Misplaced Pages

#947052

55-508: Vacation Club is an EP by Aerosmith , released on December 10, 1988. The EP was only sold in record stores in Japan. It contains remixes of songs from Aerosmith's album, Permanent Vacation , and a previously unreleased song from the sessions entitled, "Once Is Enough". The album art uses the same cover as the Rag Doll single from 1987. This 1980s hard rock album-related article

110-576: A "Bubbling Under List" right under the main chart (at the time, the Singles Top 50, the Albums Top 30 and the EP Top 10). "The Breakers", as it was called later in the year, were 10 to 15 records (for the singles chart) which had not made the top 50 that week, but were poised to reach the main chart the next week, ranked in sales order, i.e. as if they occupied positions 51 to 64. "The Breakers" list

165-659: A New World LP on an EP that was marked "Part 1". A second EP was planned, but never appeared; only the sleeve was printed. The first double EP released in Britain was the Beatles ' Magical Mystery Tour film soundtrack. Released in December 1967 on EMI's Parlophone label, it contained six songs spread over two 7-inch discs and was packaged with a lavish color booklet. In the United States and some other countries,

220-691: A chart coverage including jazz, country and pop music . This eventually included the official UK Top 50 singles, Top 30 LPs and Top 10 EPs , as compiled by Record Retailer . The paper also listed the USA Top 50 singles, compiled by Cash Box , and charts such as the Top 20 singles of five years ago and R&B releases. Features such as Ian Dove's "Rhythm & Blues Round Up", Peter Jones's "New Faces" and Norman Jopling's "Fallen Idols and Great Unknowns", combined with New Record Mirror' s music coverage, helped circulation rise to nearly 70,000. New Record Mirror

275-457: A colour picture of the Beatles on the cover, the first music paper in full colour. Although the first run of 120,000 sold out, the following issue fell to 60,000. Junor replaced Jimmy Watson by Peter Jones. Circulation recovered and the paper successfully continued with the same format throughout the 1960s. Following acquisition in 1962 of NME by Odhams , Record Mirror was the only independent popular music newspaper. During 1969, Record Mirror

330-403: A continental circulation and a Dutch supplement was frequently included. Terry Chappell resumed as production editor and Bob Houston supervised the change in format. Group editorial manager Mike Hennessey contributed the first interview with John Lennon . The Record Mirror photographic studio became independent, under Dezo Hoffmann . In a studio outtake of a recording of "Sally Simpson" on

385-405: A double EP could usually be more economically and sensibly recorded on a single vinyl LP . In the 1950s, Capitol Records had released a number of double EPs by its more popular artists, including Les Paul . The pair of double EPs (EBF 1–577, sides 1 to 8) were described on the original covers as "parts ... of a four-part album". In 1960, Joe Meek released four tracks from his planned I Hear

440-431: A dying tradition. He published articles and interviews connected with theatre and musical personalities. On 22 January 1955, Record Mirror became the second music paper after NME to publish a singles chart. The chart was a Top 10, from postal returns from 24 shops. On 8 October, the chart expanded to a Top 20, and by 1956, more than 60 stores were being sampled. In April 1961, increased postage costs affected funding of

495-543: A further album in this format, 1985's " Drinking Gasoline ", on the Virgin Records label. Double EPs can also contain the work of multiple artists split across different sides, akin to split albums . An example of this is the Dunedin Double EP, which contains tracks by four different bands. Using a double EP in this instance allowed each band to have its tracks occupying a different side. In addition,

550-634: A list of best sellers by post. The paper would finance the costs of this survey and by 1957 over 60 shops would be regularly contributing from a rotating pool of over 80. The chart was a top 10 until 8 October 1955. It then became a top 20; which it stayed at until being replaced by the Record Retailer top 50. It also inaugurated the country's first Long Player chart, which commenced as a top five on 28 July 1956. By March 1962, Record Mirror adopted publication of Record Retailer' s top 50 from 24 March 1962. After 21 April 1966, Record Mirror published

605-401: A pair of 7-inch discs recorded at 45 or 33 1 ⁄ 3 rpm , or two 12-inch discs recorded at 45 rpm. The format is useful when an album's worth of material is being pressed by a small plant geared for the production of singles rather than albums and may have novelty value which can be turned to advantage for publicity purposes. Double EPs are rare, since the amount of material record-able on

