...it's like TV Tropes, but LINKED DATA!
B-Side
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Often when bands release a single, they want to put a little extra on there for the fans. It so happens that back in the days of the 45 rpm record, there was a whole half of the vinyl record left over for the extra music; the side with the main song on it was the "A-side" and the side with the rest on is the B-side. Even today, now that the 45 rpm single is more-or-less extinct outside of a niche community of vinyl enthusiasts, the terminology persists. A B-side is a song released alongside a single. It may be a good song that doesn't fit in with an album (or recorded for the single), is not good enough for release on an album, something too experimental to be commercially viable on its own, or just a joke. It could be a song written by a young up-and-coming songwriter, or a cover of a pop, country, jazz or R&B standard. It could also be a different version of the A-Side (i.e., instrumental, a cappella, remix, a different language, acoustic, etc.). The single is usually denoted as "A-side b/w B-side", the b/w standing for 'backed with' (though the variation "c/w", for "coupled with", was common in the UK). Occasionally, both sides of the single are promoted equally; the single is then called a "double A-side". Famous examples are "Strawberry Fields Forever/Penny Lane" and "We Will Rock You/We Are the Champions". B-sides may be collected onto Greatest Hits albums, or be included on an extra disc for deluxe reissues and Boxed Sets. They might also turn up as bonus tracks on later printings of the album. In Japan, this is a requirement for many bands, in order to control grey-market imports. It backfired. The Japanese Editions are among the most wanted (and thus, among the most pirated) editions of the albums. In the past, it was a convention that European B-sides would contain non-album tracks (often outtakes or covers), while American singles would usually feature a second album track. Unscrupulous publishers used to cheaply buy the rights to B-sides of songs they predicted to be hits. Since the B-side got 50% of the airplay royalties, the publishers would clean up. B-side songs may well become Black Sheep Hits. Even if they don't, it's not uncommon for them to become staples of an artist's live repertoire and even become fan favorites. Ubiquitous throughout the music industry, so any examples added here should be parodies, subversions or otherwise noteworthy. See also B-Movie and B-Side Comics. |
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From the aforementioned American Country Countdown B-Sides Special came these songs where the B-side/intended B-side was the hit: "The Jamestown Ferry" by Tanya Tucker, from 1972. The original A-side, "Love's the Answer" was not the answer to what would be the follow-up to the 14-year-old Tucker's first hit, "Delta Dawn." In introducing the song, ACC host Don Bowman explained that by the late 1960s, record companies were servicing radio stations with vinyl 45 RPM records having the same song on both sides of the records, that is, a specific song the record company and/or artist wanted radio stations to play. (Plus, it allowed jockeys to play the other side of the record once one side became worn or "skipped.") note By this method, if the song flopped, it was no big deal; the song would fall into recurrent status and a new single would be released. However, "Love's the Answer"/"The Jamestown Ferry" was an exception, since — according to Bowman — there seemed to be uncertainty at Columbia Records which song would be the stronger hit, so the label sent out copies of what also went to the stores. "The Tennessee Waltz" by Patti Page, from 1950. The song was issued that October, with "Boogie Woogie Santa Claus" as the A-side. The story was that, with only about an hour left in Page's recording session for the day, they would record "Waltz," put it on the B-side and forget about it. When the record sold better than expected, months before the holiday rush, someone asked why fans were loving "Boogie Woogie Santa Claus." It turned out they loved the B-side — a cover of a then 2-year-old Pee Wee King song, with vocals by Redd Stewart — instead ... and it was the B-side that became Page's signature song and about 15 years later one of Tennessee's state songs. "My Special Angel" by Bobby Helms, from 1957. The intended A-side, as the follow-up to "Fraulein," was "Standing at the End of My World." "... End of My World" was a flop, but it wasn't the end of that particular record by country radio, as disc jockeys found the real hit on the other side. "He'll Have to Go" by Jim Reeves, from early 1960. The original A'er was a nice ballad called "In a Mansion Stands My Love." Like "... End of My World," "Mansion" flopped. The jockeys flipped the record over and found what went on to become a country standard. "Big Bad John" by Jimmy Dean, from 1961. The original A-side was a cover of one of Stuart Hamblein's last drinking songs, "I Won't Go Huntin' With You Jake (But I'll Go On Chasing Women)." In the years since, Dean's cover version has gotten some classic country radio airplay. However, it was — both then and now — the B-side where jockeys and the public found a memorable tale of a miner who sacrifices his own life to save the lives of several hundred of his fellow miners. "Release Me" by Ray Price, from 1954. The Cherokee Cowboy had a few hits under his belt during the previous four years but not that one, definitive breakthrough. The original A-side, "I'll Be There (If You Ever Want Me)" did OK, but it was "Release Me" that became the real hit. note (Incidentally, it was a cover version by Gail Davies 27 years later when "I'll Be There" finally became a hit.) |
