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.

532:, 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 303:. 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. 1486:" 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. 655:". 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. 1345:

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.

612:, 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 508:, 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. 1656:" (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 1664:, 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. 1760:

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,

192:. 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. 1723:", 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". 662:. 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 44: 6172: 1370:

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.

1603:'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 317: 4723: 1732: 6159: 397:

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

2361:"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. 1348:

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

79:(long play) which have several songs on each side. It is named for its 12-inch (300 mm) diameter that was intended for LPs. This technical adaptation allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider 633:

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

2252: 1793:, 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. 1349:

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.

747:, 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. 230:. 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 576:) 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 5925: 760:

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'

249:. 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. 1595:"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 1692:

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

245:. 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 5933: 638:

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

4600: 487:) 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. 1461:" 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 6024: 4252: 757:'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. 629:

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

1583:, 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. 442:

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

5956: 5905: 584:), 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 6009: 5920: 1987: 1703:

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

1559:. 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 559: 294:(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 163:

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.

6092: 5971: 5951: 438:. 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+⁄ 3713: 1988:"University of Wisconsin / Milwaukee - UWM Digital Commons - Theses and Dissertations - Sound and Vision: Marketing Recorded Music in the Age of Radio" 4846: 4016: 5941: 4814: 222:

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

5997: 5597: 4866: 616:(distinction between loud and soft) as well. This was immediately noticed by them to give a more favorable, 'hotter' sound which would appeal to 6107: 6014: 5985: 4658: 3036: 2884: 2796: 2599: 2169: 1903: 4881: 4979: 1518:", both at 33 rpm and issued in approximately June 1975 (based on the catalogue numbers used), but rumoured to be as late as October. 1434:

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

753:"Mellow Blow" became the first 33 rpm Atlantic promo to be released in July, but eventually commercially only on an 7" in September. 6041: 6031: 413: 2076: 6046: 5899: 407:

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

1397:. 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

252:

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.

398: 176: 4771: 2307: 2308:"SWAMP DOGG - JERRY WILLIAMS, JR. DISCOGRAPHY Updated 2016.January.5 Compiled, researched and annotated by David E. Chance" 1920: 411:'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 6122: 6117: 6112: 4856: 1374: 1297: 799: 716: 113:

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

6163: 6087: 5602: 5251: 5246: 4968: 4093: 1386: 604:(José Rodríguez) in need of a Friday-night test copy for a remix created by Tom Moulton in 1974. The song was " 528:" in 1973), in early 1974, during his quest to adapt songs beyond the radio-friendly three-minute mark for his 2434: 1567:"Jaws" being his first one, which was in extended form. This was followed by disco acts such as James Wells, 6175: 5873: 5494: 4927: 4800: 2669: 1532: 525: 377: 83:, and thus better sound quality. This record type, which is claimed to have been accidentally discovered by 4553: 1365:

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

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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;

5329: 5241: 5103: 4961: 4886: 2902: 1649: 1556: 1381:" / Sweet Music "I Get Lifted" on Scepter/Wand in mid June 1976. Third was a disc containing two 1358: 1238: 1203: 1138: 658:

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

272: rpm LPs (with a narrower "microgroove") and 7‑inch 45 rpm singles being marketed by 6127: 6082: 6072: 5798: 5793: 5773: 5768: 5640: 5561: 5553: 5530: 5520: 5459: 5216: 5201: 5030: 4654: 3032: 2890: 2880: 2792: 2595: 2165: 1940: 1899: 1744: 1740: 1712: 1017: 640: 496: 242: 158: 72: 1864: 5829: 5743: 5645: 5577: 5469: 5395: 5359: 5354: 5221: 5153: 5098: 5000: 4705: 2274: 2144: 2125: 1932: 1748: 1716: 1708: 1616: 1560: 1403: 1258: 1191: 1182: 919: 659: 635: 484: 381: 273: 246: 2511: 2382:

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:

1415: 1398: 1285: 1023: 663: 652: 476: 404: 48: 1707:, only ever released a handful of seven-inch singles. One of Factory's resident artists, 1600: 551:, as a commercial compilation of various artists licensed from a number of labels called 4678: 3335: 2101:"Indies Get There First with Plastics; Dealers See Extra Plus in Unbreakable Diskings". 43: 6137: 5569: 5525: 5489: 5405: 5381: 5344: 5276: 5196: 5093: 4823: 4650: 4643: 4190: 1592: 1544: 1527: 1523: 1366: 1267: 1039: 845: 617: 577: 548: 205: 168: 110: 4143: 2556: 504:

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

6191: 5718: 5410: 5349: 5281: 5138: 5118: 5088: 4709: 3858:"New Labels Add 12 -Inch Singles/New Labels Flock To Board 12 -Inch Disk Bandwagon". 1790: 1785: 1693: 1685: 1672: 1668: 1661: 1657: 1576: 1564: 1519: 1479: 1431: 1390: 1382: 732: 720: 630: 613: 556: 521: 517: 501: 291: 227: 164: 130:. Many record companies in the 1970s began producing 12-inch (30 cm) singles at 4576:"The story behind New Order's Blue Monday - the UK's biggest-selling 12-inch single" 2227: 6132: 6097: 5866: 5845: 5711: 5582: 5540: 5515: 5474: 5464: 5438: 5364: 5334: 5261: 5113: 5061: 5009: 4945: 4861: 1756: 1755:

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:

376:

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

4430: 4067: 3975: 3223: 3026: 2958: 2589: 1893: 1821: 6142: 6077: 5894: 5669: 5548: 5449: 5426: 5374: 5369: 5324: 5297: 5266: 5236: 5231: 5191: 5181: 5163: 5133: 5128: 5046: 4674: 4336: 3773:"Ken Cayre on the History of Salsoul and Working with Disco's Greatest Remixers" 3525: 3160:"Frankie Valli and the Four Seasons (and connected)-Downloadable Discographies-" 3159: 2812: 1689: 1677: 1645: 1596: 1503: 1495: 1475: 1394: 1305: 1246: 931: 750: 581: 565: 472: 127: 84: 35: 4527: 4380: 4358: 4215: 2120:"Columbia Diskery, CBS Show Microgroove Platters to Press; Tell how It Began". 1948: 1719:, produced the biggest-selling twelve-inch record ever in the United Kingdom, " 1591:

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

17: 5803: 5725: 5630: 5319: 5302: 5158: 5108: 4951: 2894: 480: 435: 337: 277: 211: 180: 3991: 1944: 188:

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

6062: 5758: 5676: 5422: 5271: 5143: 5056: 2269:

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

1776:

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

1761: 1063: 744: 626: 450:

