Twelve-inch single

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music to enhance the reaction, typically a new edit would be repeatedly created, pressed on acetates and supplied until a good response was had from nightclubs, so creating a buzz which would drive the eventual commercial sales. To better feed those reactions back 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. 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. Billboard magazine reported that Atlantic Records were the first major label to issue 12-inch 33 rpm vinyl promos to DJs in July, under the watchful eye of a DJ as their promotions director Doug Riddick, who took up the post in May 1975.

528:, 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. This innovation would eventually be issued on the song's re-release on a 7-inch 45 in July 1974, and earn Scepter a 299:. While one to two short playing songs being sold to the public were more suited for the seven‑inch 45 rpm record, the LP could be anything from 1 track per side, and if in that simplistic configuration it technically could be classed as a twelve‑inch single. Over the ensuing years some works, particularly in the classical and jazz genres, and the relatively few tracks on an occasional album could blur the boundaries of what would become considered a twelve‑inch single, an EP and an album, with the price, catalogue number, any stylistic aims of the performing artist, marketing by the record label, as well as record industry sales charts rules regulating the differences between formats. 1482:" 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. 651:". 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. 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. 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. Moulton subsequently created a lengthier 7:15 min mix for the album which appeared in late October. 1341:

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. 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. The costs for the format were also still prohibitive; one label reported 12-inch singles cost more than it did to press an album.

608:, brother of Don Downing. As no 7-inch (18 cm) acetates could be found, a 10-inch (25 cm) blank was used. 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 504:, 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. 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. 1652:" (15:00). The broad visual spacing of the grooves on the twelve-inch records made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light (without having to listen while dropping and re-dropping the stylus to find the right point). A quick study of any DJs favorite discs will reveal mild wear in the "break points" on the discs' surfaces that can clearly be seen by the naked eye, which further eases the "cueing" task (a club DJs tone-arm cartridge will be heavily weighted and mild wear will seldom spoil the 1660:, such as Ultimix and Hot Tracks, issued sets with deliberately visualised groove separations (i.e., the record was cut with narrow and wider spacings that could be seen on the surface, marking the mix points on the often multi-song discs). Motown were one of the first to "eye cue" their 12-inch disco discs, giving DJs the track's BPM and info on the exact length of the various sections of the song - one of the earliest examples of a record company recognising how important the DJ was to become by making their product more user-friendly. 1756:

titles. Record companies also deleted many record 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 was seen by some as a deliberate ploy to make consumers switch to CDs which were at the time more profitable for the record companies, and more latterly,

44: 188:. 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. 6157: 1719:", selling about 800,000 copies on the format and over a million copies in total (not counting later remixes). It was somewhat helped by the fact that Factory did not release a seven-inch version of the single until 1988, five years after the single was originally released as a twelve-inch-only release. Besides, the seven-inch version that was released was not the original 1983 version released on twelve-inch, but a re-recording called "Blue Monday 1988". 313: 658:. Mentioned in his Billboard column in mid April as being 'out soon', 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. A sometimes mentioned candidate among these first acetates is Moment of Truth "So Much For Love", but this effort was commercially released a year later, the band having been signed to 1366:

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. 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.

1728: 1599:'s Contempo Records from 8 October 1976, these songs having been previously released in either 7-inch format or as album tracks. 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 6144: 4708: 393:

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

2346:"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 & 2 versions, .... who have played both records sometimes have difficulty in putting them together where they sound as one record. 1344:

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

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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

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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. Moulton, now a regular in-house remixer for the label,

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in the latter from November 1974. The DJs would increasingly be expected to report back, much like with radio, with what songs worked on their dancefloors to the record company and mixers such as Moulton and others so that a strategic decision would be made whether to further fine tune or remix the

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surpassed the gramophone record in unit sales. Vinyl records experienced a sudden decline in popularity in the U.S. 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

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music weekly paper, with him notably indicating the approximate BPM of late 1970s disco tracks onwards. Increasingly in the 1980s, many pop and even rock artists released twelve-inch singles that included longer, extended, or remixed versions of the actual track being promoted by the single. These

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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. With renewed interest and high sales weeks after the release, Salsoul

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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

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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 has maintained their usage of the format, with retro styled "vinyl only" nights

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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.

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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

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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

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started a line of 12-inch promos in November 1975, with the first being Ruan O'Lochlainn "Another Street Gang". 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

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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

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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,

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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-

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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

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The 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

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released a double headed single by the Chicago Gangsters "Gangster Love" / "Feel Like Making Love" in early July 1976 on their Gold Plate subsidiary. A clutch of releases including Jakki "Sun... Sun... Sun" and Four Below Zero "My Baby's Got E.S.P.", amongst others on

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for sale to the general public, but only on a standard-issue 7-inch record for sale in October 1974. Further 10-inch acetates featuring the extended versions would be created by Moulton and Rodriguez from late 1974 such as Moment of Truth's "Your Love" on

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respectively in 1948 and 1949. Intriguingly, although there is a scientific basis behind 45 rpm being an ideal speed for sound quality which was touted by RCA, conveniently the 45 rpm number can also be derived by subtracting 33 from 78.

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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.

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Twelve-inch singles production continued for 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

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versions were frequently labeled with the parenthetical designation "12-inch version", "12-inch mix", "extended remix", "dance mix", or "club mix", before its usage becoming commonplace in the early/mid 1980s developing alongside

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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

2237: 1789:, 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. 79:(long play) which have several songs on each side. It is named for its 12-inch (300 mm) diameter. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider 1345:

hands for the price of an album. 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.

743:, co-writer and producer, personally presented 10-inch test pressings to DJs in April 1975 after high pre-release demand. It was then issued commercially as a 7-inch at the end of April/start of May 1975. 226:. It was marketed initially as being more robust than shellac, with a duration of up to twenty minutes playing time per side. The first twelve-inch LP (containing only one track per side), was Beethoven's 572:) 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 756:

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'

245:. 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. 1591:"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 1688:

scene. Later musical styles took advantage of this new format and recording levels on vinyl twelve-inch "maxi-singles" have steadily increased, culminating in the extremely loud (or "hot") cuts of

241:. 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 634:

in October and the aforementioned Don Downing "Dream World". "I'll be Holding On" would eventually be cut onto a twelve-inch acetate, as chronicled by its usage on the music compilation album

4585: 483:) were involved in several of these pioneering steps due to their artists and heavy bass-range and strong uptempo song material, forward-thinking company executives and innovative remixing. 1457:" 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 4237: 753:'s Calhoon "(Do You Wanna) Dance, Dance, Dance" had a 10-inch acetate from May, given out as a one sided 10-inch vinyl promo in the same month, and as a 12-inch promo in July 1975. 5941: 625:

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

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launched the first commercially available vinyl long-playing record, marketed under their Program Transcription series. These revolutionary discs were designed for playback at 33⁄

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to help boost morale. Vinyl as a material for records sold to the public was reintroduced after World War II, first for 78s in 1945 (the Bolshoi Theatre Orchestra and Chorus's

1579:, 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. 438:

r.p.m.), with distribution by Jamie/Guyden Distribution Corporation. It was manufactured by Jamie Record Co. of Philadelphia, Pennsylvania. The B-side of the record is blank.

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being a unique selling point. In addition, there have been some new titles being pressed on the format and available at physical record shops alongside an ongoing cultural

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Longer tracks could be accommodated on each side of the 12‑inch disc, or shorter but more numerous tracks per side. Indeed, the first 12‑inch vinyl album in 1948,

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using the instrumental or backing track with the vocal version to create an extended version, and later on combining outtakes, adlibs and other unused material;

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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

4856: 580:), making it the first "DJ mix" committed to vinyl, with Moulton admitting it was conceived as a tool for dancefloors. A followup was the Motown compilation 5989: 5951: 1972: 1699:

produced mainly twelve-inch singles (in addition to albums) during the 1980s, lots being mostly regular A and B-sides, not remixes. Certain labels such as

1555:. 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 290:(EP) in appearance, rather than a typical album with multiple tracks each being on average 2–4 minutes such as the first 10‑inch vinyl album, a reissue of 159:

Gramophone records had been introduced in the latter portion of the 19th century, with several pioneers involved in sound reproduction development such as

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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.

