# Album

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Collection of audio recordings

This article is about albums of recorded sound. For other uses, see [Album (disambiguation)](/source/Album_(disambiguation)).

"Music Album" redirects here; not to be confused with [Music Album (TV series)](/source/Music_Album_(TV_series)).

Albums c. 2000 came on [compact discs](/source/Compact_disc) stored in [jewel cases](/source/Jewel_case) (pictured is *[Hey Petrunko](/source/Hey_Petrunko)* by [Ooberman](/source/Ooberman)).

Early record albums from the first half of the 20th century resembled [photo albums](/source/Photo_album), being packaged in book form on multiple [78 rpm records](/source/78_rpm_record).

An **album** is a collection of audio recordings (e.g., [music](/source/Music)) issued on a medium such as [compact disc](/source/Compact_disc) (CD), [vinyl](/source/Phonograph_record) (record), or [audio tape](/source/Audio_tape) (like [8-track](/source/8-track_cartridge) or [cassette](/source/Cassette_tape)), or in [digital](/source/Digital_distribution) format.

The album was the dominant format or unit of [recorded music](/source/Recorded_music) expression and consumption from the mid-1960s through to the early 21st century, a period that has been described in the industry as the *[album era](/source/Album_era)*.[1] Vinyl LPs are still issued for certain album releases, though [album sales](/source/Album_sales) in the 21st-century have been predominantly in CD and then downloadable (e.g. [MP3](/source/MP3)) and streaming digital formats. The [8-track tape](/source/8-track_tape) was the first tape format, widely used alongside vinyl, from 1965 until being phased out by 1983—it was gradually supplanted by the cassette tape over the 1970s and early 1980s. The popularity of the cassette reached its peak during the late 1980s before declining sharply during the 1990s as it yielded market share to compact disc formats. In the early 2000s, sales of CDs—which also typically contained around 45-60 minutes (or 'an album') of music—became the primary distribution mechanism for recorded music, until the rise in the 2010s of digital, whereby albums could be downloaded and then streamed through 'streaming services' or 'platforms' such as [Spotify](/source/Spotify). An enormous variety of albums are now more widely (often globally) available, and listening to an album has been made cheaper, more convenient and more popular, through such [services](/source/List_of_streaming_media_services).

Most albums are recorded in a recording [studio](/source/Recording_studio),[2] making them *studio albums*, although they may also be recorded at a [concert venue](/source/Concert_venue), at home, in the field, or in a mix of these and other places. The total time to record an album varies between a few hours and several years. Recording usually requires several [takes](/source/Take) of each [track](/source/Album_track), each component piece of the album: in each track, different parts may be recorded separately, and then brought or "[mixed](/source/Audio_mixing_(recorded_music))" together. Recordings that are done in one take without [overdubbing](/source/Overdubbing) are termed "live", even when done in a studio. Studios are built to absorb sound, eliminating [reverberation](/source/Reverberation), to assist in mixing different takes; other locations, such as concert venues and some "live rooms", have more reverberation, which creates a "live" sound.[3] Recordings, including live, when published may contain editing, sound effects, voice adjustments, and other manipulations of the sound that was initially recorded. With modern recording technology, including [multitrack recording](/source/Multitrack_recording), various artists collaborating on a track or album can be recorded in separate rooms or at separate times, perhaps while listening through headphones to certain other parts recorded earlier.

[Album covers](/source/Album_cover) and [liner notes](/source/Liner_notes) may accompany an album, the latter of these conveying additional information, such as song lyrics, biographical information on artists, analysis of the recording, or [librettos](/source/Libretto) in the case of classical music and opera recordings.[4][5][*[new archival link needed](https://en.wikipedia.org/wiki/Help:Archiving_a_source)*]

Historically, the term "album" was applied to a collection of various items housed in a [book](/source/Book) or photo album format. In musical usage, the word was used for collections of short pieces of [printed music](/source/Printed_music) from the early nineteenth century.[6] 'Albums' of recorded sounds were first developed for recorded music in the early 20th century: individual [78 rpm records](/source/78_rpm_record) (78s), each side of which could contain some 3 minutes of sound (enough for a song, piece, or 'track') were physically collected together and sold in a bound book resembling a [photo album](/source/Photo_album). This format evolved after 1948 into vinyl [long-playing (LP) records](/source/LP_record) played at 33+1⁄3 [rpm](/source/Rpm); these contained some 22 minutes of sound per side, giving an approximate 45 minutes of music per LP record. When these LPs were introduced, a collection of pieces or songs on a single record was called an "album"; the word was extended to other recording media such as compact disc, [MiniDisc](/source/MiniDisc), compact audio cassette, 8-track tape and digital albums as they were introduced.[7] An album would typically have more tracks than an [extended play](/source/Extended_play) (EP) record, which might contain only a 'single' (a single track released on its own), or two or three songs released together.