SECTION 10

#1732776266948

660-480: A single song, instead resembling a mini album. EPs of original material regained popularity in the punk rock era, when they were commonly used for the release of new material, e.g. Buzzcocks ' Spiral Scratch EP. Ricardo Baca of The Denver Post said in 2010, "EPs—originally extended-play 'single' releases that are shorter than traditional albums—have long been popular with punk and indie bands." Contemporary EPs generally contain up to eight tracks. In

715-439: A standard 45 rpm phonograph . In the early era, record companies released the entire content of LPs as 45 rpm EPs. These were usually 10-inch (25-cm) LPs (released until the mid-1950s) split onto two 7-inch EPs or 12-inch (30-cm) LPs split onto three 7-inch EPs, either sold separately or together in gatefold covers. This practice became much less common with the advent of triple-speed-available phonographs. Introduced by RCA in

770-615: A substantial share of Decca's interest to John Junor , editor of the Sunday Express . Junor was looking for a paper to print by four-colour printing developed by Woodrow Wyatt in Banbury , before printing the Sunday Express in colour. Junor moved Sunday Express production to Shaftesbury Avenue and New Record Mirror became more mainstream. In November 1963, the paper returned to the name Record Mirror , and featured

825-410: A trilogy of three EPs, beginning with She Is Coming , stated: "By delivering a trio of EPs throughout a period of several months, Miley is giving her fans more of what they want, only in smaller doses. When an artist drops an album, they run the risk of it being forgotten in a few weeks, at which point they need to start work on the follow-up, while still promoting and touring their recent effort. Miley

880-811: Is a stub . You can help Misplaced Pages by expanding it . Extended play An extended play (EP) originally referred to a specific type of 45 rpm phonograph record other than 78 rpm standard play (SP) and 33 rpm long play (LP), but as of 2024 , also applies to mid-length CDs and downloads as well. EPs are considered "less expensive and time-consuming" for an artist to produce than an album, and have long been popular with punk and indie bands. In K-pop and J-pop , they are usually referred to as mini-albums . EPs were released in various sizes in different eras. The earliest multi-track records, issued around 1919 by Grey Gull Records , were vertically cut 78 rpm discs known as "2-in-1" records. These had finer grooves than usual, like Edison Disc Records . By 1949, when

935-478: Is doing her best to game the system by recording an album and delivering it to fans in pieces." However, this release strategy was later scrapped in favor of the conventional album release of Plastic Hearts . Major-label pop musicians who had previously employed such release strategies include Colbie Caillat with her fifth album Gypsy Heart (2014) being released following an EP of the album's first five tracks known as Gypsy Heart: Side A three months prior to

990-427: Is the mini-LP , which was a common album format in the 1980s. These generally contained 20–30 minutes of music and about seven tracks. A double extended play is a name typically given to vinyl records or compact discs released as a set of two discs, each of which would normally qualify as an EP. The name is thus analogous to double album . As vinyl records, the most common format for the double EP, they consist of

1045-633: The Record Mirror also printed EP charts. The popularity of EPs in the US had declined in the early 1960s in favor of LPs. In the UK, Cliff Richard and the Shadows , both individually and collectively, and the Beatles were the most prolific artists issuing EPs in the 1960s, many of them highly successful releases. The Beatles' Twist and Shout outsold most singles for some weeks in 1963. The success of

1100-628: The DJ Directory , including the Beats and Pieces news section and four charts: "Club Chart", "Cool Cuts", "Pop Dance", and Hi-NRG Chart. Hamilton had started DJing in London in the early 1960s, and had been writing about US soul and R&B for Record Mirror since 1964, originally as Dr Soul. After a visit to the Paradise Garage in the 1970s to see Larry Levan play, he came back to

1155-628: The Record Mirror Dance Update until two weeks before his death on 17 June 1996, with the supplement running an obituary in the 29 June issue with tributes from Pete Tong, Graham Gold and Les 'L.A. Mix' Adams. By the 21st century, the Record Mirror Dance Update had been abandoned with the dance charts incorporated into Music Week (with the Music Week Upfront Club and Cool Cuts still being published in 2020 by Future plc , though this may change in 2021 when

SECTION 20

#1732776266948

1210-537: The 1950s. Examples are Elvis Presley's Love Me Tender from 1956 and "Just for You", " Peace in the Valley " and " Jailhouse Rock " from 1957, and the Kinks ' Kinksize Session from 1964. Twelve-inch EPs were similar, but generally had between three and five tracks and a length of over 12 minutes. Like seven-inch EPs, these were given titles. EP releases were also issued in cassette and 10-inch vinyl formats. With

