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Extended play

An extended play (EP), short for extended play, is a musical recording format that contains more tracks than a single but fewer than those on a full-length album, typically featuring 3 to 6 songs and lasting 15 to 30 minutes in total. In the streaming era, definitions vary by platform: Spotify classifies EPs as 4–6 tracks under 30 minutes, while Apple Music allows 1–3 tracks (with at least one ≥10 minutes) or 4–6 tracks under 30 minutes.^[1]^[2] Originating in the early 1950s amid the rise of vinyl records, the EP was introduced by RCA Victor in 1952 as a seven-inch, 45 rpm disc that doubled the playing time of standard singles while remaining shorter and more affordable than 12-inch long-playing (LP) albums.^[3]^[2] This innovation addressed consumer demand for mid-length releases, often used for compilations of hits, album samplers, or thematic collections, and quickly gained popularity in genres like rock 'n' roll and pop during the 1950s and 1960s.^[4] In the modern digital music landscape, EPs have surged in relevance as a strategic tool for emerging and established artists alike, allowing for quicker production cycles, targeted promotion, and audience testing of new sounds without the commitment of a full album.^[2] EPs often chart on platforms like the Billboard 200, and as of 2025, numerous EPs—including over 20 that have reached number one, such as recent K-pop releases by groups like BTS, BLACKPINK, and Stray Kids—underscore their commercial viability across genres such as hip-hop, indie rock, and K-pop.^[5] Unlike singles, which prioritize radio play and are often 1-2 tracks, or LPs with 8-15 tracks emphasizing narrative depth, EPs balance artistic experimentation with market accessibility, making them a staple in contemporary music releases.^[1]^[2]

Definition and Characteristics

Core Definition

An extended play (EP) is a musical recording format positioned intermediate between a single and a full-length album, typically comprising 3 to 6 tracks or lasting 10 to 25 minutes in total playing time.^[6]^[4] The term "extended play" derives from its original vinyl context, denoting a duration longer than that of a standard single—often limited to one or two songs—but shorter than a long-playing (LP) record, which could accommodate up to 20-25 minutes per side.^[4] This nomenclature emphasized the format's capacity for expanded content relative to the brief runtime of early 78 rpm singles or initial 45 rpm releases.^[4] The EP originated as a 7-inch, 45 rpm vinyl disc, introduced by RCA Victor in 1952 as a competitive response to Columbia Records' 33⅓ rpm LP format, allowing for approximately four tracks—two per side—within a compact, affordable package.^[4] Its primary purpose has been to serve as a versatile medium for artists and labels to distribute supplementary material, such as B-sides from singles, remixes, or thematically cohesive song sets, without the production and commercial commitment required for a complete album.^[4] This approach enabled quicker releases and targeted marketing, often compiling highlights from existing LPs or standalone tracks to appeal to budget-conscious consumers or specific fan interests.^[4] In the 1950s, RCA Victor formalized early EP definitions through promotional materials, branding them as "extended play 45s" or "45 rpm single-record albums" to highlight their economy and extended content over standard singles.^[4] For instance, a 1952 RCA Victor holiday catalog featured EPs like the Three Suns' Music to Play on Christmas Day, presenting seasonal tracks in this intermediate format, while Elvis Presley's 1956 release Elvis – Volume 1 exemplified the EP's role in launching artists with curated selections of hits and fillers.^[4] These early implementations underscored the EP's foundational role in bridging short-form and long-form recordings during the vinyl era's format wars.^[4]