281: 434:. Twelve-inch promotional copies of "Straight From My Heart" were released on his own Swamp Dogg Presents label (Swamp Dogg Presents #501/SDP-SD01, 33+⁄ 5900: 3698: 1973:"University of Wisconsin / Milwaukee - UWM Digital Commons - Theses and Dissertations - Sound and Vision: Marketing Recorded Music in the Age of Radio" 4001: 218:

soundtrack discs from 1926) and pressed on ten and twelve-inch diameter flexible Victrolac discs, using a polyvinyl chloride (PVC) compound called

6004: 612:(distinction between loud and soft) as well. This was immediately noticed by them to give a more favorable, 'hotter' sound which would appeal to 2893: 5946: 5895: 5890: 1514:", both at 33 rpm and issued in approximately June 1975 (based on the catalogue numbers used), but rumoured to be as late as October. 1430:

imprints, these included pop releases such as Paul McCartney's first ever extended single internationally, credited as Wings "Let 'Em In"

749:"Mellow Blow" became the first 33 rpm Atlantic promo to be released in July, but eventually commercially only on an 7" in September. 5994: 5905: 555: 6077: 5956: 5936: 2061: 403:

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

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featured only three tracks (one 11-minute long suite on side one, and two tracks on side two taking up 14 minutes in total) and was

5926: 4799: 1393:. Salsoul's second 12-inch record for retail was by Moment of Truth "So Much For Love" / "Helplessly" released in early July 1976. 75:

that has wider groove spacing and shorter playing time with a "single" or a few related sound tracks on each surface, compared to

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Calhoon single "Dance Dance Dance" released by Warner Bros. after manager Ron Samuels seeded New York discos with acetate copies

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Following the lead of the US club DJs, using 12-inch extended versions in the UK as a mixing tool was advocated particularly by

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However, vinyl continued to be used, notably with broadcasters, on larger 16‑inch radio transcription discs, and later with the

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Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a.

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in the middle of April 1976, however both were released commercially and individually on seven-inch 45s only, in April 1976.

569: 4756: 2292: 4964: 4866: 2293:"SWAMP DOGG - JERRY WILLIAMS, JR. DISCOGRAPHY Updated 2016.January.5 Compiled, researched and annotated by David E. Chance" 1905: 407:'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 6026: 6016: 409: 109:

usually holds three or four minutes of music at full volume. The 12-inch LP sacrifices volume for extended playing time.

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progressively increasing the awareness and availability of the format through trade publications, record shops and DJ

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The first song found on a twelve-inch single commercially issued for public purchase from the disco era onwards was "

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The gramophone records cut especially for dance-floor DJs came into existence with the advent of recorded Jamaican

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series released mid May 1975, which put together some of the label's most danceable hits onto a number of albums.

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Singles in general have followed wider gramophone record sales, withstanding competition from the 1960s and 70s

6021: 4078: 600:(José Rodríguez) in need of a Friday-night test copy for a remix created by Tom Moulton in 1974. The song was " 524:" in 1973), in early 1974, during his quest to adapt songs beyond the radio-friendly three-minute mark for his 394: 172: 6107: 6102: 6097: 4841: 2419: 1563:"Jaws" being his first one, which was in extended form. This was followed by disco acts such as James Wells, 1370: 1293: 795: 712: 2654: 5977: 4836: 4792: 4538: 1716: 1637: 1361:

on Salsoul Records in mid May 1976. This was due to the label co-owner Ken Cayre's decision to release the

4154: 4005: 83:, and thus better sound quality. This record type is commonly used in disco and dance music genres, where 6087: 5965: 2144: 414: 4103: 5717: 4969: 1768:

for their convenience, and later along with a crossover period where turntables could be combined with

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The first large-format single made specifically for discotheque DJs was a ten-inch acetate used by a

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Notable 1970s and 1980s releases making use of the new length opportunities of the format included

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however, specifically focused on blending a number of their disco releases into a non-stop medley.

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was again given label credit for the remix. This was released commercially on 7-inch in May 1975.

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creating a segued mix of different tracks, the length of which was less suited to a 7-inch record;

6160: 5858: 5479: 4912: 4785: 1528: 1377:" / Sweet Music "I Get Lifted" on Scepter/Wand in mid June 1976. Third was a disc containing two 654:

Another record remixed by Moulton was the Philly Devotions "I Just Can't Make It Without You" on

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award in December 1974 for 'being the first label to make specialized mixes for discotheques'.

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album. Shelter later issued another promotional single "Lowdown in Lodi"/"Me and My Guitar" by

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owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican

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Spinners are also happy about the flip side having a 4:10 instrumental version of the song.

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in June 1976, and the song only appearing in disco charts at the end of July of that year.

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artists were serviced to radio stations in April 1972 by local distributor Tempo Records:

337: 8: 5798: 5577: 4990: 1703:, only ever released a handful of seven-inch singles. One of Factory's resident artists, 1649: 1458: 1126: 1108: 1053: 547:, as a commercial compilation of various artists licensed from a number of labels called 168: 4930: 4663: 3320: 2086:"Indies Get There First with Plastics; Dealers See Extra Plus in Unbreakable Diskings". 5314: 5226: 5088: 4946: 4871: 4635: 4628: 4175: 2887: 1645: 1588: 1552: 1354: 1301: 1234: 1199: 1134: 841: 732: 185: 68: 4128: 2541: 500:

turntables existed, so DJ's would only blend into a track with the same drum tempo or

6112: 6067: 6057: 5783: 5778: 5758: 5753: 5625: 5546: 5538: 5515: 5505: 5444: 5201: 5186: 5015: 4694: 4639: 3843:"New Labels Add 12 -Inch Singles/New Labels Flock To Board 12 -Inch Disk Bandwagon". 3017: 2875: 2865: 2777: 2580: 2150: 1925: 1884: 1740: 1736: 1708: 1013: 636: 492: 238: 154: 126:. Many record companies in the 1970s began producing 12-inch (30 cm) singles at 72: 4561:"The story behind New Order's Blue Monday - the UK's biggest-selling 12-inch single" 2212: 5814: 5728: 5630: 5562: 5454: 5380: 5344: 5339: 5206: 5138: 5083: 4985: 4690: 1917: 1751:

was a key factor that contributed to fewer record sales in the 1980s. In 1988, the

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An acetate twelve-inch test pressing single hailed as being a first by Moulton was

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departments. Examples of these promos, released from spring/summer 1975, include:

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music in the 1950s. By at least 1956 it was already standard practice by Jamaican

5682: 5675: 5403: 5324: 5241: 5211: 5196: 5191: 4415: 4052: 3960: 3208: 3011: 2943: 2574: 1878: 1806: 1700: 1677: 1616: 1596: 1411: 1394: 1281: 1019: 659: 648: 472: 400: 48: 5166: 4321: 3758:"Ken Cayre on the History of Salsoul and Working with Disco's Greatest Remixers" 3510: 3145:"Frankie Valli and the Four Seasons (and connected)-Downloadable Discographies-" 3144: 2797: 197: 6122: 5554: 5510: 5474: 5390: 5366: 5329: 5261: 5078: 4808: 4512: 4365: 4343: 4200: 2105:"Columbia Diskery, CBS Show Microgroove Platters to Press; Tell how It Began". 1933: 1715:, produced the biggest-selling twelve-inch record ever in the United Kingdom, " 1587:

The first commercially released twelve-inch vinyl was Ernie Bush "Breakaway" /

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first twelve-inch releases were all by the Victor Grand Concert Band, led by

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Link, Geoffrey; "Tower Test-Markets 12-Inch Single in Sacramento and L.A.";

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and used with encoded 12 inch discs and DJ software, which could manipulate

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The disco twelve-inch record came into being from several key developments:

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Atlantic Records was an early front runner with two 12-inch promo singles:

1102: 1077: 945: 686: 677: 597: 460: 420: 404: 389: 261: 253: 80: 551:, released in October 1974. Tom Moulton created one for the A side of the 43: 34:" redirects here. For the unit of measurement equal to twelve inches, see 6127: 6062: 5879: 5654: 5533: 5434: 5411: 5359: 5354: 5309: 5282: 5251: 5221: 5216: 5176: 5148: 5118: 5113: 5031: 4659: 4539:"50 Years Of Record Cutting And Stereo Bass For Vinyl | RPM's Vinyl Blog" 1831: 1685: 1673: 1641: 1592: 1559:

recalling promotional 12-inch product being mailed out from August 1976,

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WHITE, ADAM (27 May 1978). "Motown Adapts For Disco DJs in the Groove".