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Metallica: The second disc of Garage Inc., as mentioned above. They also have the EP Beyond Magnetic, which contains four B-sides from the recording sessions of Death Magnetic. |
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"God Save the Queen", taken from the sessions that produced Never Mind the Bollocks, was backed with "Did You No Wrong", another song from the sessions that didn't end up on the album. The song originated as "Scarface" from when Steve, Paul and Glen were performing with Wally Nightingale as the Swankers. Since the group was essentially a pub-rock group before John Lydon became the singer, it's instrumentally a pretty straightforward rock 'n' roll song with Lydon's punk vocal and rewritten lyrics laid on top. | |
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Keith Whitley had three B-sides that were Covered Up by other artists - two of which were themselves covers (see the notes): "Nobody in His Right Mind Would've Left Her"note originally recorded by Dean Dillon, the B-side to "Ten Feet Away", was later a #1 hit for George Strait... "On the Other Hand", the B-side to "Homecoming '63", was later a #1 hit for Randy Travisnote although that was the re-release; the first release of the song only got to #67, and... "Brother Jukebox"note originally recorded by Phil Everly of The Everly Brothers, the B-side to "I Wonder Do You Think of Me", was later a #3 hit for Mark Chesnutt. |
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"Born Slippy .NUXX" by Underworld ("lager, lager, lager, mega-mega-white thing..."), famous for appearing in the final scenes of Trainspotting, was originally a B-side to the very different track "Born Slippy" and was more or less thrown together as a joke. | |
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Elvis Presley: Also famous for scoring with dual-sided hits, his most famous was one of popular music's all-time most popular songs — from 1956, "Don't Be Cruel"/"Hound Dog." Both sides of this double A-sided hit were No. 1 on all three of the major charts — the Top 100 (as Billboard magazine called it at the time), the country, and the rhythm and blues charts. Incidentally, the song's designation as a double-A single didn't come until 1960. This got crossed with Germans Love David Hasselhoff in Australia in 1969. "Edge of Reality" (from Live a Little, Love a Little) was B-side of "If I Can Dream", and while "If I Can Dream" was dominant in most of the world, in Australia "Edge of Reality" was equally, if not more, popular, with the combined sides peaking together #2 on the ARIA chart. Much like Linda Ronstadt as mentioned below, Elvis started using the strategy in The '70s of having one side of a single aimed at the Pop market, and the other targeted at the Country audience, like with "Moody Blue" (Pop) and "She Thinks I Still Care" (Country), though the Pop side often ended up getting more airplay on Country radio anyway. |
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"Soul To Squeeze" was the B-Side to both "Give It Away" and "Under The Bridge" in 1991. In 1993 it appeared on the Coneheads soundtrack and was released as a single - some sources have it that the song barely missed being on on Blood Sugar Sex Magik because the band decided it would have one too many ballads if they included it. Many people thought it was a new song, which was why the song was a hit, peaking at #22 on the Billboard Hot 100 and reaching the top 10 in Canada and Australia. | |
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Sigue Sigue Sputnik's 21st Century Boys: The Best of Sigue Sigue Sputnik compiles all of the band's 7" singles alongside their B-sides. | |
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Linda Ronstadt had several double A-sided hits in 1975 and 1976 alone, allowing her to have as many as six top 10 hits (divided between the country and Hot 100 charts) within a year's span: Early 1975: The single "You're No Good"/"I Can't Help It (If I'm Still In Love With You)." "You're No Good" (with a searing rock guitar solo from Andrew Gold) topped the Hot 100 in February 1975, right around the same time the flip side — a cover of a classic Hank Williams Sr. song note (and one of more than 150 cover versions) — peaked at No. 2 on the country chart; the Hank Sr. cover included vocal harmonies from her good friend, Emmylou Harris. (And yes, both sides got airplay on both country and pop radio.) June 1975: "When Will I Be Loved," a soaring cover of the Everly Brothers' hit from 15 years earlier, was backed with "It Doesn't Matter Anymore." Although the flip side didn't chart on its own, it did get lots of airplay in both the country and Top 40 genres, going to No. 1 country and No. 2 Hot 100. October 1975: "Heat Wave"/"Love is a Rose." "Heat Wave" was a No. 5 hit, and Ronstadt's cover of the old Martha and the Vandellas smash from the early 1960s. "Love is a Rose," a cover of a then-unreleased Neil Young song, was the side of choice for country radio. Incidentally, both songs stopped at No. 5 on the Hot 100 and Hot Country Singles charts, respectively. February 1976: "The Sweetest Gift"/"Tracks of My Tears." Again, released to both country and rock radio stations, "The Sweetest Gift" — with Emmylou Harris providing backing vocals — got the nod early on at country radio, but it wasn't long before the pop side "Tracks of My Tears" (covering Smokey Robinson & the Miracles) earned its keep at country radio and (depending on the chart) made the top 10 or stopped just short. November 1977: Some pressings of "Blue Bayou" (top 5 both country and Hot 100) had as the flip side the Warren Zevon-penned "Poor, Poor Pitiful Me," the latter which became a top 30 pop hit. |
