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Wikipedia

Twelve-inch single

January 27, 2023

"12"" redirects here. For the unit of measurement equal to twelve inches, see Foot (unit).

The twelve-inch single (often written as 12-inch or 12″) is a type of vinyl (polyvinyl chloride or PVC) gramophone record that has wider groove spacing and shorter playing time with a 'single' or a few related sound tracks on each surface, compared to LPs (long play) which have several songs on each side. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, and thus better sound quality. This record type is commonly used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 33+1⁄3 or 45 rpm. The conventional 7‐inch single usually holds three or four minutes of music at full volume. The 12‐inch LP sacrifices volume for extended playing time.

A twelve-inch gramophone record

Technical features

Twelve-inch singles typically have much shorter playing time than full-length LPs, and thus require fewer grooves per inch. This extra space permits a broader dynamic range or louder recording level as the grooves' excursions (i.e., the width of the groove waves and distance traveled from side to side by the turntable stylus) can be much greater in amplitude, especially in the bass frequencies important for dance music. Many record companies in the 1970s began producing 12-inch (30 cm) singles at 33+1⁄3 rpm, although 45 rpm gives better treble response.[1]

History

Pre-vinyl period

Main article: Phonograph record

Gramophone records had been introduced in the latter portion of the 19th century, with several pioneers involved in sound reproduction development such as Thomas Edison and Emilie Berliner. Berliner along with Eldridge R. Johnson merged their efforts within the industry to form the Victor Talking Machine Company in New Jersey, USA and perfected the use of 5 and 7-inch rotating shellac discs for sound replay from 1889, with 10-inch records appearing in 1901. In 1903 12-inch discs were introduced by Victor, on their Deluxe label, these able to play for up to four minutes, so increasing what were non-achievable times of the length of a song or speech on the earlier formats. These first twelve-inch releases were all by the Victor Grand Concert Band,[2] led by Frederick W. Hager.[3] During the 1910s discs became the standard sound reproduction format, although the speeds used could vary between manufacturers until 78 rpm became the norm from around 1925. An album would consist of several of these single discs packaged together. These brittle shellac discs remained a popular medium through the first attempt to introduce vinyl records in 1931, the subsequent move towards microgroove formats from 1948, and would survive until the early 1960s.[4]

Vinyl and microgroove formats

Main articles: LP Record § RCA Victor, and Single (music) § 7-inch format

In August 1931, RCA Victor launched the first commercially available vinyl long-playing record, marketed under their Program Transcription series. These revolutionary discs were designed for playback at 331⁄3 rpm (the speed first used on 16‑inch Vitaphone soundtrack discs from 1926) and pressed on ten and twelve-inch diameter flexible Victrolac discs, using a polyvinyl chloride (PVC) compound called vinylite which was licensed from Union Carbide.[5][6][7] It was marketed initially as being more robust than shellac, with a duration of up to twenty minutes playing time per side.[8] The first twelve-inch LP (containing only one track per side), was Beethoven's Symphony No. 5 In C Minor by the Philadelphia Orchestra conducted by Leopold Stokowski.[9] RCA's early introduction of a long-play disc was a commercial failure for several reasons including the lack of affordable, reliable consumer playback equipment and consumer wariness during the Great Depression. Because of financial hardships that plagued the recording industry during that period (and RCA's own parched revenues), Victor's long-playing records were discontinued for public sale by early 1933.[10]

Vinyl as a material for records sold to the public was reintroduced after World War II, first for 78s in 1945[11] (the Bolshoi Theatre Orchestra and Chorus's Prince Igor a 12‑inch 5-record set from Asch Recordings catalog number M-800), with 12‑inch 331⁄3 rpm LPs (with a narrower "microgroove") and 7‑inch 45 rpm singles being marketed by Columbia Records and RCA Victor respectively in 1948[12] and 1949.[13] Intriguingly, although there is a scientific basis behind 45 rpm being an ideal speed for sound quality which was touted by RCA,[14] conveniently the 45 rpm number is also derived by subtracting the then common 78 rpm speed from the then newly introduced 33 rpm LP speed.[15]

Jamaican roots

The gramophone records cut especially for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. By at least 1956 it was already standard practice by Jamaican sound systems owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially.[16]

Pre-disco

In March 1970, Cycle/Ampex Records test-marketed a twelve-inch single by jazz-pop guitarist Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life", both from his self-titled debut album issued in 1969. Subtitled 'The world's first 12-inch single!', the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single and album, but with a large runoff area. Several hundred copies were made available for sale for 98 cents each at two Tower Records stores in California.[17]

Shelter Records evidently liked the format enough to use it a few times to promote artists in the US and Australia - they serviced a test pressing of Leon Russell's "It's A Hard Rain's Gonna Fall" backed with "Me And Baby Jane" to radio stations in July 1971, the first track from his Leon Russell and the Shelter People album, with the flip side from his Carney album. Shelter later issued another promotional single "Lowdown in Lodi"/"Me and My Guitar" by Freddie King in 1972 with the tracks taken from his Texas Cannonball LP.[18]

First instrumental side

This was released by Scepter to the flip side of the Ultra High Frequency "We're on the Right Track" seven-inch single in 1973. This issuing of the backing track enabled DJ's to use two turntables and mix between the vocal and instrumental versions of popular dance records, seguing them so that dancing patrons could enjoy the overall song for longer. A key reason of the time was that very few varispeed turntables existed, so DJ's would only blend into a track with the same drum tempo or BPM, which the instrumental naturally was. This was in comparison to the then occasionally found 'Part 2' B-side of a record, while similar, tended to be the latter half of a lengthy album track, split for seven-inch release, but in many cases this wasn't the full instrumental, so could be more awkward to use.[19] Scepter, from this single onward began to regularly add a non-vocal side, helping to make it an industry standard practice, with several other labels following suit particularly for dance records, and DJs embracing these as a useful tool during their sets.[20][21]

First extended edit

While not his very first production work (his first mixing effort was the northern soul track by the Carstairs "It Really Hurts Me Girl"[22] in 1973), in early 1974, during his quest to adapt songs beyond the radio-friendly three-minute mark for his mixtapes, soon-to-be famed disco mixer Tom Moulton went to record labels for material. At Scepter Records, Cheren recalls playing Tom a previously released Scepter single by singer Don Downing called "Dream World". He had an extra copy of the master tape and let Moulton take it home to experiment. When Moulton brought it back a few days later, Cheren writes, "We were amazed: a so-so record was suddenly snappy, upbeat, and ten times better". But the biggest surprise, Cheren continues, was something "so radical I could hardly believe my ears". Moulton had stretched the original track, not even three minutes long, to almost double its time, and in the process debuted what would become known as the disco break.[23] This innovation would eventually be issued on the song's re-release on a 7-inch 45 in July 1974,[24] and earn Scepter a Billboard Trendsetter of the Year award in December 1974 for 'being the first label to make specialized mixes for discotheques'.[25][26]

First segued mixes

The first was created by Tom Moulton, for the A side of the Gloria Gaynor Never Can Say Goodbye album, released in January 1975 on MGM Records. As a development from his mixtapes, three songs (Honey Bee/Never Can Say Goodbye/Reach Out, I'll Be There) were not presented as separate pieces of music, but as an uninterrupted, 18-minute-plus, side-long composition optimised for dancing. There were previous albums that had side-long tracks or suites, and medleys which were usually cover versions or re-recordings, but here was a new piece of music composed out of already recorded pieces of music (albeit containing two cover songs), making it the very first "DJ mix" committed to vinyl, with Moulton admitting it was conceived as a tool for dancefloors.[27]

A followup was the Motown compilation Disc-O-Tech series, released mid May 1975.[28]