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Catalog of Copyright Entries: Third series - Music - June-September 1975

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Love Saves the Day: A History of American Dance Music Culture, 1970-1979

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Love Saves the Day: A History of American Dance Music Culture, 1970-1979

2036: 1947: 746: 681:. Tom Moulton began to write for the former from 26 October 1974 in the 5788: 5710: 5615: 5304: 5287: 5143: 5093: 4936: 4390: 3073: 2481:

MELANSON, JIM (26 October 1974). "Non -Stop' Disco Album Springs Out".

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

476: 431: 273: 207: 176: 4299: 4277: 2420:"Tom Moulton and his extended disco remix forever changed dance music" 2312: 6047: 5743: 5661: 5407: 5256: 5128: 5041: 2748: 1757: 1059: 740: 622: 512:

While not his first production work (his first mixing effort was the

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The disco files 1973-78 : New York's underground, week by week

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singles were pressed in this format, and commercially issued as "

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12" Single: The Armada Orchestra - For The Love Of Money (1976)

3213:. Nielsen Business Media, Inc. 2 October 1976. pp. 35, 53. 1769: 1450: 1114: 249: 4176:"SAM Prefix - Warner Bros / WEA promo and bonus discs - 45cat" 4155:"The most collectable 12" singles - Record Collector Magazine" 1727: 1684:

genres, but was regularised with the advent of the late 1980s

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production involvement, and these two releases were issued by

140: rpm, although 45 rpm gives better treble response. 5418: 5068: 2926:"Success of Young Midland Intl Operation Attributed To Clubs" 1089: 564:. As a development from his mixtapes, three songs (Honey Bee/ 501: 369: 3553:. Library of Congress. Copyright Office. 1977. p. 1787. 2012:"1931 Leopold Stokowski - Philadelphia Orchestra Recordings" 1369:

The second twelve-inch release was the double artist single

5768: 5620: 5108: 5000: 4876: 2395:"The Carstairs - It Really Hurt Me Girl – Unearthed Sounds" 4757:"How the great vinyl revival has got music fans in a spin" 4202:

12" Single: Robert Palmer - Which Of Us Is The Fool (1975)

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music files but still allow for a turntablism experience.

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A very early disco prototype vinyl 12-inch pressing was a

5793: 5763: 5689: 5464: 5005: 4457:"The Sole Track That Launched Commercial Hip-Hop in 1979" 1807:"The Joy of 45 Collecting: Why 45s Sound Better Than LPs" 1777: 1773: 1765: 4730:"A Brief History of the 12-inch Single Format | Discogs" 3139: 3137: 3075:

Bobby Moore [70s] - (Call Me Your) Anything Man

2948:. Nielsen Business Media, Inc. 14 June 1975. p. 3. 2037:"RCA Program Transcription Album Discography (1931-33)" 1948:"RCA Program Transcription Album Discography (1931-33)" 1410:

Two twelve-inch promotional vinyl issues for rock/folk

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program that sent records overseas to US troops during

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Selected promotional vinyl 12-inch US singles in 1975

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12" Single: Ernie Bush - Breakaway (Disco Mix) (1976)

4104:"The Chantelles | Biography & History | AllMusic" 3859:"GEORGE BENSON singing and playing SUMMERTIME / 2001" 3134: 2750:

Philly Devotions - I Just Can't Make It (Without You)

2655:"Tom Moulton – A Tom Moulton Mix | Soul Jazz Records" 2170:

Thompson, Dave. "45s - The Greatest Sound on Earth".

2090:. Vol. 57, no. 39. 6 October 1945. p. 697: 591: 456:

using physically larger and audibly "hotter" records;

179:, USA and perfected the use of 5 and 7-inch rotating 171:

merged their efforts within the industry to form the

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side by the turntable stylus) can be much greater in

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use them to play in clubs. They are played at either

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Browne, David (4 October 1991). "A Vinyl Farewell".