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Van Morrison-fronted R'n'B group Them had a big UK hit in 1964 with their cover of "Baby, Please Don't Go" but its Morrison-penned B-side "Gloria" became just as popular and enduring, perhaps even more so. It also became a single in its own right in the US and other places. | |
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The Replacements' Distinct Double Album compilation All for Nothing / Nothing for All - one disc was a Greatest Hits Album covering the last five years of the band, the other was b-sides, outtakes and other rarities from the same period. | |
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My Iron Lung EP contains outtakes from the early stages of The Bends sessions. The only exception is Creep (Acoustic) which was a B side in the Pablo Honey era. | |
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Their Japan-only release, The Special Collectors' Edition, which collects B-Sides up to the Parklife singles. In terms of box sets, they have the more substantial 10th Anniversary Collection and the even more substantial Blur 21 set (of which all the albums were released as 2CD sets including most of the B-Sides). | |
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Bill Haley & His Comets' "Rock Around the Clock" was recorded in two takes at the end of a session which was mostly spent working on "Thirteen Women (and Only One Man in Town)". When both were released on a single in May 1954, "Thirteen Women" was the A-side; while that song made the Cashbox charts, it ended up being a commercial disappointment. "Rock Around the Clock" would have to wait until it appeared in the opening credits of Blackboard Jungle in 1955 (courtesy of Glenn Ford's son Peter's record collection) to become a hit. | |
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The European single release of The Cranberries' "Zombie" was backed with "Away", which was featured in the film 'Clueless, though not included on its soundtrack album. | |
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British instrumental rock group The Shadows did a similar "double B-side" gag to the Spitting Image single up above with their "The Dreams I Dream" b/w "Scotch on the Socks" single in 1966. The promotional copies had a big red "B" on the labels, parodying the standard EMI promo label design of the time that had a big red "A" on the A-side. | |
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After the release of their 2002 album By the Way, the band began work on a new album in 2003 and produced at least 10 completed songs. However, the album was scrappednote probably since it was initially intended to be a Protest Album against The War on Terror and the Bush administration and most of the songs have either been released as B-Sides or performed live. Notably, "Fortune Faded" and "Save the Population" were included on the band's Greatest Hits album, with the former released as a single. The drummer Chad Smith admitted during a Reddit AMA that there were at least a few studio recordings from those sessions that haven't been released, and that they were waiting for the right time to do so. | |
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Blood Sugar Sex Magik was notable given that the band recorded the entire album in less than a year, but produced over twenty original songs and a bunch of pretty good cover versions. "Soul To Squeeze" was the B-Side to both "Give It Away" and "Under The Bridge" in 1991. In 1993 it appeared on the Coneheads soundtrack and was released as a single - some sources have it that the song barely missed being on on Blood Sugar Sex Magik because the band decided it would have one too many ballads if they included it. Many people thought it was a new song, which was why the song was a hit, peaking at #22 on the Billboard Hot 100 and reaching the top 10 in Canada and Australia. "Sikamikanico" and "Search and Destroy" (an Iggy Pop cover) were featured on Wayne's World and Beavis And Butthead, respectively. |
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B-Side | |
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Disturbed's The Lost Children, released shortly after the beginning of their hiatus. | |
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They also have the EP Beyond Magnetic, which contains four B-sides from the recording sessions of Death Magnetic. | |
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Boney M. originally released "Brown Girl in the Ring" as the B-side to "Rivers of Babylon". Once "Rivers of Babylon" had become a hit and was slipping down the charts, they asked radio stations to start playing "Brown Girl in the Ring" instead — and then released that as the A-side of a single, with the B-side — what else? — "Rivers of Babylon". Effectively, many people ended up buying the same record again but upside down. | |