Early acetates 10-inch and 12-inch

The first large-format single made specifically for discotheque DJs was a ten-inch acetate used by a mix engineer (José Rodríguez) in need of a Friday-night test copy for a remix created by Tom Moulton in 1974. The song was "I'll Be Holding On" by Al Downing, brother of Don Downing. As no 7-inch (18 cm) acetates could be found, a 10-inch (25 cm) blank was used.[29] Upon completion, Moulton found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space. He asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him that for it to be viable, the level would have to be increased considerably. Because of the wider spacing of the grooves, not only was a louder sound possible but also a wider overall dynamic range (distinction between loud and soft) as well. This was immediately noticed by them to give a more favorable, 'hotter' sound which would appeal to discothèque play. It also meant that these extended versions being created by Moulton could be given to fellow DJs and tested within a nightclub environment to see how well it worked the dancefloor, with adjustments subsequently made to the remix.[4]

Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would instantly become industry practice. This would perhaps have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, and as the DJ in the club wanted sufficient dynamic range, the format would likely have enlarged from the seven-inch single eventually. Ironically, Moulton's mix of Downing would be eventually released by Chess Records for sale to the general public, but only on a standard-issue 7-inch record for sale in October 1974.[30][31]

An acetate twelve-inch test pressing single hailed as being a first by Moulton was South Shore Commission "Free Man". Again, it was a disco mix prepared by Moulton, pressed by Rodríguez, with only a handful (around 10) cut and handed out to local DJs.[29] These would have plain white labels, or very sparse printing or typed text. In many cases there would be no logos, and many contained handwritten text only. Test pressings being tried out at discos were reported on in Moulton's weekly column in Billboard during early April 1975.[32][33] Moulton's effort was eventually issued for commercial release by Scepter in June 1975, but on seven-inch vinyl as a 5:35 min mix.[30] Moulton subsequently created a lengthier 7:15 min mix for the album which appeared in late October.[34]

Another record remixed by Moulton was the Philly Devotions "I Just Can't Make It Without You" on Columbia. Mentioned in his Billboard column in mid April as being 'out soon',[35] a known 10-inch acetate had a date of 8 May 1975, with twelve-inch acetates and promos also appearing at some stage. It eventually was issued commercially in August on seven-inch 45 only.[36]

A sometimes mentioned candidate among these first acetates is Moment of Truth "So Much For Love",[37][38] but this effort was commercially released a year later, the band having been signed to Salsoul Records in June 1976,[39] and the song only appearing in disco charts at the end of July of that year.[40]

Promotion through media and DJs

Many of the above disco era timelines were driven by the DJ necessity to give a better nightclub dancefloor experience to patrons, and as the scene grew, it began to be chronicled in trade press publications such as Billboard and Record World. Tom Moulton began to write for the former from 26 October 1974 in the Disco Action column[41] (which changed name as time went on), while Vince Aletti wrote Disco File in the latter from November 1974.[42]

Record pools were established, the first in New York in June 1975 for better distribution of pre-release records to bona fide DJs as record labels began to appreciate their role in breaking and selling records.[43][44] A further development began to see the labels tailor the records specifically towards DJs as a result, with for example Scepter Records publicly announcing via both publications that they were to start servicing '12-inch 45s' to DJs in pools and their national promotional mailouts from June 1975. promoting the format earlier in distributor roadshows they hosted in late May, citing a key benefit of high volume levels being maintained with lengthier tracks.[45] Billboard magazine reported that Atlantic Records were the first major label to issue 12-inch 33 rpm vinyl promos to DJs in July,[46][47] under the watchful eye of a DJ as their promotions director Doug Riddick, who took up the post in May 1975.[48]

Early vinyl test pressings 12-inch

An early test pressing was Bobby Moore "(Call Me Your) Anything Man", on Scepter. Twelve-inch acetates for this single were pressed in April 1975, and was subsequently produced as twelve-inch vinyl promotional singles with typed labels in June.[49][50][51] Moulton, now a regular in-house remixer for the label, was again given label credit for the remix. This was released commercially on 7-inch in May 1975.[52]

First wide scale promotional 12-inch

A very early disco prototype vinyl 12-inch pressing was a Midland International promo distributed by RCA - this was a Carol Douglas one sided EP with 4 tracks from The Carol Douglas Album. This was issued in mid February 1975 and was subtitled 'Specially Prepared For Disco Use', but it held same length versions of the selected album tracks.[53]

The very first wide-scale record company promotional twelve-inch single according to Moulton (considering his then position with Billboard at the time as disco product reviewer, and that most of the very limited 12-inch records up to this point involved his own remixes), was Frankie Valli "Swearin' To God", issued by Private Stock Records in June 1975 with a 10:32 min running time.[29][54][55] Bob Crewe, co-writer and producer, personally presented 10-inch test pressings to DJs in April 1975 after high pre-release demand.[56] It was then issued commercially as a 7-inch at the end of April/start of May 1975.[57]

Barrabas "Mellow Blow" became the first 33 rpm Atlantic promo to be released in July,[58][59][60] but eventually commercially only on an 7" in September. Warner-Spector's Calhoon "(Do You Wanna) Dance, Dance, Dance" had a 10-inch acetate from May,[61] given out as a one sided 10-inch vinyl promo in the same month,[62] and as a 12-inch promo in July 1975.[30][63]

At first, these special remixed or extended versions were only available as promotional copies to DJs, either given directly to them or issued by record pools who obtained these from record companies' A&R departments. Examples of these promos,[64] released from spring/summer 1975, include:

Selected promotional vinyl 12-inch US singles in 1975
Artist Title Label Release month Notes
Carol Douglas The Carol Douglas Album sampler Midland International February[53] 4 track disco EP/LP
Frankie Valli "Swearin' To God" Private Stock April (10-inch)[56] / June[54][55]
Bobby Moore "(Call Me Your) Anything Man" Scepter June[51] Test pressing
Banzaii "Chinese Kung Fu" Scepter June[65]
Calhoon "(Do You Wanna) Dance, Dance, Dance" Warner-Spector May (10-inch)[61] / July[30][63]
Barrabas "Mellow Blow" Atlantic July[58][59][60]
The Eleventh Hour "Hollywood Hot" 20th Century July[66]
Philly Devotions "I Just Can't Make It" Columbia August[67]
The Trammps "Hooked For Life" Atlantic August[68][69]
Ace Spectrum "Keep Holdin' On" Atlantic August[70]
Secrets "(Baby) Save Me" Scepter August[68]
The Chequers "Undecided Love" Scepter September[71]
Touch of Class "I'm in Heaven" Midland International September[44]
Silver Convention "Always Another Girl" / "Fly, Robin, Fly" Midland International September[72]
Ronnie Spector "You'd Be Good For Me" Tom Cat September[73]
War "Low Rider" United Artists September[73]
The Miracles "Love Machine" Tamla (Motown) September[74]
David Ruffin "Walk Away From Love" Motown September[74]
Soul Train Gang "Soul Train '75" Soul Train September[75]
Natural Order "Jealousy" Sound of Washington D.C. September[76]
Ernie Bush "Breakaway" Scepter-Contempo October[77][78]
Gary Toms Empire "Drive My Car" PIP/Pickwick October[79]
The Ritchie Family "I Want To Dance" 20th Century October[79]
The Wiz / Hot Chocolate "Tornado" / "Disco Queen" Atlantic October Acetate reissue
Vicki Sue Robinson "Never Gonna Let You Go" RCA November[78]
Papa John Creach & the Midnight Sun "Joyce" Buddah November[80][81]
Ralph Carter "Extra Extra" Mercury November[82]
Jimmy James and the Vagabonds "I Am Somebody" Pye November[83]
The Blackbyrds "Happy Music" Fantasy November[84] 45 rpm. First of a series by Fantasy of "Special Disco Mix" 12-inch club releases.
Gail "Consideration" SMI December
First 12-inch retail singles
Motivation for public sale