4002:"The first twelve single | Part 7/11. 12" in Franחe" 2464:"Billboard names 11 Trendsetters - Talent in Action" 2128:. Vol. 61, no. 2. 8 January 1949. p. 1872: 1870: 1615:" on the flip, all originally from 1966 and 1967 by 3535:Aletti, Vincent (20 September 1975). "Disco File". 2109:. Vol. 60, no. 26. 26 June 1948. p. 1498:" backed with Osiris "Warsaw Concerto", along with 685:column (which changed name as time went on), while 122:, especially in the bass frequencies important for 4627: 1910:Journal of the Society of Motion Picture Engineers 1582: 665: 2272:12" Single: Freddie King - Lowdown In Lodi (1972) 1867: 380:recordings before they were issued commercially. 6174: 3117:"Newsletter 56 - 1974/75 single and LP releases" 2978:"Large And Small Labels Push For Disco Exposure" 191: 4709:"Music streaming is fueling vinyl's resurgence" 4420:. Nielsen Business Media, Inc. 16 October 1976. 2143:Osborne, Richard (17 February 2016). "The 45". 1722: 1330: 496:longer. A key reason of the time was that few 3697:Office, Library of Congress Copyright (1976). 102: 4793: 3965:. Nielsen Business Media, Inc. 15 April 1972. 3227:"Barrabas 'Disco Disc' planned by Atlantic". 2920: 2918: 2857: 1747:formats. The widespread popularity of Sony's 1335: 4432:"Classic Tracks: Donna Summer 'I Feel Love'" 3876:Aletti, Vince (10 July 1975). "Disco File". 2213:"Is Vinyl and LP The Same: Vinyl LP Meaning" 2186:"Mendelssohn and Richard Rodgers the record" 2172:The Music Lover's Guide to Record Collecting 1485: 739:in June 1975 with a 10:32 min running time. 3740:"Club DJs Blend Cuts For Cos.' Disco Disks" 1422:Early titles first appeared in 1976 on the 214: rpm (the speed first used on 16‑inch 4800: 4786: 4630:The World of DJs and the Turntable Culture 4625: 4482:"Spring Label Markets a Won-Stop' Album". 4077:Vibes, Teacher at Reggae (30 March 2020). 3977:"MILESAGO - Record Labels - Tempo Records" 3700:Catalog of Copyright Entries: Third series 2915: 2892:: CS1 maint: location missing publisher ( 1518:"Which of Us Is the Fool" was released by 543:The first genre-themed set was created by 486: 336:. Please do not remove this message until 5275: 4676: 4226:. The Record Press. pp. 61, 81, 125. 3891:Moulton, Tom (4 July 1976). "Disco Mix". 356:Learn how and when to remove this message 4754: 3807:"Salsoul 12" Disco Mix a Retail Smash". 3009: 2572: 2480: 2238:"JAMAICA - RHYTHM & BLUES 1956-1961" 1850:"Fred Hager tangles with Victor Herbert" 1726: 1444:Twelve-inch single § Jamaican roots 332:Relevant discussion may be found on the 42: 4724: 4722: 4664:"Shiny, Aluminum, Plastic, and Digital" 4658: 3890: 3722:"A New 12 -Inch 45 Salsoul Disco Label" 2798:"Tom Moulton Tribute @ Disco-Disco.com" 2773:Vinyl: A History of the Analogue Record 2769: 2146:Vinyl: A History of the Analogue Record 2142: 1880:Vinyl: A History of the Analogue Record 1876: 423:in 1972 with the tracks taken from his 264:catalog number M-800), with 12‑inch 33⁄ 14: 6175: 4610: 4385: 4383: 3875: 3838: 3836: 3716: 3714: 3712: 3710: 3696: 3580: 3578: 3565:"Scepter Marketing U.K. Contempo Line" 3534: 3511:"Motown Promotional Album Discography" 3505: 3503: 3300: 3298: 3261: 3259: 3240: 3238: 3222: 3220: 3203: 3201: 3167: 3165: 3093: 3091: 3053: 3051: 3016:. Duke University Press. p. 212. 2616: 2614: 2579:. Duke University Press. p. 212. 1987:"Victor Program Transcription Records" 1903: 1692:records of the 1990s and early 2000s. 1433: 715:promo distributed by RCA - this was a 507: 4781: 4496: 4221: 4076: 3598: 3596: 3484: 3482: 3397: 3395: 3111: 3109: 2770:Osborne, Richard (17 February 2016). 2568: 2566: 2564: 2562: 2536: 2534: 2532: 2448:"Labels Mix Records For Club Scene". 2443: 2441: 2307: 2305: 2210: 1877:Osborne, Richard (17 February 2016). 1847: 1622: 862:"(Do You Wanna) Dance, Dance, Dance" 538: 112: 4719: 4634:. Hal Leonard Corporation. pp. 4301:Rimshots - Do What You Feel (Part 1) 3907:"Amherst Disco Bid By the Gangsters" 3121:Four Seasons UK Appreciation Society 2240:. fremeaux.com. 2012. Archived from 2169: 1627: 707:First wide scale promotional 12-inch 491:This was released by Scepter to the 306: 6027:Global Recording Artist of the Year 5995:Highest-grossing live music artists 4380: 4079:"Burning Rockers 1 | The 12" Mixes" 3833: 3783:"Salsoul Records @ Disco-Disco.com" 3707: 3575: 3500: 3435:"Ace Spectrum's Disco Rendezvous". 3295: 3256: 3235: 3217: 3198: 3162: 3088: 3048: 2611: 1443: 413:album, with the flip side from his 410:Leon Russell and the Shelter People 202:Single (music) § 7-inch format 148: 24: 4807: 4755:Harrison, Emma (3 December 2023). 3637:"Buddah Records @ Disco-Disco.com" 3629: 3593: 3479: 3392: 3321:"12" DISCO RECORDS - 20th CENTURY" 3106: 2559: 2542:"Million Dollar Disco: Tom Mouton" 2529: 2470:. 28 December 1974. pp. 1, 4. 2438: 2302: 1906:"Victrolac Motion Picture Records" 1848:Baker, R. S. (24 September 2019). 698:Early vinyl test pressings 12-inch 592:Early acetates 10-inch and 12-inch 25: 6204: 4224:The Virgin Discography: the 1970s 3925:"Amherst Markets Big Disco Disks" 3010:Lawrence, Tim (2 February 2004). 2864:(Second ed.). New York, NY. 2573:Lawrence, Tim (2 February 2004). 1464: 479:(later co-founder of dance label 302: 283:Mendelssohn's Concerto in E Minor 6156: 6155: 6142: 5172:Artists and repertoire (A&R) 4903:Universal Music Publishing Group 4748: 4701: 4695:10.1111/j.0022-3840.1992.00109.x 4670: 4652: 4619: 4604: 4578: 4553: 4531: 4505: 4490: 4475: 4449: 4424: 4408: 4358: 4336: 4314: 4292: 4270: 4255: 4230: 4215: 4193: 4168: 4147: 4121: 4096: 4070: 4045: 4020: 3994: 3969: 3953: 3935: 3917: 3899: 3884: 3869: 3496:. 13 September 1975. p. 64. 3475:. 20 September 1975. p. 60. 3457:. 20 September 1975. p. 57. 3188:"Disco Action, Top Single Picks" 2932:. 13 September 1975. p. 40. 2719:. 27 September 1975. p. 47. 2365:. 21 December 1974. p. 16. 2344:. 16 November 1974. p. 20. 2211:Vinyl, Legend (29 August 2022). 1883:. Routledge. pp. 155, 156. 719:one sided EP with 4 tracks from 475:along with its production chief 311: 5593:Entertainment Monitoring Africa 3851: 3847:. 26 June 1976. pp. 1, 18. 3815: 3800: 3775: 3750: 3732: 3690: 3686:. 29 November 1975. p. 30. 3672: 3668:. 15 November 1975. p. 39. 3654: 3625:. 22 November 1975. p. 38. 