Distinctions from Other Formats

Extended plays (EPs) are distinguished from other music formats primarily by their intermediate length and purpose, typically containing 3 to 6 tracks with a total runtime under 30 minutes, positioning them between singles and full-length albums. Singles generally feature 1 to 3 tracks, often under 10 minutes total, and serve a promotional role to highlight a lead song from a larger project or stand alone for radio and chart play.^[7]^[8] In contrast, albums encompass 7 or more tracks, frequently exceeding 30 minutes, and represent a comprehensive artistic statement with a cohesive narrative or thematic depth.^[7]^[9] Commercially and artistically, EPs function as versatile releases that bridge gaps between full albums, allowing artists to maintain fan engagement without the investment of a complete record. They often act as "stopgaps" to sustain momentum during album production cycles, providing fresh content to support tours or build anticipation.^[2]^[10] Artistically, EPs serve as testing grounds for experimental material, enabling artists to explore new sounds or styles on a smaller scale before committing to an album's broader scope, or as standalone mini-albums that capture a specific creative phase.^[9]^[10] Legal and industry standards for EP classification rely on content volume and sales metrics rather than rigid rules, with organizations like the RIAA treating EPs under album certification guidelines based on equivalent units from sales and streams—500,000 for Gold and 1,000,000 for Platinum—without separate track-based thresholds.^[6] The IFPI similarly incorporates EPs into broader release metadata frameworks for global tracking, emphasizing bundling of resources over strict format distinctions, though distribution platforms enforce practical limits like 4-6 tracks under 30 minutes to categorize them distinctly from albums.^[11]^[8] In modern contexts, these distinctions have evolved with digital streaming, where EPs frequently bundle remixes, live recordings, or acoustic versions that do not align with the single's promotional focus or the album's exhaustive structure, allowing for flexible monetization and playlist compatibility.^[12]^[9] This adaptability has made EPs particularly valuable for independent artists navigating fragmented consumption patterns.

Typical Length and Content

Extended plays (EPs) typically consist of 3 to 6 tracks, with a total runtime ranging from 10 to 30 minutes, providing a format longer than a single but shorter than a full album.^[2]^[13] In physical vinyl releases, EPs are commonly pressed as 7-inch records playing at 45 revolutions per minute (rpm), with multiple tracks per side.^[4]^[14] This structure balances accessibility and depth, enabling artists to deliver substantial content without the commitment of a longer project. The content of an EP often includes a mix of original compositions, cover versions, remixes, or instrumental tracks, curated to emphasize thematic cohesion or experimental elements rather than a broad narrative arc.^[15]^[16] For instance, artists may use the format to showcase unreleased material alongside B-sides or alternate versions, fostering a sense of variety within a unified artistic statement. In physical formats such as vinyl, track sequencing generally prioritizes the most prominent or lead songs on Side A to capture immediate listener attention, reserving Side B for supplementary tracks that extend or complement the primary material.^[17]^[18] The constrained length of an EP inherently promotes concise songwriting, compelling creators to refine ideas and eliminate excess, which contrasts with the expansive storytelling possible in albums.^[16]^[19] This brevity encourages focused experimentation, allowing musicians to test new styles or themes efficiently while building anticipation for future releases.^[20]

Historical Development

Origins in the Early 20th Century

The origins of the extended play (EP) format trace back to the early 20th century, when record labels began bundling multiple 78 rpm shellac discs into cohesive sets known as "albums." These precursors emerged as early as the late 1910s, with Columbia Records issuing the first such collections around 1917–1918, compiling 4 to 12 discs to present extended musical programs beyond individual singles, such as dance medleys or classical selections.^[21] By the 1920s and 1930s, this practice became standard for labels like Columbia and RCA Victor, allowing consumers to acquire themed groupings of tracks in bound books or slipcases, which foreshadowed the EP's role in delivering more content per purchase. The explicit EP format materialized in the post-World War II era, with RCA Victor launching the first commercial 7-inch 45 rpm vinyl EPs in 1952, each typically featuring four tracks for a total playtime of about 7–8 minutes per side—effectively doubling the capacity of standard 45 rpm singles.^[22] This innovation built directly on the 45 rpm single introduced by RCA in 1949, adapting the smaller disc size for longer playback through finer microgrooves.^[4] The development of the EP was driven by practical and economic factors in the immediate postwar period, including lingering shellac shortages from World War II that had spiked material costs and prompted a full transition to durable, cheaper vinyl production.^[23] RCA aimed to create a cost-effective alternative for jukebox operators and radio stations, where the compact 45 rpm format already dominated due to its suitability for automated playback, while meeting consumer demand for more music value without the expense of full-length albums.^[24] As a strategic counter to Columbia's 1948 introduction of 33 1/3 rpm long-playing (LP) records, the EP provided an affordable midpoint, priced lower than LPs but offering greater variety than singles.^[25] A pivotal adoption occurred in the mid-1950s, as the EP gained traction among emerging rock and roll artists for debut releases; notably, Elvis Presley's self-titled EP (EPA-1254), issued by RCA Victor on March 23, 1956, compiled four Sun Records tracks including "Blue Moon of Kentucky" and "I Love You Because," helping propel his career while exemplifying the format's versatility for new talent.

