An extended play (or EP) is a musical recording that contains more music than a single, but is too short to qualify as a full studio album or LP. The term EP originally referred to specific types of vinyl records other than 78 rpm standard play (SP) records and LP records,^[1] but it is now applied to mid-length Compact Discs and music downloads as well. Ricardo Baca of The Denver Post said, "EPs—originally extended-play 'single' releases that are shorter than traditional albums—have long been popular with punk and indie bands."^[2] In the United Kingdom, the Official Chart Company defines a boundary between EP and album classification at 25 minutes of length or four tracks (not counting alternative versions of featured songs, if present).^[3][4]

History[link]

EPs were released in various sizes in different eras. The earliest multi-track records, issued around 1919 by Grey Gull Records, were vertically cut 78 rpm discs known as "2-in-1" records. These had finer than usual grooves, like Edison Disc Records. By 1949, when the 45 rpm single and 33⅓ rpm LP were competing formats, seven-inch 45 rpm singles had a maximum playing time of only about four minutes per side.

Partly as an attempt to compete with the LP, introduced in 1948 by rival Columbia Records, RCA Victor introduced "Extended Play" 45s during 1952. Their narrower grooves, achieved by lowering the cutting levels and, if required, sound compression, enabled them to hold up to 7.5 minutes per side—but still be played by a standard 45 rpm phonograph. These were usually LPs split onto three seven-inch EPs, either sold one at a time or in boxed sets. This practice became much less common with the advent of triple-speed-available phonographs.

Some classical music albums released at the beginning of the LP era were also distributed as EP albums—notably the seven operas that Arturo Toscanini conducted on radio between 1944 and 1954. These opera EPs, originally broadcast on the NBC Radio network and manufactured by RCA, which owned the NBC network then, were made available both in 45 rpm and 33⅓ rpm. In the 1990s, they began appearing on Compact Discs. RCA also had success in the format with their top money earner, Elvis Presley, issuing 28 Elvis EPs between 1956 and 1967, many of which topped the separate Billboard EP chart during its brief existence.

During the 1950s, RCA published several EP albums of Walt Disney movies, containing both the story and the songs. These usually featured the original casts of actors and actresses. Each album contained two seven-inch records, plus a fully illustrated booklet containing the text of the recording, so that children could follow along by reading. Some of the titles included Snow White and the Seven Dwarfs (1937), Pinocchio (1940), and what was then a recent release, the movie version of 20,000 Leagues Under the Sea that was presented in 1954. The recording and publishing of 20,000 Leagues Under the Sea was an unusual one: it did not employ the movie's cast, and years later, a 12-inch 33⅓ rpm album of the film, with a nearly identical script, but another different cast, was sold by Disneyland Records in conjunction with the re-release of the movie in 1963.

Because of the popularity of other formats, SP records became less popular and the production of SPs in Japan was suspended in 1963.^[5][6]

In the 1950s and 1960s, EPs were usually compilations of singles or album samplers and were typically played at 45 rpm on seven-inch (18 cm) discs, with two songs on each side.^[7][8] Other than those published by RCA, EPs were relatively uncommon in the United States and Canada, but they were widely sold in the United Kingdom, and in some other European countries, during the 1950s and 1960s. Record Retailer printed the first EP chart in 1960. The New Musical Express (NME), Melody Maker, Disc and Music Echo and the Record Mirror continued to list EPs on their respective singles charts. The Beatles' Twist and Shout (EP) outsold most singles for some weeks in 1963. When the BBC and Record Retailer commissioned the British Market Research Bureau (BMRB) to compile a chart it was restricted to singles and EPs disappeared from the listings.

In the Philippines, seven-inch EPs marketed as "mini-LPs" (but distinctly different from the mini-LPs of the 1980s) were introduced in 1970, with tracks selected from an album and packaging resembling the album they were taken from.^[9] This mini-LP format also became popular in America in the early 1970s for promotional releases, and also for use in jukeboxes.^[10]

Stevie Wonder included a bonus four-song EP with his double LP Songs in the Key of Life in 1976. During the 1970s and 1980s, there was less standardization and EPs were made on seven-inch (18 cm), 10-inch (25 cm) or 12-inch (30 cm) discs running either 33⅓ or 45 rpm. Some novelty EPs used odd shapes and colors, and a few of them were picture discs.

Alice in Chains was the first band to ever have an EP reach number one on the Billboard album chart. Its EP, Jar of Flies, was published on January 25, 1994. In 2004, Linkin Park and Jay-Z's collaboration EP, Collision Course, was the next to reach the number one spot after Alice in Chains. In 2010, the cast of the television series Glee became the first artist to have two EPs reach #1, with Glee: The Music, The Power of Madonna on the week of May 8, 2010, and Glee: The Music, Journey to Regionals on the week of June 26, 2010.

