Single (music)

Characteristics and common formats

Historically singles were issued on two-sided physical discs, which shaped their terminology and structure. Typical features include:

• A-side: the primary song chosen for promotion, often the candidate for chart success and media exposure. See also promotion and media.
• B-side: an accompanying track that may be an album cut, an unreleased song, a remix or an experimental piece; B-sides sometimes develop their own following.
• Multiple versions: modern formats such as the compact disc or digital single can include alternate takes, radio edits, remixes and live versions.
• Extended plays (EPs): releases with more than two or three songs are typically classed as EPs rather than singles and occupy a middle ground between a single and a full album (album).

History and development

The language of A-side and B-side dates to the era of shellac and vinyl discs, which had two physical sides that could each carry a recording. Over time formats shifted—78s to 45s to 12-inch singles, then to CDs and digital downloads—and the role of the single evolved accordingly. While radio historically concentrated on the A-side for rotation, artists and labels sometimes used B-sides strategically to provide extra content, promote other material, or reward fans with exclusive tracks. Conflicts over which songs were chosen for singles were not uncommon among band members and songwriters; creative rivalry has driven some acts to compete for A-side placement, just as teams of professional songwriters have sought to place their work on high-profile releases.

Uses, examples and commercial importance

Singles serve multiple roles: they act as promotional vehicles ahead of an album, they supply radio and streaming services with concise material for playlisting, and they can create momentum for tours and publicity campaigns. Notable historical examples illustrate how A-side selection could affect careers: members of high-profile bands sometimes struggled for representation on singles—famous songwriting partners and bandmates such as John Lennon and Paul McCartney worked competitively to secure more A-side placements, while other members like George Harrison found fewer opportunities despite later success. Producers and label figures also shaped single content; for instance, producers like Phil Spector occasionally used B-sides for short jams or studio experiments.

Notable conflicts and business aspects

Disagreements about single selection and B-side use could create tensions within bands and between artists and management. A well-known case involved artists who wanted their own compositions released as singles while managers or music supervisors preferred songs from other writers; such disputes could lead to strained relationships and public controversy. For example, performers who were also songwriters sometimes accepted B-sides when denied the A-side, while music executives favored material that fit a commercial strategy. Cases involving individual artists or managers illustrate how selection and credit for singles intersect with royalties and creative control—issues often discussed in music business histories and biographies. See references to artists and managers such as Michael Nesmith and Don Kirshner, and accounts of resulting tension.

Distinctions and notable facts

• "Double A-side" releases treat two songs as joint lead tracks rather than distinguishing an A- and a B-side.
• Chart eligibility rules have changed over time and vary by country and era; what counts as a single for chart purposes is determined by industry organizations.
• In the digital age the concept of a B-side is less strictly tied to a physical medium, yet artists still issue companion tracks, remixes and bonus material alongside lead singles.

For further background on marketing, formats and artists associated with singles, consult material linked throughout this article and sources on record formats and music business practice.

Marketing context • Definition of songs on a single • Album vs EP