Evolution During the Vinyl Era

The introduction of the 7-inch extended play (EP) format by RCA Victor in 1952 marked a significant standardization in the vinyl era, initially at 45 rpm to allow for 4-6 tracks on a single disc, bridging the gap between short singles and full long-playing (LP) records.^[24] This format gained traction in the mid-1950s, particularly with the adoption of 33⅓ rpm speeds for certain applications by around 1954, enabling longer playtimes and finer grooves on vinyl material, which facilitated its widespread use in rock 'n' roll and pop music.^[26] By the late 1950s, EPs had become a staple for artists like Elvis Presley, whose releases such as the 1956 "Love Me Tender" EP showcased how the format could bundle hit singles with additional tracks to appeal to growing teen audiences.^[27] During the 1960s and 1970s, EPs reached their commercial peak, playing a pivotal role in the emergence of punk, new wave, and indie scenes by offering an affordable medium for raw, experimental recordings. The Beatles' 1963 "Twist and Shout" EP, their first UK release on Parlophone, exemplified this by compiling four tracks from their debut album and achieving strong sales amid the British Invasion.^[28] In the punk movement, bands like the Buzzcocks utilized EPs for quick, independent releases; their 1977 "Spiral Scratch" EP, self-released on their own label, sold over 20,000 copies and influenced the DIY ethos of the scene.^[29] Similarly, The Damned's early output in 1977, including EP-style singles, helped solidify punk's rapid dissemination in the UK underground.^[30] Record labels increasingly employed EPs as promotional tools during tours or to extend the lifecycle of hit singles, often repackaging B-sides or live cuts to boost artist visibility without the commitment of a full LP.^[31] In some markets, such as France, EPs were a dominant format during the 1960s; for instance, 45-rpm EPs accounted for 11.2 million units sold in 1960, surpassing LP sales and reflecting their prominence in pop and rock consumption before the LP's rise.^[32] This strategy proved effective in building fan loyalty, as seen with acts like The Rolling Stones, whose 1964 EPs promoted international tours by offering exclusive content. The viability of vinyl EPs began to decline in the late 1970s due to the rising popularity of compact cassettes and the entrenched dominance of LPs, which offered greater capacity and durability for home listening. Cassettes, introduced widely in the early 1970s, provided portability and lower production costs, leading to their sales surpassing vinyl LPs in the US by 1984 and eroding the market for shorter formats like EPs.^[33] By the end of the decade, overall recorded music sales stagnated as consumers shifted to tape for convenience, particularly in cars and personal players, rendering EPs less economically sustainable for labels.^[34]