## History

An *[album](/source/Album_(Ancient_Rome))* (Latin *albus*, white), in ancient Rome, was a board chalked or painted white, on which decrees, edicts, and other public notices were inscribed in black. It was from this that in medieval and modern times, album came to denote a book of blank pages in which verses, autographs, sketches, photographs and the like are collected.[8]

In the early nineteenth century, "album" was occasionally used in the titles of some classical music sets, such as [Robert Schumann](/source/Robert_Schumann)'s *[Album for the Young](/source/Album_for_the_Young),* Op 68, a set of 43 short pieces.[6]

With the advent of 78 rpm records in the early 1900s, the typical 10-inch disc could hold only about three minutes of sound per side, so almost all popular recordings were limited to around three minutes in length.[9] Classical-music and spoken-word items generally were released on the longer 12-inch 78s, playing around 4–5 minutes per side. For example, in 1924, [George Gershwin](/source/George_Gershwin) recorded a drastically shortened version of his new seventeen-minute composition *[Rhapsody in Blue](/source/Rhapsody_in_Blue)* with [Paul Whiteman](/source/Paul_Whiteman) and His Orchestra. The recording was issued on both sides of a single record, Victor 55225 and ran for 8m 59s.[10]

By about 1910, bound collections of empty sleeves with a [paperboard](/source/Paperboard) or [leather](/source/Leather) cover, similar to a photograph album, were sold as record albums that customers could use to store their records (the term "record album" was printed on some covers). These albums came in both 10-inch and 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78s by one performer or of one type of music in specially assembled albums, typically with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album.[11]

By the mid-1930s, record companies had adopted the album format for classical music selections that were longer than the roughly eight minutes that fit on both sides of a classical 12" 78 rpm record. Initially the covers were plain, with the name of the selection and performer in small type. In 1938, Columbia Records hired the first graphic designer in the business to design covers, others soon followed and colorful album covers became an important selling feature.[12]

When Columbia introduced the Long Playing record format in 1948, it was natural the term album would continue. Columbia expected that the record size distinction in 78s would continue, with classical music on 12" records and popular music on 10" records, and singles on 78s. Columbia's first popular 10" LP in fact was Frank Sinatra's first album, the four-record eight-song *[The Voice of Frank Sinatra](/source/The_Voice_of_Frank_Sinatra)*, originally issued in 1946.[13]

RCA's introduction of the smaller 45 rpm format later in 1948 disrupted Columbia's expectations. By the mid-1950s, 45s dominated the singles market and 12" LPs dominated the album market and both 78s and 10" LPs were discontinued. In the 1950s albums of popular music were also issued on 45s, sold in small heavy paper-covered "gate-fold" albums with multiple discs in sleeves or in sleeves in small boxes. This format disappeared around 1960. Sinatra's "The Voice" was issued in 1952 on two extended play 45s, with two songs on each side, in both packagings.[13]

The 10-inch and 12-inch [LP record](/source/LP_record) (long play), or 33+1⁄3 [rpm](/source/Rpm) microgroove [vinyl](/source/Polyvinyl_chloride) record, is a [gramophone record](/source/Gramophone_record) format introduced by [Columbia Records](/source/Columbia_Records) in 1948.[14] A single LP record often had the same or similar number of tunes as a typical album of 78s, and it was adopted by the record industry as a standard format for the "album".[11]

The term "album" was extended to other recording media such as [8-track tape](/source/8-track_tape), [cassette tape](/source/Cassette_tape), [compact disc](/source/Compact_disc), [MiniDisc](/source/MiniDisc), and digital albums, as they were introduced.[7] As part of a trend of shifting sales in the [music industry](/source/Music_industry), some observers feel that the early 21st century experienced the [death of the album](/source/Death_of_the_album).[15]

## Length

Further information: [LP record § Playing time](/source/LP_record#Playing_time), and [Compact Disc Digital Audio § Storage capacity and playing time](/source/Compact_Disc_Digital_Audio#Storage_capacity_and_playing_time)

An average length of an album is roughly 40 to 80 minutes and varies between various [music genres](/source/Music_genre) and artists; a typical [rock](/source/Rock_music)-adjacent album is around 40 minutes, while [electronic](/source/Electronic_music) and [hip-hop](/source/Hip-hop) albums are generally on the longer side. Historically, 40 minutes was the average album length in the vinyl era, as a regular 12-inch LP record could hold up to around 23 minutes of audio on each side, combining to 46 minutes total, though the viable limit has been pushed to 52 minutes in 1960s. [Unusual records with longer playtimes](/source/Unusual_types_of_gramophone_records#Unusually_long_playing_times) were also achieved, such as [Todd Rundgren](/source/Todd_Rundgren)'s *[Initiation](/source/Initiation_(Todd_Rundgren_album))* at 68 minutes, though the quality of such records typically suffers as a result. The average album length increased considerably in the 1990s, largely due to the proliferation of CDs which can hold up to 80 minutes of audio, almost double that of vinyls, as well as the growing electronic and hip-hop scene, which took advantage of the longer playing times. Since the 2010s, the increasing prevalence of [digital media](/source/Digital_media) allowed the album's length to not be limited by the physical format, though the average length continued to be around 40 to 80 minutes due to the established length range being standardized as well as the [revival of physical media](/source/Vinyl_revival).[16][17]

An album may contain any number of tracks. In the United States, [The Recording Academy](/source/The_Recording_Academy)'s rules for [Grammy Awards](/source/Grammy_Award) state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement.[18] In the United Kingdom, the criteria for the [UK Albums Chart](/source/UK_Albums_Chart) is that a recording counts as an "album" if it either has more than four tracks or lasts more than 25 minutes.[19] Sometimes shorter albums are referred to as [mini-albums](/source/Mini-album) or [EPs](/source/EPs).[20] Albums such as *[Tubular Bells](/source/Tubular_Bells)*, *[Amarok](/source/Amarok_(Mike_Oldfield_album))*, and *[Hergest Ridge](/source/Hergest_Ridge_(album))* by [Mike Oldfield](/source/Mike_Oldfield), and [Yes](/source/Yes_(band))'s *[Close to the Edge](/source/Close_to_the_Edge)*, include fewer than four tracks, but still surpass the 25-minute mark. The album *[Dopesmoker](/source/Dopesmoker)* by [Sleep](/source/Sleep_(band)) contains only a single track, but the composition is over 63 minutes long. There are no formal rules against [artists](/source/Artist) such as [Pinhead Gunpowder](/source/Pinhead_Gunpowder) referring to their own releases under thirty minutes as "albums".