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

219: 201: 123: 76: 2874: 2077:"V-Disc : The story of the American military record label during WWII" 1494:

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

555:, released in October 1974. Tom Moulton created one for the A side of the 34:" redirects here. For the unit of measurement equal to twelve inches, see 5838: 5788: 5683: 5312: 5307: 4554:"50 Years Of Record Cutting And Stereo Bass For Vinyl | RPM's Vinyl Blog" 1846: 1563:

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

1458: 1443: 223: 4694:"Romancing the Record: The Vinyl De-Evolution and Subcultural Evolution" 4512:

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

3566:

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

3028:

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

2591:

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

2051: 1962: 1731: 685:. Tom Moulton began to write for the former from 26 October 1974 in the 5587: 5510: 5484: 5442: 5025: 4405: 3088: 2496:

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

1752: 1735:

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

1604: 529: 184: 4314: 4292: 2435:"Tom Moulton and his extended disco remix forever changed dance music" 2327: 5612: 5148: 2763: 1773: 1454: 1118: 516:

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

253: 4042: 2876:

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

1936: 5433: 5083: 1730: 1093: 505: 393: 373: 42: 4792: 4253:"Nine Times - The Moments / Do What You Feel - The Rimshots - 12" 1457:

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

5783: 5635: 5123: 5015: 4891: 4796: 4382:

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

3228:. Nielsen Business Media, Inc. 2 October 1976. pp. 35, 53. 5808: 5778: 5704: 5479: 5020: 4191:"SAM Prefix - Warner Bros / WEA promo and bonus discs - 45cat" 4170:"The most collectable 12" singles - Record Collector Magazine" 1781: 1777: 1769: 1688:

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

1599:

production involvement, and these two releases were issued by

310: 144: rpm, although 45 rpm gives better treble response. 2941:"Success of Young Midland Intl Operation Attributed To Clubs" 568:. As a development from his mixtapes, three songs (Honey Bee/ 3568:. Library of Congress. Copyright Office. 1977. p. 1787. 2027:"1931 Leopold Stokowski - Philadelphia Orchestra Recordings" 1373:

The second twelve-inch release was the double artist single

2410:"The Carstairs - It Really Hurt Me Girl – Unearthed Sounds" 88: 4772:"How the great vinyl revival has got music fans in a spin" 4217:

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

1784:

music files but still allow for a turntablism experience.

715:

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

87:, is commonly used in disco and dance music genres, where 4472:"The Sole Track That Launched Commercial Hip-Hop in 1979" 1822:"The Joy of 45 Collecting: Why 45s Sound Better Than LPs" 4745:"A Brief History of the 12-inch Single Format | Discogs" 3154: 3152: 3090:

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

2963:. Nielsen Business Media, Inc. 14 June 1975. p. 3. 2052:"RCA Program Transcription Album Discography (1931-33)" 1963:"RCA Program Transcription Album Discography (1931-33)" 1810:

https://oe1.orf.at/player/20240928/769858/1727540612000

1414:

Two twelve-inch promotional vinyl issues for rock/folk

256:

program that sent records overseas to US troops during

768:

Selected promotional vinyl 12-inch US singles in 1975

4360:

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

4119:"The Chantelles | Biography & History | AllMusic" 3874:"GEORGE BENSON singing and playing SUMMERTIME / 2001" 2765:

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

2670:"Tom Moulton – A Tom Moulton Mix | Soul Jazz Records" 2185:

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

2105:. Vol. 57, no. 39. 6 October 1945. p. 460:

using physically larger and audibly "hotter" records;

183:, USA and perfected the use of 5 and 7-inch rotating 175:

merged their efforts within the industry to form the

122:

side by the turntable stylus) can be much greater in

91:

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

4626:

