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Extended play: the story on HearLore | HearLore
Extended play
In 1952, RCA Victor engineered a technical solution to a market war that would redefine how music was consumed for decades. The company introduced the 45 rpm Extended Play record, a format designed to compete directly with Columbia's 33 rpm long-playing album. By narrowing the grooves and lowering the cutting levels, RCA managed to fit up to 7.5 minutes of audio on each side of a 7-inch disc, a significant increase over the standard 4-minute single. This innovation allowed record labels to release entire albums split across multiple 7-inch discs, a practice that dominated the early 1950s before the widespread adoption of triple-speed phonographs. The format was not merely a novelty but a strategic necessity, as manufacturers sought to offer consumers more value without requiring them to purchase expensive new turntables capable of playing the slower 33 rpm records. The EP became a bridge between the single and the album, offering a middle ground for listeners who wanted more than a single song but could not yet afford or access the full album experience. This technical compromise laid the groundwork for a format that would eventually become a staple of the music industry, particularly in the United Kingdom and among punk and indie artists who would later embrace its brevity and flexibility.
The Teenage Market Dominance
The early popularity of the EP was driven almost entirely by the teenage demographic, a market segment that record companies were just beginning to recognize as a powerful economic force. By October 1957, Billboard magazine noted that seven out of the top ten best-selling EPs featured artists with powerful teen-age appeal, including four sets by Elvis Presley, two by Pat Boone, and one by Little Richard. RCA Victor capitalized on this trend, issuing 28 EPs between 1956 and 1967, many of which topped the separate Billboard EP chart during its brief existence. In Sweden, the format was so dominant that as much as 85% of the market in the late 1950s consisted of EPs, a testament to its widespread acceptance among young listeners. The format was also widely sold in the United Kingdom and other European countries during the 1950s and 1960s, where it served as a primary vehicle for releasing new material. The EP was considered less expensive and less time-consuming for artists to produce than an album, making it an attractive option for emerging talent. The success of the EP in Britain lasted until around 1967, but it later had a strong revival with punk rock in the late 1970s and the adaptation of the format for 12-inch and CD singles. The Beatles' Twist and Shout EP outsold most singles for some weeks in 1963, demonstrating the format's ability to generate significant commercial success even as the industry shifted toward full-length albums.
What is the definition of an EP in the United States according to the Recording Industry Association of America?
The Recording Industry Association of America defines an EP as a release under 30 minutes containing three to five songs for the purposes of certification. This classification distinguishes the format from albums which require five or more different songs and a running time of over 15 minutes according to The Recording Academy's rules for the Grammy Awards.
When did RCA Victor introduce the 45 rpm Extended Play record to compete with Columbia's 33 rpm long-playing album?
RCA Victor introduced the 45 rpm Extended Play record in 1952 as a technical solution to a market war. The company narrowed the grooves and lowered the cutting levels to fit up to 7.5 minutes of audio on each side of a 7-inch disc. This innovation allowed record labels to release entire albums split across multiple 7-inch discs before the widespread adoption of triple-speed phonographs.
Which band released the pivotal Buzzcocks Spiral Scratch EP in 1977 to demonstrate the format's ability to serve as a vehicle for original material?
The Buzzcocks released the Spiral Scratch EP in 1977 as a pivotal moment in the history of the format. This release demonstrated the EP's ability to serve as a vehicle for original material rather than just a collection of singles. The format was particularly popular with punk and indie bands who appreciated its lower production costs and the ability to release music quickly.
How did the Official Chart Company in the United Kingdom classify records as albums for sales-chart purposes in the modern era?
The Official Chart Company classifies any record with more than four tracks or with a playing time of more than 25 minutes as an album for sales-chart purposes. This classification creates ambiguity where the same release can be classified differently depending on the context. The format's definition has been complicated by the advent of CDs, music downloads, and music streaming.
What was the first double EP released in Britain and which band performed the soundtrack?
The first double EP released in Britain was the Beatles' Magical Mystery Tour film soundtrack. This release contained six songs spread over two 7-inch discs and was packaged with a lavish color booklet. The format offered a unique solution for artists who wanted to release a substantial amount of material without committing to a full-length album.