1265-516: The 1980s) were introduced in 1970, with tracks selected from an album and packaging resembling the album they were taken from. This mini-LP format also became popular in America in the early 1970s for promotional releases, and also for use in jukeboxes . In 2010, Warner Bros. Records revived the format with their "Six-Pak" offering of six songs on a compact disc. Due to the increased popularity of music downloads and music streaming beginning

1320-544: The 2003 release of the deluxe edition of the Who's 1969 album Tommy , Pete Townshend said, "I've read the Record Mirror ". When Keith Moon presses him to tell what he read in the Record Mirror , Pete says, to the rest of the band's laughter, that the paper said that he was known by the other members of the Who as "Bone". In 1975 Disc was incorporated into Record Mirror – among the items brought to Record Mirror

1375-524: The 45 rpm single and 33 1 ⁄ 3 rpm LP were competing formats, 7-inch 45 rpm singles had a maximum playing time of only about four minutes per side. Partly as an attempt to compete with the LP introduced in 1948 by rival Columbia , RCA Victor introduced "Extended Play" 45s during 1952 . Their narrower grooves, achieved by lowering the cutting levels and sound compression optionally, enabled them to hold up to 7.5 minutes per side—but still be played by

1430-506: 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 British band Cocteau Twins made prolific use of the EP format, releasing ten EP's between 1982 and 1995. In the Philippines , seven-inch EPs marketed as " mini-LPs " (but distinctly different from the mini-LPs of

1485-460: The Gallup charts (the future Official Charts Company Top 100), Record Mirror was the only magazine during the 1980s to print the weekly US singles and album charts, with analysis by chart statistician Alan Jones. In June 1975, DJ James Hamilton (1942–1996) started writing a weekly "disco" column, which in 1980s expanded into a general dance music section known as BPM . Later, Hamilton introduced

1540-504: The US in 1952, EMI issued the first EPs in Britain in April 1954. EPs were typically compilations of singles or album samplers and were played at 45 rpm on 7-inch (18-cm) discs, with two songs on each side. The manufacturing price of an EP was a little more than that of a single. Thus, they were a bargain for those who did not own the LPs from which the tracks were taken. RCA had success in

1595-551: The United Kingdom, an EP can appear either on the album or the single chart. The Official Chart Company classifies any record with more than four tracks (not counting alternative versions of featured songs, if present) or with a playing time of more than 25 minutes as an album for sales-chart purposes. If priced as a single, they will not qualify for the main album chart but can appear in the separate Budget Albums chart. An intermediate format between EPs and full-length LPs

1650-529: The United States, the Recording Industry Association of America , the organization that declares releases "gold" or "platinum" based on numbers of sales, defines an EP as containing three to five songs or under 30 minutes. On the other hand, The Recording Academy 's rules for Grammy Awards state that any release with five or more different songs and a running time of over 15 minutes is considered an album, with no mention of EPs. In

1705-424: The advent of the compact disc (CD), more music was often included on "single" releases, with four or five tracks being common, and playing times of up to 25 minutes. These extended-length singles became known as maxi singles and while commensurate in length to an EP were distinguished by being designed to feature a single song, with the remaining songs considered B-sides , whereas an EP was designed not to feature

Vacation Club - Misplaced Pages Continue

1760-754: The circulation of its rival. The first UK album chart was published in Record Mirror in 1956, and during the 1980s it was the only consumer music paper to carry the official UK singles and UK albums charts used by the BBC for Radio 1 and Top of the Pops , as well as the USA's Billboard charts. The title ceased to be a stand-alone publication in April 1991 when United Newspapers closed or sold most of their consumer magazines, including Record Mirror and its sister music magazine Sounds , to concentrate on trade papers like Music Week . In 2010, Giovanni di Stefano bought

1815-456: The end of 1960 circulation had fallen to 18,000 and Decca Records , the main shareholder, became uneasy. In March 1961, Decca replaced Green with Jimmy Watson, a former Decca press officer. Watson changed the title to New Record Mirror and eliminated show business. Circulation rose, aided by an editorial team of Peter Jones , Ian Dove and Norman Jopling. He brought in freelance columnists James Asman, Benny Green and DJ David Gell to implement