Transition to Digital and Streaming

The transition to digital formats began in the late 1980s with the widespread adoption of the compact disc (CD), which allowed EPs to be released on the standard 5-inch format, often incorporating bonus tracks, remixes, or live recordings to extend value beyond vinyl limitations. This era marked a shift from analog to digital production and distribution, enabling higher fidelity and easier replication of shorter releases. A notable example is Nirvana's Hormoaning EP, issued on CD in 1992 by DGC Records to support their Pacific Rim tour, featuring covers of tracks by The Vaselines, Fang, and Devo alongside originals like "Aneurysm."^[35] By the 2010s, streaming platforms like Spotify revolutionized EP consumption, categorizing releases with 2–6 tracks and under 30 minutes total runtime as EPs, distinct from full albums (7+ tracks or over 30 minutes). These platforms treat EPs as standalone projects or playlist components, facilitating algorithmic recommendations and viral sharing, while industry metrics evolved from physical units sold to on-demand streams and subscription plays. Streaming accounted for 84% of U.S. recorded music revenues by 2024, underscoring the format's dominance and EPs' adaptability to data-driven consumption patterns.^[36]^[37] In modern trends, EPs have surged in hip-hop and electronic genres as tools for rapid releases, allowing artists to test material, build hype, and align with short attention spans amplified by platform algorithms that prioritize concise content for playlists. Billie Eilish's debut EP don't smile at me, released in August 2017 via Darkroom and Interscope Records, exemplifies this with its whispery, electronic-infused tracks like "Ocean Eyes" and "idontwannabeyouanymore," which amassed millions of streams and propelled her to global stardom. Similarly, in hip-hop, releases like Joey Bada$$'s 1999 (2012) served as quick mixtape-adjacent EPs to cultivate fanbases pre-album.^[38]^[39] Challenges in the streaming age include the blurring boundaries between EPs and mixtapes, especially in hip-hop, where both formats now often involve free or low-cost digital drops of 4–8 tracks to bypass traditional label gatekeeping and engage audiences directly. This convergence has complicated revenue models, as platforms' emphasis on streams over sales diminishes distinctions, though EPs retain value for targeted promotion. Industry data reflects this evolution, with streaming's overall growth—rising from 7% of U.S. market share in 2010 to 80% by 2019—fueling a broader increase in short-form releases like EPs.^[40]^[41]

Formats and Variations

Double EPs

A double EP is a musical release format that combines two extended plays into one package, typically featuring between 6 and 12 tracks or 20 to 50 minutes of total runtime, and commonly distributed on a single 12-inch vinyl record or as a bundled digital download. This structure emerged as a way to extend the EP's brevity while avoiding the commitment of a full-length album, allowing for economical production and packaging that fits between standard singles and LPs in terms of scope and cost.^[42] One of the earliest prominent examples of a double EP is The Beatles' Magical Mystery Tour (1967), released in the United Kingdom as a gatefold double EP containing six new songs from the accompanying film soundtrack, including "I Am the Walrus" and "The Fool on the Hill." This release totaled approximately 23 minutes and was marketed to capitalize on the film's buzz, offering fans a compact yet immersive set of psychedelic tracks on two 7-inch discs played at 33 RPM. In the 1980s, indie rock artists adopted the format for value-driven packaging, as seen with Cocteau Twins' Tiny Dynamine / Echoes in a Shallow Bay (1985), a double EP compiling eight ethereal dream pop songs across two companion EPs, reissued together on 12-inch vinyl to provide deeper exploration of the band's evolving sound without a full album commitment.^[43]^[44] Double EPs serve various purposes, including archival compilations of rarities and outtakes to preserve an artist's early or lesser-known material. They also enable themed pairings, such as contrasting acoustic and electric interpretations of songs to highlight artistic versatility, or budget-oriented doubles tailored for international markets to deliver more tracks at an accessible price point, enhancing perceived value during the vinyl era. In contemporary usage, digital double EPs facilitate expanded content drops to boost streaming metrics, exemplified by Greta Van Fleet's From the Fires (2017), which paired four new rock tracks with their debut EP's songs on a single digital and vinyl package, aiding the band's rapid rise by offering a comprehensive introductory collection.^[45]