As time went on, a growing number of record labels became aware of the 12-inch format as a useful promotional tool, the benefits it gave for sound fidelity, and started to issue product in response. However, into early 1976 none considered them at first as suitable for sale to the general public. Companies came to appreciate the place of the nightclub and how they helped to break a record, but still considered an extended remix to ultimately facilitate sales of the original 7-inch single version or the artist's album, and not as a sale item in its own right.[24] Pop orientated labels began to use the format to promote commercial artists with dance elements to their music, but not necessarily lengthening their tracks, concentrating instead on its novel aspects instead. The costs for the format were also still prohibitive; one label reported 12-inch singles cost more than it did to press an album.[85]

However, demand was being driven by record shops, particularly those serving disco product, with feedback from buyers. It was particularly noticed that many of the previously released promotional 12-inch singles were attracting a premium in the resellers marketplace, with them in some cases changing hands for the price of an album.[85] Along with research done by labels to get a feel of the interest for the proposed format, a push was finally made by a self-proclaimed 'pioneer' label of the disco business.[85]

Releases

The first song found on a twelve-inch single commercially issued for public purchase from the disco era onwards was "Ten Percent" by Double Exposure on Salsoul Records in mid May 1976.[85][86] This was due to the label co-owner Ken Cayre's decision to release the Walter Gibbons remix for dancers who would hear that version in nightclubs but not be satisfied with the shorter versions sold on the 7-inch vinyl or the album. The seven-inch edit had been released a month earlier but sales of this were slow.[87][88] With renewed interest and high sales weeks after the release,[89] Salsoul were presented with Billboard awards at the 1976 Disco Forum event for disco disk sales to consumers and best record label as a result of the push into the marketplace with the new format.[90] The issue did not contain the 3 min 5 secs 7-inch edit or the 6 mins 51 mins album version; the A side contained the Gibbons 9 min 43 secs remix, while Cayre himself created an extended 7 min 31 secs mix for the B side.

The second twelve-inch release was the double artist single Jesse Green "Nice And Slow" / Sweet Music "I Get Lifted" on Scepter/Wand in mid June 1976.[91]

Third was a disc containing two George Benson sides "Summertime 2001" / "Theme From Good King Bad" in late June 1976 on CTI Records.[92]

Salsoul's second 12-inch record for retail was by Moment of Truth "So Much For Love" / "Helplessly" released in early July 1976.[93][94]

Amherst Records released a double headed single by the Chicago Gangsters "Gangster Love" / "Feel Like Making Love" in early July 1976 on their Gold Plate subsidiary.[95][96]

A clutch of releases including Jakki "Sun... Sun... Sun" and Four Below Zero "My Baby's Got E.S.P.", amongst others on Pyramid/Roulette Records was sold from mid July 1976.[97][91]

Australia

Two twelve-inch promotional vinyl issues for rock/folk Shelter Records artists were serviced to radio stations in April 1972 by local distributor Tempo Records:[98][99]

France

Early titles first appeared in 1976 on the Pathe Marconi EMI and Disques Vogue imprints,[100] these included pop releases such as Paul McCartney's first ever extended single internationally, credited as Wings "Let 'Em In"[101]

Jamaica 'discomixes'

Main articles: Discomix and Twelve-inch single § Jamaican roots

Although as previously mentioned regarding the Jamaican dub influence on the use of 10-inch acetates, the 12-inch single was only born once imports of US disco singles were established from 1976 onwards. The issued twelve-inch-single trend spread to Jamaica quickly, where hundreds of reggae singles were pressed in this format, and commercially issued as "discomixes" to catch on the disco hype. An early 12-inch pressing, reputedly the first was by the Jayes "Truly" in 1977 on the Channel One label, which was run by the Hoo Kim brothers from their Channel One Studios.[102][103][104]

United Kingdom

The Jamaican reggae and US disco trend also hit London, reggae being popular along with uptempo forms of music such as Motown and northern soul, the seven-inch record being the primary medium in the early 1970s for this material, with the UK following up a little later than the US with 12-inch singles. The reasons were different, the UK jocks did not have the same need to extend records like the US pioneers who wanted longer records for the dancefloor. Although the use of larger temporary singles (primarily 10-inch) started from the Jamaican influence and before (such as the pre-Beatles band the Quarrymen with the one-off "In Spite of All the Danger" in 1958), acetates were also used by the record labels to quality control the eventual product, and not for servicing single songs or exclusive remixes, and then not in the 12-inch format. The usage of the 12-inch vinyl as a medium followed the US promos introduction but was initially seen as a marketing tool to help promote an artist more uniquely. Another emphasis with the new format was the louder sound and better audio quality afforded to the release. It therefore was not exclusively used for disco songs but included pop artists, however it eventually came into its own in the later 1970s with the lengthened versions of US disco songs being promoted in the UK.[105]

Promo UK 12-inch releases

Atlantic Records was an early front runner with two 12-inch promo singles: Ben E. King "Supernatural Thing" backed with Osiris "Warsaw Concerto",[106] along with Herbie Mann "Hijack" b/w Jimmy Castor Bunch "The Bertha Butt Boogie", both at 33 rpm and issued in approximately June 1975 (based on the catalogue numbers used),[107] but rumoured to be as late as October. Robert Palmer "Which of Us Is the Fool" was released by Island Records also in October 1975.[108] Virgin started a line of 12-inch promos in November 1975, with the first being Ruan O'Lochlainn "Another Street Gang".[109] Disco singles started to appear in earnest months later, Brass Construction "Changin'" was promoted around March 1976 by United Artists. A later 12-inch promo issue was a double sider the Moments "Nine Times" / the Rimshots "Do What You Feel" on All Platinum Records via Phonogram in the middle of April 1976,[110][111] however both were released commercially and individually on seven-inch 45s only, in April 1976.[112][113] Candi Staton followed with "Young Hearts Run Free" in the middle of May from Warner Bros. These early issues usually containing the original 7-inch edit, It took a little later for lengthened versions to begin appearing, with 1970s UK club DJ Greg Wilson recalling promotional 12-inch product being mailed out from August 1976, Lalo Schifrin "Jaws" being his first one, which was in extended form. This was followed by disco acts such as James Wells, the Originals, Ultrafunk, Mass Production, Deodato and the Undisputed Truth, however some of these were not UK pressed vinyl but US promos sent over to the UK and distributed through club promotions businesses and record company A&R departments.[114]

First UK 12-inch retail singles

The first commercially released twelve-inch vinyl was Ernie Bush "Breakaway" / Banzaii "Chinese Kung Fu" both as Tom Moulton mixes, along with another disc containing the Armada Orchestra "For the Love of Money" / Ultrafunk "Sting Your Jaws (Part 1)". Bush and the latter two acts had Gerry Shury production involvement, and these two releases were issued by John Abbey's Contempo Records from 8 October 1976, these songs having been previously released in either 7-inch format or as album tracks.[115][116][117] Abbey likely had the nod from Scepter Records about the use of the twelve-inch single format, as both had released all these titles on their labels and Contempo had cross-licensed the tracks with Moulton mixes. This was closely followed with a single containing re-issues of the Who's "Substitute" with "I'm A Boy" / "Pictures of Lily" on the flip, all originally from 1966 and 1967 by Polydor Records on 22 October 1976.[118][117]