If an album becomes too long to fit onto a single vinyl record or CD, it may be released as a [double album](/source/Double_album) where two vinyl [LPs](/source/LPs) or compact discs are packaged together in a single case, or a [triple album](/source/Triple_album) containing three LPs or compact discs. Recording artists who have an extensive back catalogue may re-release several CDs in one single box with a unified design, often containing one or more albums (in this scenario, these releases can sometimes be referred to as a "two (or three)-fer"), or a compilation of previously unreleased recordings. These are known as [box sets](/source/Box_set). Some musical artists have also released more than three compact discs or LP records of new recordings at once, in the form of boxed sets, although in that case the work is still usually considered to be an album.

## Tracks

Main article: [Track listing](/source/Track_listing)

Material (music or sounds) is stored on an album in sections termed tracks. A music track (often simply referred to as a track) is an individual [song](/source/Song) or [instrumental](/source/Instrumental) recording. The term is particularly associated with [popular music](/source/Popular_music) where separate tracks are known as album tracks; the term is also used for other formats such as [EPs](/source/EP_(format)) and [singles](/source/Single_(music)). When vinyl records were the primary medium for audio recordings a track could be identified visually from the grooves and many album covers or sleeves included numbers for the tracks on each side. On a [compact disc](/source/Compact_disc) the track number is indexed so that a player can jump straight to the start of any track. On digital music stores such as [iTunes](/source/ITunes) the term song is often used interchangeably with track regardless of whether there is any vocal content.

A track that has the same name as the album is called the title track. In the Korean music industry, the title track is used to refer to any song that has been promoted, such as a single, regardless of its title.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]

### Bonus tracks

"Bonus track" redirects here. For the 2023 film, see [Bonus Track (film)](/source/Bonus_Track_(film)).

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (September 2025) (Learn how and when to remove this message)

A **bonus track** (also known as a **bonus cut** or **bonus**) is a piece of music which has been included as an extra. This may be done as a marketing promotion or for other reasons. It is not uncommon to include singles, [B-sides](/source/B-side), [live recordings](/source/Live_recording), and [demo recordings](/source/Demo_recording) as bonus tracks on reissues of old albums, where those tracks were not originally included. Online music stores allow buyers to create their own albums by selecting songs themselves[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]; bonus tracks may be included if a customer buys a whole album rather than just one or two songs from the artist. The song is not necessarily free, nor is it available as a stand-alone download, adding to the incentive to buy the complete album[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]. In contrast to [hidden tracks](/source/Hidden_track), bonus tracks are included on track listings and usually do not have a gap of silence between other album tracks. Bonus tracks on CD or vinyl albums are common in Japan for releases by European and North American artists; since importing international copies of the album can be cheaper than buying a domestically released version, Japanese releases often feature bonus tracks to incentivize domestic purchase.[21]

## Audio formats

See also: [Timeline of audio formats](/source/Timeline_of_audio_formats)

### Non-audio printed format

Main article: [Sheet music](/source/Sheet_music)

Commercial sheet music is published in conjunction with the release of a new album (studio, compilation, soundtrack, etc.). A matching folio songbook is a compilation of the [music notation](/source/Music_notation) of all the songs included in that particular album. It typically has the album's artwork on its cover and, in addition to sheet music, it includes photos of the artist.[22] Most pop and rock releases come in standard Piano/Vocal/Guitar notation format (and occasionally Easy Piano / E-Z Play Today).[23] Rock-oriented releases may also come in Guitar Recorded Versions edition, which are note-for-note transcriptions written directly from artist recordings.[24]

### Vinyl records

Main article: [LP record](/source/LP_record)

A vinyl LP on a turntable

Vinyl [LP records](/source/LP_records) have two sides, each comprising one-half of the album. If a [pop](/source/Pop_music) or [rock](/source/Rock_music) album contained tracks released separately as commercial [singles](/source/Single_(music)), they were conventionally placed in particular positions on the album.[7] During the sixties, particularly in the UK, singles were generally released separately from albums. Today, many commercial albums of music tracks feature one or more singles, which are released separately to radio, TV or the Internet as a way of promoting the album.[25] Albums have been issued that are compilations of older tracks not originally released together, such as singles not originally found on albums, [A-sides](/source/A-sides) of singles, or unfinished "[demo](/source/Demo_(music))" recordings.[7]

Double albums during the seventies were sometimes sequenced for [record changers](/source/Record_changers). In the case of a two-record set, for example, sides 1 and 4 would be stamped on one record, and sides 2 and 3 on the other. The user would stack the two records onto the spindle of an automatic record changer, with side 1 on the bottom and side 2 (on the other record) on top. Side 1 would automatically drop onto the [turntable](/source/Turntable) and be played. When finished, the tone arm's position would trigger a mechanism which moved the arm out of the way, dropped the record with side 2, and played it. When both records had been played, the user would pick up the stack, turn it over, and put them back on the spindle—sides 3 and 4 would then play in sequence.[7] Record changers were used for many years of the LP era, but eventually fell out of use.