3611: 3557: 3543: 3528: 3461: 3443: 3428: 3413: 3374: 3356: 3338: 3313: 3280: 3180: 3066: 3030: 3003: 2988: 2970: 2952: 2936: 2900: 2851: 2833: 2815: 2790: 2763: 2741: 2723: 2705: 2690: 2672: 2647: 2632: 2593: 2514: 2489: 2474: 2456: 2412: 2387: 2372: 2351: 2330: 2285: 2263: 2248: 2230: 2204: 2178: 2163: 2136: 2117: 2098: 2079: 2054: 2029: 1583:First UK 12-inch retail singles 666:Promotion through media and DJs 27:Type of vinyl phonograph record 6093:Largest recorded music markets 6000:Highest-grossing concert tours 4486:. 26 October 1974. p. 10. 3746:. 15 May 1976. pp. 1, 39. 3728:. 15 May 1976. pp. 3, 38. 3194:. 3 May 1975. pp. 20, 54. 2984:. 1 November 1975. p. 50. 2858:Aletti, Vince (October 2018). 2643:. 2 November 1974. p. 10. 2628:. 26 October 1974. p. 22. 2607:. 9 November 1974. p. 20. 2452:. 2 November 1974. p. 10. 2004: 1979: 1965: 1940: 1897: 1841: 1824: 1799: 827:"(Call Me Your) Anything Man" 173:Victor Talking Machine Company 13: 1: 4028:"Paul McCartney - Let 'em In" 3829:. 9 October 1976. p. 36. 3762:daily.redbullmusicacademy.com 3571:. 4 October 1975. p. 34. 3409:. 16 August 1975. p. 51. 1792: 1402:was sold from mid July 1976. 1294:Jimmy James and the Vagabonds 192:Vinyl and microgroove formats 6149:Record production portal 4965:Independent UK record labels 4322:"Time Capsule - August 1976" 4004:. 4 May 2003. Archived from 3388:. 2 August 1975. p. 29. 3273:. 28 June 1975. p. 86. 2737:. 19 April 1975. p. 32. 2686:. 12 April 1975. p. 52. 1904:Barton, F. C. (April 1932). 1723:Decline and ongoing interest 1551:" in the middle of May from 1405: 1331:First 12-inch retail singles 441: 383: 260:a 12‑inch 5-record set from 7: 6017:Most-attended concert tours 4666:– via urbigenous.net. 4517:James Hamilton's Disco Page 3949:. 17 July 1976. p. 58. 3931:. 17 July 1976. p. 10. 3913:. 26 June 1976. p. 50. 3865:. 26 June 1976. p. 21. 3352:. 28 June 1975. p. 47. 3252:. 19 July 1975. p. 82. 2966:. 19 July 1975. p. 78. 2847:. 31 July 1976. p. 38. 2829:. 26 June 1976. p. 32. 2639:"Mix Special Disco Disks". 2124:"Lowdown on New RCA Disk". 1348: 338:conditions to do so are met 198:LP Record § RCA Victor 10: 6209: 6032:Wealthiest musical artists 5885:Best-selling music artists 4683:Journal of Popular Culture 4677:Plasketes, George (1992). 3370:. 5 July 1975. p. 28. 3044:. 7 June 1975. p. 16. 2999:. 31 May 1975. p. 86. 2776:. Routledge. p. 155. 1975:. August 2016. p. 32. 1480:In Spite of All the Danger 1437: 1336:Motivation for public sale 1220:"Tornado" / "Disco Queen" 560:album, in January 1975 on 195: 152: 143: 29: 6136: 6040: 5872: 5807: 5736: 5727: 5639: 5603:New Zealand singles chart 5524: 5488: 5379: 5157: 5059: 5024: 4978: 4921: 4885: 4824: 4815: 4626:Souvignier, Todd (2004). 1486:Promo UK 12-inch releases 1417: 1239:"Never Gonna Let You Go" 1152:Sound of Washington D.C. 1018:"Always Another Girl" / " 6073:Christian music industry 5588:GfK Entertainment charts 5232:Professional audio store 4590:Music Musings & Such 4279:The Moments - Nine Times 1640:" (16 min 50 seconds), " 1387:Theme From Good King Bad 1217:The Wiz / Hot Chocolate 721:The Carol Douglas Album. 570:Reach Out, I'll Be There 222:which was licensed from 5480:Music streaming service 4913:Disney Music Publishing 3439:: 17. 6 September 1975. 3424:: 35. 6 September 1975. 3149:UK Appreciation Society 3102:: 20. 15 February 1975. 2659:soundsoftheuniverse.com 2501:redbullmusicacademy.com 1832:"Victor Deluxe history" 1389:" in late June 1976 on 1257:& the Midnight Sun 1040:"You'd Be Good For Me" 912:"I Just Can't Make It" 817:April (10-inch) / June 790:The Carol Douglas Album 533:Trendsetter of the Year 522:It Really Hurts Me Girl 487:First instrumental side 6022:Most-attended concerts 5990:Highest-paid musicians 3607:: 34. 25 October 1975. 3589:: 92. 8 November 1975. 2995:"ExecutiveTurntable". 1732: 1535:"Do What You Feel" on 1522:also in October 1975. 1512:The Bertha Butt Boogie 1025:Midland International 1003:Midland International 645:South Shore Commission 397:stores in California. 296:Voice of Frank Sinatra 235:Philadelphia Orchestra 167:. Berliner along with 67:) is a type of vinyl ( 52: 6103:Most valuable records 6098:Most expensive albums 6053:Album-equivalent unit 5583:Italian singles chart 5440:Promotional recording 4908:Warner Chappell Music 4898:Sony Music Publishing 4893:BMG Rights Management 2399:unearthedsounds.co.uk 2190:www.yourclassical.org 1730: 1638:Love To Love You Baby 1549:Young Hearts Run Free 868:May (10-inch) / July 796:Midland International 737:Private Stock Records 713:Midland International 566:Never Can Say Goodbye 557:Never Can Say Goodbye 388:In March 1970, Cycle/ 46: 6078:Environmental impact 5978:Best-selling singles 4991:Digital music stores 4613:Entertainment Weekly 4436:www.soundonsound.com 4266:: 21. 24 April 1976. 4222:Jones, Mark (2013). 4053:"Trojan 12" Box Set" 3231:: 291. 19 June 1975. 2701:: 44. 26 April 1975. 1854:The Syncopated Times 1619:on 22 October 1976. 1577:the Undisputed Truth 1537:All Platinum Records 803:4 track disco EP/LP 6108:Music certification 6088:Largest music deals 5966:Best-selling albums 5799:The Country Network 5578:Irish Singles Chart 5227:Musical instruments 4324:. Six Million Steps 4242:Oxfam's Online Shop 4057:www.savagejaw.co.uk 3062:: 98. 14 June 1975. 2383:: 30. 8 March 1975. 1459:Channel One Studios 1434:Jamaican discomixes 1109:Walk Away From Love 765: 508:First extended edit 325:of this section is 169:Eldridge R. Johnson 105:. The conventional 5621:SNEP singles chart 5396:Extended play (EP) 5167:Album cover design 4715:. 4 December 2018. 4541:. 14 November 2020 3943:"Top Single Picks" 3811:: 3. 19 June 1976. 3325:21centurymusic.com 3309:: 30. 5 July 1975. 3291:: 27. 10 May 1975. 2911:: 3. 14 June 1975. 1733: 1623:Later developments 1508:Jimmy Castor Bunch 1496:Supernatural Thing 1478:with the one-off " 1235:Vicki Sue Robinson 1204:"I Want To Dance" 1200:The Ritchie Family 950:"Keep Holdin' On" 932:"Hooked For Life" 891:The Eleventh Hour 846:"Chinese Kung Fu" 811:"Swearin' To God" 763: 602:I'll Be Holding On 539:First segued mixes 186:Frederick W. Hager 113:Technical features 69:polyvinyl chloride 59:(often written as 57:twelve-inch single 53: 6170: 6169: 6113:Parental Advisory 6068:Bootleg recording 6058:A-side and B-side 5915: 5868: 5867: 5784:The Music Factory 5626:Sverigetopplistan 5550:Argentina Hot 100 5516:Music competition 5506:Concert residency 5445:Phonograph record 5415: 5375: 5374: 5202:Music and fashion 5187:Entertainment law 5055: 5054: 5016:Virgin Megastores 4818:and organizations 4645:978-0-634-05833-2 4565:www.musicweek.com 4519:. 