In music, a single or record single is a type of release, typically a short recording of one or more separate tracks. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular songs from albums that are released separately for promotional uses, and in other cases a recording released as a single does not appear on an album. A good example of this would be "Hey Jude" by The Beatles, which was recorded in 1968 during recording sessions for The White Album and is among their most popular songs.
The basic parameters of the music single were established in the late 1800s, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12″/30-cm). By around 1910, however, the 10-inch (25-cm) 78 rpm shellac disc had become the most commonly used format.
The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 1900s. The relatively 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, and 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.
These factors, combined with the 10-inch (25-cm) diameter of standard discs, thereby limited the duration of recording available on each side of a disc to around three minutes. These manufacturing limits in turn exerted a direct effect on the composition of music, as songwriters and performers increasingly 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 recordings—The Beatles' 1968 7-minute single "Hey Jude" was a deliberate challenge to this long-standing 3-minute standard for pop singles.
Singles have been issued on various formats, including 7-inch (18-cm), 10-inch (25-cm) and 12-inch (30-cm) vinyl discs (usually playing at 45 rpm); 10-inch (25-cm) shellac discs (playing at 78 rpm); cassette, 8- and 12-cm (3- and 5-inch) CD singles and 7-inch (18-cm) plastic flexi discs. Other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc (5″/12 cm, 8″/20 cm, etc.).
The most common form of the vinyl single is the 45 or 7 inch, the names are derived from its play speed, 45 rpm and the standard diameter 7″ (18 cm).
The 7″ 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s.
Although 7″ remained the standard size for vinyl singles, 12″ singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12″ discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they 'wore' better, and were less susceptible to scratches. The 12″ single is still considered a standard format for dance music, though its popularity has declined in recent years.
The sales of singles are recorded in record charts in most countries in a Top 40 format. These charts are often published in magazines and numerous television shows and radio programs count down the list. In order to be eligible for inclusion in the charts the single must meet the requirements set by the charting company, usually governing the number of songs and the total playing time of the single.
In popular music, the commercial and artistic importance of the single (as compared to the EP or album) has varied over time, technological development, and according to the audience of particular artists and genres. Singles have generally been more important to artists who sell to the youngest purchasers of music (younger teenagers and pre-teens), who tend to have more limited financial resources. Perhaps the golden age of the single was on 45's in the 1950s and early 1960s in the early years of rock music. Starting in the mid-sixties, albums became a greater focus and more important as artists created albums of uniformly high quality and coherent themes, a trend which reached its apex in the development of the concept album. Over the 2000s, the single generally received less and less attention in the United States as albums, which on compact disc had virtually identical production and distribution costs but could be sold at a higher price, became most retailers' primary method of selling music. Singles continued to be produced in the U.K. and Australia but have declined since the mid 2000s.
Dance music, however, has followed a different commercial pattern, and the single, especially the 12-inch vinyl single, remains a major method by which dance music is distributed.
As of 2006, the single seems to be undergoing something of a revival. Commercial music download sites reportedly sell mostly single tracks rather than whole albums, and the increase in popularity seems to have rubbed off on physical formats. Portable audio players, which make it extremely easy to load and play songs from many different artists, are claimed to be a major factor behind this trend.
A related development has been the popularity of mobile phone ringtones based on pop singles (on some modern phones, the actual single can be used as a ringtone). In September 2007, Sony BMG announced they would introduce a new type of CD single, called "ringles", for the 2007 holiday season. The format included three songs by an artist, plus a ringtone accessible from the user's computer. Sony announced plans to release 50 ringles in October and November, while Universal Music Group expected to release somewhere between 10 and 20 titles.
In a reversal of this trend, a single has been released based on a ringtone itself. The Crazy Frog ringtone, which was a cult hit in Europe in 2004, was released as a mashup with Axel F in June 2005 amid a massive publicity campaign and subsequently hit #1 on the UK charts.
On Sunday 17th April 2005 Official UK Singles Chart added the download format to the existing physical CD singles. Selling on downloads alone Gnarls Barkley were the first act to reach No.1 in April 2006. It was released physically the following week. On 1st January 2007 digital downloads (including unbundled album tracks) became eligible from the point of release, without the need for an accompanying physical.
In popular music marketing, a single is a record release with only one or two songs. The first song (usually the one given the most promotion, and heard more often in the media) is called an A-side, while any other song on the single is called a B-side.
The pairing of recordings on a single comes from the days of vinyl records, when discs had two playable sides. Modern compact disc singles may contain more than one version of either the A- or B-side, or sometimes an additional recording by the same performer. B-sides may be selections from an album, or songs not otherwise issued for sale.and
Many times the chance to get a new song issued as an A-side creates competition between members of bands, or teams of songwriters. John Lennon and Paul McCartney of the Beatles tried to write better songs than each other, to get more A-sides than the other. George Harrison, also a Beatle, rarely had his songs chosen for singles, but had a hit with "Something" for the band.
In the days of vinyl singles, Phil Spector sometimes used short by his studio band as B-sides to singles he produced.for both A- and B-sides were paid equally. Many listeners never played B-sides more than once, and radio focused on A-sides. Many people who made recordings knew this, and used it to earn extra money from sales, or to promote other music they made.
Michael Nesmith of the Monkees wanted his songs to appear on Monkees singles. He would settle for B-sides, if he could not get an A-side. Don Kirshner, who oversaw the band's early music, wanted the B-sides to come from other songwriters who worked for him. Nesmith and Kirshner disagreed, and it caused tension for the Monkees and their company.
Records that include more than two or three songs are usually called EPs (for "extended play"), and may include four or more distinct songs, but not as many as on an album.