Later developments

Core sales period

 
Close-up shot of a 12-inch (30 cm) single showing the wide grooves

Decline and ongoing interest

Singles have followed wider vinyl format sales, withstanding competition from the 1960s and 70s reel-to-reel tape, the 8-track cartridge, and the compact cassette formats. The widespread popularity of Sony's Walkman was a key factor that contributed to vinyl's lessening usage in the 1980s.[119] In 1988, the compact disc surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity between 1988 and 1991, when the major label distributors restricted their return policies, which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles. Record companies also deleted many vinyl titles from production and distribution, or simply did not make 12-inch singles for many pop artists, further undermining the availability of the format and leading to the closure of pressing plants. This rapid decline in the availability of records accelerated the format's decline in popularity, and is seen by some as a deliberate ploy to make consumers switch to CDs which were at the time more profitable for the record companies,[120][121][122][123] and more latterly, streaming.[124]

12-inch singles have continued for sales of dance acts or for dance remixes of commercial artists as there was a continued high regard of the format from DJs into the 2000s and 2010s. A growing number of DJs eventually began to use CDJs for their convenience, and later along with a crossover period where turntables could be combined with laptops and used with encoded 12 inch discs and DJ software, which could manipulate MP3 or WAV music files but still allow for a turntablism experience. DJ controller all-in-one decks have in later times become the norm which take up less space than a pair of turntables, reducing DJs dependence on the physical format even further. There is however, a dedicated DJ sub-community that maintain their usage of the format, with retro styled 'vinyl only' nights being a unique selling point. Also, there are some new titles being pressed on the format and available at physical record shops, although many sales take place online. There is also a notable second-hand trade business on online sale and auction marketplaces for collectors, of which some titles are still in demand and can be of some value.[125]