27 January 1979 4463:. 10 October 2006 3023:978-0-8223-8511-0 2871:978-1-942884-30-9 2783:978-1-317-00181-2 2586:978-0-8223-8511-0 2174:. Backbeat Books. 2156:978-1-317-00180-5 1890:978-1-317-00180-5 1741:8-track cartridge 1737:reel-to-reel tape 1628:Core sales period 1424:Pathe Marconi EMI 1328: 1327: 1168:Scepter-Contempo 1131:"Soul Train '75" 1014:Silver Convention 982:"Undecided Love" 966:"(Baby) Save Me" 909:Philly Devotions 637:A Tom Moulton Mix 366: 365: 358: 239:Leopold Stokowski 155:Phonograph record 73:gramophone record 51:gramophone record 16:(Redirected from 6200: 6159: 6158: 6147: 6146: 6145: 5913: 5734: 5733: 5631:UK singles chart 5563:Canadian Hot 100 5455:Compact cassette 5393: 5340:Session musician 5315:Hip hop producer 5273: 5272: 5207:Music journalism 5139:Rhythm and blues 4857:IFPI (worldwide) 4822: 4821: 4802: 4795: 4788: 4779: 4778: 4772: 4771: 4769: 4767: 4752: 4746: 4745: 4743: 4741: 4726: 4717: 4716: 4705: 4699: 4698: 4674: 4668: 4667: 4656: 4650: 4649: 4633: 4623: 4617: 4616: 4608: 4602: 4601: 4599: 4597: 4582: 4576: 4575: 4573: 4571: 4557: 4551: 4550: 4548: 4546: 4535: 4529: 4528: 4526: 4524: 4509: 4503: 4502: 4494: 4488: 4487: 4479: 4473: 4472: 4470: 4468: 4453: 4447: 4446: 4444: 4442: 4428: 4422: 4421: 4412: 4406: 4405: 4403: 4401: 4387: 4378: 4377: 4376: 4374: 4362: 4356: 4355: 4354: 4352: 4340: 4334: 4333: 4331: 4329: 4318: 4312: 4311: 4310: 4308: 4296: 4290: 4289: 4288: 4286: 4274: 4268: 4267: 4259: 4253: 4252: 4250: 4248: 4234: 4228: 4227: 4219: 4213: 4212: 4211: 4209: 4197: 4191: 4190: 4188: 4186: 4172: 4166: 4165: 4163: 4161: 4151: 4145: 4144: 4142: 4140: 4133:Electrofunkroots 4125: 4119: 4118: 4116: 4114: 4100: 4094: 4093: 4091: 4089: 4074: 4068: 4067: 4065: 4063: 4049: 4043: 4042: 4040: 4038: 4024: 4018: 4017: 4015: 4013: 3998: 3992: 3991: 3989: 3987: 3973: 3967: 3966: 3957: 3951: 3950: 3939: 3933: 3932: 3921: 3915: 3914: 3903: 3897: 3896: 3888: 3882: 3881: 3873: 3867: 3866: 3855: 3849: 3848: 3840: 3831: 3830: 3823:"Disco Forum II" 3819: 3813: 3812: 3804: 3798: 3797: 3795: 3793: 3779: 3773: 3772: 3770: 3768: 3754: 3748: 3747: 3736: 3730: 3729: 3718: 3705: 3704: 3694: 3688: 3687: 3676: 3670: 3669: 3658: 3652: 3651: 3649: 3647: 3633: 3627: 3626: 3615: 3609: 3608: 3600: 3591: 3590: 3582: 3573: 3572: 3561: 3555: 3554: 3547: 3541: 3540: 3532: 3526: 3525: 3523: 3521: 3507: 3498: 3497: 3486: 3477: 3476: 3465: 3459: 3458: 3447: 3441: 3440: 3432: 3426: 3425: 3417: 3411: 3410: 3399: 3390: 3389: 3378: 3372: 3371: 3360: 3354: 3353: 3342: 3336: 3335: 3333: 3331: 3317: 3311: 3310: 3302: 3293: 3292: 3284: 3278: 3277: 3263: 3254: 3253: 3242: 3233: 3232: 3224: 3215: 3214: 3205: 3196: 3195: 3184: 3178: 3177: 3176:. 19 April 1975. 3172:"Disco Action". 3169: 3160: 3159: 3157: 3155: 3141: 3132: 3131: 3130:on 18 June 2020. 3129: 3123:. Archived from 3113: 3104: 3103: 3095: 3086: 3085: 3084: 3082: 3070: 3064: 3063: 3055: 3046: 3045: 3034: 3028: 3027: 3007: 3001: 3000: 2992: 2986: 2985: 2974: 2968: 2967: 2956: 2950: 2949: 2940: 2934: 2933: 2922: 2913: 2912: 2904: 2898: 2897: 2891: 2883: 2855: 2849: 2848: 2837: 2831: 2830: 2819: 2813: 2812: 2810: 2808: 2794: 2788: 2787: 2767: 2761: 2760: 2759: 2757: 2745: 2739: 2738: 2727: 2721: 2720: 2709: 2703: 2702: 2694: 2688: 2687: 2676: 2670: 2669: 2667: 2665: 2651: 2645: 2644: 2636: 2630: 2629: 2618: 2609: 2608: 2597: 2591: 2590: 2570: 2557: 2556: 2554: 2552: 2538: 2527: 2526: 2518: 2512: 2511: 2509: 2507: 2493: 2487: 2486: 2478: 2472: 2471: 2460: 2454: 2453: 2445: 2436: 2435: 2433: 2431: 2416: 2410: 2409: 2407: 2405: 2391: 2385: 2384: 2376: 2370: 2369: 2355: 2349: 2348: 2334: 2328: 2327: 2325: 2323: 2309: 2300: 2299: 2297: 2289: 2283: 2282: 2281: 2279: 2267: 2261: 2258:; 14 March 1970. 2252: 2246: 2245: 2234: 2228: 2227: 2225: 2223: 2208: 2202: 2201: 2199: 2197: 2182: 2176: 2175: 2167: 2161: 2160: 2140: 2134: 2133: 2121: 2115: 2114: 2102: 2096: 2095: 2083: 2077: 2076: 2074: 2072: 2058: 2052: 2051: 2049: 2047: 2033: 2027: 2026: 2024: 2022: 2008: 2002: 2001: 1999: 1997: 1983: 1977: 1976: 1969: 1963: 1962: 1960: 1958: 1944: 1938: 1937: 1932:. Archived from 1901: 1895: 1894: 1874: 1865: 1864: 1862: 1860: 1845: 1839: 1838: 1836: 1828: 1822: 1821: 1819: 1817: 1803: 1745:compact cassette 1705:alternative rock 1656:). Many DJ-only 1650:Rapper's Delight 1613:Pictures of Lily 1400:Roulette Records 1316:"Consideration" 1298:"I Am Somebody" 1255:Papa John Creach 1229:Acetate reissue 1179:Gary Toms Empire 1000:"I'm in Heaven" 894:"Hollywood Hot" 766: 762: 549:Disco Par-r-r-ty 481:West End Records 425:Texas Cannonball 378:rhythm and blues 361: 354: 350: 347: 341: 315: 314: 307: 270:Columbia Records 243:Great Depression 206:In August 1931, 149:Pre-vinyl period 139: 138: 134: 131: 104: 100: 99: 95: 92: 33: 21: 6208: 6207: 6203: 6202: 6201: 6199: 6198: 6197: 6173: 6172: 6171: 6166: 6143: 6141: 6132: 6036: 5864: 5803: 5723: 5718:Top of the Pops 5683:Musica e dischi 5635: 5520: 5484: 5404:Cassette single 5382: 5371: 5325:Record producer 5271: 5242:Radio promotion 5212:Music publisher 5197:Music executive 5192:Music education 5159: 5153: 5051: 5020: 4974: 4917: 4881: 4825:Representatives 4817: 4816:Major companies 4811: 4806: 4776: 4775: 4765: 4763: 4753: 4749: 4739: 4737: 4728: 4727: 4720: 4707: 4706: 4702: 4675: 4671: 4657: 4653: 4646: 4624: 4620: 4609: 4605: 4595: 4593: 4584: 4583: 4579: 4569: 4567: 4559: 4558: 4554: 4544: 4542: 4537: 4536: 4532: 4522: 4520: 4511: 4510: 4506: 4495: 4491: 4481: 4480: 4476: 4466: 4464: 4455: 4454: 4450: 4440: 4438: 4430: 4429: 4425: 4414: 4413: 4409: 4399: 4397: 4389: 4388: 4381: 4372: 4370: 4364: 4363: 4359: 4350: 4348: 4342: 4341: 4337: 4327: 4325: 4320: 4319: 4315: 4306: 4304: 4298: 4297: 4293: 4284: 4282: 4276: 4275: 4271: 4262:"DJ Hot Line". 4261: 4260: 4256: 4246: 4244: 4236: 4235: 4231: 4220: 4216: 4207: 4205: 4199: 4198: 4194: 4184: 4182: 4174: 4173: 4169: 4159: 4157: 4153: 4152: 4148: 4138: 4136: 4135:. 