A-side and B-side

Victor 17929A and 17929B.

17929A-Lucia di Lammermoor

The terms A-side and B-side refer to the two sides of 78, 45, and 33​13 rpm phonograph records, or cassettes, whether singles, extended plays (EPs), or long-playing (LP) records. The A-side usually featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and then receive radio airplay, hopefully, to become a "hit" record. The B-side (or "flip-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.[1]


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 approximately two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity (both media could hold between three and four minutes by 1910). Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, and by 1910 most record labels had adopted the format in both Europe and the United States; the ability to effectively double the amount of sound on the disc was one major factor in its rising to dominance over the cylinder record which was obsolete by 1912.

There were no record charts until the 1930s, and radio stations (by and large) did not play recorded music until the 1950s (when top 40 radio overtook full-service network radio). 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.

In June 1948, Columbia Records introduced the modern 33​13 rpm long-playing (LP) microgroove vinyl record for commercial sales, and its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would quickly 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. (All records have specific identifiers for each side in addition to the catalog number for the record itself; the "A" side would typically be assigned a sequentially lower number.) 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 (in Billboard, Cashbox, or other magazines), 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 record company wanted radio stations to play, as 45 rpm single records (or '45s') 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 finally surpassed that of singles in the United Kingdom.[2] In the late 1960s, stereo versions of pop and rock songs began to regularly 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, and stereo version of the same song on the other.

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, instrumental versions or simply 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 (DJ version) 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 often have one song on each side of the cassette, matching the arrangement of vinyl records, but eventually, cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, and the A-side/B-side dichotomy became virtually 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, and the term "B-side" is now less commonly 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, and are usually referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available solely 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 commonly released in this way, including a different version (e.g., instrumental, a cappella, live, acoustic, remixed version or in another language), or, in a concept record, a song that does not fit into the story line.

Additionally, it was common in the 1960s and 1970s for longer songs, especially by soul, funk, and R&B acts, to be broken into two parts for single release. Examples of this include Ray Charles's "What'd I Say", the Isley Brothers' "Shout", and a number of records by James Brown, including "Papa's Got a Brand New Bag" and "Say It Loud - I'm Black and I'm Proud". Typically, "part one" would be the chart hit, while "part two" would be a continuation of the same performance. A notable example of a non-R&B hit with two parts was the single release of Don McLean's "American Pie". With the advent of the 12in single in the late 1970s, the part one/part two method of recording was largely abandoned. Modern day examples are Fall Out Boy's EP, My Heart Will Always Be The B-Side To My Tongue, or My Chemical Romance's The Black Parade, The B-Sides

Since both sides of a single received equal royalties, some composers deliberately arranged for their songs to be used as the B-sides of singles by popular artists. This became known as the "flipside racket". Similarly, it has also been alleged that owners of pirate radio stations operating off the British coast in the 1960s would buy the publishing rights to the B-sides of records they expected to be hits, and then plug the A-sides in the hope of driving up sales and increasing their share of the royalties.

Occasionally, the B-side of a single would become the more popular song. This sometimes occurred because a DJ preferred the B-side to its A-side and played it instead. Some examples include "I Will Survive" by Gloria Gaynor (originally the B-side of "Substitute"), "I'll Be Around" by the Spinners (originally the B-side of "How Could I Let You Get Away") and "Maggie May" by Rod Stewart (originally the B-side of "Reason to Believe"). Probably the most well-known of these, however, is "Rock Around the Clock" by Bill Haley & His Comets (originally the B-side of "Thirteen Women (And Only One Man In Town))".