### 8-track tape

Main article: [8-track cartridge](/source/8-track_cartridge)

A typical 8-track tape player

8-track tape (formally Stereo 8: commonly known as the eight-track cartridge, eight-track tape, or simply eight-track) is a [magnetic tape sound recording](/source/Magnetic_tape_sound_recording) technology popular in the United States[26] from the mid-1960s to the late 1970s when the [Compact Cassette](/source/Compact_Cassette) format took over.[26][27] The format is regarded as an obsolete technology, and was relatively unknown outside the United States, the United Kingdom, Canada and Australia.[27][26]

Stereo 8 was created in 1964 by a consortium led by [Bill Lear](/source/Bill_Lear) of [Lear Jet Corporation](/source/Lear_Jet_Corporation), along with [Ampex](/source/Ampex), [Ford Motor Company](/source/Ford_Motor_Company), [General Motors](/source/General_Motors), [Motorola](/source/Motorola), and [RCA Victor Records](/source/RCA_Victor_Records). It was a further development of the similar [Stereo-Pak](/source/Stereo-Pak) four-track cartridge created by [Earl "Madman" Muntz](/source/Earl_%22Madman%22_Muntz). A later [quadraphonic](/source/Quadraphonic) version of the format was announced by RCA in April 1970 and first known as Quad-8, then later changed to just Q8.

### Compact cassette

Main article: [Compact Cassette](/source/Compact_Cassette)

A blank compact cassette tape and case

The Compact Cassette was a popular medium for distributing pre-recorded music from the early 1970s to the early 2000s.[28] The first "Compact Cassette" was introduced by [Philips](/source/Philips) in August 1963 in the form of a prototype.[29] Compact Cassettes became especially popular during the 1980s after the advent of the Sony [Walkman](/source/Walkman), which allowed the person to control what they listened to.[29][30] The Walkman was convenient because of its size, the device could fit in most pockets and often came equipped with a clip for belts or pants.[29]

The compact cassette used double-sided [magnetic tape](/source/Magnetic_tape) to distribute music for commercial sale.[29][31] The music is recorded on both the "A" and "B" side of the tape, with cassette being "turned" to play the other side of the album.[29] Compact Cassettes were also a popular way for musicians to record "[Demos](/source/Demo_(music))" or "Demo Tapes" of their music to distribute to various record labels, in the hopes of acquiring a [recording contract](/source/Recording_contract).[32]

Compact cassettes also saw the creation of [mixtapes](/source/Mixtape), which are tapes containing a compilation of songs created by any average listener of music.[33] The songs on a mixtape generally relate to one another in some way, whether it be a conceptual theme or an overall sound.[33] After the introduction of Compact discs, the term "Mixtape" began to apply to any personal compilation of songs on any given format.[33]

The sales of Compact Cassettes eventually began to decline in the 1990s, after the release and distribution [Compact Discs](/source/Compact_Disc). The 2010s saw a revival of Compact Cassettes by [independent record labels](/source/Independent_record_label) and DIY musicians who preferred the format because of its difficulty to [share over the Internet](/source/Online_piracy).[34]

### Compact disc

Main article: [Compact disc](/source/Compact_disc)

The ten-track [compact disc](/source/Compact_disc) studio album *[Led Zeppelin III](/source/Led_Zeppelin_III)*

The compact disc format replaced both the vinyl record and the cassette as the standard for the commercial mass-market distribution of physical music albums.[35] After the introduction of [music downloading](/source/Music_download) and MP3 players such as the [iPod](/source/IPod), US [album sales](/source/Album_sales) dropped 54.6% from 2001 to 2009.[36] The CD is a digital [data storage device](/source/Data_storage_device) which permits [digital recording](/source/Digital_recording) technology to be used to record and play-back the recorded music.[31][35]

### MP3 albums, and similar

Main article: [Music download](/source/Music_download)

Most recently, the [MP3](/source/MP3) audio format has matured, revolutionizing the concept of digital storage. Early MP3 albums were essentially CD-rips created by early CD-[ripping](/source/Ripping) software, and sometimes real-time rips from cassettes and vinyl.

The so-called "MP3 album" is not necessarily just in MP3 file format, in which higher quality formats such as [FLAC](/source/FLAC) and [WAV](/source/WAV) can be used on storage media that MP3 albums reside on, such as [CD-R-ROMs](/source/CD-ROM), [hard drives](/source/Hard_drive), [flash memory](/source/Flash_memory) (e.g. [thumbdrives](/source/Thumbdrives), [MP3 players](/source/MP3_player), [SD cards](/source/SD_card)), etc.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]

## Types of album

See also: [Category:Album types](https://en.wikipedia.org/wiki/Category:Album_types)

The contents of the album are usually recorded in a [studio](/source/Recording_studio) or live in concert, though may be recorded in other locations, such as at home (as with JJ Cale's *[Okie](/source/Okie_(J._J._Cale_album))*,[37][38] Beck's *[Odelay](/source/Odelay)*,[39] David Gray's *[White Ladder](/source/White_Ladder)*,[40] and others),[41][42][43] in the field—as with early blues recordings,[44] in prison,[45] or with a mobile recording unit such as the [Rolling Stones Mobile Studio](/source/Rolling_Stones_Mobile_Studio).[46][47]

### Studio

"Studio album" redirects here. For the album by Tages, see [*Studio* (album)](/source/Studio_(album)).

