano chords and guitar melodies, features Carey's pastor Clarence Keaton, who recites two Biblical verses during the song's introduction and bridge. Carey described "Fly Like a Bird" as the most personal and religious track from The Emancipation of Mimi, with its lyrics featuring a veritable prayer to God: "Fly like a bird, take to the sky, I need you now Lord, carry me high!". At the time of its release, "Fly Like a Bird" received acclaim from music critics. While many praised Carey's strong vocal performance throughout its climax, many pinpointed on its lyrical content and compared it to Carey's debut song, "Vision of Love". Released as the final single from its parent album, the song was only sent to adult contemporary and gospel radio stations, during the same time "Say Somethin'" was commissioned to mainstream channels.
Carey performed the song on several high-profile industry events, including the 48th annual Grammy Awards, the Shelter from the Storm: A Concert for the Gulf Coast concert charity benefit, Idol Gives Back. Additionally, Carey included the song on the set-lists for all her succeeding tours since its release. Following record-breaking success throughout the 1990s, Carey departed from Columbia Records after the release of Rainbow. A year she signed an unprecedented $100 million five-album record contract with Virgin Records, began work on a film and soundtrack project titled Glitter. Prior to its release on September 11, 2001, Carey suffered an "emotional and physical breakdown", was subsequently hospitalized over a period of several weeks. Glitter became a box-office bomb, earning less than eight million dollars, receiving scathing reviews; the soundtrack, while faring better, failed to reach the critical or commercial heights of Carey's previous releases, lead to the annulment of her record contract with Virgin.
Following the events, as well as the release of Carey's succeeding album, she began working on new material for The Emancipation of Mimi. Aside from the dance-influenced tracks and the ballads, Carey created a concept, in which a song's lyrics would reach out to God, she created the song's choral lyrics and main instrumentation, before calling James "Big Jim" Wright for a collaboration. During their meeting, Wright helped Carey arrange the song's chord structure, as well as produce the introduction, while Carey finished the rest of the lyrics. Once completing "Fly Like a Bird", Carey had her pastor, Clarence Keaton, read two verses from the Bible on the song, "Weeping may endure for the night, but joy comes in the morning" during the introduction, "He said'He'll never forsake you, or leave you alone' Trust him". According to Carey, the song, as well as the Biblical verses, were included on her "comeback album" because they helped her get through many difficult situations in the past, she described moments that were difficult growing up, during which she reached out to God, as well as during her breakdown, when she used such verses to give her faith.
Carey explained how although the verses helped her no one had said them to her. For this reason, she wanted to make sure they were there for fans and listeners to hear, in order to give them faith and assurance lest they be in a grave situation. Following the extended chart success of The Emancipation of Mimi, "Fly Like a Bird" was released as a promotional single from the project. Promoted alongside "Say Somethin', the song was released on March 13, 2006 to urban, urban AC and gospel stations, while the latter to mainstream Top 40 channels. Tom Ferguson from Billboard did not agree with releasing both singles concurrently, as he had given "Say Somethin'" a negative review. According to Ferguson, while the latter had radio appeal, its "scantily produced drum'n'bass" only distracted, concluding "'Fly Like A Bird' is a classic: why muddy the water with this release." "Fly Like a Bird" is a mid-tempo ballad, drawing influence from Gospel, soul and R&B music genres. It incorporates music including the organ, bass drum and trumpet.
According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is set in common time with a moderate tempo of 54 beats per minute. It is composed in the key of C# minor to D minor at the song's climax), with Carey's vocal range spanning four octaves, from the low-note of B2 in a background note to the high-note of A6; the song's chorus has a chord progression of F♯m7-Bm-G/A-Bmaj7 in the verses, while changing into Gmaj7 during the bridge. Lyrically, "Fly Like a Bird" boasts a prayer in which the protagonist asks God for help during difficult times, to carry them "higher and higher". Cintra Wilson from LA Weekly described the song's lyrics in depth, as well as where she felt the yearning lyrics stemmed from:'Fly Like A Bird', is a kitchen-sink, hyper-produced gospel number, but is quite moving. There is a real, human yearning for mercy in it — Mariah’s true cry for help from a place of near-suicidal despair:'Sometimes this life can be so cold / I pray you'll come and carry me home'.