The song "How Soon Is Now?" by the Smiths started out as the extra track on the 12-inch of William, It Was Really Nothing but later gained a separate release as an A-side in its own right, as did Oasis's "Acquiesce", which originally appeared as a B-side to "Some Might Say" in 1995, but gained subsequent release in 2006 as part of an EP to promote their forthcoming compilation album, Stop the Clocks. Feeder in 2001 and 2005 had the B-sides "Just a Day" from "Seven Days in the Sun", and "Shatter" from "Tumble and Fall" released as A-sides after fan petitions and official website and fansite message board hype, and both charted at No. 12 and No. 11 in the UK. In 1986, the first single from XTC's record Skylarking, "Grass", was eclipsed in the United States by its B-side, "Dear God" – so much so that the record was almost immediately re-released with one song ("Mermaid Smiled") removed and "Dear God" put in its place, becoming one of the band's better-known hits.

On many reissued singles, the A- and B-sides are two hit songs from different albums that were not originally released together, or were by completely different artists, altogether. These were often made for the jukebox, as one record with two popular songs on it would make more money, or to promote an artist to the fans of another. For example, in 1981 Kraftwerk released their new single "Computer Love" coupled with the B-side "The Model", from their 1978 LP The Man-Machine. With synthpop increasingly dominating the UK charts, the single was re-released with the sides reversed. In early 1982 "The Model" reached number one.

Double A-side

A "double A-side" is a single where both sides are designated the A-side; there is no B-side on such a single. The double A-sided single was invented in December 1965 by the Beatles for their single of "We Can Work It Out" and "Day Tripper", where both were designated A-sides.[3] They continued to use the format for the release of the singles "Eleanor Rigby" and "Yellow Submarine" in 1966, followed by "Strawberry Fields Forever" / "Penny Lane" in 1967, and "Something" / "Come Together" in 1969. Other groups followed suit, notably the Rolling Stones in early 1967 with "Let's Spend the Night Together" / "Ruby Tuesday" as a double-A single.

A double A-sided single is often confused with a single where both sides, the A and the B, became hits. Although many artists in the late 1950s and early 1960s like Elvis Presley, the Everly Brothers, Fats Domino, Ricky Nelson, the Beach Boys, Brenda Lee, and Pat Boone, routinely had hit singles where both sides of the 45 received airplay, these were not double A-sides. The charts below tally the instances for artists' singles where both sides were hits, not where both sides were designated an A-side upon manufacture and release. For instance "Don't Be Cruel", the B-side of "Hound Dog" by Elvis Presley, became as big a hit as its A-side even though "Don’t Be Cruel" was not the intended A-side when released in 1956. Reissues later in the 1960s (and after the Beatles' "Day Tripper"/"We Can Work It Out") listed the single with both songs as the A-side. Also, for Cliff Richard's 1962 "The Next Time"/"Bachelor Boy", both sides were marketed as songs with chart potential, albeit with "Bachelor Boy" pressed as the B-side.

In the UK, before the advent of digital downloads, both A-sides were accredited with the same chart position, as the singles' chart was compiled entirely from physical sales. In the UK, the biggest-selling non-charity single of all time was a double A-side, Wings' 1977 release "Mull of Kintyre"/"Girls' School", which sold over two million copies. It was also the UK Christmas No. 1 that year, one of only two occasions on which a double A-side has topped that chart, the other being Queen's 1991 re-release of "Bohemian Rhapsody" with "These Are the Days of Our Lives".[4] Nirvana released "All Apologies" and "Rape Me" as a double A-side in 1993, and both songs are accredited as a hit on both the UK Singles Chart,[5] and the Irish Singles Chart.[6]

Queen released their first double-A single, "Killer Queen"/"Flick of the Wrist", in 1974. "Killer Queen" became a hit, while "Flick of the Wrist" was all but ignored for lack of promotion. Three years later, they released "We Are the Champions" with "We Will Rock You" as a B-side. Both sides of the single received much radio airplay (often one after the other), which led to them sometimes being referred to as a double A-side. In 1978 they released "Fat Bottomed Girls"/"Bicycle Race" as a double A-side; that time both sides of the single became hits.