Jukebox EPs

Jukebox EPs, also known as Little LPs or Compact 33s, were 7-inch vinyl records designed exclusively for playback in coin-operated jukeboxes, typically featuring 2 to 3 songs per side at 33 1/3 rpm for a total of 4 to 6 tracks.^[46] This format allowed jukeboxes to offer longer selections than standard 45 rpm singles while fitting the machines' physical constraints, with records often including printed jukebox strips—cardboard title cards inserted into the machine for song identification.^[46] Introduced in late 1961 by Cadence Records, the format gained traction when adopted by Seeburg Corporation for their 1960s jukebox models, such as the Select-A-Disc series, enabling up to 100 selections in adult-oriented venues like bars and diners.^[46] The format peaked in popularity during the early to mid-1960s, coinciding with the height of jukebox culture in American diners, arcades, and taverns, where machines from Seeburg and competitors like Wurlitzer provided on-demand entertainment.^[47] Record labels produced these EPs to promote hit singles and artists, often compiling recent releases for quick jukebox stocking; Capitol Records, for instance, issued over 140 titles starting in 1962, including promotional samplers like SXA-1602 featuring Duke Ellington's hits and SU-2431 with The Seekers' "Georgy Girl."^[48] These EPs targeted operators seeking cost-effective ways to refresh selections, emphasizing popular genres such as pop, rock, and easy listening to capitalize on the era's booming coin-op industry.^[46] Technically, Jukebox EPs were engineered for durability and public playback, with reinforced edges to withstand frequent handling in jukebox mechanisms and mastering optimized for the machines' built-in amplifiers to ensure clear sound over ambient noise in venues.^[49] Available in both mono (e.g., Capitol's MA series) and stereo (SXA/SU series) variants, they offered higher fidelity than 45 rpm singles while maintaining a compact size compatible with Seeburg's rack systems.^[48] The format declined sharply in the 1970s as jukeboxes waned due to the rise of cassette tapes, eight-tracks, and home stereos, with production ceasing by 1975 and Seeburg exiting the market amid broader industry obsolescence.^[46]^[47] In rare modern revivals, collectors and enthusiasts have reissued select Jukebox EPs on vinyl for nostalgic events or restored vintage machines, though the format remains niche and primarily fuels discography interest rather than widespread commercial use.^[50]

Other Specialized Formats

Picture and colored vinyl EPs emerged as aesthetic variants in the 1970s, offering visual appeal through translucent, marbled, or pigmented materials that enhanced collectibility without altering playback standards.^[51] These formats gained traction in punk and rock scenes, where limited pressings on non-black vinyl added exclusivity. By the 1980s, picture discs—thin vinyl layers embedding images between clear surfaces—became popular for EPs, providing a novel tactile and visual experience, though sound quality could vary due to the embedded artwork.^[52] Limited-edition formats expanded EP accessibility and appeal through bundled extras, such as box sets containing multiple discs alongside posters, booklets, or memorabilia, often produced in small runs for direct fan sales.^[53] A notable example is TV Girl's box set (2021), which compiles three EPs on splatter-colored vinyl with an included poster, emphasizing artistic packaging for indie audiences.^[54] In the digital realm, platforms like Bandcamp have facilitated exclusive EPs with remix stems—isolated audio tracks for fan remixing—allowing artists to engage communities interactively; The Freakazoids' "Jam Hot EP" (2019) includes such stems, enabling users to download and alter components for creative reuse.^[55] Genre-specific adaptations highlight EPs' versatility in underground scenes, particularly cassettes in the 1980s mixtape culture, where DIY punk and indie acts distributed short-run tapes blending original tracks with live recordings or demos.^[56] Washington, D.C., hardcore bands like Teen Idles, Faith, and Minor Threat released early EPs on cassettes through labels like Dischord Records, capitalizing on the format's low cost and portability to share raw, unpolished sounds amid the era's home-taping boom.^[57] Similarly, flexi-discs—flexible, paper-thin records—integrated into punk fanzines as affordable inserts, fostering subcultural exchange; the British zine Sniffin' Glue's final 1977 issue featured a flexi-disc EP of Alternative TV's "Love Lies Limp," exemplifying how these ephemeral media democratized music distribution in pre-digital DIY networks.^[58] Collectibility drives significant value for these specialized EPs, with rarity from limited pressings or unique media elevating prices in secondary markets, particularly for 1990s punk releases on unconventional formats.^[59] For example, underground 1990s punk EPs like Down Syndrome's self-titled 7-inch (limited to 1,000 copies on colored vinyl) command premiums due to scarcity and historical ties to regional scenes, often fetching hundreds of dollars among collectors seeking artifacts of the era's DIY ethos.^[60] This scarcity, amplified by one-off variants like flexi-disc inserts or cassette demos, underscores how physical novelties preserve punk's anti-commercial spirit while appealing to archival enthusiasts.^[61]