Most albums are **studio albums**—that is, they are recorded in a [recording studio](/source/Recording_studio) with equipment meant to give those overseeing the recording as much control as possible over the sound of the album. They minimize external noises and reverberations and have highly sensitive microphones and [sound mixing](/source/Sound_mixing) equipment. Band members may record their parts in separate rooms or at separate times, listening to the other parts of the track with headphones to keep the timing right. In the 2000s, with the advent of [digital recording](/source/Digital_recording), it became possible for musicians to record their part of a song in another studio in another part of the world, and send their contribution digitally to be included in the final product.[48][49]

### Live

"Live album" redirects here. For other uses, see [Live album (disambiguation)](/source/Live_album_(disambiguation)).

An orchestra recorded "live" in the studio

Recordings that are done in one, 'straight-through' take without [overdubbing](/source/Overdubbing) or [multi-tracking](/source/Multitrack_recording) are termed "live",[50] even when done in a studio.[51] However, the common understanding of a **live album** is one that was recorded at a concert with a public audience,[52] even when the recording is overdubbed or multi-tracked.[53] To help differentiate between the two categories, the descriptor "live-to-tape" is often used

Concert or stage performances are recorded using [remote recording](/source/Remote_recording) techniques. Albums may be recorded at a single [concert](/source/Concert), or combine recordings made at multiple concerts. They may include applause, laughter and other noise from the audience, comments by the performers between pieces, improvisation, and so on. They may use [multitrack recording](/source/Multitrack_recording) direct from the stage sound system (rather than microphones placed among the audience), and can employ additional manipulation and effects during post-production to enhance the quality of the recording.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]

Notable early live albums include the double album of [Benny Goodman](/source/Benny_Goodman), *[The Famous 1938 Carnegie Hall Jazz Concert](/source/The_Famous_1938_Carnegie_Hall_Jazz_Concert)*, released in 1950.[54] Live [double albums](/source/Double_album) later became popular during the 1970s. Appraising the concept in *[Christgau's Record Guide: Rock Albums of the Seventies](/source/Christgau's_Record_Guide%3A_Rock_Albums_of_the_Seventies)* (1981), [Robert Christgau](/source/Robert_Christgau) said most "are profit-taking recaps marred by sound and format inappropriate to phonographic reproduction (you can't put sights, smells, or fellowship on audio tape). But for [Joe Cocker](/source/Joe_Cocker) and [Bette Midler](/source/Bette_Midler) and [Bob-Dylan](/source/Bob_Dylan)-in-the-arena, the form makes a compelling kind of sense."[55]

Among the best selling live albums are [Eric Clapton](/source/Eric_Clapton)'s *[Unplugged](/source/Unplugged_(Eric_Clapton_album))* (1992), selling over 26 million copies,[56] [Garth Brooks](/source/Garth_Brooks)' *[Double Live](/source/Double_Live_(Garth_Brooks_album))* (1998), over 21 million copies,[57] and [Peter Frampton](/source/Peter_Frampton)'s *[Frampton Comes Alive!](/source/Frampton_Comes_Alive!)* (1976), over 11 million copies.[58]

### Solo

For albums titled "Solo", see [Solo (disambiguation) § Albums](/source/Solo_(disambiguation)#Albums).

A **solo album**, in [popular music](/source/Popular_music), is an album recorded by a current or former member of a [musical group](/source/Musical_group) which is released under that artist's name only, even though some or all other band members may be involved. The solo album appeared as early as the late 1940s. A 1947 *[Billboard](/source/Billboard_(magazine))* magazine article heralded "[Margaret Whiting](/source/Margaret_Whiting) huddling with [Capitol](/source/Capitol_Records) execs over her first solo album on which she will be backed by [Frank De Vol](/source/Frank_De_Vol)".[59] There is no formal definition setting forth the amount of participation a band member can solicit from other members of their band, and still have the album referred to as a solo album. One reviewer wrote that [Ringo Starr](/source/Ringo_Starr)'s third venture, *[Ringo](/source/Ringo_(album))*, "[t]echnically... wasn't a solo album because all four [Beatles](/source/Beatles) appeared on it".[60] Three of the four members of the Beatles released solo albums while the group was officially still together.

A performer may record a solo album for several reasons. A [solo performer](/source/Solo_(music)) working with other members will typically have full creative control of the band, be able to hire and fire accompanists, and get the majority of the proceeds.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] The performer may be able to produce songs that differ widely from the sound of the band with which the performer has been associated, or that the group as a whole chose not to include in its own albums. [Graham Nash](/source/Graham_Nash) of [the Hollies](/source/The_Hollies) described his experience in developing a solo album as follows: "The thing that I go through that results in a solo album is an interesting process of collecting songs that can't be done, for whatever reason, by a lot of people".[61] A solo album may also represent the departure of the performer from the group.

### Compilation album

Main article: [Compilation album](/source/Compilation_album)

A [compilation album](/source/Compilation_album) is a collection of material from various recording projects or various artists, assembled with a theme such as the "greatest hits" from one artist, B-sides and rarities by one artist, or selections from a [record label](/source/Record_label), a [musical genre](/source/Musical_genre), a certain time period, or a regional music scene. Promotional [sampler albums](/source/Sampler_album) are compilations.