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

4017:"The first twelve single | Part 7/11. 12" in Franחe" 2479:"Billboard names 11 Trendsetters - Talent in Action" 2143:. Vol. 61, no. 2. 8 January 1949. p. 1887: 1885: 1619:" on the flip, all originally from 1966 and 1967 by 6055: 5887: 5822: 5751: 5742: 5654: 5539: 5503: 5394: 5290: 5172: 5074: 5039: 4993: 4936: 4900: 4839: 4830: 3550:Aletti, Vincent (20 September 1975). "Disco File". 2124:. Vol. 60, no. 26. 26 June 1948. p. 1502:" backed with Osiris "Warsaw Concerto", along with 689:column (which changed name as time went on), while 126:, especially in the bass frequencies important for 4642: 1925:Journal of the Society of Motion Picture Engineers 2287:12" Single: Freddie King - Lowdown In Lodi (1972) 384:recordings before they were issued commercially. 3132:"Newsletter 56 - 1974/75 single and LP releases" 2993:"Large And Small Labels Push For Disco Exposure" 4724:"Music streaming is fueling vinyl's resurgence" 4435:. Nielsen Business Media, Inc. 16 October 1976. 2158:Osborne, Richard (17 February 2016). "The 45". 500:longer. A key reason of the time was that few 3712:Office, Library of Congress Copyright (1976). 106: 4808: 3980:. Nielsen Business Media, Inc. 15 April 1972. 3242:"Barrabas 'Disco Disc' planned by Atlantic". 2935: 2933: 1751:formats. The widespread popularity of Sony's 8: 4447:"Classic Tracks: Donna Summer 'I Feel Love'" 3891:Aletti, Vince (10 July 1975). "Disco File". 2228:"Is Vinyl and LP The Same: Vinyl LP Meaning" 2201:"Mendelssohn and Richard Rodgers the record" 2187:The Music Lover's Guide to Record Collecting 743:in June 1975 with a 10:32 min running time. 3755:"Club DJs Blend Cuts For Cos.' Disco Disks" 1426:Early titles first appeared in 1976 on the 218: rpm (the speed first used on 16‑inch 5748: 5287: 4836: 4815: 4801: 4793: 4645:The World of DJs and the Turntable Culture 4497:"Spring Label Markets a Won-Stop' Album". 4092:Vibes, Teacher at Reggae (30 March 2020). 3992:"MILESAGO - Record Labels - Tempo Records" 3715:Catalog of Copyright Entries: Third series 2907:: CS1 maint: location missing publisher ( 1522:"Which of Us Is the Fool" was released by 547:The first genre-themed set was created by 340:. Please do not remove this message until 4241:. The Record Press. pp. 61, 81, 125. 3906:Moulton, Tom (4 July 1976). "Disco Mix". 360:Learn how and when to remove this message 3822:"Salsoul 12" Disco Mix a Retail Smash". 2253:"JAMAICA - RHYTHM & BLUES 1956-1961" 1865:"Fred Hager tangles with Victor Herbert" 1448:Twelve-inch single § Jamaican roots 766: 336:Relevant discussion may be found on the 4739: 4737: 4679:"Shiny, Aluminum, Plastic, and Digital" 3737:"A New 12 -Inch 45 Salsoul Disco Label" 2813:"Tom Moulton Tribute @ Disco-Disco.com" 2788:Vinyl: A History of the Analogue Record 2161:Vinyl: A History of the Analogue Record 1895:Vinyl: A History of the Analogue Record 1802: 427:in 1972 with the tracks taken from his 268:catalog number M-800), with 12‑inch 33⁄ 4400: 4398: 3853: 3851: 3731: 3729: 3727: 3725: 3595: 3593: 3580:"Scepter Marketing U.K. Contempo Line" 3526:"Motown Promotional Album Discography" 3520: 3518: 3315: 3313: 3276: 3274: 3255: 3253: 3237: 3235: 3218: 3216: 3182: 3180: 3108: 3106: 3068: 3066: 3031:. Duke University Press. p. 212. 2900: 2631: 2629: 2594:. Duke University Press. p. 212. 2002:"Victor Program Transcription Records" 1696:records of the 1990s and early 2000s. 719:promo distributed by RCA - this was a 3613: 3611: 3499: 3497: 3412: 3410: 3126: 3124: 2785:Osborne, Richard (17 February 2016). 2583: 2581: 2579: 2577: 2551: 2549: 2547: 2463:"Labels Mix Records For Club Scene". 2458: 2456: 2322: 2320: 1892:Osborne, Richard (17 February 2016). 866:"(Do You Wanna) Dance, Dance, Dance" 7: 4649:. Hal Leonard Corporation. pp. 4316:Rimshots - Do What You Feel (Part 1) 3922:"Amherst Disco Bid By the Gangsters" 3136:Four Seasons UK Appreciation Society 2255:. fremeaux.com. 2012. Archived from 711:First wide scale promotional 12-inch 495:This was released by Scepter to the 6042:Global Recording Artist of the Year 6010:Highest-grossing live music artists 4094:"Burning Rockers 1 | The 12" Mixes" 3798:"Salsoul Records @ Disco-Disco.com" 3450:"Ace Spectrum's Disco Rendezvous". 1447: 417:album, with the flip side from his 414:Leon Russell and the Shelter People 206:Single (music) § 7-inch format 4770:Harrison, Emma (3 December 2023). 3652:"Buddah Records @ Disco-Disco.com" 3336:"12" DISCO RECORDS - 20th CENTURY" 2557:"Million Dollar Disco: Tom Mouton" 2485:. 28 December 1974. pp. 1, 4. 1921:"Victrolac Motion Picture Records" 1863:Baker, R. S. (24 September 2019). 702:Early vinyl test pressings 12-inch 596:Early acetates 10-inch and 12-inch 25: 4239:The Virgin Discography: the 1970s 3940:"Amherst Markets Big Disco Disks" 3025:Lawrence, Tim (2 February 2004). 2879:(Second ed.). New York, NY. 2588:Lawrence, Tim (2 February 2004). 