January 6th, 2013
Welcome to 2013. Half a century ago, a relatively successful record industry was about to explode with the combined 1-2 punch of the Motown phenomenon and the British Invasion, led by the Beatles—forces often imitated but never ever to be replicated. Ten years prior, the one-off singles market filled jukeboxes
with one-hit wonders. "-tions" and "the" doo-wopper's were all satisfied to just hear their songs on the radio. If any singer songwriter was called an "artist', the hyphenated modifier "starving-" probably preceded it.
To put things in their truest light, the early Motown and British Invader acts followed the same formula. But along the way, the successes of the Beatles (and other Brit art school dropouts, starting with Beatle-to-be John Lennon to members of Pink Floyd to Freddie Mercury to "the other Davy Jones"—a.k.a. David Bowie to etc.) became creative license for high art creative experiments that created cults of album devotees and the FM deep cut professor dee-jays high priest. Meanwhile still bound to the proven business model, singles ruled. Most consumers bought their records to serve as sonic semi-subtle background entertainment. This led to the growth in sales of the so-named "LP's". Dance party people still preferred to spin just the hits, so the singles were still flying off shelves.