romikgosai/squad_modified_2 huggingface dataset:
In the 1930s, record companies began issuing collections of 78 rpm records 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 tunes per album. When the 12-inch vinyl LP era began in 1949, the single record often had the same or similar number of tunes as a typical album of 78s, and was still often referred to as an "album".

Q1: When were albums as we currently know them widely released?
A1: 1930s
Q2: What is typically found on the front cover of an album?
A2: artwork
Q3: How may records were commonly found in an album?
A3: three or four
Q4: When did the vinyl LP records Era begin?
A4: 1949
Q5: How many songs did most albums contain?
A5: six or eight
For collectable or nostalgia purposes, or for the benefit of higher-quality audio playback provided by the 78 rpm speed with newer vinyl records and their lightweight stylus pickups, a small number of 78 rpm records have been released since the major labels ceased production. One of the first attempts at this was in the 1950s, when inventor Ewing Dunbar Nunn founded the label Audiophile Records, which released, in addition to standard 33 1/3 rpm LPs, 78 rpm-mastered albums that were microgroove and pressed on vinyl (as opposed to traditional 78s, with their shellac composition and wider 3-mil sized grooves). This was done by the label mainly to take advantage of the wider audio frequency response that faster speeds like 78 rpm can provide for vinyl microgroove records, hence the label's name (obviously catering to the audiophiles of the 1950s "hi-fi" era, when stereo gear could provide a much wider range of audio than before). Also in the late 1950s, Bell Records released a few budget-priced 7" microgrooved records at 78 rpm.

Q1: What are reasons for recent releases of 78 rpm speed vinyls?
A1: collectable or nostalgia purposes
Q2: What is a benefit of newer releases of 78 rpm speed vinyls?
A2: higher-quality audio playback
Q3: Who released 7" microgrooved records in the 1950s?
A3: Bell Records
Q4: What benefits to vinyl have been found in the 1950s?
A4: wider range of audio
Q5: Who founded Audiophile Records?
A5: Ewing Dunbar Nunn
In 1968, Reprise planned to release a series of 78 rpm singles from their artists on their label at the time, called the Reprise Speed Series. Only one disc actually saw release, Randy Newman's I Think It's Going to Rain Today, a track from his self-titled debut album (with The Beehive State on the flipside). Reprise did not proceed further with the series due to a lack of sales for the single, and a lack of general interest in the concept. Guitarist & vocalist Leon Redbone released a promotional 78 rpm record in 1978 featuring two songs (Alabama Jubilee and Please Don't Talk About Me When I'm Gone) from his Champagne Charlie album. In 1980 Stiff Records in the United Kingdom issued a 78 by Joe "King" Carrasco containing the songs Buena (Spanish for "good," with the alternate spelling "Bueno" on the label) and Tuff Enuff. Underground comic cartoonist and 78 rpm record collector Robert Crumb released three discs with his Cheap Suit Serenaders in the 1980s.

Q1: In what year did Reprise plan to release a series of 78 rpm singles?
A1: 1968
Q2: Which disc did Reprise release in 78 rpm format?
A2: Think It's Going to Rain Today
Q3: What two songs were featured on the 1978 release by Leon Redbone in 78 rpm format?
A3: Alabama Jubilee and Please Don't Talk About Me When I'm Gone
Q4: What record company released recordings of 'Buena' and 'Tuff Enuff' in 1980?
A4: Stiff Records
Q5: Why did Reprise only release one 78 rpm vinyl?
A5: lack of sales for the single, and a lack of general interest
In the 1990s Rhino Records issued a series of boxed sets of 78 rpm reissues of early rock and roll hits, intended for owners of vintage jukeboxes. This was a disaster because Rhino did not warn customers that their records were made of vinyl, and that the vintage 78 RPM juke boxes were designed with heavy tone arms and steel needles to play the hard shellac records of their time. This failure to warn customers gave the Rhino 78 records a bad reputation,[citation needed] as they were destroyed by old juke boxes and old record players but played very well on newer 78-capable turntables with modern lightweight tone arms and jewel needles.