483:(later co-founder of dance label 287:Mendelssohn's Concerto in E Minor 6171: 6170: 6157: 5187:Artists and repertoire (A&R) 4918:Universal Music Publishing Group 4710:10.1111/j.0022-3840.1992.00109.x 3511:. 13 September 1975. p. 64. 3490:. 20 September 1975. p. 60. 3472:. 20 September 1975. p. 57. 3203:"Disco Action, Top Single Picks" 2947:. 13 September 1975. p. 40. 2734:. 27 September 1975. p. 47. 2380:. 21 December 1974. p. 16. 2359:. 16 November 1974. p. 20. 2226:Vinyl, Legend (29 August 2022). 1898:. Routledge. pp. 155, 156. 723:one sided EP with 4 tracks from 479:along with its production chief 315: 5608:Entertainment Monitoring Africa 3862:. 26 June 1976. pp. 1, 18. 3701:. 29 November 1975. p. 30. 3683:. 15 November 1975. p. 39. 3640:. 22 November 1975. p. 38. 1587:First UK 12-inch retail singles 670:Promotion through media and DJs 27:Type of vinyl phonograph record 6108:Largest recorded music markets 6015:Highest-grossing concert tours 4501:. 26 October 1974. p. 10. 3761:. 15 May 1976. pp. 1, 39. 3743:. 15 May 1976. pp. 3, 38. 3209:. 3 May 1975. pp. 20, 54. 2999:. 1 November 1975. p. 50. 2873:Aletti, Vince (October 2018). 2658:. 2 November 1974. p. 10. 2643:. 26 October 1974. p. 22. 2622:. 9 November 1974. p. 20. 2467:. 2 November 1974. p. 10. 831:"(Call Me Your) Anything Man" 177:Victor Talking Machine Company 1: 4043:"Paul McCartney - Let 'em In" 3844:. 9 October 1976. p. 36. 3777:daily.redbullmusicacademy.com 3586:. 4 October 1975. p. 34. 3424:. 16 August 1975. p. 51. 1406:was sold from mid July 1976. 1298:Jimmy James and the Vagabonds 196:Vinyl and microgroove formats 6164:Record production portal 4980:Independent UK record labels 4337:"Time Capsule - August 1976" 4019:. 4 May 2003. Archived from 3403:. 2 August 1975. p. 29. 3288:. 28 June 1975. p. 86. 2752:. 19 April 1975. p. 32. 2701:. 12 April 1975. p. 52. 1919:Barton, F. C. (April 1932). 1727:Decline and ongoing interest 1555:" in the middle of May from 1335:First 12-inch retail singles 264:a 12‑inch 5-record set from 6032:Most-attended concert tours 4681:– via urbigenous.net. 4532:James Hamilton's Disco Page 3964:. 17 July 1976. p. 58. 3946:. 17 July 1976. p. 10. 3928:. 26 June 1976. p. 50. 3880:. 26 June 1976. p. 21. 3367:. 28 June 1975. p. 47. 3267:. 19 July 1975. p. 82. 2981:. 19 July 1975. p. 78. 2862:. 31 July 1976. p. 38. 2844:. 26 June 1976. p. 32. 2654:"Mix Special Disco Disks". 2139:"Lowdown on New RCA Disk". 342:conditions to do so are met 202:LP Record § RCA Victor 6224: 6047:Wealthiest musical artists 5900:Best-selling music artists 4698:Journal of Popular Culture 4692:Plasketes, George (1992). 3385:. 5 July 1975. p. 28. 3059:. 7 June 1975. p. 16. 3014:. 31 May 1975. p. 86. 2791:. Routledge. p. 155. 1990:. August 2016. p. 32. 1484:In Spite of All the Danger 1441: 1340:Motivation for public sale 1224:"Tornado" / "Disco Queen" 564:album, in January 1975 on 199: 156: 29: 6151: 5618:New Zealand singles chart 4641:Souvignier, Todd (2004). 1490:Promo UK 12-inch releases 1243:"Never Gonna Let You Go" 1156:Sound of Washington D.C. 1022:"Always Another Girl" / " 6088:Christian music industry 5603:GfK Entertainment charts 5247:Professional audio store 4605:Music Musings & Such 4294:The Moments - Nine Times 1644:" (16 min 50 seconds), " 1391:Theme From Good King Bad 1221:The Wiz / Hot Chocolate 725:The Carol Douglas Album. 574:Reach Out, I'll Be There 226:which was licensed from 5495:Music streaming service 4928:Disney Music Publishing 3454:: 17. 6 September 1975. 3439:: 35. 6 September 1975. 3164:UK Appreciation Society 3117:: 20. 15 February 1975. 2674:soundsoftheuniverse.com 2516:redbullmusicacademy.com 1847:"Victor Deluxe history" 1393:" in late June 1976 on 1261:& the Midnight Sun 1044:"You'd Be Good For Me" 916:"I Just Can't Make It" 821:April (10-inch) / June 794:The Carol Douglas Album 537:Trendsetter of the Year 526:It Really Hurts Me Girl 491:First instrumental side 6037:Most-attended concerts 6005:Highest-paid musicians 3622:: 34. 25 October 1975. 3604:: 92. 8 November 1975. 3010:"ExecutiveTurntable". 1736: 1539:"Do What You Feel" on 1526:also in October 1975. 1516:The Bertha Butt Boogie 1029:Midland International 1007:Midland International 649:South Shore Commission 401:stores in California. 300:Voice of Frank Sinatra 239:Philadelphia Orchestra 171:. Berliner along with 67:) is a type of vinyl ( 52: 6118:Most valuable records 6113:Most expensive albums 6068:Album-equivalent unit 5598:Italian singles chart 5455:Promotional recording 4923:Warner Chappell Music 4913:Sony Music Publishing 4908:BMG Rights Management 2414:unearthedsounds.co.uk 2205:www.yourclassical.org 1734: 1642:Love To Love You Baby 1553:Young Hearts Run Free 872:May (10-inch) / July 800:Midland International 741:Private Stock Records 717:Midland International 570:Never Can Say Goodbye 561:Never Can Say Goodbye 392:In March 1970, Cycle/ 46: 6093:Environmental impact 5993:Best-selling singles 5006:Digital music stores 4628:Entertainment Weekly 4451:www.soundonsound.com 4281:: 21. 24 April 1976. 4237:Jones, Mark (2013). 