The Next Track, Episode #112 – The End of B-Sides

The Next Track Blue Flat Button2 400pxWe talk about the lowly b-side, the flip side of a single, which is fading away into obscurity.

Listen to The Next Track: Episode #112 – The End of B-Sides.

Find out more, and subscribe to the podcast, at The Next Track website. You can follow The Next Track on Twitter at @NextTrackCast, to keep up to date with new episodes, and new articles from the website.

3 thoughts on “The Next Track, Episode #112 – The End of B-Sides

  1. Kirk: I am sure that I would truly enjoy listening to one of your Podcasts. However, when I click on the link I get an error message stating that the connection is not secure, and hence, not allowing me to proceed. This occurs on both Firefox and Chrome. If you have any suggestions, I’m interested.

    • You need to go through the security alerts, and accept them, and after that it will work fine. There’s something odd that happens to some people because of the fact that we had an SSL certificate that changed when we moved to a new host a few months ago.

      Or simply look the podcast up on iTunes, or in any podcast app, and listen from there.

  2. In the 50s/ early 60s, the usual standard length for a UK pop LP was 12 songs, six on each side. As the average pop song then lasted for a maximum of around two and a half minutes, this was already not overly generous. However, many US LPs featured only five songs on their “B” side (i.e. side 2) which seemed positively mean. Sometimes the UK version of an American LP even had a twelfth song added to it, rather like the supposedly “bonus” filler tracks on many modern under length CDs.
    My theory at the time was that this could be due to American Musicians’ Union rules governing session times in those days when a whole LP could quite comfortably be recorded in a day. This idea was rather blown apart when what was called The Beatles’ Second Album in the US was released there – with only 5 tracks on side 2. As a mere compilation of old UK recordings, this could not have been recorded in an American studio.
    Perhaps Doug will know the real reason for this difference between the two record markets?

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