References

 
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January 27, 2023
twelve, inch, single, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, june,. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Twelve inch single news newspapers books scholar JSTOR June 2022 Learn how and when to remove this template message 12 redirects here For the unit of measurement equal to twelve inches see Foot unit The twelve inch single often written as 12 inch or 12 is a type of vinyl polyvinyl chloride or PVC gramophone record that has wider groove spacing and shorter playing time with a single or a few related sound tracks on each surface compared to LPs long play which have several songs on each side This allows for louder levels to be cut on the disc by the mastering engineer which in turn gives a wider dynamic range and thus better sound quality This record type is commonly used in disco and dance music genres where DJs use them to play in clubs They are played at either 33 1 3 or 45 rpm The conventional 7 inch single usually holds three or four minutes of music at full volume The 12 inch LP sacrifices volume for extended playing time A twelve inch gramophone record Contents 1 Technical features 2 History 2 1 Pre vinyl period 2 2 Vinyl and microgroove formats 2 3 Jamaican roots 2 3 1 Pre disco 2 3 1 1 First instrumental side 2 3 1 2 First extended edit 2 3 1 3 First segued mixes 2 3 1 4 Early acetates 10 inch and 12 inch 2 3 1 5 Promotion through media and DJs 2 3 1 6 Early vinyl test pressings 12 inch 2 3 1 7 First wide scale promotional 12 inch 2 3 1 8 First 12 inch retail singles 2 3 1 8 1 Motivation for public sale 2 3 1 8 2 Releases 2 4 Australia 2 5 France 2 6 Jamaica discomixes 2 7 United Kingdom 2 7 1 Promo UK 12 inch releases 2 7 2 First UK 12 inch retail singles 3 Later developments 3 1 Core sales period 3 2 Decline and ongoing interest 4 ReferencesTechnical features EditTwelve inch singles typically have much shorter playing time than full length LPs and thus require fewer grooves per inch This extra space permits a broader dynamic range or louder recording level as the grooves excursions i e the width of the groove waves and distance traveled from side to side by the turntable stylus can be much greater in amplitude especially in the bass frequencies important for dance music Many record companies in the 1970s began producing 12 inch 30 cm singles at 33 1 3 rpm although 45 rpm gives better treble response 1 History EditPre vinyl period Edit Main article Phonograph record Gramophone records had been introduced in the latter portion of the 19th century with several pioneers involved in sound reproduction development such as Thomas Edison and Emilie Berliner Berliner along with Eldridge R Johnson merged their efforts within the industry to form the Victor Talking Machine Company in New Jersey USA and perfected the use of 5 and 7 inch rotating shellac discs for sound replay from 1889 with 10 inch records appearing in 1901 In 1903 12 inch discs were introduced by Victor on their Deluxe label these able to play for up to four minutes so increasing what were non achievable times of the length of a song or speech on the earlier formats These first twelve inch releases were all by the Victor Grand Concert Band 2 led by Frederick W Hager 3 During the 1910s discs became the standard sound reproduction format although the speeds used could vary between manufacturers until 78 rpm became the norm from around 1925 An album would consist of several of these single discs packaged together These brittle shellac discs remained a popular medium through the first attempt to introduce vinyl records in 1931 the subsequent move towards microgroove formats from 1948 and would survive until the early 1960s 4 Vinyl and microgroove formats Edit Main articles LP Record RCA Victor and Single music 7 inch format In August 1931 RCA Victor launched the first commercially available vinyl long playing record marketed under their Program Transcription series These revolutionary discs were designed for playback at 331 3 rpm the speed first used on 16 inch Vitaphone soundtrack discs from 1926 and pressed on ten and twelve inch diameter flexible Victrolac discs using a polyvinyl chloride PVC compound called vinylite which was licensed from Union Carbide 5 6 7 It was marketed initially as being more robust than shellac with a duration of up to twenty minutes playing time per side 8 The first twelve inch LP containing only one track per side was Beethoven s Symphony No 5 In C Minor by the Philadelphia Orchestra conducted by Leopold Stokowski 9 RCA s early introduction of a long play disc was a commercial failure for several reasons including the lack of affordable reliable consumer playback equipment and consumer wariness during the Great Depression Because of financial hardships that plagued the recording industry during that period and RCA s own parched revenues Victor s long playing records were discontinued for public sale by early 1933 10 Vinyl as a material for records sold to the public was reintroduced after World War II first for 78s in 1945 11 the Bolshoi Theatre Orchestra and Chorus s Prince Igor a 12 inch 5 record set from Asch Recordings catalog number M 800 with 12 inch 331 3 rpm LPs with a narrower microgroove and 7 inch 45 rpm singles being marketed by Columbia Records and RCA Victor respectively in 1948 12 and 1949 13 Intriguingly although there is a scientific basis behind 45 rpm being an ideal speed for sound quality which was touted by RCA 14 conveniently the 45 rpm number is also derived by subtracting the then common 78 rpm speed from the then newly introduced 33 rpm LP speed 15 Jamaican roots Edit The neutrality of this section is disputed Relevant discussion may be found on the talk page Please do not remove this message until conditions to do so are met February 2017 Learn how and when to remove this template message The gramophone records cut especially for dance floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s By at least 1956 it was already standard practice by Jamaican sound systems owners to give their selecter DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially 16 Pre disco Edit In March 1970 Cycle Ampex Records test marketed a twelve inch single by jazz pop guitarist Buddy Fite featuring Glad Rag Doll backed with For Once in My Life both from his self titled debut album issued in 1969 Subtitled The world s first 12 inch single the experiment aimed to energize the struggling singles market offering a new option for consumers who had stopped buying traditional singles The record was pressed at 33 rpm with identical run times to the seven inch 45 rpm pressing of the single and album but with a large runoff area Several hundred copies were made available for sale for 98 cents each at two Tower Records stores in California 17 Shelter Records evidently liked the format enough to use it a few times to promote artists in the US and Australia they serviced a test pressing of Leon Russell s It s A Hard Rain s Gonna Fall backed with Me And Baby Jane to radio stations in July 1971 the first track from his Leon Russell and the Shelter People album with the flip side from his Carney album Shelter later issued another promotional single Lowdown in Lodi Me and My Guitar by Freddie King in 1972 with the tracks taken from his Texas Cannonball LP 18 First instrumental side Edit This was released by Scepter to the flip side of the Ultra High Frequency We re on the Right Track seven inch single in 1973 This issuing of the backing track enabled DJ s to use two turntables and mix between the vocal and instrumental versions of popular dance records seguing them so that dancing patrons could enjoy the overall song for longer A key reason of the time was that very few varispeed turntables existed so DJ s would only blend into a track with the same drum tempo or BPM which the instrumental naturally was This was in comparison to the then occasionally found Part 2 B side of a record while similar tended to be the latter half of a lengthy album track split for seven inch release but in many cases this wasn t the full instrumental so could be more awkward to use 19 Scepter from this single onward began to regularly add a non vocal side helping to make it an industry standard practice with several other labels following suit particularly for dance records and DJs embracing these as a useful tool during their sets 20 21 First extended edit Edit While not his very first production work his first mixing effort was the northern soul track by the Carstairs It Really Hurts Me Girl 22 in 1973 in early 1974 during his quest to adapt songs beyond the radio friendly three minute mark for his mixtapes soon to be famed disco mixer Tom Moulton went to record labels for material At Scepter Records Cheren recalls playing Tom a previously released Scepter single by singer Don Downing called Dream World He had an extra copy of the master tape and let Moulton take it home to experiment When Moulton brought it back a few days later Cheren writes We were amazed a so so record was suddenly snappy upbeat and ten times better But the biggest surprise Cheren continues was something so radical I could hardly believe my ears Moulton had stretched the original track not even three minutes long to almost double its time and in the process debuted what would become known as the disco break 23 This innovation would eventually be issued on the song s re release on a 7 inch 45 in July 1974 24 and earn Scepter a Billboard Trendsetter of the Year award in December 1974 for being the first label to make specialized mixes for discotheques 25 26 First segued mixes Edit The first was created by Tom Moulton for the A side of the Gloria Gaynor Never Can Say Goodbye album released in January 1975 on MGM Records As a development from his mixtapes three songs Honey Bee Never Can Say Goodbye Reach Out I ll Be There were not presented as separate pieces of music but as an uninterrupted 18 minute