But there’s a lot of hope and faith in this wounded voice: Carey keeps, with touching conviction, a firm grip on the idea that some higher, divine intelligence out there loves her if nobody else does. It comes across because her heart is in it — Mimi has been beaten
Don't Forget About Us
"Don't Forget About Us" is a song by American singer and songwriter Mariah Carey. It was written by Carey, Jermaine Dupri, Bryan-Michael Cox and Johntá Austin, released as the fifth single on October 1, 2005, for the re-issue of her tenth studio album, The Emancipation of Mimi. Co-produced by the former three, the song is influenced by R&B and hip hop soul music genres, lyrically chronicles the emotions felt by the protagonist after the loss of their relationship. Carey explained that the true meaning of the song is to be interpreted by the listener, therefore not disclosing its entire meaning publicly; the song received positive reviews from music critics, with many comparing it to Carey's previous single "We Belong Together". Several reviewers felt the song's similarity marked Carey's lack of creativity with it, while others embraced its radio-friendly formula. "Don't Forget About Us" became Carey's seventeenth chart topping single on the US Billboard Hot 100, tying the record for most number-one singles by a solo artist set by Elvis Presley 36 years before.
Internationally, the song topped the singles chart in Belgium and Finland, reached the top-ten in Hungary and the Netherlands. Carey performed the song at the 33rd annual American Music Awards, during the half-time of the Thanksgiving game between the Detroit Lions and the Atlanta Falcons. Additionally, the song was included on the set-lists of Carey's The Adventures of Mimi and Angels Advocate Tours; the song's music video chronicles the two time frames, Carey in the present, as well as the past memories she shared with her ex-lover that continue to haunt her. At the 49th annual Grammy Awards, "Don't Forget About Us" was nominated for two awards during the ceremony held on February 11, 2007. After being branded Carey's "comeback album" by music critics, becoming the highest selling album of her career post-Glitter, The Emancipation of Mimi inspired Carey to return to the studio, in hopes of writing and producing new material for her next studio album. During a writing session with Jermaine Dupri, Carey wrote "Don't Forget About Us" as a possible single for her next album, reminiscent of the material on The Emancipation of Mimi.
After hearing the unfinished version of the song, L. A. Reid, CEO at the time of Carey's label Island Records, was satisfied with the song, he convinced Carey to continue writing and producing new songs, suggested on re-releasing the album, which had sold over four million units in the United States alone. Carey agreed to the idea of re-releasing The Emancipation of Mimi, feeling eager to release the song, as well as other material to her fans, instead of making them wait for a brand new album. In an interview with MTV News, Carey discussed the decision of releasing the song as well as the re-release of the album:'Don't Forget About Us' was a song that Jermaine and I started writing and didn't finish, L. A. Reid heard it, he was excited about it and he was like,'We should re-release the album. I agreed because were trying to figure out what to do with the song because we loved it so much, we didn't want to wait until the next album to send it to radio. After completing the song, Carey announced on October 13, 2005 via her official website, that she would be re-releasing The Emancipation of Mimi.
Additionally, she explained how the album would contain four new songs, would be promoted internationally by the new single, "Don't Forget About Us". The song was released throughout the globe as the fifth official single from The Emancipation of Mimi, the first from the re-release, tentatively titled, Ultra Platinum Edition. "Don't Forget About Us" is a mid-tempo song lasting three minutes and fifty-three seconds, while drawing influence from pop and R&B with downtempo beats music genres. Written by Carey, Jermaine Dupri, Bryan-Michael Cox and Johntá Austin, produced by the former three, the song drew comparisons to Carey's "We Belong Together". According to Michael Paoletta from Billboard, the song features a similar tempo, lyrical style and production as the latter song, incorporates a reminiscent vocal performance from Carey. According to the sheet music published at Musicnotes.com by Alfred Music Publishing, the song is set in common time with a moderate tempo of 72 beats per minute. The song is composed in the key of G minor, with Carey's vocal range spanning from the low-note of D3 to the high-note of F6.
Lyrically, the song describes the potency of a "first love", features a protagonist pleading to her lover to "not forget about them". Critics noted. Carey sings, "You just let it die / With no goodbyes", indicating a relationship that has long decayed, how she has let it drift away, while adding, "There's only one me and you / And how we used to shine / No matter what you go through / We are one, that's a fact that you can't deny", indicating that while they are no longer together, she will continue to cherish the memory of them and how strong their love was. According to Carey, she refrained from giving away too much of the song's lyrical meaning, in order to allow fans to interpret the song in their own way: I try not to get too specific so that people can apply the lyrics to their own lives; when I was growing up and listening to the radio and I would hear a song that reminded me of a certain person or a situation or whatever, I would want to be able to connect it to that moment. And if I heard someone explaining it and making it into something different, it ruined it for me.
So I kind of like to keep it open for people's imaginations. It evokes something different depending on who listens at what time. "Don't Forget About Us" could give you
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