1870-443: The format with Elvis Presley , issuing 28 EPs between 1956 and 1967 , many of which topped the separate Billboard EP chart during its brief existence. Other than those published by RCA, EPs were relatively uncommon in the United States and Canada, but they were widely sold in the United Kingdom, and in some other European countries, during the 1950s and 1960s. In Sweden, the EP was a popular record format, with as much as 85% of

1925-406: The full album; and Jessie J 's fourth studio album R.O.S.E. (2018) which was released as four EPs in as many days entitled R (Realisations) , O (Obsessions) , S (Sex) and E (Empowerment) . The first EPs were seven-inch vinyl records with more tracks than a normal single (typically four of them). Although they shared size and speed with singles, they were a recognizably different format than

1980-404: The groove on the physical record could be wider and thus allow for a louder album. In the 1960s and 1970s, record companies released EP versions of long-play (LP) albums for use in jukeboxes . These were commonly known as "compact 33s" or "little LPs". The jukebox EP was played at 33 1 ⁄ 3 rpm, was pressed on seven-inch vinyl and frequently had as many as six songs. What made it EP-like

2035-475: The hits, though the full Top 200 singles chart and Top 150 albums chart could be accessed by subscribing to Music Week' s spin-off newsletter Charts Plus and also to Hit Music which superseded it. (Note: As of December 2020 the Official Charts Company website is still missing a lot of the data on regards to records in positions 76 to 100 from 1991 to 12 February 1994) In addition to

2090-415: The late 2000s, EPs have become a common marketing strategy for pop musicians wishing to remain relevant and deliver music in more consistent timeframes leading to or following full studio albums. In the late 2000s to early 2010s, reissues of studio albums with expanded track listings were common, with the new music often being released as stand-alone EPs. In October 2010, a Vanity Fair article regarding

2145-467: The management team that our strength was dance music, he thought I meant Jive Bunny ." As United Newspapers decided to focus on trade papers, Record Mirror was incorporated into Music Week as a pull-out supplement with the title concentrating on dance music and with the Cool Cuts, Club Chart and James Hamilton's BPM column continuing to be published. Hamilton continued to review records for

2200-535: The market in the late 1950s consisting of EPs. Billboard introduced a weekly EP chart in October 1957, noting that "the teen-age market apparently dominates the EP business, with seven out of the top 10 best-selling EPs featuring artists with powerful teen-age appeal — four sets by Elvis Presley, two by Pat Boone and one by Little Richard ". Other publications such as Record Retailer , New Musical Express ( NME ) , Melody Maker , Disc and Music Echo and

2255-444: The name Record Mirror and relaunched it as an online music gossip website in 2011. The website became inactive in 2013 following di Stefano's jailing for fraud. Record Mirror was founded by former Weekly Sporting Review editor Isidore Green, who encouraged the same combative journalism as NME . Staff writers included Dick Tatham, Peter Jones and Ian Dove. Green's background was in show business and he emphasised music hall ,

Vacation Club - Misplaced Pages Continue

2310-578: The paper changed from tabloid to glossy magazine. During the next nine years it had a more pop-orientated slant and containing features and a tone of voice that was one part Smash Hits, one part the NME. Part of Record Mirror was devoted over to comic articles as a rival to the NME's Thrills section (infamous for Stuart Maconie's Believe It Or Not column which claimed that Bob Holness was the saxophonist on Gerry Rafferty's Baker Street). Features in this section of Record Mirror included: In 1987, Morgan-Grampian

2365-539: The publication goes monthly). However, in 2011 Record Mirror was re-launched as an online music gossip website but became inactive two years later following trademark owner Giovanni di Stefano's jailing for fraud. Record Mirror became the second magazine to compile and publish a record chart on 22 January 1955. Unlike the New Musical Express who conducted a phone poll of retailers for a chart, Record Mirror arranged for its pool of retailers to send in

2420-484: The returns, and on 24 March 1962 the paper abandoned its charts and began using those of Record Retailer , which had begun in March 1960. The first album charts in the UK were published in Record Mirror on 28 July 1956. For two months in 1959, Record Mirror failed to appear due to a national printing strike. On its return, Green renamed it Record and Show Mirror , the majority of space devoted to show business. By

2475-621: The seven-inch single. Although they could be named after a lead track, they were generally given a different title. Examples include the Beatles ' The Beatles' Hits EP from 1963, and the Troggs ' Troggs Tops EP from 1966, both of which collected previously released tracks. The playing time was generally between 10 and 15 minutes. In the UK they came in cardboard picture sleeves at a time when singles were usually issued in paper company sleeves. EPs tended to be album samplers or collections of singles. EPs of all original material began to appear in