Q1: When was the release by Rhino Records of 78 rpm for jukebox owners?
A1: 1990s
Q2: What was the result of the use of this release of 78 rpm vinyl when used in vintage jukeboxes?
A2: they were destroyed
Q3: What was needed to successfully play the newer released 79 rpm vinyl?
A3: lightweight tone arms and jewel needles
Q4: For whom was the 1990 release of 78 rpm intended?
A4: owners of vintage jukeboxes
Q5: How did the 1990 release of 78 rpm effect Rhino Records?
A5: bad reputation
In 1931, RCA Victor launched the first commercially available vinyl long-playing record, marketed as program-transcription discs. These revolutionary discs were designed for playback at 33 1⁄3 rpm and pressed on a 30 cm diameter flexible plastic disc, with a duration of about ten minutes playing time per side. RCA Victor's early introduction of a long-play disc was a commercial failure for several reasons including the lack of affordable, reliable consumer playback equipment and consumer wariness during the Great Depression. Because of financial hardships that plagued the recording industry during that period (and RCA's own parched revenues), Victor's long-playing records were discontinued by early 1933.

Q1: What was the playing time of program-transcription discs?
A1: ten minutes playing time per side
Q2: How successful was RCA Victor's program-transcription discs?
A2: commercial failure
Q3: When did RCA Victor release long play discs?
A3: 1931
Q4: Who released the first commercial long play discs?
A4: RCA Victor
Q5: By when were long play records discontinued?
A5: early 1933
Vinyl's lower surface noise level than shellac was not forgotten, nor was its durability. In the late 1930s, radio commercials and pre-recorded radio programs being sent to disc jockeys started being stamped in vinyl, so they would not break in the mail. In the mid-1940s, special DJ copies of records started being made of vinyl also, for the same reason. These were all 78 rpm. During and after World War II, when shellac supplies were extremely limited, some 78 rpm records were pressed in vinyl instead of shellac, particularly the six-minute 12-inch (30 cm) 78 rpm records produced by V-Disc for distribution to United States troops in World War II. In the 1940s, radio transcriptions, which were usually on 16-inch records, but sometimes 12-inch, were always made of vinyl, but cut at 33 1⁄3 rpm. Shorter transcriptions were often cut at 78 rpm.

Q1: What was a benefit of using vinyl over shellac?
A1: lower surface noise
Q2: By the mid 1940s what was the primary material records were made of?
A2: vinyl
Q3: What was a factor in shellac availability?
A3: World War II
Q4: Which material was more durable,  shellac or vinyl?
A4: vinyl
Q5: What material were most mailed records made of?
A5: vinyl
Beginning in 1939, Dr. Peter Goldmark and his staff at Columbia Records and at CBS Laboratories undertook efforts to address problems of recording and playing back narrow grooves and developing an inexpensive, reliable consumer playback system. It took about eight years of study, except when it was suspended because of World War II. Finally, the 12-inch (30 cm) Long Play (LP) 33 1⁄3 rpm microgroove record album was introduced by the Columbia Record Company at a New York press conference on June 18, 1948.

Q1: What caused a delay in the production of high quality records?
A1: World War II
Q2: Who released the 12 inch LP?
A2: Columbia Record Company
Q3: On what date was the 12 inch LP released?
A3: June 18, 1948
Q4: In what city was the 12 in LP released?
A4: New York
Q5: How long did it take Columbia to produce a consumer friendly long play record?
A5: about eight years
Unwilling to accept and license Columbia's system, in February 1949 RCA Victor, in cooperation of its parent, the Radio Corporation of America, released the first 45 rpm single, 7 inches in diameter with a large center hole. The 45 rpm player included a changing mechanism that allowed multiple disks to be stacked, much as a conventional changer handled 78s. The short playing time of a single 45 rpm side meant that long works, such as symphonies, had to be released on multiple 45s instead of a single LP, but RCA claimed that the new high-speed changer rendered side breaks so brief as to be inaudible or inconsequential. Early 45 rpm records were made from either vinyl or polystyrene. They had a playing time of eight minutes.

Q1: What did RCA release to complete against Columbia's LP?
A1: The 45 rpm player
Q2: What materials were 45 rpm records made of?
A2: vinyl or polystyrene
Q3: What was the play time of a 45 rpm
A3: eight minutes
Q4: What was the size of a RCA Victor 45 rpm?
A4: 7 inches
One early attempt at lengthening the playing time should be mentioned. At least one manufacturer in the early 1920s, World Records, produced records that played at a constant linear velocity, controlled by Noel Pemberton Billing's patented add-on governor device. As these were played from the outside to the inside, the rotational speed of the records increased as reproduction progressed. This action is similar (although in reverse) to that on the modern compact disc and the CLV version of its predecessor, the Philips Laser Disc.