#### Tribute or cover

Further information: [List of tribute albums](/source/List_of_tribute_albums)

See also: [Category:Covers albums](https://en.wikipedia.org/wiki/Category:Covers_albums)

"Cover album" redirects here; not to be confused with [Album cover](/source/Album_cover).

For the misono album, see [Cover Album (album)](/source/Cover_Album_(album)).

A tribute or **cover album** is a compilation of [cover versions](/source/Cover_version) of songs or instrumental compositions. Its concept may involve various artists covering the songs of a single artist, genre or period, a single artist covering the songs of various artists or a single artist, genre or period, or any variation of an album of cover songs which is marketed as a "tribute".[62]

### Posthumous album

Further information: [List of music released posthumously](/source/List_of_music_released_posthumously)

See also: [Category:Albums published posthumously](https://en.wikipedia.org/wiki/Category:Albums_published_posthumously)

"Posthumous album" redirects here; not to be confused with [Posthumous (album)](/source/Posthumous_(album)).

A **posthumous album** is an album released after an artist's [death](/source/Death). These albums are often compilation albums, which sometimes feature unreleased music by the deceased artists. However, posthumous albums can also be studio albums, live albums or solo albums that primarily contain previously unreleased material.

Album releases that are posthumous which include new music often have mixed reviews (i.e., aside from *[Greatest Hits](/source/Greatest_Hits)* compilations). Opinions on the merits of releasing music by an artist posthumously vary at large, with some views expressing support to the idea that listeners would want to hear unpublished catalogues from an artist, in particular if the artist's estate and family are directly involved in assuring the artist's vision.[63] Opposite to this, other views reflect the idea that such releases are likely without consent by the artists who have passed, and as a product of this, posthumous releases could never meet the visions of artists themselves, thereby possibly negatively affecting the perceived [musicality](/source/Musicality) and overall legacy of the artists.[64] Examples of successful posthumous album releases include [Nirvana](/source/Nirvana_(band))'s 1994 first live album, *[MTV Unplugged in New York](/source/MTV_Unplugged_in_New_York)*, [the Notorious B.I.G.](/source/The_Notorious_B.I.G.)'s 1997 *[Life After Death](/source/Life_After_Death)* (released sixteen days after his death), and more recently, [Mac Miller](/source/Mac_Miller)'s 2020 posthumous album, *[Circles](/source/Circles_(Mac_Miller_album))*.

## See also

- [Album-equivalent unit](/source/Album-equivalent_unit)

- [Album-oriented rock](/source/Album-oriented_rock)

- [Art release](/source/Art_release)

- [Comedy album](/source/Comedy_album)

- [Concept album](/source/Concept_album)

- [Lists of albums](/source/Lists_of_albums)

- [Mastering](/source/Mastering_(audio))

- [Record sales](/source/Record_sales)

- [Remix album](/source/Remix_album)

- [Soundtrack album](/source/Soundtrack_album)

- [Split album](/source/Split_album)

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1. **[^](#cite_ref-53)** Greg Moskovitch (3 February 2021). ["The shocking truth behind your favourite live albums"](https://tonedeaf.thebrag.com/truth-behind-live-albums/). *Tone Deaf - The Brag*. [Archived](https://web.archive.org/web/20210526093438/https://tonedeaf.thebrag.com/truth-behind-live-albums/) from the original on 26 May 2021. Retrieved 26 May 2021.

1. **[^](#cite_ref-54)** Bruce Eder. ["Live at Carnegie Hall: 1938 Complete"](https://www.allmusic.com/album/live-at-carnegie-hall-1938-complete-mw0000671550). *AllMusic*. [Archived](https://web.archive.org/web/20210526095124/https://www.allmusic.com/album/live-at-carnegie-hall-1938-complete-mw0000671550) from the original on 26 May 2021. Retrieved 26 May 2021.

1. **[^](#cite_ref-CG_55-0)** [Christgau, Robert](/source/Robert_Christgau) (1981). ["The Criteria"](https://www.robertchristgau.com/xg/bk-cg70/criteria.php). *[Christgau's Record Guide: Rock Albums of the Seventies](/source/Christgau's_Record_Guide%3A_Rock_Albums_of_the_Seventies)*. [Ticknor & Fields](/source/Ticknor_%26_Fields). [ISBN](/source/ISBN_(identifier)) [0-89919-025-1](https://en.wikipedia.org/wiki/Special:BookSources/0-89919-025-1). [Archived](https://web.archive.org/web/20190406135248/https://www.robertchristgau.com/xg/bk-cg70/criteria.php) from the original on 6 April 2019. Retrieved 6 April 2019 – via robertchristgau.com.

1. **[^](#cite_ref-56)** Chris Steffen (23 January 2015). ["Bassist Nathan East on Eric Clapton and "Change the World," Plus, Watch His Documentary"](http://www.allmusic.com/blog/post/nathan-east-eric-clapton). *AllMusic*. Rovi Corporation. [Archived](https://web.archive.org/web/20171107155847/https://www.allmusic.com/blog/post/nathan-east-eric-clapton) from the original on 7 November 2017. Retrieved 26 May 2021.

1. **[^](#cite_ref-57)** ["Double Live"](https://garthbrooks.com/music/double-live). *Garth Brooks*. [Archived](https://web.archive.org/web/20210526104947/https://garthbrooks.com/music/double-live) from the original on 26 May 2021. Retrieved 26 May 2021.