5 August 2011 4127: 4126: 4122: 4112: 4110: 4102: 4101: 4097: 4087: 4085: 4075: 4071: 4061: 4059: 4051: 4050: 4046: 4036: 4034: 4026: 4025: 4021: 4011: 4009: 4000: 3999: 3995: 3985: 3983: 3975: 3974: 3970: 3959: 3958: 3954: 3941: 3940: 3936: 3923: 3922: 3918: 3905: 3904: 3900: 3889: 3885: 3874: 3870: 3857: 3856: 3852: 3842: 3841: 3834: 3821: 3820: 3816: 3806: 3805: 3801: 3791: 3789: 3787:disco-disco.com 3781: 3780: 3776: 3766: 3764: 3756: 3755: 3751: 3738: 3737: 3733: 3720: 3719: 3708: 3695: 3691: 3678: 3677: 3673: 3660: 3659: 3655: 3645: 3643: 3641:disco-disco.com 3635: 3634: 3630: 3617: 3616: 3612: 3602: 3601: 3594: 3584: 3583: 3576: 3563: 3562: 3558: 3549: 3548: 3544: 3533: 3529: 3519: 3517: 3509: 3508: 3501: 3488: 3487: 3480: 3467: 3466: 3462: 3449: 3448: 3444: 3434: 3433: 3429: 3419: 3418: 3414: 3401: 3400: 3393: 3380: 3379: 3375: 3362: 3361: 3357: 3344: 3343: 3339: 3329: 3327: 3319: 3318: 3314: 3304: 3303: 3296: 3286: 3285: 3281: 3265: 3264: 3257: 3244: 3243: 3236: 3226: 3225: 3218: 3207: 3206: 3199: 3186: 3185: 3181: 3171: 3170: 3163: 3153: 3151: 3143: 3142: 3135: 3127: 3115: 3114: 3107: 3097: 3096: 3089: 3080: 3078: 3072: 3071: 3067: 3057: 3056: 3049: 3036: 3035: 3031: 3024: 3008: 3004: 2994: 2993: 2989: 2976: 2975: 2971: 2958: 2957: 2953: 2942: 2941: 2937: 2924: 2923: 2916: 2906: 2905: 2901: 2885: 2884: 2872: 2856: 2852: 2839: 2838: 2834: 2821: 2820: 2816: 2806: 2804: 2802:disco-disco.com 2796: 2795: 2791: 2784: 2768: 2764: 2755: 2753: 2747: 2746: 2742: 2729: 2728: 2724: 2711: 2710: 2706: 2696: 2695: 2691: 2678: 2677: 2673: 2663: 2661: 2653: 2652: 2648: 2638: 2637: 2633: 2620: 2619: 2612: 2599: 2598: 2594: 2587: 2571: 2560: 2550: 2548: 2540: 2539: 2530: 2520: 2519: 2515: 2505: 2503: 2495: 2494: 2490: 2479: 2475: 2462: 2461: 2457: 2447: 2446: 2439: 2429: 2427: 2418: 2417: 2413: 2403: 2401: 2393: 2392: 2388: 2378: 2377: 2373: 2357: 2356: 2352: 2336: 2335: 2331: 2321: 2319: 2311: 2310: 2303: 2295: 2291: 2290: 2286: 2277: 2275: 2269: 2268: 2264: 2253: 2249: 2244:on 6 July 2017. 2236: 2235: 2231: 2221: 2219: 2209: 2205: 2195: 2193: 2184: 2183: 2179: 2168: 2164: 2157: 2141: 2137: 2123: 2122: 2118: 2104: 2103: 2099: 2085: 2084: 2080: 2070: 2068: 2060: 2059: 2055: 2045: 2043: 2035: 2034: 2030: 2020: 2018: 2010: 2009: 2005: 1995: 1993: 1985: 1984: 1980: 1971: 1970: 1966: 1956: 1954: 1946: 1945: 1941: 1936:on 3 June 2018. 1902: 1898: 1891: 1875: 1868: 1858: 1856: 1846: 1842: 1834: 1830: 1829: 1825: 1815: 1813: 1805: 1804: 1800: 1795: 1725: 1701:Factory Records 1676:in use for the 1644:" (15:45), and 1630: 1625: 1617:Polydor Records 1585: 1569:Mass Production 1547:followed with " 1531:"Nine Times" / 1488: 1467: 1446: 1438:Main articles: 1436: 1420: 1412:Shelter Records 1408: 1395:Amherst Records 1359:Double Exposure 1351: 1338: 1333: 1183:"Drive My Car" 1127:Soul Train Gang 1020:Fly, Robin, Fly 865:Warner-Spector 733:Swearin' To God 709: 700: 668: 660:Salsoul Records 594: 541: 510: 489: 473:Scepter Records 444: 437: 401:Shelter Records 386: 362: 351: 345: 342: 331: 316: 312: 305: 267: 262:Asch Recordings 213: 204: 196:Main articles: 194: 165:Emilie Berliner 157: 151: 146: 136: 132: 129: 127: 115: 97: 93: 90: 88: 49:Capitol Records 39: 31: 28: 23: 22: 15: 12: 11: 5: 6206: 6196: 6195: 6190: 6185: 6168: 6167: 6165: 6164: 6152: 6137: 6134: 6133: 6131: 6130: 6125: 6123:Surprise album 6120: 6115: 6110: 6105: 6100: 6095: 6090: 6085: 6080: 6075: 6070: 6065: 6060: 6055: 6050: 6044: 6042: 6038: 6037: 6035: 6034: 6029: 6024: 6019: 6014: 6013: 6012: 6007: 5997: 5992: 5987: 5986: 5985: 5975: 5974: 5973: 5963: 5962: 5961: 5960: 5959: 5954: 5949: 5944: 5939: 5931: 5930: 5929: 5921: 5916: 5911:United Kingdom 5908: 5903: 5898: 5893: 5882: 5876: 5874: 5870: 5869: 5866: 5865: 5863: 5862: 5855: 5848: 5841: 5834: 5827: 5820: 5811: 5809: 5805: 5804: 5802: 5801: 5796: 5791: 5786: 5781: 5776: 5771: 5766: 5761: 5756: 5751: 5746: 5740: 5738: 5731: 5725: 5724: 5722: 5721: 5714: 5707: 5700: 5693: 5686: 5679: 5672: 5665: 5658: 5651: 5643: 5641: 5637: 5636: 5634: 5633: 5628: 5623: 5618: 5613: 5605: 5600: 5595: 5590: 5585: 5580: 5575: 5570: 5565: 5560: 5558:Brasil Hot 100 5552: 5544: 5536: 5530: 5528: 5522: 5521: 5519: 5518: 5513: 5511:Music festival 5508: 5503: 5498: 5492: 5490: 5486: 5485: 5483: 5482: 5477: 5475:Music download 5472: 5467: 5462: 5457: 5452: 5447: 5442: 5437: 5432: 5431: 5430: 5416: 5387: 5385: 5377: 5376: 5373: 5372: 5370: 5369: 5367:Sound engineer 5364: 5363: 5362: 5357: 5352: 5347: 5337: 5332: 5330:Rhythm section 5327: 5322: 5317: 5312: 5307: 5302: 5301: 5300: 5295: 5285: 5279: 5277: 5270: 5269: 5264: 5262:Talent manager 5259: 5254: 5249: 5244: 5239: 5234: 5229: 5224: 5219: 5214: 5209: 5204: 5199: 5194: 5189: 5184: 5179: 5174: 5169: 5163: 5161: 5155: 5154: 5152: 5151: 5146: 5141: 5136: 5131: 5126: 5121: 5116: 5111: 5106: 5101: 5096: 5091: 5086: 5081: 5079:Easy listening 5076: 5071: 5065: 5063: 5057: 5056: 5053: 5052: 5050: 5049: 5044: 5039: 5034: 5028: 5026: 5022: 5021: 5019: 5018: 5013: 5008: 5003: 4998: 4988: 4982: 4980: 4976: 4975: 4973: 4972: 4967: 4962: 4949: 4944: 4939: 4925: 4923: 4919: 4918: 4916: 4915: 4910: 4905: 4900: 4895: 4889: 4887: 4883: 4882: 4880: 4879: 4874: 4869: 4864: 4859: 4854: 4849: 4844: 4839: 4834: 4828: 4826: 4819: 4813: 4812: 4809:Music industry 4805: 4804: 4797: 4790: 4782: 4774: 4773: 4747: 4718: 4700: 4689:(1): 110,112. 4669: 4651: 4644: 4618: 4615:. No. 86. 4603: 4577: 4552: 4530: 4513:"January 1979" 4504: 4489: 4474: 4448: 4423: 4407: 4379: 4357: 4335: 4313: 4291: 4269: 4254: 4229: 4214: 4192: 4167: 4146: 4120: 4095: 4069: 4044: 4032:www.jpgr.co.uk 4019: 3993: 3968: 3952: 3934: 3916: 3898: 3883: 3868: 3850: 3832: 3814: 3799: 3774: 3749: 3731: 3706: 3689: 3680:"Disco Action" 3671: 3662:"Disco Action" 3653: 3628: 3619:"Disco Action" 3610: 3603:"Disco File". 3592: 3585:"Disco File". 3574: 3556: 3542: 3527: 3499: 3478: 3469:"Single Picks" 3460: 3442: 3427: 3420:"Disco File". 3412: 3403:"Disco Action" 3391: 3382:"Disco Action" 3373: 3364:"Disco Action" 3355: 3346:"Disco Action" 3337: 3312: 3305:"Disco File". 3294: 3287:"Disco File". 3279: 3267:"Inside Track" 3255: 3246:"Inside Track" 3234: 3216: 3197: 3179: 3161: 3133: 3105: 3098:"Disco File". 