Q1: Who had made an attempt in the 1920s to release a long play time recording?
A1: World Records
Q2: What caused the constant linear velocity?
A2: Noel Pemberton Billing's patented add-on governor device
Q3: What was a unique feature of World Records records?
A3: played from the outside to the inside
Q4: What currently utilized item was World Records CLV similar to?
A4: Philips Laser Disc
In 1925, 78.26 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor. This motor ran at 3600 rpm, such that a 46:1 gear ratio would produce 78.26 rpm. In parts of the world that used 50 Hz current, the standard was 77.92 rpm (3,000 rpm with a 77:2 ratio), which was also the speed at which a strobe disc with 77 lines would "stand still" in 50 Hz light (92 lines for 60 Hz). After World War II these records were retroactively known as 78s, to distinguish them from other newer disc record formats. Earlier they were just called records, or when there was a need to distinguish them from cylinders, disc records.

Q1: What gear ration creates 78.26 rpm?
A1: 46:1
Q2: In what year was 78.26 rpm chosen as standard?
A2: 1925
Q3: How many rpm did the electrically powered synchronous turanable motor run at?
A3: 3600 rpm
Q4: Why are these records known as '78s'?
A4: to distinguish them from other newer disc record formats
The older 78 format continued to be mass-produced alongside the newer formats using new materials until about 1960 in the U.S., and in a few countries, such as India (where some Beatles recordings were issued on 78), into the 1960s. For example, Columbia Records' last reissue of Frank Sinatra songs on 78 rpm records was an album called Young at Heart, issued November 1, 1954. As late as the 1970s, some children's records were released at the 78 rpm speed. In the United Kingdom, the 78 rpm single lasted longer than in the United States and the 45 rpm took longer to become popular. The 78 rpm was overtaken in popularity by the 45 rpm in the late 1950s, as teenagers became increasingly affluent.

Q1: When did the 45 rpm gain popularity over the 78 rpm
A1: 1950s
Q2: With which crowd did the 45 rpm gain popularity?
A2: teenagers
Q3: At which time were the 79 rpm no longer mass produced?
A3: about 1960
Q4: On which date did Columbia release it's last 78?
A4: November 1, 1954.
Q5: What was the last country to phase out the 78 rpm?
A5: United Kingdom
Some of Elvis Presley's early singles on Sun Records might have sold more copies on 78 than on 45. This is because the majority of those sales in 1954–55 were to the "hillbilly" market in the South and Southwestern United States, where replacing the family 78 rpm player with a new 45 rpm player was a luxury few could afford at the time. By the end of 1957, RCA Victor announced that 78s accounted for less than 10% of Presley's singles sales, essentially announcing the death throes of the 78 rpm format. The last Presley single released on 78 in the United States was RCA Victor 20-7410, I Got Stung/One Night (1958), while the last 78 in the UK was RCA 1194, A Mess Of Blues/Girl Of My Best Friend (1960).

Q1: What percentage of Elvis Presley's single sales were of 78s?
A1: less than 10%
Q2: What was the last 78 released in the UK by RCA?
A2: A Mess Of Blues/Girl Of My Best Friend
Q3: Why did Elvis sales of 78s perform so well in the Southern States?
A3: 45 rpm player was a luxury few could afford at the time
Q4: On which label did Elvis release his early singles?
A4: Sun Records
Q5: What was the last Elvis Presley single released on 78?
A5: I Got Stung/One Night
After World War II, two new competing formats came onto the market and gradually replaced the standard "78": the 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm (see above). The 33 1⁄3 rpm LP (for "long-play") format was developed by Columbia Records and marketed in June 1948. RCA Victor developed the 45 rpm format and marketed it in March 1949, each pursuing their own r&d in secret. Both types of new disc used narrower grooves, intended to be played with smaller stylus—typically 0.001 inches (25 µm) wide, compared to 0.003 inches (76 µm) for a 78—so the new records were sometimes called Microgroove. In the mid-1950s all record companies agreed to a common recording standard called RIAA equalization. Prior to the establishment of the standard each company used its own preferred standard, requiring discriminating listeners to use pre-amplifiers with multiple selectable equalization curves.