1. **[^](#cite_ref-58)** Chris O'Leary (13 February 2019). [*Ashes to Ashes: The Songs of David Bowie, 1976–2016*](https://books.google.com/books?id=TGKCDwAAQBAJ&pg=PT163). Watkins. p. 163. [ISBN](/source/ISBN_(identifier)) [978-1-912248-36-0](https://en.wikipedia.org/wiki/Special:BookSources/978-1-912248-36-0). [Archived](https://web.archive.org/web/20210526104946/https://books.google.co.uk/books?id=TGKCDwAAQBAJ&pg=PT163) from the original on 26 May 2021. Retrieved 26 May 2021.

1. **[^](#cite_ref-59)** *Billboard Magazine* (5 April 1947), p. 21.

1. **[^](#cite_ref-60)** Jay Warner, *On this day in music history* (2004), p. 323.

1. **[^](#cite_ref-61)** Dave Zimmer, *4 way street: the Crosby, Stills, Nash & Young reader* (2004), p. 218.

1. **[^](#cite_ref-62)** Shane Homan (1 September 2006). [*Access All Eras: Tribute Bands and Global Pop Culture*](https://books.google.com/books?id=l5bkYhQJz_QC&pg=PA4). McGraw-Hill Education. p. 4. [ISBN](/source/ISBN_(identifier)) [978-0-335-22986-4](https://en.wikipedia.org/wiki/Special:BookSources/978-0-335-22986-4). [Archived](https://web.archive.org/web/20210601043458/https://books.google.com/books?id=l5bkYhQJz_QC&pg=PA4) from the original on 1 June 2021. Retrieved 21 September 2020.

1. **[^](#cite_ref-63)** John Molloy (8 April 2024). ["How ethical are posthumous albums?"](https://poly.rpi.edu/opinion/2024/04/how-ethical-are-posthumous-albums/). *The Polytechnic*. [Rensselaer Polytechnic Institute](/source/Rensselaer_Polytechnic_Institute). [Archived](https://web.archive.org/web/20250725033337/https://poly.rpi.edu/opinion/2024/04/how-ethical-are-posthumous-albums/) from the original on 25 July 2025. Retrieved 4 August 2025.

1. **[^](#cite_ref-64)** Sinead Dunphy (21 February 2020). ["The Problem with Posthumous Albums"](https://universityobserver.ie/the-problem-with-posthumous-albums/). *[The University Observer](/source/The_University_Observer)*. UCD Students' Union. [Archived](https://web.archive.org/web/20250521120045/https://universityobserver.ie/the-problem-with-posthumous-albums/) from the original on 21 May 2025. Retrieved 4 August 2025.

## External links

- The dictionary definition of [*album*](https://en.wiktionary.org/wiki/Special:Search/album) at Wiktionary

- Media related to [Music albums](https://commons.wikimedia.org/wiki/Category:Music_albums) at Wikimedia Commons

v t e Music History of music Prehistoric Ancient Dance Martial Religious Biblical Secular Art music Afghan classical music—Klasik Andalusi classical music Arabic music Azerbaijani Mugham Burmese classical music—Mahāgīta Cambodian ceremonial music—Pinpeat Chinese traditional music Indian classical music Byzantine music Indonesian art music—Gamelan Japanese court music—Gagaku Korean court music Kurdish classical music Lao classical music Mandé art music Ottoman music Persian classical music Philippine art songs—Kundiman Scottish Ceòl Mór Kandyan dance of Sri Lanka Thai classical music—Piphat Vietnam imperial court music—Nhã nhạc Western classical music Vernacular music Blues Circus music Country music Electronic music Folk music Hip-hop Jazz Pop music Rhythm and blues Rock music Progressive music Psychedelic music Soul music Musical instruments Arched Harp Angular harp History of the harpsichord History of lute-family instruments Nafir Evolution of timpani in the 18th and 19th centuries History of the trumpet History of the violin Musician Ensembles Band (rock and pop) Backup band All-female band Rhythm section Big band Concert band Disc jockey Military band Lead vocalist Backing vocalist Theory Composition Form Genre Notation Improvisation Lyrics Singing Song Technique Education and study Bachelor of Music Master of Music Doctor of Musical Arts PhD Method Music archaeology Music history Music psychology Music school Composition Musicology Biomusicology Cognitive musicology Computational musicology Ecomusicology Ethnomusicology New musicology Organology Sociomusicology Zoomusicology Production Single A-side and B-side Extended play Compilation Live Remix Audio engineer Record label Record producer Sampling Music technology (electric) Music technology (electronic and digital) Sound recording and reproduction Cover Remix By sovereign state Afghanistan Albania Algeria Andorra Angola Antigua and Barbuda Argentina Armenia Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bhutan Bolivia Bosnia and Herzegovina Botswana Brazil Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Central African Republic Chad Chile China Colombia Comoros Costa Rica Croatia Cuba Cyprus Czech Republic Democratic Republic of the Congo Denmark Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Federated States of Micronesia Fiji Finland France Gabon Gambia Georgia Germany Ghana Greece Grenada Guatemala Guinea Guinea-Bissau Guyana Haiti Honduras Hungary Iceland India Indonesia Iran Iraq Ireland Israel Italy Ivory Coast Jamaica Japan Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Mauritania Mauritius Mexico Moldova Monaco Mongolia Montenegro Morocco Mozambique Myanmar Namibia Nauru Nepal Netherlands New Zealand Nicaragua Niger Nigeria North Korea North Macedonia Norway Oman Pakistan Palau Palestine Panama Papua New Guinea Paraguay Peru Philippines Poland Portugal Qatar Republic of the Congo Romania Russia Rwanda Saint Kitts and Nevis Saint Lucia Saint Vincent and the Grenadines Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Slovakia Slovenia Solomon Islands Somalia South Africa South Korea South Sudan Spain Sri Lanka Sudan Suriname Sweden Switzerland Syria São Tomé and Príncipe Taiwan Tajikistan Tanzania Thailand Timor-Leste Togo Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Tuvalu Uganda Ukraine United Arab Emirates United Kingdom United States Uruguay Uzbekistan Vanuatu Vatican City Venezuela Vietnam Western Sahara Yemen Zambia Zimbabwe Cultural and regional genres African Central East North Southern West Asian Central East Middle Eastern South Southeast European Balkan Nordic Latin American Central American South American North American Caribbean Oceanian Melanesian Micronesian Polynesian Lists Index Outline Timeline Albums Classical and art music traditions Classical music genres Cultural and regional genres Instruments Jazz and popular music glossary Music genres and styles Songs Terminology related articles Aesthetics of music Album era Fictional music Music and emotion Music and exercise Music and fashion Music industry Music and politics Censorship Environmentalism Warfare Music and sleep Music community Music festival Music technology Music therapy Musical escapism Musical instrument Classification Folk Women in music Music portal Record production portal Category