Occasionally double-A-sided singles were released with each side targeting a different market. During the late 1970s, for example, Dolly Parton released a number of double-A-sided singles, in which one side was released to pop radio, and the other side to country, including "Two Doors Down"/"It's All Wrong, But It's All Right" and "Baby I'm Burning"/"I Really Got the Feeling". In 1978, the Bee Gees also used this method when they released "Too Much Heaven" for the pop market and the flip side, "Rest Your Love on Me", which was aimed toward country stations.

Many artists continue to release double A-sided singles outside of the US where it is seen as more popular. Examples of this include Oasis's "Little by Little"/"She Is Love" (2002), Bloc Party's "So Here We Are"/"Positive Tension" (2005) and Gorillaz's "El Mañana"/"Kids with Guns" (2006).

Artists having the most US double-sided singles on which each side charted in the US Hot 100, according to Billboard:[7]

Artist Number
Elvis Presley 51
The Beatles 26
Fats Domino 24
Pat Boone 21
Ricky Nelson 19
Nat King Cole 19
Brenda Lee 16
Ray Charles 16
Connie Francis 13
The Everly Brothers 13
Perry Como 12
Brook Benton 12
Aretha Franklin 11
Sam Cooke 11
The Platters 10
Jackie Wilson 10
The Beach Boys 8
Creedence Clearwater Revival 7
Bill Haley & His Comets 6
Johnny Mathis 6
The Rolling Stones 6
The Monkees 6
  • Perry Como (12) and Nat King Cole (19) both had additional double-sided singles on Billboard's pre-1955 charts.[8]

Artists having the most US double-sided singles on which each side reached the Billboard Top 40, according to Billboard:[7]

Artist Number
Elvis Presley 26
The Beatles 14
Ricky Nelson 11
Pat Boone 10
Fats Domino 9
Brenda Lee 6
Connie Francis 6
Everly Brothers 6
Perry Como 6
Creedence Clearwater Revival 6
Nat King Cole 5
The Beach Boys 5

Double B-side

On vinyl, double A-sided singles had one song on either side of the record, while double B-sides contained two songs on the same side (on the B-side, making three songs in all). When such singles were introduced in the 1970s, the popular term for them was "maxi single", though this term is now used more ambiguously for a variety of formats. For some people these records would not quite qualify as EPs, for those generally have four songs on a 45.

Genesis's 1978 7-inch single "Many Too Many" featured two B-sides, "The Day the Light Went Out" and "Vancouver", both of them being outtakes from the ...And Then There Were Three... album. There was no 12-inch equivalent. The band released two 7-inch singles with three tracks apiece, Spot the Pigeon and 3X3 (also known as "Paperlate"), which were explicitly marked as EPs. "Spot the Pigeon" was also available in a 12-inch version, and also subverted this format a bit, by having two tracks on the A-side and one track on the B-side. The B-side, "Inside and Out", was also considered the selling point of the EP, being Steve Hackett's last contribution to the band, and remains a favorite of many fans.

Paul McCartney's 1980 single "Coming Up" had a studio version of the song on the A-side, while the B-side contained two songs, a live version of "Coming Up" and a studio instrumental called "Lunchbox/Odd Sox".

Iron Maiden's 1980 7-inch single "Sanctuary" was a re-recording of a song that had been given for use on the Metal For Muthas compilation the previous year. The recording was made during the Iron Maiden sessions but was left off the UK version of that album, and was then put out as a single. To help compensate fans who had specifically bought Metal for Muthas for the track, the "Sanctuary" single had two live B-sides which were deliberately selected to be non-album tracks—"I've Got The Fire" (a cover of the Montrose song) and "Drifter". A studio recording of "Drifter" (featuring Adrian Smith instead of Dennis Stratton) appeared on their next album, Killers, and a studio version of "I've Got The Fire" featuring Bruce Dickinson appeared on the B-side of "Flight of Icarus" a few years later. At the time this single was released they were the first live Iron Maiden tracks released (though more would follow), and it remains the only officially released recording of "I've Got The Fire" with Paul Di'Anno on vocals.

The singles from U2's album The Joshua Tree were released with two B-side songs each, which were pressed at 33​13 rpm. Versions for jukeboxes included only one of those songs, which played at 45 rpm.