4068:"Trojan 12" Box Set" 3246:: 291. 19 June 1975. 2716:: 44. 26 April 1975. 1869:The Syncopated Times 1623:on 22 October 1976. 1581:the Undisputed Truth 1541:All Platinum Records 807:4 track disco EP/LP 6123:Music certification 6103:Largest music deals 5981:Best-selling albums 5814:The Country Network 5593:Irish Singles Chart 5242:Musical instruments 4339:. Six Million Steps 4257:Oxfam's Online Shop 4072:www.savagejaw.co.uk 3077:: 98. 14 June 1975. 2398:: 30. 8 March 1975. 1463:Channel One Studios 1438:Jamaican discomixes 1113:Walk Away From Love 769: 512:First extended edit 329:of this section is 173:Eldridge R. Johnson 109:. The conventional 5636:SNEP singles chart 5411:Extended play (EP) 5182:Album cover design 4730:. 4 December 2018. 4556:. 14 November 2020 3958:"Top Single Picks" 3826:: 3. 19 June 1976. 3340:21centurymusic.com 3324:: 30. 5 July 1975. 3306:: 27. 10 May 1975. 2926:: 3. 14 June 1975. 1737: 1627:Later developments 1512:Jimmy Castor Bunch 1500:Supernatural Thing 1482:with the one-off " 1239:Vicki Sue Robinson 1208:"I Want To Dance" 1204:The Ritchie Family 954:"Keep Holdin' On" 936:"Hooked For Life" 895:The Eleventh Hour 850:"Chinese Kung Fu" 815:"Swearin' To God" 767: 606:I'll Be Holding On 543:First segued mixes 190:Frederick W. Hager 117:Technical features 69:polyvinyl chloride 59:(often written as 57:twelve-inch single 53: 6185: 6184: 6128:Parental Advisory 6083:Bootleg recording 6073:A-side and B-side 5930: 5883: 5882: 5799:The Music Factory 5641:Sverigetopplistan 5565:Argentina Hot 100 5531:Music competition 5521:Concert residency 5460:Phonograph record 5430: 5390: 5389: 5217:Music and fashion 5202:Entertainment law 5070: 5069: 5031:Virgin Megastores 4833:and organizations 4660:978-0-634-05833-2 4580:www.musicweek.com 4534:. 27 January 1979 4478:. 10 October 2006 3038:978-0-8223-8511-0 2886:978-1-942884-30-9 2798:978-1-317-00181-2 2601:978-0-8223-8511-0 2189:. Backbeat Books. 2171:978-1-317-00180-5 1905:978-1-317-00180-5 1745:8-track cartridge 1741:reel-to-reel tape 1632:Core sales period 1428:Pathe Marconi EMI 1332: 1331: 1172:Scepter-Contempo 1135:"Soul Train '75" 1018:Silver Convention 986:"Undecided Love" 970:"(Baby) Save Me" 913:Philly Devotions 641:A Tom Moulton Mix 370: 369: 362: 243:Leopold Stokowski 159:Phonograph record 73:gramophone record 51:gramophone record 16:(Redirected from 6215: 6174: 6173: 6162: 6161: 6160: 5928: 5749: 5646:UK singles chart 5578:Canadian Hot 100 5470:Compact cassette 5408: 5355:Session musician 5330:Hip hop producer 5288: 5222:Music journalism 5154:Rhythm and blues 4872:IFPI (worldwide) 4837: 4817: 4810: 4803: 4794: 4787: 4786: 4784: 4782: 4767: 4761: 4760: 4758: 4756: 4741: 4732: 4731: 4720: 4714: 4713: 4689: 4683: 4682: 4671: 4665: 4664: 4648: 4638: 4632: 4631: 4623: 4617: 4616: 4614: 4612: 4597: 4591: 4590: 4588: 4586: 4572: 4566: 4565: 4563: 4561: 4550: 4544: 4543: 4541: 4539: 4524: 4518: 4517: 4509: 4503: 4502: 4494: 4488: 4487: 4485: 4483: 4468: 4462: 4461: 4459: 4457: 4443: 4437: 4436: 4427: 4421: 4420: 4418: 4416: 4402: 4393: 4392: 4391: 4389: 4377: 4371: 4370: 4369: 4367: 4355: 4349: 4348: 4346: 4344: 4333: 4327: 4326: 4325: 4323: 4311: 4305: 4304: 4303: 4301: 4289: 4283: 4282: 4274: 4268: 4267: 4265: 4263: 4249: 4243: 4242: 4234: 4228: 4227: 4226: 4224: 4212: 4206: 4205: 4203: 4201: 4187: 4181: 4180: 4178: 4176: 4166: 4160: 4159: 4157: 4155: 4148:Electrofunkroots 4140: 4134: 4133: 4131: 4129: 4115: 4109: 4108: 4106: 4104: 4089: 4083: 4082: 4080: 4078: 4064: 4058: 4057: 4055: 4053: 4039: 4033: 4032: 4030: 4028: 4013: 4007: 4006: 4004: 4002: 3988: 3982: 3981: 3972: 3966: 3965: 3954: 3948: 3947: 3936: 3930: 3929: 3918: 3912: 3911: 3903: 3897: 3896: 3888: 3882: 3881: 3870: 3864: 3863: 3855: 3846: 3845: 3838:"Disco Forum II" 3834: 3828: 3827: 3819: 3813: 3812: 3810: 3808: 3794: 3788: 3787: 3785: 3783: 3769: 3763: 3762: 3751: 3745: 3744: 3733: 3720: 3719: 3709: 3703: 3702: 3691: 3685: 3684: 3673: 3667: 3666: 3664: 3662: 3648: 3642: 3641: 3630: 3624: 3623: 3615: 3606: 3605: 3597: 3588: 3587: 3576: 3570: 3569: 3562: 3556: 3555: 3547: 3541: 3540: 3538: 3536: 3522: 3513: 3512: 3501: 3492: 3491: 3480: 3474: 3473: 3462: 3456: 3455: 3447: 3441: 3440: 3432: 3426: 3425: 3414: 3405: 3404: 3393: 3387: 3386: 3375: 3369: 3368: 3357: 3351: 3350: 3348: 3346: 3332: 3326: 3325: 3317: 3308: 3307: 3299: 3293: 3292: 3278: 3269: 3268: 3257: 3248: 3247: 3239: 3230: 3229: 3220: 3211: 3210: 3199: 3193: 3192: 3191:. 19 April 1975. 3187:"Disco Action". 3184: 3175: 3174: 3172: 3170: 3156: 3147: 3146: 3145:on 18 June 2020. 