The EP experienced a resurgence in the punk rock era, when it was commonly used for the release of new material by bands seeking to bypass the traditional album format. The Buzzcocks' Spiral Scratch EP, released in 1977, is often cited as a pivotal moment in the history of the format, as it demonstrated the EP's ability to serve as a vehicle for original material rather than just a collection of singles. The format was particularly popular with punk and indie bands, who appreciated its lower production costs and the ability to release music quickly. The British band Cocteau Twins made prolific use of the EP format, releasing ten EPs between 1982 and 1995, while bands like The Locust used the 8cm/3-inch CD format to release EPs, including their 1997 self-titled EP. The format was also used to release promotional material, such as the 1970s mini-LP format in the Philippines, which was marketed as a truncated version of long-play albums for use in jukeboxes. The EP's ability to serve as a bridge between the single and the album made it an ideal format for artists who wanted to experiment with new sounds without committing to a full-length album. The format's flexibility allowed bands to release music more frequently, keeping their fans engaged and maintaining a presence in the music scene. The EP's revival in the punk rock era demonstrated its enduring appeal as a format that could adapt to changing musical trends and technological advancements.
The Digital Transformation
The rise of music downloads and streaming in the late 2000s transformed the EP into a common marketing strategy for pop musicians wishing to remain relevant and deliver music in more consistent timeframes. In October 2010, a Vanity Fair article noted post-album EPs as the next step in extending albums' shelf lives, following the deluxe editions that had populated stores during the previous holiday seasons. Artists like Lady Gaga and Kesha released EPs such as The Fame Monster and Cannibal, respectively, to extend the life of their debut albums. Miley Cyrus planned to release her seventh studio album as a trilogy of EPs, beginning with She Is Coming, a strategy that allowed her to deliver music in smaller doses and keep her fans engaged over a longer period. Major-label pop musicians like Colbie Caillat and Jessie J also employed such release strategies, with Caillat releasing Gypsy Heart: Side A three months prior to the full album and Jessie J releasing R.O.S.E. as four EPs in as many days. The format's ability to serve as a marketing tool allowed artists to maintain a presence in the music scene without the pressure of releasing a full-length album. The EP's flexibility made it an ideal format for artists who wanted to experiment with new sounds and keep their fans engaged. The digital transformation of the EP demonstrated its enduring appeal as a format that could adapt to changing musical trends and technological advancements.
The Definition Dilemma
The definition of an EP has become increasingly elusive in the modern era, with different organizations and countries using varying criteria to classify the format. In the United States, the Recording Industry Association of America defines an EP as a release under 30 minutes containing three to five songs for the purposes of certification, while The Recording Academy's rules for the Grammy Awards state that any release with five or more different songs and a running time of over 15 minutes is considered an album. In the United Kingdom, the Official Chart Company classifies any record with more than four tracks or with a playing time of more than 25 minutes as an album for sales-chart purposes. The format's ambiguity has led to a situation where the same release can be classified differently depending on the context. The EP's definition has also been complicated by the advent of CDs, music downloads, and music streaming, which have blurred the lines between singles, EPs, and LPs. The format's flexibility has allowed artists to release music in a variety of ways, from traditional vinyl records to digital downloads and streaming playlists. The EP's ability to serve as a bridge between the single and the album has made it an ideal format for artists who want to experiment with new sounds and keep their fans engaged. The format's definition dilemma highlights the challenges of categorizing music in an era of rapid technological change.
The Double EP Experiment
The double EP format, typically given to vinyl records or compact discs released as a set of two discs, offered a unique solution for artists who wanted to release a substantial amount of material without committing to a full-length album. In the 1950s, Capitol Records released a number of double EPs by its more popular artists, including Les Paul, with the pair of double EPs described on the original covers as parts of a four-part album. The first double EP released in Britain was the Beatles' Magical Mystery Tour film soundtrack, which contained six songs spread over two 7-inch discs and was packaged with a lavish color booklet. The format was also used to release the work of multiple artists split across different sides, as seen in the Dunedin Double EP, which contained tracks by four different bands. The double EP's ability to serve as a bridge between the single and the album made it an ideal format for artists who wanted to experiment with new sounds without committing to a full-length album. The format's flexibility allowed bands to release music more frequently, keeping their fans engaged and maintaining a presence in the music scene. The double EP's unique structure also allowed for wider grooves on the physical record, resulting in a louder album. The format's rarity and novelty value made it an attractive option for artists who wanted to create a memorable release. The double EP's experiment demonstrated the format's ability to adapt to changing musical trends and technological advancements.