The UK 7-inch single of "Love Shack" by The B-52's was released with live versions of "Planet Claire" and "Rock Lobster" on the B-side, which plays at 33​13 rpm. The follow-up "Roam" followed suit, including live versions of "Whammy Kiss" and "Dance This Mess Around" on the B-side playing at 33​13 rpm.

The Rolling Stones released "Brown Sugar" from their album Sticky Fingers in May 1971. While the American single featured only "Bitch" as the B-side, the British single added a third track, a live rendition of "Let It Rock" (the Chuck Berry classic) recorded at the University of Leeds during their 1971 tour of the UK.

Humorous implementations

The concept of the B-side has become so well-known that many performers have released parody versions, including:

  • The 1988 single "Stutter Rap (No Sleep til Bedtime)" by parody band Morris Minor and the Majors featured a B-side titled "Another Boring 'B'-side".
  • Parody band Bad News recorded a video B-side for the VHS version of their single "Bohemian Rhapsody", titled "Every Mistake Imaginable", in which the band discusses that they have to record an extra three minutes of footage for the single to be eligible for the charts.
  • Tracey Ullman's hit "They Don't Know" was backed in the UK by a song entitled "The B Side" and featured Ullman in a variety of comic monologues, many of which bemoaned the uselessness of B-sides. (The US release used the album's title track, "You Broke My Heart in 17 Places", as the B-side.)
  • Paul and Linda McCartney's B-side to Linda McCartney's "Seaside Woman" (released under the alias Suzy and the Red Stripes) was a song called "B-Side to Seaside".
  • The single "O.K.?", from the soundtrack album of the TV series Rock Follies of '77, contained a song called "B-Side?" which featured Charlotte Cornwell tunelessly singing about the fact that she is not considered good enough to sing an A-side.
  • The B-side of the single "They're Coming to Take Me Away, Ha-Haaa!" by Napoleon XIV was called "!aaaH-aH, yawA eM ekaT oT gnimoC er'yehT" and the singer billed as "Noelopan VIX". It was the A-side played in reverse; in fact, most of the label affixed to that B-side was a mirror image of the front label (as opposed to being spelled backwards), including the letters in the "WB" shield logo.
  • Blotto's 1981 single "When the Second Feature Starts" features "The B-Side", a song about how bad B-sides are compared to A-sides.
  • Love and Rockets' novelty side project the Bubblemen released only one single in 1988, "The Bubblemen Are Coming" coupled with "The B-Side", which is a field recording of bees.
  • The Wall of Voodoo 1982 12-inch EP Two Songs by Wall of Voodoo has the 10-minute joke track "There's Nothing on This Side" on the B-side.
  • Metric released in 2008 a single entitled "Help, I'm Alive", with a B-side "Help, I'm a B-Side".
  • Three Dog Night's 1973 single "Shambala" featured "Our 'B' Side", about the group wishing it could be trusted to write their own songs for single release. It is the only Three Dog Night single written and produced by the whole group, and features family members on background vocals.
  • Dickie Goodman's 1974 release "Energy Crisis '74" featured "The Mistake" as the B-side, which was simply a false start of the A-side, with Goodman saying, "Mr. President, the crisis...", followed by two minutes of silence. (It was literally a mistake: the intended B-side was an instrumental called "Ruthie's Theme".[9] However, when Goodman realized the factory had stamped a number of the botched pressings, he simply placed the full version of "Energy Crisis '74" on the other side, and released the records anyway.)
  • The Pearl Harbor and the Explosions song "You Got It" was backed by "Busy Little B Side", also found on the Warner Bros. two-LP sampler, Troublemakers.
  • The B-side of B. A. Robertson's 1979 single "Goosebumps" is entitled "The B-Side" and contains lyrics from the song's point of view. The lyrics describe the song as being "the back of a hit" and "real popular after the war", which can be said to relate to the dominance of the 45 rpm single after World War II, and the change of significance of the A-side and the B-side after this time. This track also opens side two of Robertson's album Initial Success.
  • One of the B-sides from Lenny Kravitz's single "Heaven Help" is called "B Side Blues" and documents the sheer boredom of him being under a lot of pressure from his record company to write more successful material.
  • Kaiser Chiefs released a 7-inch single of "You Can Have It All" that featured a blank B-side. Parodying their hit record I Predict A Riot, the label on this blank side suggested it contained the track "I Predict Some Quiet".