3144: 3138:. Archived from 3128: 3119: 3118: 3110: 3101: 3100: 3099: 3097: 3085: 3079: 3078: 3070: 3061: 3060: 3049: 3043: 3042: 3022: 3016: 3015: 3007: 3001: 3000: 2989: 2983: 2982: 2971: 2965: 2964: 2955: 2949: 2948: 2937: 2928: 2927: 2919: 2913: 2912: 2906: 2898: 2870: 2864: 2863: 2852: 2846: 2845: 2834: 2828: 2827: 2825: 2823: 2809: 2803: 2802: 2782: 2776: 2775: 2774: 2772: 2760: 2754: 2753: 2742: 2736: 2735: 2724: 2718: 2717: 2709: 2703: 2702: 2691: 2685: 2684: 2682: 2680: 2666: 2660: 2659: 2651: 2645: 2644: 2633: 2624: 2623: 2612: 2606: 2605: 2585: 2572: 2571: 2569: 2567: 2553: 2542: 2541: 2533: 2527: 2526: 2524: 2522: 2508: 2502: 2501: 2493: 2487: 2486: 2475: 2469: 2468: 2460: 2451: 2450: 2448: 2446: 2431: 2425: 2424: 2422: 2420: 2406: 2400: 2399: 2391: 2385: 2384: 2370: 2364: 2363: 2349: 2343: 2342: 2340: 2338: 2324: 2315: 2314: 2312: 2304: 2298: 2297: 2296: 2294: 2282: 2276: 2273:; 14 March 1970. 2267: 2261: 2260: 2249: 2243: 2242: 2240: 2238: 2223: 2217: 2216: 2214: 2212: 2197: 2191: 2190: 2182: 2176: 2175: 2155: 2149: 2148: 2136: 2130: 2129: 2117: 2111: 2110: 2098: 2092: 2091: 2089: 2087: 2073: 2067: 2066: 2064: 2062: 2048: 2042: 2041: 2039: 2037: 2023: 2017: 2016: 2014: 2012: 1998: 1992: 1991: 1984: 1978: 1977: 1975: 1973: 1959: 1953: 1952: 1947:. Archived from 1916: 1910: 1909: 1889: 1880: 1879: 1877: 1875: 1860: 1854: 1853: 1851: 1843: 1837: 1836: 1834: 1832: 1818: 1812: 1807: 1749:compact cassette 1709:alternative rock 1660:). Many DJ-only 1654:Rapper's Delight 1617:Pictures of Lily 1404:Roulette Records 1320:"Consideration" 1302:"I Am Somebody" 1259:Papa John Creach 1233:Acetate reissue 1183:Gary Toms Empire 1004:"I'm in Heaven" 898:"Hollywood Hot" 770: 553:Disco Par-r-r-ty 485:West End Records 429:Texas Cannonball 382:rhythm and blues 365: 358: 354: 351: 345: 319: 318: 311: 274:Columbia Records 247:Great Depression 210:In August 1931, 153:Pre-vinyl period 143: 142: 138: 135: 108: 104: 103: 99: 96: 33: 21: 6223: 6222: 6218: 6217: 6216: 6214: 6213: 6212: 6188: 6187: 6186: 6181: 6158: 6156: 6147: 6051: 5879: 5818: 5738: 5733:Top of the Pops 5698:Musica e dischi 5650: 5535: 5499: 5419:Cassette single 5397: 5386: 5340:Record producer 5286: 5257:Radio promotion 5227:Music publisher 5212:Music executive 5207:Music education 5174: 5168: 5066: 5035: 4989: 4932: 4896: 4840:Representatives 4832: 4831:Major companies 4826: 4821: 4791: 4790: 4780: 4778: 4769: 4768: 4764: 4754: 4752: 4743: 4742: 4735: 4722: 4721: 4717: 4691: 4690: 4686: 4673: 4672: 4668: 4661: 4640: 4639: 4635: 4625: 4624: 4620: 4610: 4608: 4599: 4598: 4594: 4584: 4582: 4574: 4573: 4569: 4559: 4557: 4552: 4551: 4547: 4537: 4535: 4526: 4525: 4521: 4511: 4510: 4506: 4496: 4495: 4491: 4481: 4479: 4470: 4469: 4465: 4455: 4453: 4445: 4444: 4440: 4429: 4428: 4424: 4414: 4412: 4404: 4403: 4396: 4387: 4385: 4379: 4378: 4374: 4365: 4363: 4357: 4356: 4352: 4342: 4340: 4335: 4334: 4330: 4321: 4319: 4313: 4312: 4308: 4299: 4297: 4291: 4290: 4286: 4277:"DJ Hot Line". 4276: 4275: 4271: 4261: 4259: 4251: 4250: 4246: 4236: 4235: 4231: 4222: 4220: 4214: 4213: 4209: 4199: 4197: 4189: 4188: 4184: 4174: 4172: 4168: 4167: 4163: 4153: 4151: 4150:. 5 August 2011 4142: 4141: 4137: 4127: 4125: 4117: 4116: 4112: 4102: 4100: 4091: 4090: 4086: 4076: 4074: 4066: 4065: 4061: 4051: 4049: 4041: 4040: 4036: 4026: 4024: 4015: 4014: 4010: 4000: 3998: 3990: 3989: 3985: 3974: 3973: 3969: 3956: 3955: 3951: 3938: 3937: 3933: 3920: 3919: 3915: 3905: 3904: 3900: 3890: 3889: 3885: 3872: 3871: 3867: 3857: 3856: 3849: 3836: 3835: 3831: 3821: 3820: 3816: 3806: 3804: 3802:disco-disco.com 3796: 3795: 3791: 3781: 3779: 3771: 3770: 3766: 3753: 3752: 3748: 3735: 3734: 3723: 3711: 3710: 3706: 3693: 3692: 3688: 3675: 3674: 3670: 3660: 3658: 3656:disco-disco.com 3650: 3649: 3645: 3632: 3631: 3627: 3617: 3616: 3609: 3599: 3598: 3591: 3578: 3577: 3573: 3564: 3563: 3559: 3549: 3548: 3544: 3534: 3532: 3524: 3523: 3516: 3503: 3502: 3495: 3482: 3481: 3477: 3464: 3463: 3459: 3449: 3448: 3444: 3434: 3433: 3429: 3416: 3415: 3408: 3395: 3394: 3390: 3377: 3376: 3372: 3359: 3358: 3354: 3344: 3342: 3334: 3333: 3329: 3319: 3318: 3311: 3301: 3300: 3296: 3280: 3279: 3272: 3259: 3258: 3251: 3241: 3240: 3233: 3222: 3221: 3214: 3201: 3200: 3196: 3186: 3185: 3178: 3168: 3166: 3158: 3157: 3150: 3142: 3130: 3129: 3122: 3112: 3111: 3104: 3095: 3093: 3087: 3086: 3082: 3072: 3071: 3064: 3051: 3050: 3046: 3039: 3024: 3023: 3019: 3009: 3008: 3004: 2991: 2990: 2986: 2973: 2972: 2968: 2957: 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2035: 2033: 2025: 2024: 2020: 2010: 2008: 2000: 1999: 1995: 1986: 1985: 1981: 1971: 1969: 1961: 1960: 1956: 1951:on 3 June 2018. 1918: 1917: 1913: 1906: 1891: 1890: 1883: 1873: 1871: 1862: 1861: 1857: 1849: 1845: 1844: 1840: 1830: 1828: 1820: 1819: 1815: 1808: 1804: 1799: 1729: 1705:Factory Records 1680:in use for the 1648:" (15:45), and 1634: 1629: 1621:Polydor Records 1589: 1573:Mass Production 1551:followed with " 1535:"Nine Times" / 1492: 1471: 1450: 1442:Main articles: 1440: 1424: 1416:Shelter Records 1412: 1399:Amherst Records 1363:Double Exposure 1355: 1342: 1337: 1187:"Drive My Car" 1131:Soul Train Gang 1024:Fly, Robin, Fly 869:Warner-Spector 737:Swearin' To God 713: 704: 672: 664:Salsoul Records 598: 545: 514: 493: 477:Scepter Records 448: 441: 405:Shelter Records 390: 366: 355: 349: 346: 335: 320: 316: 309: 271: 266:Asch Recordings 217: 208: 200:Main articles: 198: 169:Emilie Berliner 161: 