v t e Music industry Major companies and organizations Representatives AMPROFON ARIA BVMI BPI Music Canada FIMI IFPI (worldwide) PMB PROMUSICAE RIAA SNEP Publishers BMG Rights Management Sony Music Publishing Universal Music Publishing Group Warner Chappell Music Disney Music Publishing Concord Music Publishing Allied Artists Music Group Believe Music Reservoir Media Nickel Shoe Music TVT Music Enterprises Century Media Shapiro, Bernstein & Co. Secretly Group Empire Distribution Create Music Group Record labels Major Sony Universal Warner Disney AAMG Independent Concord BMG Reservoir Secretly Big Machine PIAS Beggars Sub Pop Domino Glassnote Ninja Tune Empire ECR Create Independent UK record labels Notable independent record labels Retailers Amazon Digital music stores (iTunes Store) Fnac HMV Kaspien Virgin Megastores Live music CTS Eventim Live Nation LiveStyle Ticketmaster Major genres Blues Country Easy listening Electronic Experimental Folk Gospel Hip-hop Jazz Latin Metal New Age Pop Reggae Rhythm and blues Rock World Sectors and roles Album cover design Artists and repertoire (A&R) Disc jockey Distribution Entertainment law Music education Music executive Music and fashion Music journalism Music publisher Music store Music venue Musical instruments Professional audio store Promotion Radio promotion Record label Record shop Road crew Talent manager Tour promoter Production Arrangement Songwriter Composer Lyricist Conductor Disc jockey Hip-hop producer Horn section Record producer Rhythm section Orchestrator Session musician Backup singer Ghost singer Vocal coach Ghostwriter Sound engineer Release formats Single (Extended play (EP), 12" single, Cassette single, CD single, Maxi single) Album Double album, Mixtape, Surprise album Music video Visual album Promotional recording Phonograph record Eight-track Compact cassette CD DVD Airplay Music download Music streaming service Live shows Concert Concert tour Concert residency Music festival Music competition Charts ARIA Charts Billboard Hot 100 Billboard Argentina Hot 100 Billboard Brasil Hot 100 Canadian Hot 100 Circle Chart G-Music chart Irish Singles Chart Italian singles chart GfK Entertainment charts Entertainment Monitoring Africa Oricon charts New Zealand singles chart Rolling Stone Top 100 Sino Chart TME Physical Album Sales Chart SNEP singles chart Sverigetopplistan UK singles chart Publications Billboard HitQuarters Hot Press Kerrang! Mojo Musica e dischi NME Q Rolling Stone Smash Hits Top of the Pops Television Channels Channel V CMT Fuse Mnet MTV MTV2 Tr3s MuchMusic The Music Factory Viva VH1 The Country Network Series Idol franchise Popstars Star Academy The Four The Voice The X Factor Rising Star Achievements Music award Best-selling music artists Girl Groups In: Brazil Finland Germany Japan United Kingdom (Females) United States Genre: Gospel Latin Nationality: Belgian Brazilian British Italian Swedish Best-selling albums by country Latin Best-selling singles by country Latin Highest-paid musicians Highest-grossing live music artists Highest-grossing concert tours by women Latin Highest-grossing concert residencies Highest-grossing benefit concerts Most-attended concert tours Most-attended concert residencies Most-attended concerts Global Recording Artist of the Year Wealthiest musical artists Other Album era Album-equivalent unit A-side and B-side Backmasking Bootleg recording Christian music industry Environmental impact Global Release Day Hidden track Japanese edition Largest music deals Largest recorded music markets Most expensive albums Most valuable records Music certification Parental Advisory Record sales White label Record production portal Category

Authority control databases International GND National Japan

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Adapted from the Wikipedia article [Album](https://en.wikipedia.org/wiki/Album) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Album?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.