In 2010, Warner Bros. Records revived the format with their "Six-Pak" offering of six songs on a Compact Disc.^[11]

[edit] Defining EP

The first EPs were seven-inch vinyl records with more tracks than a normal single (typically four to six of them). Although they shared size and speed with singles, they were a recognizably different format than the seven-inch single. Although they could be named after a lead track, they were generally given a different title.^[7] Examples include The Beatles' The Beatles' Hits EP from 1963, and The Troggs' Troggs Tops EP from 1966, both of which collected previously released tracks.^[7] The playing time was generally between ten and 15 minutes.^[7] They also came in cardboard picture sleeves at a time when singles were usually issued in paper company sleeves. EPs tended to be album samplers or collections of singles. EPs of all original material began to appear in the 1960s. An example is The Kinks' Kinksize Session EP from 1964.

During the 1970s, Maxi-Singles, usually containing three reissued tracks, became fairly popular. Two examples are Jimi Hendrix's Voodoo Child from 1971 and David Bowie's Space Oddity, a single from 1969 that was reissued in 1975 in RCA's Maxi-Million series. Both these reached number one in Britain. The 12-inch singles on vinyl, which played at 45 rpm, were first sold in 1976, and commonly had extended-time or additional tracks not contained in the seven-inch 45 rpm singles. An example of one of these extended songs was an over-ten-minute version of the song Love to Love You Baby by Donna Summer, which took up one entire side of the record.

Twelve-inch EPs were similar, but generally had between three and five tracks and a length of over 12 minutes.^[7] Like seven-inch EPs, these were given titles.^[7] EP releases were also issued in cassette and 10-inch vinyl formats.^[7] With the advent of the Compact Disc (CD), more music was often included on "single" releases, with four or five tracks being common, and playing times of up to 25 minutes.^[7]

EPs of original material regained popularity in the punk rock era, when they were commonly used for the release of new material, e.g. Buzzcocks' Spiral Scratch EP, which featured four tracks.^[7]

Beginning in the 1980s, many so-called "singles" have been sold in formats with more than two tracks. Because of this, the definition of an EP is not determined only by the number of tracks or the playing time; an EP is typically seen as four (or more) tracks of equal importance, as opposed to a four-track single with an obvious A-side and three B-sides.

In the United Kingdom, any record with more than four distinct tracks or with a playing time of more than 25 minutes is classified as an album for sales-chart purposes.^[4]

An intermediate format between EPs and full-length LPs is the mini-LP, which was a common album format in the 1980s. These generally contained 20–30 minutes of music.^[7]

Jukebox EP[link]

Filben Maestro 78 RPM jukebox

In the 1960s and 1970s, record companies released EP versions of long play (LP) albums for use in jukeboxes. These were commonly known as "compact 33s" or "little LPs." They played at 33⅓ rpm, were pressed on 7-inch vinyl and frequently had as many as six songs. What made them EP-like was the fact that some songs were omitted for time purposes, and the tracks deemed the most popular were left on. Unlike most EPs before them, and most 7-inch vinyl in general (pre-1970s), these were issued in stereo.

See also[link]

• Concept EP
• Double EP
• Extra Long Play (VCR format)
• Gramophone record
• Long Play
• List of number-one EPs (UK)

References[link]

Patrick Baril (Born January 23, 1982, in Lawrence, MA) better known as Statik Selektah, is an East Coast-based DJ, Producer and CEO of Showoff Records.

Biography[link]

Statik Selektah was introduced to music at a young age, experimenting with his parents eight-track machine, cassette recorders, and turntable.^[1] By middle school, he was already DJing school functions, but he was inspired to be a true wheels-of-steel artiste after hearing DJ Premier & Funkmaster Flex scratch and mix records on Hot 97fm in New York City.^[2] Statik began doing radio at Phillips Exeter Academy’s WPEA, where he also occasionally DJ’ ed some of the Afro-Latino Society Parties.^[3] Naming himself DJ Statik, (the "Selektah" came later after hearing a local reggae artist say it unconsciously ^[3]) he began to start to DJ at clubs and private parties up and down the New England Coast. In 2000, Selektah moved back to Massachusetts from New Hampshire to pursue an audio production degree at Boston's New England Institute of Art. Around this time, Statik started to put out his own mixtapes titled "Spell My Name Right" series. In 2003, Statik created ShowOff Marketing which has had clients such as Reebok, G-Unit Records, Virgin Records, Capital, Universal Records, Diddy’s Vote or Die campaign and many others.^[3] In 2006, Statik Selektah made Showoff into a record label and put out Termanology's Out the Gate as the labels first release. In 2007, Statik released his first LP, titled Spell My Name Right and came out with a second Stick 2 the Script in 2009. In 2010, Statik Selektah dropped another album 100 Proof: The Hangover which reached 37 on Billboards Heatseeker Albums Chart.^[4] Besides dropping his own albums, he also has produced on many other artist's projects. Statik currently has a show on Thursday nights on Eminem's Shade 45 XM/Sirus Radio Station.^[5]

While recording with rapper Freeway on Ustream, he announced a song off his next album, Population Control, called Groupie Love. Mac Miller is known^{[by whom?]} to be on the song. This track was included on the final release of Population Control in 2011.