155: 150: 140: 136: 133: 131: 119: 101: 97: 94: 92: 49:Capitol Records 39: 31: 28: 23: 22: 18:12 inch singles 15: 12: 11: 5: 6221: 6219: 6211: 6210: 6205: 6200: 6190: 6189: 6183: 6182: 6180: 6179: 6167: 6152: 6149: 6148: 6146: 6145: 6140: 6138:Surprise album 6135: 6130: 6125: 6120: 6115: 6110: 6105: 6100: 6095: 6090: 6085: 6080: 6075: 6070: 6065: 6059: 6057: 6053: 6052: 6050: 6049: 6044: 6039: 6034: 6029: 6028: 6027: 6022: 6012: 6007: 6002: 6001: 6000: 5990: 5989: 5988: 5978: 5977: 5976: 5975: 5974: 5969: 5964: 5959: 5954: 5946: 5945: 5944: 5936: 5931: 5926:United Kingdom 5923: 5918: 5913: 5908: 5897: 5891: 5889: 5885: 5884: 5881: 5880: 5878: 5877: 5870: 5863: 5856: 5849: 5842: 5835: 5826: 5824: 5820: 5819: 5817: 5816: 5811: 5806: 5801: 5796: 5791: 5786: 5781: 5776: 5771: 5766: 5761: 5755: 5753: 5746: 5740: 5739: 5737: 5736: 5729: 5722: 5715: 5708: 5701: 5694: 5687: 5680: 5673: 5666: 5658: 5656: 5652: 5651: 5649: 5648: 5643: 5638: 5633: 5628: 5620: 5615: 5610: 5605: 5600: 5595: 5590: 5585: 5580: 5575: 5573:Brasil Hot 100 5567: 5559: 5551: 5545: 5543: 5537: 5536: 5534: 5533: 5528: 5526:Music festival 5523: 5518: 5513: 5507: 5505: 5501: 5500: 5498: 5497: 5492: 5490:Music download 5487: 5482: 5477: 5472: 5467: 5462: 5457: 5452: 5447: 5446: 5445: 5431: 5402: 5400: 5392: 5391: 5388: 5387: 5385: 5384: 5382:Sound engineer 5379: 5378: 5377: 5372: 5367: 5362: 5352: 5347: 5345:Rhythm section 5342: 5337: 5332: 5327: 5322: 5317: 5316: 5315: 5310: 5300: 5294: 5292: 5285: 5284: 5279: 5277:Talent manager 5274: 5269: 5264: 5259: 5254: 5249: 5244: 5239: 5234: 5229: 5224: 5219: 5214: 5209: 5204: 5199: 5194: 5189: 5184: 5178: 5176: 5170: 5169: 5167: 5166: 5161: 5156: 5151: 5146: 5141: 5136: 5131: 5126: 5121: 5116: 5111: 5106: 5101: 5096: 5094:Easy listening 5091: 5086: 5080: 5078: 5072: 5071: 5068: 5067: 5065: 5064: 5059: 5054: 5049: 5043: 5041: 5037: 5036: 5034: 5033: 5028: 5023: 5018: 5013: 5003: 4997: 4995: 4991: 4990: 4988: 4987: 4982: 4977: 4964: 4959: 4954: 4940: 4938: 4934: 4933: 4931: 4930: 4925: 4920: 4915: 4910: 4904: 4902: 4898: 4897: 4895: 4894: 4889: 4884: 4879: 4874: 4869: 4864: 4859: 4854: 4849: 4843: 4841: 4834: 4828: 4827: 4824:Music industry 4822: 4820: 4819: 4812: 4805: 4797: 4789: 4788: 4762: 4733: 4715: 4704:(1): 110,112. 4684: 4666: 4659: 4633: 4630:. No. 86. 4618: 4592: 4567: 4545: 4528:"January 1979" 4519: 4504: 4489: 4463: 4438: 4422: 4394: 4372: 4350: 4328: 4306: 4284: 4269: 4244: 4229: 4207: 4182: 4161: 4135: 4110: 4084: 4059: 4047:www.jpgr.co.uk 4034: 4008: 3983: 3967: 3949: 3931: 3913: 3898: 3883: 3865: 3847: 3829: 3814: 3789: 3764: 3746: 3721: 3704: 3695:"Disco Action" 3686: 3677:"Disco Action" 3668: 3643: 3634:"Disco Action" 3625: 3618:"Disco File". 3607: 3600:"Disco File". 3589: 3571: 3557: 3542: 3514: 3493: 3484:"Single Picks" 3475: 3457: 3442: 3435:"Disco File". 3427: 3418:"Disco Action" 3406: 3397:"Disco Action" 3388: 3379:"Disco Action" 3370: 3361:"Disco Action" 3352: 3327: 3320:"Disco File". 3309: 3302:"Disco File". 3294: 3282:"Inside Track" 3270: 3261:"Inside Track" 3249: 3231: 3212: 3194: 3176: 3148: 3120: 3113:"Disco File". 3102: 3080: 3073:"Disco File". 3062: 3053:"Disco Action" 3044: 3037: 3017: 3002: 2984: 2975:"Inside Track" 2966: 2950: 2929: 2922:"Disco File". 2914: 2885: 2865: 2856:"Disco Action" 2847: 2829: 2804: 2797: 2777: 2755: 2746:"Disco Action" 2737: 2719: 2712:"Disco File". 2704: 2695:"Disco Action" 2686: 2661: 2646: 2637:"Disco Action" 2625: 2616:"Disco Action" 2607: 2600: 2573: 2543: 2540:. 17 May 1975. 2536:"Disco File". 2528: 2503: 2488: 2470: 2452: 2441:. 28 June 2013 2426: 2401: 2394:"Disco File". 2386: 2374:"Disco Action" 2365: 2353:"Disco Action" 2344: 2316: 2299: 2277: 2262: 2244: 2218: 2207:. 20 June 2023 2192: 2177: 2170: 2150: 2131: 2112: 2093: 2081:Save The Vinyl 2068: 2043: 2018: 1993: 1979: 1954: 1937:10.5594/J01337 1931:(4): 452–460. 1911: 1904: 1881: 1855: 1838: 1826:classic45s.com 1813: 1801: 1800: 1798: 1795: 1728: 1725: 1669:James Hamilton 1662:remix services 1650:Sugarhill Gang 1633: 1630: 1628: 1625: 1588: 1585: 1524:Island Records 1491: 1488: 1470: 1469:United Kingdom 1467: 1439: 1436: 1423: 1420: 1411: 1408: 1367:Walter Gibbons 1354: 1351: 1341: 1338: 1336: 1333: 1330: 1329: 1327: 1324: 1321: 1318: 1314: 1313: 1311: 1308: 1303: 1300: 1294: 1293: 1291: 1288: 1283: 1282:"Extra Extra" 1280: 1276: 1275: 1273: 1270: 1265: 1262: 1255: 1254: 1252: 1249: 1244: 1241: 1235: 1234: 1231: 1228: 1225: 1222: 1218: 1217: 1215: 1212: 1209: 1206: 1200: 1199: 1197: 1194: 1188: 1185: 1179: 1178: 1176: 1173: 1170: 1167: 1163: 1162: 1160: 1157: 1154: 1151: 1150:Natural Order 1147: 1146: 1144: 1141: 1136: 1133: 1127: 1126: 1124: 1121: 1116: 1109: 1103: 1102: 1100: 1097: 1091: 1084: 1078: 1077: 1075: 1072: 1070:United Artists 1067: 1060: 1054: 1053: 1051: 1048: 1045: 1042: 1040:Ronnie Spector 1036: 1035: 1033: 1030: 1027: 1020: 1014: 1013: 1011: 1008: 1005: 1002: 1000:Touch of Class 996: 995: 993: 990: 987: 984: 980: 979: 977: 974: 971: 968: 964: 963: 961: 958: 