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The commercial single of Lonestar's "No News" (their second single) was a double A-side with its predecessor, "Tequila Talkin'." | |
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George Michael's "Fantasy" was originally a B-side to "Waiting for that Day" in the UK and "Freedom! '90" in the US. In 2017, shortly after his death, it was rereleased as a Posthumous Collaboration with Chic's Nile Rodgers. | |
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B-Side | |
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The EP Airbag/How Am I Driving? collected most of the b-sides from OK Computer, along with the album's opening track, "Airbag". | |
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B-Side | |
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An abridged version of "You Can't Always Get What You Want" was the B-side of The Rolling Stones' "Honky Tonk Women". When the full version was released on Let It Bleed, it became just as popular. | |
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B-Side | |
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They originally recorded it to be a non-album single in the UK, but decided against it, so it was an obvious choice for interntational B Side. It was in the running for Led Zeppelin III at one point but not included. | |
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B-Side | |
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The second disc of Garage Inc., as mentioned above. | |
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B-Side | |
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Elvis Costello & The Attractions' cover version of Brinzley Shwarz's "(What's So Funny 'Bout) Peace, Love, and Understanding", which came to cover up the original. Not only was it originally a b-side, but it wasn't even a B-side to an Elvis Costello single - it first appeared as the B-side to "American Squirm", a single by Nick Lowe, who wrote "...Peace Love And Understanding". | |
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B-Side | |
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The first single for The Doobie Brothers' What Were Once Vices Are Now Habits was "Another Park, Another Sunday", with the album track "Black Water" as a B-side. "Another Park..." peaked at #32 on the billboard charts, which its writer Tom Johnston attributes to radio stations pulling the song from airplay due to taking the lyric "the radio just seems to bring me down" personally. Meanwhile, the B-side slowly started picking up enough regional airplay that the label decided to issue it as a single on its own, which became their first #1 Billboard hit. | |
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B-Side | |
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The Postal Service only had a couple of b-sides that were original songs ("Be Still My Heart" and "There's Never Enough Time"), the rest being remixes and a Cover Version of Flaming Lips' "Suddenly Everything Has Changed". What was more unusual was that the "Such Great Heights" single included other Sub Pop-affiliated artists covering their songs - Iron and Wine performing the title track and The Shins performing "We Will Become Silhouettes". Iron And Wine's version of "Such Great Heights" became fairly well-known on it's own when it was used in Garden State. | |
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B-Side | |
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"Radar Radio" by Giorgio Moroder and Joe Pizzulo, featured in Top Gun but not included on its soundtrack album, was released as a B-side to the film's Award-Bait Song, "Take My Breath Away" by Berlin. | |
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B-Side | |
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Nightwish has a few of these from the Anette era, notably "The Escapist" and "While Your Lips are Still Red." | |
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B-Side | |
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The Caretaker has Everywhere, an Empty Bliss, a B-sides compilation of the project's Grand Finale album series Everywhere at the End of Time. Although the range of unused tracks it includes potentially span all across the series' six official albums, it was released shortly before the sixth and last album. | |
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B-Side | |
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For the US release of Nena "99 Luftballons", the song was re-recorded in English as "99 Red Balloons", with the German version being relegated to the B-side. However, the German version proved so popular that people bought the single specifically for it: the result was that the B-side hit No. 2 on the Billboard Hot 100 and became Nena's sole Stateside hit, while the English-language A-side didn't chart in America at allnote it did however become a chart-topper in the UK, Canada, Ireland, and Australia. | |
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Some acts have deliberately paired Christmas and non-Christmas songs as double A sides, so that there's still something for radio to play (and with a bit of luck, attract a few more buyers) come New Year. One particularly successful example was Wham!'s "Last Christmas"/"Everything She Wants". | |