3087: 3065: 3058:"Disco File". 3047: 3038:"Disco Action" 3029: 3022: 3002: 2987: 2969: 2960:"Inside Track" 2951: 2935: 2914: 2907:"Disco File". 2899: 2870: 2850: 2841:"Disco Action" 2832: 2814: 2789: 2782: 2762: 2740: 2731:"Disco Action" 2722: 2704: 2697:"Disco File". 2689: 2680:"Disco Action" 2671: 2646: 2631: 2622:"Disco Action" 2610: 2601:"Disco Action" 2592: 2585: 2558: 2528: 2525:. 17 May 1975. 2521:"Disco File". 2513: 2488: 2473: 2455: 2437: 2426:. 28 June 2013 2411: 2386: 2379:"Disco File". 2371: 2359:"Disco Action" 2350: 2338:"Disco Action" 2329: 2301: 2284: 2262: 2247: 2229: 2203: 2192:. 20 June 2023 2177: 2162: 2155: 2135: 2116: 2097: 2078: 2066:Save The Vinyl 2053: 2028: 2003: 1978: 1964: 1939: 1922:10.5594/J01337 1916:(4): 452–460. 1896: 1889: 1866: 1840: 1823: 1811:classic45s.com 1797: 1796: 1794: 1791: 1724: 1721: 1665:James Hamilton 1658:remix services 1646:Sugarhill Gang 1629: 1626: 1624: 1621: 1584: 1581: 1520:Island Records 1487: 1484: 1466: 1465:United Kingdom 1463: 1435: 1432: 1419: 1416: 1407: 1404: 1363:Walter Gibbons 1350: 1347: 1337: 1334: 1332: 1329: 1326: 1325: 1323: 1320: 1317: 1314: 1310: 1309: 1307: 1304: 1299: 1296: 1290: 1289: 1287: 1284: 1279: 1278:"Extra Extra" 1276: 1272: 1271: 1269: 1266: 1261: 1258: 1251: 1250: 1248: 1245: 1240: 1237: 1231: 1230: 1227: 1224: 1221: 1218: 1214: 1213: 1211: 1208: 1205: 1202: 1196: 1195: 1193: 1190: 1184: 1181: 1175: 1174: 1172: 1169: 1166: 1163: 1159: 1158: 1156: 1153: 1150: 1147: 1146:Natural Order 1143: 1142: 1140: 1137: 1132: 1129: 1123: 1122: 1120: 1117: 1112: 1105: 1099: 1098: 1096: 1093: 1087: 1080: 1074: 1073: 1071: 1068: 1066:United Artists 1063: 1056: 1050: 1049: 1047: 1044: 1041: 1038: 1036:Ronnie Spector 1032: 1031: 1029: 1026: 1023: 1016: 1010: 1009: 1007: 1004: 1001: 998: 996:Touch of Class 992: 991: 989: 986: 983: 980: 976: 975: 973: 970: 967: 964: 960: 959: 957: 954: 951: 948: 942: 941: 939: 936: 933: 930: 924: 923: 921: 918: 913: 910: 906: 905: 903: 900: 895: 892: 888: 887: 885: 882: 879: 878:"Mellow Blow" 876: 872: 871: 869: 866: 863: 860: 856: 855: 853: 850: 847: 844: 838: 837: 836:Test pressing 834: 831: 828: 825: 821: 820: 818: 815: 814:Private Stock 812: 809: 808:Frankie Valli 805: 804: 801: 798: 793: 787: 786:Carol Douglas 783: 782: 779: 778:Release month 776: 773: 770: 751:Warner-Spector 708: 705: 699: 696: 667: 664: 593: 590: 586:Disc-O-Tech #2 545:Spring Records 540: 537: 509: 506: 488: 485: 465: 464: 457: 454: 451: 443: 440: 435: 385: 382: 364: 363: 319: 317: 310: 304: 303:Jamaican roots 301: 265: 229:Symphony No. 5 211: 193: 190: 153:Main article: 150: 147: 145: 142: 114: 111: 47:A twelve-inch 26: 9: 6: 4: 3: 2: 6205: 6194: 6191: 6189: 6186: 6184: 6183:Audio storage 6181: 6180: 6178: 6163: 6162: 6153: 6151: 6150: 6139: 6138: 6135: 6129: 6126: 6124: 6121: 6119: 6116: 6114: 6111: 6109: 6106: 6104: 6101: 6099: 6096: 6094: 6091: 6089: 6086: 6084: 6081: 6079: 6076: 6074: 6071: 6069: 6066: 6064: 6061: 6059: 6056: 6054: 6051: 6049: 6046: 6045: 6043: 6039: 6033: 6030: 6028: 6025: 6023: 6020: 6018: 6015: 6011: 6008: 6006: 6003: 6002: 6001: 5998: 5996: 5993: 5991: 5988: 5984: 5981: 5980: 5979: 5976: 5972: 5969: 5968: 5967: 5964: 5958: 5955: 5953: 5950: 5948: 5945: 5943: 5940: 5938: 5935: 5934: 5933:Nationality: 5932: 5928: 5925: 5924: 5922: 5920: 5919:United States 5917: 5912: 5909: 5907: 5904: 5902: 5899: 5897: 5894: 5892: 5888: 5887: 5886: 5883: 5881: 5878: 5877: 5875: 5871: 5861: 5860: 5856: 5854: 5853: 5849: 5847: 5846: 5842: 5840: 5839: 5835: 5833: 5832: 5828: 5826: 5825: 5821: 5819: 5817: 5813: 5812: 5810: 5806: 5800: 5797: 5795: 5792: 5790: 5787: 5785: 5782: 5780: 5777: 5775: 5772: 5770: 5767: 5765: 5762: 5760: 5757: 5755: 5752: 5750: 5747: 5745: 5742: 5741: 5739: 5735: 5732: 5730: 5726: 5720: 5719: 5715: 5713: 5712: 5708: 5706: 5705: 5704:Rolling Stone 5701: 5699: 5698: 5694: 5692: 5691: 5687: 5685: 5684: 5680: 5678: 5677: 5673: 5671: 5670: 5666: 5664: 5663: 5659: 5657: 5656: 5652: 5650: 5649: 5645: 5644: 5642: 5638: 5632: 5629: 5627: 5624: 5622: 5619: 5617: 5614: 5612: 5610: 5609:Rolling Stone 5606: 5604: 5601: 5599: 5598:Oricon charts 5596: 5594: 5591: 5589: 5586: 5584: 5581: 5579: 5576: 5574: 5573:G-Music chart 5571: 5569: 5566: 5564: 5561: 5559: 5557: 5553: 5551: 5549: 5545: 5543: 5541: 5537: 5535: 5532: 5531: 5529: 5527: 5523: 5517: 5514: 5512: 5509: 5507: 5504: 5502: 5499: 5497: 5494: 5493: 5491: 5487: 5481: 5478: 5476: 5473: 5471: 5468: 5466: 5463: 5461: 5458: 5456: 5453: 5451: 5448: 5446: 5443: 5441: 5438: 5436: 5433: 5429: 5425: 5422: 5421: 5420: 5417: 5413: 5409: 5405: 5401: 5397: 5392: 5389: 5388: 5386: 5384: 5378: 5368: 5365: 5361: 5358: 5356: 5353: 5351: 5348: 5346: 5345:Backup singer 5343: 5342: 5341: 5338: 5336: 5333: 5331: 5328: 5326: 5323: 5321: 5318: 5316: 5313: 5311: 5308: 5306: 5303: 5299: 5296: 5294: 5291: 5290: 5289: 5286: 5284: 5281: 5280: 5278: 5274: 5268: 5267:Tour promoter 5265: 5263: 5260: 5258: 5255: 5253: 5250: 5248: 5245: 5243: 5240: 5238: 5235: 5233: 5230: 5228: 5225: 5223: 5220: 5218: 5215: 5213: 5210: 5208: 5205: 5203: 5200: 5198: 5195: 5193: 5190: 5188: 5185: 5183: 5180: 5178: 5175: 5173: 5170: 5168: 5165: 5164: 5162: 5156: 5150: 5147: 5145: 5142: 5140: 5137: 5135: 5132: 5130: 5127: 5125: 5122: 5120: 5117: 5115: 5112: 5110: 5107: 5105: 5102: 5100: 5097: 5095: 5092: 5090: 5087: 5085: 5082: 5080: 5077: 5075: 5072: 5070: 5067: 5066: 5064: 5062: 5058: 5048: 5045: 5043: 5040: 5038: 5035: 5033: 5030: 5029: 5027: 5023: 5017: 5014: 5012: 5009: 5007: 5004: 5002: 4999: 4996: 4992: 4989: 4987: 4984: 4983: 4981: 4977: 4971: 4968: 4966: 4963: 4961: 4957: 4956: 4955: 4950: 4948: 4945: 4943: 4940: 4938: 4934: 4933: 4932: 4927: 4926: 4924: 4922:Record labels 4920: 4914: 4911: 4909: 4906: 4904: 4901: 4899: 4896: 4894: 4891: 4890: 4888: 4884: 4878: 4875: 4873: 4870: 4868: 4865: 4863: 4860: 4858: 4855: 4853: 4850: 4848: 4845: 4843: 4840: 4838: 4835: 4833: 4830: 4829: 4827: 4823: 4820: 4814: 4810: 4803: 4798: 4796: 4791: 4789: 4784: 4783: 4780: 4762: 4758: 4751: 4736:. 7 July 2020 4735: 4731: 4725: 4723: 4714: 4710: 4704: 4696: 4692: 4688: 4684: 4680: 4673: 4665: 4661: 4655: 4647: 4641: 4637: 4632: 4631: 4622: 4614: 4607: 4592:. 26 May 2019 4591: 4587: 4581: 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