955: 952: 946: 945: 943: 940: 937: 934: 928: 927: 925: 922: 917: 914: 910: 909: 907: 904: 899: 896: 892: 891: 889: 886: 883: 882:"Mellow Blow" 880: 876: 875: 873: 870: 867: 864: 860: 859: 857: 854: 851: 848: 842: 841: 840:Test pressing 838: 835: 832: 829: 825: 824: 822: 819: 818:Private Stock 816: 813: 812:Frankie Valli 809: 808: 805: 802: 797: 791: 790:Carol Douglas 787: 786: 783: 782:Release month 780: 777: 774: 755:Warner-Spector 712: 709: 703: 700: 671: 668: 597: 594: 590:Disc-O-Tech #2 549:Spring Records 544: 541: 513: 510: 492: 489: 469: 468: 461: 458: 455: 447: 444: 439: 389: 386: 368: 367: 323: 321: 314: 308: 307:Jamaican roots 305: 269: 233:Symphony No. 5 215: 197: 194: 157:Main article: 154: 151: 149: 146: 118: 115: 47:A twelve-inch 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6220: 6209: 6206: 6204: 6201: 6199: 6198:Audio storage 6196: 6195: 6193: 6178: 6177: 6168: 6166: 6165: 6154: 6153: 6150: 6144: 6141: 6139: 6136: 6134: 6131: 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: 6060: 6058: 6054: 6048: 6045: 6043: 6040: 6038: 6035: 6033: 6030: 6026: 6023: 6021: 6018: 6017: 6016: 6013: 6011: 6008: 6006: 6003: 5999: 5996: 5995: 5994: 5991: 5987: 5984: 5983: 5982: 5979: 5973: 5970: 5968: 5965: 5963: 5960: 5958: 5955: 5953: 5950: 5949: 5948:Nationality: 5947: 5943: 5940: 5939: 5937: 5935: 5934:United States 5932: 5927: 5924: 5922: 5919: 5917: 5914: 5912: 5909: 5907: 5903: 5902: 5901: 5898: 5896: 5893: 5892: 5890: 5886: 5876: 5875: 5871: 5869: 5868: 5864: 5862: 5861: 5857: 5855: 5854: 5850: 5848: 5847: 5843: 5841: 5840: 5836: 5834: 5832: 5828: 5827: 5825: 5821: 5815: 5812: 5810: 5807: 5805: 5802: 5800: 5797: 5795: 5792: 5790: 5787: 5785: 5782: 5780: 5777: 5775: 5772: 5770: 5767: 5765: 5762: 5760: 5757: 5756: 5754: 5750: 5747: 5745: 5741: 5735: 5734: 5730: 5728: 5727: 5723: 5721: 5720: 5719:Rolling Stone 5716: 5714: 5713: 5709: 5707: 5706: 5702: 5700: 5699: 5695: 5693: 5692: 5688: 5686: 5685: 5681: 5679: 5678: 5674: 5672: 5671: 5667: 5665: 5664: 5660: 5659: 5657: 5653: 5647: 5644: 5642: 5639: 5637: 5634: 5632: 5629: 5627: 5625: 5624:Rolling Stone 5621: 5619: 5616: 5614: 5613:Oricon charts 5611: 5609: 5606: 5604: 5601: 5599: 5596: 5594: 5591: 5589: 5588:G-Music chart 5586: 5584: 5581: 5579: 5576: 5574: 5572: 5568: 5566: 5564: 5560: 5558: 5556: 5552: 5550: 5547: 5546: 5544: 5542: 5538: 5532: 5529: 5527: 5524: 5522: 5519: 5517: 5514: 5512: 5509: 5508: 5506: 5502: 5496: 5493: 5491: 5488: 5486: 5483: 5481: 5478: 5476: 5473: 5471: 5468: 5466: 5463: 5461: 5458: 5456: 5453: 5451: 5448: 5444: 5440: 5437: 5436: 5435: 5432: 5428: 5424: 5420: 5416: 5412: 5407: 5404: 5403: 5401: 5399: 5393: 5383: 5380: 5376: 5373: 5371: 5368: 5366: 5363: 5361: 5360:Backup singer 5358: 5357: 5356: 5353: 5351: 5348: 5346: 5343: 5341: 5338: 5336: 5333: 5331: 5328: 5326: 5323: 5321: 5318: 5314: 5311: 5309: 5306: 5305: 5304: 5301: 5299: 5296: 5295: 5293: 5289: 5283: 5282:Tour promoter 5280: 5278: 5275: 5273: 5270: 5268: 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: 5179: 5177: 5171: 5165: 5162: 5160: 5157: 5155: 5152: 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: 5081: 5079: 5077: 5073: 5063: 5060: 5058: 5055: 5053: 5050: 5048: 5045: 5044: 5042: 5038: 5032: 5029: 5027: 5024: 5022: 5019: 5017: 5014: 5011: 5007: 5004: 5002: 4999: 4998: 4996: 4992: 4986: 4983: 4981: 4978: 4976: 4972: 4971: 4970: 4965: 4963: 4960: 4958: 4955: 4953: 4949: 4948: 4947: 4942: 4941: 4939: 4937:Record labels 4935: 4929: 4926: 4924: 4921: 4919: 4916: 4914: 4911: 4909: 4906: 4905: 4903: 4899: 4893: 4890: 4888: 4885: 4883: 4880: 4878: 4875: 4873: 4870: 4868: 4865: 4863: 4860: 4858: 4855: 4853: 4850: 4848: 4845: 4844: 4842: 4838: 4835: 4829: 4825: 4818: 4813: 4811: 4806: 4804: 4799: 4798: 4795: 4777: 4773: 4766: 4763: 4751:. 7 July 2020 4750: 4746: 4740: 4738: 4734: 4729: 4725: 4719: 4716: 4711: 4707: 4703: 4699: 4695: 4688: 4685: 4680: 4676: 4670: 4667: 4662: 4656: 4652: 4647: 4646: 4637: 4634: 4629: 4622: 4619: 4607:. 26 May 2019 4606: 4602: 4596: 4593: 4581: 4577: 4571: 4568: 4555: 4549: 4546: 4533: 4529: 4523: 4520: 4516:. p. 12. 4515: 4508: 4505: 4500: 4493: 4490: 4477: 4473: 4467: 4464: 4452: 4448: 4442: 4439: 4434: 4433: 4426: 4423: 4411: 4407: 4401: 4399: 4395: 4384: 4383: 4376: 4373: 4362: 4361: 4354: 4351: 4338: 4332: 4329: 4318: 4317: 4310: 4307: 4296: 4295: 4288: 4285: 4280: 4279:Record Mirror 4273: 4270: 4258: 4254: 4248: 4245: 4240: 4233: 4230: 4219: 4218: 4211: 4208: 4196: 4192: 4186: 4183: 4171: 4165: 4162: 4149: 4145: 4139: 4136: 4124: 4120: 4114: 4111: 4099: 4095: 4088: 4085: 4073: 4069: 4063: 4060: 4048: 4044: 4038: 4035: 4023:on 4 May 2003 4022: 4018: 4012: 4009: 3997: 3993: 3987: 3984: 3979: 3978: 3971: 3968: 3963: 3959: 3953: 3950: 3945: 3941: 3935: 3932: 3927: 3923: 3917: 3914: 3910:. p. 37. 3909: 3902: 3899: 3894: 3887: 3884: 3879: 3875: 3869: 3866: 3861: 3854: 3852: 3848: 3843: 3839: 3833: 3830: 3825: 3818: 3815: 3803: 3799: 3793: 3790: 3778: 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