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Colored Vinyl: A Chronological Survey - Trouser Press
Jul 22, 2020 · The 1970s have also yielded hundreds of colored vinyl singles. Some recommended collectible singles are the Jefferson Airplane DJ “White ...Missing: onward examples
[55]
Colored Vinyl Before 1990 - Reddit
Mar 15, 2023 · Does anyone have examples of colored-vinyl records from before 1990? ... The Misfits and Samhain had a ton of colored vinyl in the late 70's and ...Record collectors of r/Punk, what rare punk records do you have in ...4 7” Records – All Hardcore/Punk EPs : r/vinyl - RedditMore results from www.reddit.comMissing: EPs | Show results with:EPs
[56]
[PDF] THE DISCOGS GUIDE TO RECORD COLLECTING
Picture discs are a different story. They are made of layers. The first is a clear record with no music, the second is the picture layer, and the third is a ...
[57]
http://theressomethinghardinthere.blogspot.com/2014/03/tapes-were-tops-in-punk-rock-world.html
[58]
TV Girl Vinyl Box Set Unboxing: Stunning LPs, Cassettes, and Poster
Sep 13, 2025 · We have gorgeous splatter pressings of French Exit, ❤️ Who Really Cares , Death of a Party Girl , and the 3 EPs . It also comes with a poster and ...
[59]
Music and merch tagged remixstems on Bandcamp
Shop for vinyl, cassettes, CDs, t-shirts, and other merch tagged remixstems on Bandcamp.Missing: EPs | Show results with:EPs
[60]
Cassette Culture in the 80s - Did Not Chart
Jun 21, 2012 · Tape culture embodied punk's ethos of being cheap and easy, only more so: they were even cheaper and easier to record and release than vinyl.
[61]
Tapes were tops in the punk-rock world
Mar 23, 2014 · Those cassettes featured demos from the Teen Idles, Faith, SOA, Void, Iron Cross, Youth Brigade (DC), Skewbald, Deadline and more.
[62]
12/1/07 - 1/1/08 - sketch your brain
Dec 24, 2007 · The final issue of Sniffin' Glue was published in August/September 1977 and included a free flexi disc of Alternative TV playing "Love Lies Limp ...
[63]
https://www.discogs.com/digs/collecting/most-expensive-punk-7-inch-vinyl-records/
[64]
What are some rare punk records you have in your collection? : r/vinyl
Jul 4, 2023 · Down Syndrome (from Edmonton) only EP, 1000 pressed. Forgotten Rebels - Tomorrow Belongs to Us, 1000 pressed. Both Young Canadians EPs (Hawaii ...What are some rare punk records you have in your collection? - RedditRecord collectors of r/Punk, what rare punk records do you have in ...More results from www.reddit.com
[65]
Bendable Sound: Exploring the often forgotten, but resurfacing niche ...
Nov 17, 2022 · Used as promotional items, or inexpensive ways bands released their music, Flexi-discs rule a sub-culture in music collecting all their own.