plus side long composition optimised for dancing There were previous albums that had side long tracks or suites and medleys which were usually cover versions or re recordings but here was a new piece of music composed out of already recorded pieces of music albeit containing two cover songs making it the very first DJ mix committed to vinyl with Moulton admitting it was conceived as a tool for dancefloors 27 A followup was the Motown compilation Disc O Tech series released mid May 1975 28 Early acetates 10 inch and 12 inch Edit The first large format single made specifically for discotheque DJs was a ten inch acetate used by a mix engineer Jose Rodriguez in need of a Friday night test copy for a remix created by Tom Moulton in 1974 The song was I ll Be Holding On by Al Downing brother of Don Downing As no 7 inch 18 cm acetates could be found a 10 inch 25 cm blank was used 29 Upon completion Moulton found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space He asked Rodriguez to re cut it so that the grooves looked more spread out and ran to the normal center of the disc Rodriguez told him that for it to be viable the level would have to be increased considerably Because of the wider spacing of the grooves not only was a louder sound possible but also a wider overall dynamic range distinction between loud and soft as well This was immediately noticed by them to give a more favorable hotter sound which would appeal to discotheque play It also meant that these extended versions being created by Moulton could be given to fellow DJs and tested within a nightclub environment to see how well it worked the dancefloor with adjustments subsequently made to the remix 4 Moulton s position as the premiere mixer and fix it man for pop singles ensured that this fortunate accident would instantly become industry practice This would perhaps have been a natural evolution as dance tracks became much longer than had been the average for a pop song and as the DJ in the club wanted sufficient dynamic range the format would likely have enlarged from the seven inch single eventually Ironically Moulton s mix of Downing would be eventually released by Chess Records for sale to the general public but only on a standard issue 7 inch record for sale in October 1974 30 31 An acetate twelve inch test pressing single hailed as being a first by Moulton was South Shore Commission Free Man Again it was a disco mix prepared by Moulton pressed by Rodriguez with only a handful around 10 cut and handed out to local DJs 29 These would have plain white labels or very sparse printing or typed text In many cases there would be no logos and many contained handwritten text only Test pressings being tried out at discos were reported on in Moulton s weekly column in Billboard during early April 1975 32 33 Moulton s effort was eventually issued for commercial release by Scepter in June 1975 but on seven inch vinyl as a 5 35 min mix 30 Moulton subsequently created a lengthier 7 15 min mix for the album which appeared in late October 34 Another record remixed by Moulton was the Philly Devotions I Just Can t Make It Without You on Columbia Mentioned in his Billboard column in mid April as being out soon 35 a known 10 inch acetate had a date of 8 May 1975 with twelve inch acetates and promos also appearing at some stage It eventually was issued commercially in August on seven inch 45 only 36 A sometimes mentioned candidate among these first acetates is Moment of Truth So Much For Love 37 38 but this effort was commercially released a year later the band having been signed to Salsoul Records in June 1976 39 and the song only appearing in disco charts at the end of July of that year 40 Promotion through media and DJs Edit Many of the above disco era timelines were driven by the DJ necessity to give a better nightclub dancefloor experience to patrons and as the scene grew it began to be chronicled in trade press publications such as Billboard and Record World Tom Moulton began to write for the former from 26 October 1974 in the Disco Action column 41 which changed name as time went on while Vince Aletti wrote Disco File in the latter from November 1974 42 Record pools were established the first in New York in June 1975 for better distribution of pre release records to bona fide DJs as record labels began to appreciate their role in breaking and selling records 43 44 A further development began to see the labels tailor the records specifically towards DJs as a result with for example Scepter Records publicly announcing via both publications that they were to start servicing 12 inch 45s to DJs in pools and their national promotional mailouts from June 1975 promoting the format earlier in distributor roadshows they hosted in late May citing a key benefit of high volume levels being maintained with lengthier tracks 45 Billboard magazine reported that Atlantic Records were the first major label to issue 12 inch 33 rpm vinyl promos to DJs in July 46 47 under the watchful eye of a DJ as their promotions director Doug Riddick who took up the post in May 1975 48 Early vinyl test pressings 12 inch Edit An early test pressing was Bobby Moore Call Me Your Anything Man on Scepter Twelve inch acetates for this single were pressed in April 1975 and was subsequently produced as twelve inch vinyl promotional singles with typed labels in June 49 50 51 Moulton now a regular in house remixer for the label was again given label credit for the remix This was released commercially on 7 inch in May 1975 52 First wide scale promotional 12 inch Edit A very early disco prototype vinyl 12 inch pressing was a Midland International promo distributed by RCA this was a Carol Douglas one sided EP with 4 tracks from The Carol Douglas Album This was issued in mid February 1975 and was subtitled Specially Prepared For Disco Use but it held same length versions of the selected album tracks 53 The very first wide scale record company promotional twelve inch single according to Moulton considering his then position with Billboard at the time as disco product reviewer and that most of the very limited 12 inch records up to this point involved his own remixes was Frankie Valli Swearin To God issued by Private Stock Records in June 1975 with a 10 32 min running time 29 54 55 Bob Crewe co writer and producer personally presented 10 inch test pressings to DJs in April 1975 after high pre release demand 56 It was then issued commercially as a 7 inch at the end of April start of May 1975 57 Barrabas Mellow Blow became the first 33 rpm Atlantic promo to be released in July 58 59 60 but eventually commercially only on an 7 in September Warner Spector s Calhoon Do You Wanna Dance Dance Dance had a 10 inch acetate from May 61 given out as a one sided 10 inch vinyl promo in the same month 62 and as a 12 inch promo in July 1975 30 63 At first these special remixed or extended versions were only available as promotional copies to DJs either given directly to them or issued by record pools who obtained these from record companies A amp R departments Examples of these promos 64 released from spring summer 1975 include Selected promotional vinyl 12 inch US singles in 1975 Artist Title Label Release month NotesCarol Douglas The Carol Douglas Album sampler Midland International February 53 4 track disco EP LPFrankie Valli Swearin To God Private Stock April 10 inch 56 June 54 55 Bobby Moore Call Me Your Anything Man Scepter June 51 Test pressingBanzaii Chinese Kung Fu Scepter June 65 Calhoon Do You Wanna Dance Dance Dance Warner Spector May 10 inch 61 July 30 63 Barrabas Mellow Blow Atlantic July 58 59 60 The Eleventh Hour Hollywood Hot 20th Century July 66 Philly Devotions I Just Can t Make It Columbia August 67 The Trammps Hooked For Life Atlantic August 68 69 Ace Spectrum Keep Holdin On Atlantic August 70 Secrets Baby Save Me Scepter August 68 The Chequers Undecided Love Scepter September 71 Touch of Class I m in Heaven Midland International September 44 Silver Convention Always Another Girl Fly Robin Fly Midland International September 72 Ronnie Spector You d Be Good For Me Tom Cat September 73 War Low Rider United Artists September 73 The Miracles Love Machine Tamla Motown September 74 David Ruffin Walk Away From Love Motown September 74 Soul Train Gang Soul Train 75 Soul Train September 75 Natural Order Jealousy Sound of Washington D C September 76 Ernie Bush Breakaway Scepter Contempo October 77 78 Gary Toms Empire Drive My Car PIP Pickwick October 79 The Ritchie Family I Want To Dance 20th Century October 79 The Wiz Hot Chocolate Tornado Disco Queen Atlantic October Acetate reissueVicki Sue Robinson Never Gonna Let You Go RCA November 78 Papa John Creach amp the Midnight Sun Joyce Buddah November 80 81 Ralph Carter Extra Extra Mercury November 82 Jimmy James and the Vagabonds I Am Somebody Pye November 83 The Blackbyrds Happy Music Fantasy November 84 45 rpm First of a series by Fantasy of Special Disco Mix 12 inch club releases Gail Consideration SMI DecemberFirst 12 inch retail singles Edit Motivation for public sale Edit As time went on a growing number of record labels became aware of the 12 inch format as a useful promotional tool the benefits it gave for sound fidelity and started to issue product in response However into early 1976 none considered them at first as suitable for sale to the general public Companies came to appreciate the place of the nightclub and how they helped to break a record but still considered an extended remix to ultimately facilitate sales of the original 7 inch single version or the artist s album and not as a sale item in its own right 24 Pop orientated labels began to use the format to promote commercial artists with dance elements to their music but not necessarily lengthening their tracks concentrating instead on its novel aspects instead The costs for the format were also still prohibitive one label reported 12 inch singles cost more than it did to press an album 85 However demand was being driven by record shops