The term "b/w", an abbreviation of "backed with", is often used in listings to indicate the B-side of a record. The term "c/w", for "coupled with", is used similarly.[10]


  1. ^ Plasketes, Professor George (January 28, 2013). B-Sides, Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the Present. Ashgate Publishing.
  2. ^ MacDonald, p. 296
  3. ^ Hutchins, Chris. "Music Capitals of the World" Billboard December 4, 1965: 26
  4. ^ 1977-12-24 Top 40 Official UK Singles Archive | Official Charts
  5. ^ Nirvana – UK Singles Chart Archive officialcharts.com. Retrieved October 23, 2013.
  6. ^ User needs to do an artist search for "Nirvana" irishcharts.ie. Retrieved October 23, 2013.
  7. ^ a b Whitburn, Joel, Top Pop Singles 1955–2006, Record Research Inc., 2007
  8. ^ Whitburn, Joel, Pop Memories 1890–1954, Record Research Inc., 1986
  9. ^ It was typical of Goodman's records to feature throwaway tunes on the reverse, often with different names. In fact, "Ruthie's Theme" is the same tune as "Problems", which appears on the B-side of the Goodman-produced "Super Fly Meets Shaft" by John and Ernest.
  10. ^ "The Straight Dope: In the record business, what do "b/w" and "c/w" mean?". Retrieved 2009-01-12.


  • MacDonald, Ian. Revolution in the Head: The Beatles' Records and the SixtiesISBN 1-84413-828-3
  • "A History of the 45rpm record" Martland, Peter. EMI: The First 100 YearsISBN 0-7134-6207-8
CD single

A CD single (sometimes abbreviated to CDS) 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 (3 inch) CD (or Mini CD). It now refers to any single recorded onto a CD of any size, particularly 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 (an A side and B side, in the tradition of 7" 45rpm records) up to six songs like an EP. Some contain multiple mixes of one or more songs (known as remixes), in the tradition of 12" vinyl singles, and in some cases, they may also 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.

CTS Eventim

CTS Eventim AG & Co. KGaA is a German company in the leisure-events market, both ticketing and live entertainment, headquartered in Bremen. Through subsidiaries such as Eventim UK, CTS Eventim provides ticketing services in numerous European countries. It is one of the 50 companies comprising the MDAX index.

Dead Forever...

Dead Forever... is the debut album by Australian proto-heavy metal band Buffalo, recorded and originally released in 1972. Considered by some to be the first Australian heavy metal album, Dead Forever... also strongly displayed the band's progressive rock and psychedelic influences. Significantly, it was the first release by a non-British and non-European artist on the legendary Vertigo label. The album was remastered and reissued in March 2006 by Australian record label Aztec Music on CD with additional tracks, including an A-side and B-side released by the pre-Buffalo outfit Head.


Flipside, flip side, or flipsyde may refer to:

The B-side of a gramophone record's A-side and B-side

Hurry Xmas

"Hurry Xmas" is the thirty-fourth single by L'Arc-en-Ciel, released on November 14, 2007. There are two editions of the original single, a regular and s special edition. The special edition was packaged in a gift box, includes a DVD with two music videos for the A-side and B-side, a photograph of the band, and a Christmas ornament.

It was also re-released on November 26, 2008 and again on December 9, 2009. The 2009 special edition was packaged in a gift box, included a DVD with two live videos for the A-side and B-side, a new photograph of the band, and a new Christmas ornament. The single was re-released again on November 24, 2010.