Past and present radio stations[link]

• WPEA 90.5fm - Exeter, NH (1996–1998)
• WERS 88.9fm - Boston, MA (2000)
• WBOT 97.7fm - Boston, MA (2001–2004)
• WBLX - Mobile, AL (2005–2009)
• KMJJ - Shreveport, LA (2006–2008)
• Shade 45 Sirius/XM (2005–present)
• KDON 102.5fm - Santa Cruz, CA (2009–present)
• WJMN 94.5fm - Boston, MA (2008–present)

Discography[link]

Albums[link]

• Spell My Name Right (2008)
• Stick 2 the Script (2009)
• Statik Selektah's "Lost & Damned EP" (2009)
• 100 Proof: The Hangover (2010)
• The Left-Overs (Of What’s To Come…) EP (2010)^[6]
• Population Control (2011)^[7][8]

Collaboration albums[link]

• All In A Day's Work (with Saigon) (2009)
• 1982 (with Termanology - as 1982) (2010)
• 1982: The EP (with Termanology - as 1982) (2010)
• The Evening News EP (with Termanology - as 1982) (2010)
• Statik-Free EP (with Freeway) (2011)
• Lyrical Workout (with Bumpy Knuckles) (2011)
• Lord Giveth, Lord Taketh Away (with Freddie Gibbs) (2011)
• State of Grace (with Slaine) (2011)
• Well Done (with Action Bronson) (2011)
• Straight, No Chaser (with Reks) (2012)
• 2012 (with Termanology - as 1982) (May 22, 2012)^[9]
• Stereotype (with Strong Arm Steady)^[10]
• TBA (with Dice Raw)^[11]
• TBA (with Bun B)^[11]
• TBA (with Styles P)^[11]

References[link]

• http://www.djbooth.net/index/news/entry/statik-selektah-jumps-in-mix-0513101/

External links[link]

Wikimedia Commons has media related to: Statik Selektah

• Showoff Records Website
• Statik Selektah intimate interview on Conspiracy Worldwide Radio Sep 2010

This article may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this article if you can; the talk page may contain suggestions. (May 2009)

Black Thought
Background information
Birth name	Tariq (Tarik)[1] Trotter
Born	(1971-10-03) October 3, 1971 (age 40)
Origin	Philadelphia, Pennsylvania
Genres	Hip hop
Years active	1987–present
Labels	DGC/Geffen/MCA Records Def Jam Recordings
Associated acts	The Roots, Money Making Jam Boys, Black Star, Mos Def, Talib Kweli, Common, Meek Mill
Website	www.myspace.com/blackthought

Tariq Trotter (born on October 3, 1971), better known as Black Thought, is an American hip-hop artist who is the lead MC of the Philadelphia-based hip hop group The Roots, as well as an occasional actor. Black Thought, who co-founded The Roots with drummer ?uestlove (Ahmir Thompson), is widely lauded for his live performance skills and his complex and politically aware lyrical content.

Early life[link]

Black Thought was born Tariq Trotter and attended the Philadelphia High School for Creative and Performing Arts and Millersville University. In 1987, Trotter became friends with drummer Ahmir "?uestlove" Thompson and formed a drummer/MC duo performing on the streets of Philadelphia and at talent shows.^[2] Trotter would subsequently spend some time as one of two MCs in the group The Square Roots: the other one was Malik B., who Tariq met in college.^[3] In high-school, Black Thought converted to the Islamic sect of The Nation of Gods and Earths.^[4]

The Roots[link]

The Square Roots renamed themselves the Roots and released its debut album Organix in 1993, to prepare for a concert in Germany. The Roots signed to DGC and followed up with Do You Want More?!!!??! in 1995. Recorded without any sampling, the album was more popular among alternative music fans than those of hip hop. Around the release of the album, the Roots performed at the Lollapalooza alternative music festival and Montreux Jazz Festival. Illadelph Halflife, the band's 1996 album, became its first album to chart within the top 40 spots on the Billboard 200 because of the successful single "What They Do".^[2] Things Fall Apart followed in 1999, the year the band played at the Woodstock 99 concert.^[5]