particularly those serving disco product with feedback from buyers It was particularly noticed that many of the previously released promotional 12 inch singles were attracting a premium in the resellers marketplace with them in some cases changing hands for the price of an album 85 Along with research done by labels to get a feel of the interest for the proposed format a push was finally made by a self proclaimed pioneer label of the disco business 85 Releases Edit The first song found on a twelve inch single commercially issued for public purchase from the disco era onwards was Ten Percent by Double Exposure on Salsoul Records in mid May 1976 85 86 This was due to the label co owner Ken Cayre s decision to release the Walter Gibbons remix for dancers who would hear that version in nightclubs but not be satisfied with the shorter versions sold on the 7 inch vinyl or the album The seven inch edit had been released a month earlier but sales of this were slow 87 88 With renewed interest and high sales weeks after the release 89 Salsoul were presented with Billboard awards at the 1976 Disco Forum event for disco disk sales to consumers and best record label as a result of the push into the marketplace with the new format 90 The issue did not contain the 3 min 5 secs 7 inch edit or the 6 mins 51 mins album version the A side contained the Gibbons 9 min 43 secs remix while Cayre himself created an extended 7 min 31 secs mix for the B side The second twelve inch release was the double artist single Jesse Green Nice And Slow Sweet Music I Get Lifted on Scepter Wand in mid June 1976 91 Third was a disc containing two George Benson sides Summertime 2001 Theme From Good King Bad in late June 1976 on CTI Records 92 Salsoul s second 12 inch record for retail was by Moment of Truth So Much For Love Helplessly released in early July 1976 93 94 Amherst Records released a double headed single by the Chicago Gangsters Gangster Love Feel Like Making Love in early July 1976 on their Gold Plate subsidiary 95 96 A clutch of releases including Jakki Sun Sun Sun and Four Below Zero My Baby s Got E S P amongst others on Pyramid Roulette Records was sold from mid July 1976 97 91 Australia Edit Two twelve inch promotional vinyl issues for rock folk Shelter Records artists were serviced to radio stations in April 1972 by local distributor Tempo Records 98 99 France Edit Early titles first appeared in 1976 on the Pathe Marconi EMI and Disques Vogue imprints 100 these included pop releases such as Paul McCartney s first ever extended single internationally credited as Wings Let Em In 101 Jamaica discomixes Edit Main articles Discomix and Twelve inch single Jamaican roots Although as previously mentioned regarding the Jamaican dub influence on the use of 10 inch acetates the 12 inch single was only born once imports of US disco singles were established from 1976 onwards The issued twelve inch single trend spread to Jamaica quickly where hundreds of reggae singles were pressed in this format and commercially issued as discomixes to catch on the disco hype An early 12 inch pressing reputedly the first was by the Jayes Truly in 1977 on the Channel One label which was run by the Hoo Kim brothers from their Channel One Studios 102 103 104 United Kingdom Edit The Jamaican reggae and US disco trend also hit London reggae being popular along with uptempo forms of music such as Motown and northern soul the seven inch record being the primary medium in the early 1970s for this material with the UK following up a little later than the US with 12 inch singles The reasons were different the UK jocks did not have the same need to extend records like the US pioneers who wanted longer records for the dancefloor Although the use of larger temporary singles primarily 10 inch started from the Jamaican influence and before such as the pre Beatles band the Quarrymen with the one off In Spite of All the Danger in 1958 acetates were also used by the record labels to quality control the eventual product and not for servicing single songs or exclusive remixes and then not in the 12 inch format The usage of the 12 inch vinyl as a medium followed the US promos introduction but was initially seen as a marketing tool to help promote an artist more uniquely Another emphasis with the new format was the louder sound and better audio quality afforded to the release It therefore was not exclusively used for disco songs but included pop artists however it eventually came into its own in the later 1970s with the lengthened versions of US disco songs being promoted in the UK 105 Promo UK 12 inch releases Edit Atlantic Records was an early front runner with two 12 inch promo singles Ben E King Supernatural Thing backed with Osiris Warsaw Concerto 106 along with Herbie Mann Hijack b w Jimmy Castor Bunch The Bertha Butt Boogie both at 33 rpm and issued in approximately June 1975 based on the catalogue numbers used 107 but rumoured to be as late as October Robert Palmer Which of Us Is the Fool was released by Island Records also in October 1975 108 Virgin started a line of 12 inch promos in November 1975 with the first being Ruan O Lochlainn Another Street Gang 109 Disco singles started to appear in earnest months later Brass Construction Changin was promoted around March 1976 by United Artists A later 12 inch promo issue was a double sider the Moments Nine Times the Rimshots Do What You Feel on All Platinum Records via Phonogram in the middle of April 1976 110 111 however both were released commercially and individually on seven inch 45s only in April 1976 112 113 Candi Staton followed with Young Hearts Run Free in the middle of May from Warner Bros These early issues usually containing the original 7 inch edit It took a little later for lengthened versions to begin appearing with 1970s UK club DJ Greg Wilson recalling promotional 12 inch product being mailed out from August 1976 Lalo Schifrin Jaws being his first one which was in extended form This was followed by disco acts such as James Wells the Originals Ultrafunk Mass Production Deodato and the Undisputed Truth however some of these were not UK pressed vinyl but US promos sent over to the UK and distributed through club promotions businesses and record company A amp R departments 114 First UK 12 inch retail singles Edit The first commercially released twelve inch vinyl was Ernie Bush Breakaway Banzaii Chinese Kung Fu both as Tom Moulton mixes along with another disc containing the Armada Orchestra For the Love of Money Ultrafunk Sting Your Jaws Part 1 Bush and the latter two acts had Gerry Shury production involvement and these two releases were issued by John Abbey s Contempo Records from 8 October 1976 these songs having been previously released in either 7 inch format or as album tracks 115 116 117 Abbey likely had the nod from Scepter Records about the use of the twelve inch single format as both had released all these titles on their labels and Contempo had cross licensed the tracks with Moulton mixes This was closely followed with a single containing re issues of the Who s Substitute with I m A Boy Pictures of Lily on the flip all originally from 1966 and 1967 by Polydor Records on 22 October 1976 118 117 Later developments EditCore sales period Edit Close up shot of a 12 inch 30 cm single showing the wide grooves Decline and ongoing interest Edit Singles have followed wider vinyl format sales withstanding competition from the 1960s and 70s reel to reel tape the 8 track cartridge and the compact cassette formats The widespread popularity of Sony s Walkman was a key factor that contributed to vinyl s lessening usage in the 1980s 119 In 1988 the compact disc surpassed the gramophone record in unit sales Vinyl records experienced a sudden decline in popularity between 1988 and 1991 when the major label distributors restricted their return policies which retailers had been relying on to maintain and swap out stocks of relatively unpopular titles Record companies also deleted many vinyl titles from production and distribution or simply did not make 12 inch singles for many pop artists further undermining the availability of the format and leading to the closure of pressing plants This rapid decline in the availability of records accelerated the format s decline in popularity and is seen by some as a deliberate ploy to make consumers switch to CDs which were at the time more profitable for the record companies 120 121 122 123 and more latterly streaming 124 12 inch singles have continued for sales of dance acts or for dance remixes of commercial artists as there was a continued high regard of the format from DJs into the 2000s and 2010s A growing number of DJs eventually began to use CDJs for their convenience and later along with a crossover period where turntables could be combined with laptops and used with encoded 12 inch discs and DJ software which could manipulate MP3 or WAV music files but still allow for a turntablism experience DJ controller all in one decks have in later times become the norm which take up less space than a pair of turntables reducing DJs dependence on the physical format even further There is however a dedicated DJ sub community that maintain their usage of the format with retro styled vinyl only nights being a unique selling point Also there are some new titles being pressed on the format and available at physical record shops although many sales take place online There is also a notable second hand trade business on online sale and auction marketplaces for collectors of which some titles are still in demand and can be of some value 125 References Edit Wikimedia Commons has media related to 12 inch single The Joy of 45 Collecting Why 45s Sound Better Than LPs classic45s com Retrieved 20 May 2020 Victor Deluxe history PDF Baker R S 24 September 2019 Fred Hager tangles with Victor Herbert The Syncopated Times Retrieved 16 May 2020 a b Osborne Richard 17 February 2016 Vinyl A History of the Analogue Record Routledge pp 155 156 ISBN 978 