2530-504: The singles chart extended to a Top 100, with positions 76–100 as 'The Next 25' – excluding singles dropping out of the Top 75 or with significantly reduced sales. 'The Next 25' was discontinued by Music Week in November 1990 who decided to only include records that were hits (that is, inside the Top 75). Record Mirror continued printing the Top 100 until it became part of the trade paper in April 1991, with Music Week continuing to print

2585-531: The songs are spread across two 12" 45 rpm discs. Also, the vinyl pressing of Hail to the Thief by Radiohead uses this practice but is considered to be a full-length album. In 1982 Cabaret Voltaire released their studio album " 2x45 " on the UK-based label Rough Trade , featuring extended tracks over four sides of two 12-inch 45 rpm discs, with graphics by artist Neville Brody . The band subsequently released

2640-426: The songs were augmented by the band's single A- and B-sides from 1967 to create a full LP –a practice that was common in the US but considered exploitative in the UK. The Style Council album The Cost of Loving was originally issued as two 12-inch EPs. It is more common for artists to release two 12-inch 45s rather than a single 12-inch LP. Though there are 11 songs that total about 40 minutes, enough for one LP,

2695-689: The trend noted post-album EPs as "the next step in extending albums' shelf lives, following the "deluxe" editions that populated stores during the past few holiday seasons—add a few tracks to the back end of an album and release one of them to radio, slap on a new coat of paint, and—voila!—a stocking stuffer is born." Examples of such releases include Lady Gaga 's The Fame Monster (2009) following her debut album The Fame (2008), and Kesha 's Cannibal (2010) following her debut album Animal (2010). A 2019 article in Forbes discussing Miley Cyrus ' plan to release her then-upcoming seventh studio album as

2750-530: Was J Edward Oliver 's cartoon, which had been running in Disc for five years, and which continued for a two years in Record Mirror . By 1977 Record Retailer had become Music Week and Record Mirror was included in a sale by Billboard magazine to the Morgan-Grampian Group. Both offices moved to Covent Garden . Morgan-Grampian moved to Greater London House , north London in 1981. In 1982,

2805-597: Was acquired by Record Retailer and incorporated into Record Retailer offices in Carnaby Street . The acquisition saw the magazine change printers, drop full colour pin-ups and increase its size to a larger tabloid format . Jones continued as editor, supported by Valerie Mabbs, Lon Goddard, Rob Partridge, Bill McAllister (the first music journalist to herald Elton John and Rod Stewart ), and broadcast-specialist Rodney Collins, who had moved from Record Retailer . Collins's links with pirate radio gave Record Mirror

SECTION 50

#1732776266948

2860-441: Was acquired by United Newspapers (now UBM ). On 2 April 1991, Record Mirror closed as a stand-alone title on the same day as its United Newspapers sister publication Sounds closed, with the last issue dated 6 April 1991. The final cover featured Transvision Vamp . Eleanor Levy, the final editor, believed the decision to close the magazine was "taken by accountants rather than people who understand music. When I explained to one of

2915-523: Was ceased when BMRB took over chart compilation in February 1969, but by September 1970, it was re-instated (for singles only) appearing off and on under the main chart, up until May 1978 (when the top 75 was introduced). In the years 1974 and 1975, the list even expanded to 30 titles, of which the first 10 were called "Star Breakers" and given in order of sales, with the other 20 listed alphabetically. In January 1983, when Gallup took over chart compilation,

2970-428: Was that some songs were omitted for time purposes, and the most popular tracks were left on. Unlike most EPs before them, and most seven-inch vinyl in general (pre-1970s), these were issued in stereo . Record Mirror Record Mirror was a British weekly music newspaper published between 1954 and 1991, aimed at pop fans and record collectors. Launched two years after New Musical Express , it never attained

3025-736: Was the first national publication to publish an article on the Beatles , and the first to feature the Rolling Stones , the Searchers , the Who , and the Kinks . Bill Harry , founder and editor of the Liverpool publication Mersey Beat , wrote a column on Liverpool music. Other columnists reported on Birmingham , Manchester, Sheffield and Newcastle . New Record Mirror took an interest in black American R&B artists. The paper maintained articles on old-style rock and roll . During 1963 Decca Records' chairman Edward Lewis sold

#947052