The 2007 original release reached number 2 on the Oricon chart. The 2008, 2009 and 2010 re-releases reached number 8, 5, and 19 respectively.

Joint (song)

"Joint", stylized as "JOINT", is the fifth maxi single by Japanese J-pop artist Mami Kawada, with both its A-side and B-side featured in her 2008 Savia album. It contains four tracks in both regular and instrumental versions and spans 17:40. Both its A-side and B-side tracks are featured as opening and ending themes for the second season of the anime series Shakugan no Shana. Geneon Entertainment released the single on October 31, 2007 in both a regular CD release and a limited CD and DVD that featured the music video for the track "Joint" bearing the catalog numbers GNCA-86 and GNCA-85 respectively.

Journey / Is It OK?

"Journey / ...Is It OK?" is the first A-side and B-side digital single to be released from the soundtrack album of SBS's TV drama Paradise Ranch. It was released on January 26, 2011 under the record label of S.M. Entertainment. The A-side track "Journey" was performed by TVXQ's U-Know Yunho and Max Changmin featuring Seohyun of Girls' Generation. The B-side track "...Is It OK?" (Korean: 좋아해도 되나요; lit: Can It Be Love?) was performed by Korean-Chinese girl group f(x). Both songs were later included in the Paradise Ranch OST which was released on February 9, 2011.

Kaze no Naka de

"Kaze no Naka de" (風の中で, lit. "In the Wind") is the third single by Japanese recording artist Arisa Mizuki. It was released on November 21, 1991 as the third and final single from Mizuki's debut studio album Arisa. Both the A-side and B-side were written and composed by Amii Ozaki. The title track, "Kaze no Naka de," served as theme song for Mizuki's first feature film Chō Shōjo Reiko. "Graduation (Tobira o Nukete)" served as theme song for the Japanese dub of the animated series Babar. "Kaze no Naka de," which was written for Mizuki's debut album Arisa, was released as a single at Mizuki's request.

Love Letter (Gackt song)

"Love Letter" is a single released by Gackt on March 1, 2006 under Nippon Crown. It peaked at ninth place on the Oricon weekly chart and charted for seven weeks. The A-side and B-side were used in the Mobile Suit Zeta Gundam movie Love is the Pulse of the Stars (星の鼓動は愛, Hoshi no kodō wa ai), as opening and ending themes, respectively. "Dybbuk" also previously appeared on Gackt's 2003 album Crescent. It was certified gold by RIAJ.

Marquee Moon (song)

"Marquee Moon" is the title track from American rock band Television's first album, Marquee Moon. It was written by Tom Verlaine.

In the United Kingdom, "Marquee Moon" was released as a single on April 1, 1977. Its first pressing was as a 12" single only, limited to 25,000 copies, with the song in stereo on one side and in mono on the other side. Subsequent pressings of the single were as a 7" single, with the track split into two over the A-side and B-side.


"Metamorphoze" (Metamorphoze ~メタモルフォーゼ~, Metamorufōze) is a single released by Gackt on May 25, 2005 under Nippon Crown. It peaked at second place on the Oricon weekly chart and charted for thirteen weeks. In 2005, it was the 62nd best selling single of the year, with sales of 156,709 copies, making it to be Gackt's fourth best selling single. Both, A-side and B-side are also featured in the Mobile Suit Zeta Gundam movie Heir to the Stars. The music video combines footage from the anime with live-action sequences of Gackt piloting in a UC 0093 (Char's Counterattack era) spacesuit and linear seat (a type of cockpit setup in the Gundam series). It was certified gold by RIAJ.

Single (music)

In the music industry, a single is a type of release, typically 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 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.

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 (EP) or, if over six tracks long, an album.

Sino Chart

The Sino Chart is a sales chart in China established in 2009. Chart rankings are based on physical record sales (album, EPs and singles), and does not include download sales.Charts are published every Sunday for paid members and, on Mondays, are released on their official website.

On April 26, 2015 the site officially closed.