1 317 00180 5 Barton F C April 1932 Victrolac Motion Picture Records Journal of the Society of Motion Picture Engineers 18 4 452 460 doi 10 5594 J01337 ISSN 0097 5834 RCA Program Transcription Album Discography 1931 33 bsnpubs com Retrieved 20 May 2021 University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations Sound and Vision Marketing Recorded Music in the Age of Radio August 2016 p 32 a href Template Cite web html title Template Cite web cite web a CS1 maint url status link Victor Program Transcription Records stokowski org Retrieved 6 June 2020 1931 Leopold Stokowski Philadelphia Orchestra Recordings stokowski org Retrieved 6 June 2020 RCA Program Transcription Album Discography 1931 33 bsnpubs com Retrieved 6 June 2020 Indies Get There First with Plastics Dealers See Extra Plus in Unbreakable Diskings Billboard Vol 57 no 39 6 October 1945 p 21 Columbia Diskery CBS Show Microgroove Platters to Press Tell how It Began Billboard Vol 60 no 26 26 June 1948 p 3 Lowdown on New RCA Disk Billboard Vol 61 no 2 8 January 1949 p 3 Osborne Richard 17 February 2016 The 45 Vinyl A History of the Analogue Record Routledge ISBN 978 1 317 00180 5 Thompson Dave 45s The Greatest Sound on Earth The Music Lover s Guide to Record Collecting Backbeat Books JAMAICA RHYTHM amp BLUES 1956 1961 fremeaux com 2012 Archived from the original on 6 July 2017 Link Geoffrey Tower Test Markets 12 Inch Single in Sacramento and L A Billboard 14 March 1970 1 12 Single Freddie King Lowdown In Lodi 1972 retrieved 15 May 2020 Disco Action Billboard 16 November 1974 p 20 Keepin Up with the Joneses the album by the Joneses has the group s current hit Sugar Pie Guy as well as their previous hit Hey Babe Both singles which had part 1 amp 2 versions the DJs who have played both records sometimes have difficulty in putting them together where they sound as one record Disco Action Billboard 21 December 1974 p 16 Spinners are also happy about the flip side having a 4 10 instrumental version of the song Disco File Record World 30 8 March 1975 The Carstairs It Really Hurt Me Girl Unearthed Sounds unearthedsounds co uk Retrieved 21 May 2020 Tom Moulton and his extended disco remix forever changed dance music Wax Poetics 28 June 2013 Retrieved 21 May 2020 a b Labels Mix Records For Club Scene Billboard 2 November 1974 p 10 Records Ace Disco Gold Ace Records Retrieved 21 May 2020 Billboard names 11 Trendsetters Talent in Action Billboard 28 December 1974 pp 1 4 Tom Moulton redbullmusicacademy com Retrieved 30 June 2020 Disco File Record World 17 May 1975 a b c Million Dollar Disco Tom Mouton alkent co uk Retrieved 15 May 2020 a b c d Lawrence Tim 2 February 2004 Love Saves the Day A History of American Dance Music Culture 1970 1979 Duke University Press p 212 ISBN 978 0 8223 8511 0 Disco Action Billboard 9 November 1974 p 20 Disco Action Billboard 12 April 1975 p 52 Disco File Record World 44 26 April 1975 Club Dialog Billboard 27 September 1975 p 47 Disco Action Billboard 19 April 1975 p 32 Philly Devotions I Just Can t Make It Without You retrieved 6 June 2020 Osborne Richard 17 February 2016 Vinyl A History of the Analogue Record Routledge p 155 ISBN 978 1 317 00181 2 Tom Moulton Tribute Disco Disco com disco disco com Retrieved 24 May 2020 Signings Billboard 26 June 1976 p 32 Disco Action Billboard 31 July 1976 p 38 Disco Action Billboard 26 October 1974 p 22 Aletti Vince October 2018 The disco files 1973 78 New York s underground week by week Second ed New York NY ISBN 978 1 942884 30 9 OCLC 1028843369 Disco File Record World 3 14 June 1975 a b Success of Young Midland Intl Operation Attributed To Clubs Billboard 13 September 1975 p 40 Inc Nielsen Business Media 14 June 1975 Billboard Nielsen Business Media Inc p 3 a href Template Cite book html title Template Cite book cite book a last has generic name help Inside Track Billboard 19 July 1975 p 78 Large And Small Labels Push For Disco Exposure Billboard 1 November 1975 p 50 ExecutiveTurntable Billboard 31 May 1975 p 86 Lawrence Tim 2 February 2004 Love Saves the Day A History of American Dance Music Culture 1970 1979 Duke University Press p 212 ISBN 978 0 8223 8511 0 Disco Action Billboard 7 June 1975 p 16 a b Disco File Record World 98 14 June 1975 Bobby Moore 70s Call Me Your Anything Man retrieved 17 May 2020 a b Disco File Record World 20 15 February 1975 a b Newsletter 56 1974 75 single and LP releases Four Seasons UK Appreciation Society Archived from the original PDF on 18 June 2020 a b Frankie Valli and the Four Seasons and connected Downloadable Discographies UK Appreciation Society Retrieved 2 June 2020 a b Disco Action Billboard 19 April 1975 Disco Action Top Single Picks Billboard 3 May 1975 pp 20 54 a b Inc Nielsen Business Media 2 October 1976 Billboard Nielsen Business Media Inc pp 35 53 a href Template Cite book html title Template Cite book cite book a last has generic name help a b Barrabas Disco Disc planned by Atlantic Record World 291 19 June 1975 a b Inside Track Billboard 19 July 1975 p 82 a b Inside Track Billboard 28 June 1975 p 86 Calhoon single Dance Dance Dance released by Warner Bros after manager Ron Samuels seeded New York discos with acetate copies Disco File Record World 27 10 May 1975 a b Disco File Record World 30 5 July 1975 12 DISCO RECORDS 20th CENTURY 21centurymusic com Retrieved 11 May 2020 Disco Action Billboard 28 June 1975 p 47 Disco Action Billboard 5 July 1975 p 28 Disco Action Billboard 2 August 1975 p 29 a b Disco Action Billboard 16 August 1975 p 51 Disco File Record World 35 6 September 1975 Ace Spectrum s Disco Rendezvous Record World 17 6 September 1975 Club Dialog Billboard 20 September 1975 p 57 Single Picks Billboard 20 September 1975 p 60 a b Club Dialog Billboard 13 September 1975 p 64 a b Motown Promotional Album Discography bsnpubs com Retrieved 7 June 2020 Aletti Vincent 20 September 1975 Disco File Record World 39 Catalog of Copyright Entries Third series Music June September 1975 Library of Congress Copyright Office 1977 p 1787 Scepter Marketing U K Contempo Line Billboard 4 October 1975 p 34 a b Disco File Record World 92 8 November 1975 a b Disco File Record World 34 25 October 1975 Disco Action Billboard 22 November 1975 p 38 Buddah Records Disco Disco com disco disco com Retrieved 4 June 2020 Disco Action Billboard 15 November 1975 p 39 Disco Action Billboard 29 November 1975 p 30 Niebur Louis 2022 Menergy San Francisco s Gay Disco Sound Oxford University Press p 49 ISBN 9780197511077 a b c d A New 12 Inch 45 Salsoul Disco Label Billboard 15 May 1976 pp 3 38 Club DJs Blend Cuts For Cos Disco Disks Billboard 15 May 1976 pp 1 39 Ken Cayre on the History of Salsoul and Working with Disco s Greatest Remixers daily redbullmusicacademy com Retrieved 11 May 2020 Salsoul Records Disco Disco com disco disco com Retrieved 27 May 2020 Salsoul 12 Disco Mix a Retail Smash Record World 3 19 June 1976 Disco Forum II Billboard 9 October 1976 p 36 a b New Labels Add 12 Inch Singles New Labels Flock To Board 12 Inch Disk Bandwagon Billboard 26 June 1976 pp 1 18 GEORGE BENSON singing and playing SUMMERTIME 2001 Billboard 26 June 1976 p 21 Aletti Vince 10 July 1975 Disco File Record World 26 44 Moulton Tom 4 July 1976 Disco Mix Billboard p 37 Amherst Disco Bid By the Gangsters Billboard 26 June 1976 p 50 Amherst Markets Big Disco Disks Billboard 17 July 1976 p 10 Top Single Picks Billboard 17 July 1976 p 58 Inc Nielsen Business Media 15 April 1972 Billboard Nielsen Business Media Inc a href Template Cite book html title Template Cite book cite book a last has generic name help MILESAGO Record Labels Tempo Records milesago com Retrieved 15 May 2020 The first twelve single Part 7 11 12 in Franחe 4 May 2003 Archived from the original on 4 May 2003 Retrieved 3 May 2021 Paul McCartney Let em In www jpgr co uk Retrieved 3 May 2021 Trojan 12 Box Set www savagejaw co uk Retrieved 2 May 2021 Vibes Teacher at Reggae 30 March 2020 Burning Rockers 1 The 12 Mixes Reggae Vibes Retrieved 2 May 2021 The Chantelles Biography amp History AllMusic AllMusic Retrieved 3 May 2021 12 x 12 Electrofunkroots 5 August 2011 Retrieved 14 June 2020 The most collectable 12 singles Record Collector Magazine Retrieved 3 May 2021 SAM Prefix Warner Bros WEA promo and bonus discs 45cat 45cat com Retrieved 16 June 2020 12 Single Robert Palmer Which Of Us Is The Fool 1975 retrieved 8 June 2020 Jones Mark 2013 The Virgin Discography the 1970s The Record Press pp 61 81 125 Nine Times The Moments Do What You Feel The Rimshots 12 Oxfam s Online Shop Retrieved 17 May 2020 DJ Hot Line Record Mirror 21 24 April 1976 The Moments Nine Times retrieved 18 May 2020 Rimshots Do What You Feel Part 1 retrieved 18 May 2020 Time Capsule August 1976 Six Million Steps Retrieved 10 May 2020 12 Single Ernie Bush Breakaway Disco Mix 1976 retrieved 10 May 2020 12 Single The Armada Orchestra For The Love Of Money 1976 retrieved 10 May 2020 a b CONTEMPO 7tt77 co uk Retrieved 20 May 2020 Inc Nielsen Business Media 16 October 1976 Billboard Nielsen Business Media Inc a href Template Cite book html title Template Cite book cite book a last has generic name help FEATURE Forty Years of the Sony Walkman 1st July 1979 An Historic and Iconic Day for Music Music Musings amp Such Retrieved 3 May 2021 Browne David 4 October 1991 A Vinyl Farewell Entertainment Weekly No 86 Souvignier Todd 2004 The World of DJs and the Turntable Culture Hal Leonard Corporation pp 41 42 ISBN 978 0 634 05833 2 Negativland Shiny Aluminum Plastic and Digital via urbigenous net Plasketes George 1992 Romancing the Record The Vinyl De Evolution and Subcultural Evolution Journal of Popular Culture 26 1 110 112 doi 10 1111 j 0022 3840 1992 00109 x Music streaming is fueling vinyl s resurgence Engadget A Brief History of the 12 inch Single Format Discogs Discogs Blog 7 July 2020 Retrieved 3 May 2021 Retrieved from https en wikipedia org w index php title Twelve inch single amp oldid 1131337413, wikipedia, wiki, book, books, library,

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