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U2 did it again with their B.B. King collaboration When Love Comes To Town from The Joshua Tree. While the A-side was certainly strong, many radio stations flipped it over and gave equal airtime to the B-Side, a cover of Patti Smith's Dancin' Barefoot. | |
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The Cure's Join The Dots is a 4-CD collection compiling no fewer than 70 B-Sides and stray non-album tracks. | |
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The original independent release of "Jilted John" by Jilted John was as the B side of "Going Steady". By the time EMI picked it up for wider release it was clear "Jilted John" was the side getting all the attention, so they flipped it over. | |
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Disk 4 of Tom Petty and the Heartbreakers' box set Playback consists of B-sides. | |
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B-Side | |
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The Nightcrawlers' "Push The Feeling On (The Dub of Doom)" was far more popular than the completely different A-side vocal version, and the group subsequently recorded a full album of songs with remixer Marc Kinchen in the same style. | |
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Dead or Alive's "Misty Circles" only barely touched the UK Singles top 100 in its original 1983 single release, but became significantly more popular once it was doubled up with "You Spin Me Round" the following year. | |
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Sloan released a compilation of them, along with bonus tracks, called B Sides Win: extras, bonus tracks and b-sides 1992-2008. | |
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Suede's Sci-Fi Lullabies is reckoned by many critics to be the equal of their better studio albums. | |
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Marvin released a "Double B Side" too. | |
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B-Side | |
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"The Jamestown Ferry" by Tanya Tucker, from 1972. The original A-side, "Love's the Answer" was not the answer to what would be the follow-up to the 14-year-old Tucker's first hit, "Delta Dawn." In introducing the song, ACC host Don Bowman explained that by the late 1960s, record companies were servicing radio stations with vinyl 45 RPM records having the same song on both sides of the records, that is, a specific song the record company and/or artist wanted radio stations to play. (Plus, it allowed jockeys to play the other side of the record once one side became worn or "skipped.") note By this method, if the song flopped, it was no big deal; the song would fall into recurrent status and a new single would be released. However, "Love's the Answer"/"The Jamestown Ferry" was an exception, since — according to Bowman — there seemed to be uncertainty at Columbia Records which song would be the stronger hit, so the label sent out copies of what also went to the stores. | |
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B-Side | |
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Anthrax's Attack of the Killer B's. Attack Of The Killer B's was also a compilation album of B-sides released in 1983. Included were songs such as "You're My Favorite Waste Of Time" (Marshall Crenshaw), "In The Sticks" (the Pretenders), "Babysitter" (the Ramones), and "Love Goes To A Building On Fire" (Talking Heads). |
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B-Side | |
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Rod Stewart's "Maggie May", with the first A-side being "Reason to Believe." While "Reason to Believe" gained airplay during the summer of 1971, it wasn't long before "Maggie May" – the song about a young adult's infatuation and mixed emotions over his infatuation with an older woman – became the clear favorite of both the radio-listening audience and disc jockeys. Despite its length of 5:15 ("Reason to Believe" itself clocks in at just over four minutes), the song was fitted on a standard 7-inch single in its full edit (excepting for an early fade) ... and soon became a classic that is played heavily to this day. | |
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Same with Californication. Frusciante has even said that he likes some of the B-Sides such as "Instrumental #1" and "Gong Li" better than a lot of the album tracks. Prior to recording the album, the band asked Daniel Lanois (of U2 fame) to produce their album, who initially said no, but allowed them to use his recording studio in L.A. to put down some rough versions of the tracks. A lot of tracks from the album as well as the B-Sides are featured in these sessions, as well as a ton of previously unreleased material. (These sessions were leaked years after the album was released.) Lanois listened to these tracks months later and called the band up to offer to produce their next album, but by then the band had moved forward with their longtime producer Rick Rubin. |
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Chicago's "Colour My World" was a B-side twice; it backed "Make Me Smile" in 1970 and "Beginnings" in '71. | |
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