Thank Your Lucky Stars (TV series)

Thank Your Lucky Stars was a British television pop music show made by ABC Television, and broadcast on ITV from 1961 to 1966. Of all the show's presenters, Brian Matthew is perhaps the best remembered. Many of the top bands performed on it, and for millions of British teenagers it was essential viewing. As well as featuring British artists, it often included American guest stars.

It would appear from the surviving footage that the bands mimed their latest 45. Occasionally a band was allowed to do two numbers (possibly the A-side and B-side sides of the latest single or an EP or LP track); bands of a higher status such as The Beatles or The Rolling Stones would sometimes play up to as many as four numbers.

A typical 1961 programme listing included The Dale Sisters, Adam Faith, John Leyton, The Brook Brothers, Geoff Goddard and Dion.Audience participation was a strong feature of Thank Your Lucky Stars, and the Spin-a-Disc section, where a guest DJ and three teenagers reviewed three singles, is a very well remembered feature of the show. Generally American singles were reviewed. It was on this section that Janice Nicholls appeared. She was a former office clerk from the English Midlands who became famous for the catchphrase "Oi'll give it foive" which she said with a strong Black Country accent. After she was dropped from the show she trained as a chiropodist and ran a practice in Hednesford in Staffordshire. Billy Butler was another reviewer.The Beatles second national television performance was on the programme, the first being on children's programme Tuesday Rendezvous on 4 December 1962. The first theme song was by Peter Knight & The Knightriders and later on "Lunar Walk" by Johnny Hawksworth was used.

The show ended on 25 June 1966, after two thousand artists appearances. The Musicians' Union were not in favour of such shows as the songs were mimed until the change of policy in 1966.

The 1st Singles Box

The 1st Singles Box is a box set compilation of singles recorded by the Who throughout their history. The album was released exclusively in the United Kingdom on 25 May 2004. It was considered the counterpart to the other compilation album by the Who, entitled Then and Now. The album was set with twelve compact discs containing two songs each, a la the A-side and B-side of the original single. Each individual CD was encased by a paper sleeve representing the single's original artwork from a particular country.

The Surfaris

The Surfaris were an American surf rock band formed in Glendora, California in 1962. They are best known for two songs that hit the charts in the Los Angeles area, and nationally by May 1963: "Surfer Joe" and "Wipe Out", which were the A-side and B-side of the same 45 rpm single.

Universal Radio

Universal Radio is the debut album by New Zealand group Dragon released in June 1974 on Vertigo Records and produced by Rick Shadwell. Universal Radio, along with their second album Scented Gardens for the Blind are in the progressive rock genre—all subsequent albums are hard rock/pop rock.On 2 July 2009, Aztec Music reissued Universal Radio with extensive liner notes, rare photos, and three bonus tracks. The first bonus track is a live recording from 1974 of their cover version of Fleetwood Mac's "Black Magic Woman", while the last two, "X-Ray Creature" and "Dinghy Days" are the A-side and B-side of Marc Hunter's first solo single released in 1973.

Yours Is No Disgrace

"Yours Is No Disgrace" is a song by English progressive rock band Yes, which first appeared as the opening song of their 1971 album The Yes Album. It was written by all five members of the band: Jon Anderson, Chris Squire, Steve Howe, Tony Kaye and Bill Bruford. The song was also released as a single in some continental European countries such as Italy and the Netherlands. In Italy the song was divided between the A-side and B-side. In the Netherlands it was released as a maxi single, backed with "Your Move" and "Sweet Dreams". The song has been a regular feature of Yes' live shows. It has also appeared on many live and compilation albums, including Yessongs, Classic Yes and Yesstory."Yours Is No Disgrace" is a long song, taking almost 10 minutes in its original incarnation on The Yes Album. According to Allmusic critic Dave Thompson, the length and complexity of "Yours Is No Disgrace" was tester for Yes' lengthy songs over their next few albums, most notably "And You and I," although he states that "at the time of release, however, it was unique - and, listened to in isolation today, it remains so."

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