Q1: What two formats replaced the 78?
A1: 33 1⁄3 rpm (often just referred to as the 33 rpm), and the 45 rpm
Q2: Who developed the 33 1/3 rpm LP?
A2: Columbia Records
Q3: When did the 33 1/3 rpm hit the market?
A3: June 1948
Q4: When did RCA release their 45 rpm format?
A4: March 1949
Q5: When were RIAA standards established?
A5: mid-1950s
Some recordings, such as books for the blind, were pressed at 16 2⁄3 rpm. Prestige Records released jazz records in this format in the late 1950s; for example, two of their Miles Davis albums were paired together in this format. Peter Goldmark, the man who developed the 33 1⁄3 rpm record, developed the Highway Hi-Fi 16 2⁄3 rpm record to be played in Chrysler automobiles, but poor performance of the system and weak implementation by Chrysler and Columbia led to the demise of the 16 2⁄3 rpm records. Subsequently, the 16 2⁄3 rpm speed was used for narrated publications for the blind and visually impaired, and were never widely commercially available, although it was common to see new turntable models with a 16 rpm speed setting produced as late as the 1970s.

Q1: What was 16 2/3 rpm speed used for?
A1: narrated publications
Q2: Who developed the 33 1/3 rpm speed record?
A2: Peter Goldmark
Q3: What record format was created for use in Chrysler automobiles?
A3: Highway Hi-Fi 16 2⁄3 rpm record
Q4: Why did Chrysler discontinue use of the Hifi 16 2/3 rpm record?
A4: poor performance
Q5: To the end of which era could you find 16 rpm setting on record players?
A5: 1970s
The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.

Q1: Which company lost the "War of the Speeds"?
A1: RCA
Q2: What speed ultimantly ended up winning the war of the speeds?
A2: 45 rpm
Q3: Over which years did the "War of the Speeds" last?
A3: 1948 to 1950
Q4: By 1945 what was the total sale of 45s?
A4: 200 million
Q5: Which two companies were involved in the "War of the Speeds"?
A5: RCA Victor and Columbia Records
Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

Q1: What format of LPs was discontinued?
A1: 10-inch
Q2: What was the significance of October 26th, 1956?
A2: The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP
Q3: In which country did the 10 in LP exist the longest?
A3: United Kingdom
Q4: Which format offered up to 1/2 an hour of recordings per side?
A4: 12-inch LP
Q5: Did the 45 rpm or 12 inch disc offer longer playing time?
A5: 12-inch LP
The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.

Q1: What do the initials EP stand for?
A1: extended play
Q2: Why were 45s more popular with jukeboxes?
A2: The large center hole
Q3: What format was phased out by the end of the 1950s?
A3: EPs
Q4: What was a benefit of EPs over LPs?
A4: EP discs were cheaper
From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.

Q1: What three speeds were sound on most home stereos in the mid 1950's?
A1: 78, 45, 33 1⁄3
Q2: What feature of 45s required an adapter in most home stereos?
A2: larger center hole.
Q3: What feature was found on more home stereos that allowed continuous play between records?
A3: changer
Q4: What format was less common but could sometimes be found on home stereos?
A4: 16 2⁄3 rpm
RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).

Q1: Wy did records outside of the US often have small holes with the ability to punch out the center?
A1: for use in jukeboxes
Q2: What were the plastic inserts which would adapt 45s to the smaller spindle of an LP player called?
A2: spider
Q3: What invention did Thomas Hutchinson introduce?
A3: spider
Q4: Whom were the adaptable inserts for 45s to LPs commissioned by?
A4: RCA president David Sarnoff
Q5: How many spiders were sold in the 45 rpm heydays?
A5: tens of millions per year
The term "high fidelity" was coined in the 1920s by some manufacturers of radio receivers and phonographs to differentiate their better-sounding products claimed as providing "perfect" sound reproduction. The term began to be used by some audio engineers and consumers through the 1930s and 1940s. After 1949 a variety of improvements in recording and playback technologies, especially stereo recordings, which became widely available in 1958, gave a boost to the "hi-fi" classification of products, leading to sales of individual components for the home such as amplifiers, loudspeakers, phonographs, and tape players. High Fidelity and Audio were two magazines that hi-fi consumers and engineers could read for reviews of playback equipment and recordings.

Q1: What term was coined to differentiate better sounding products in the 1920s?
A1: high fidelity
Q2: What magazines provided reviews for audio equipment?
A2: High Fidelity and Audio
Q3: What happened in 1958 that changed the home music scene?
A3: variety of improvements in recording and playback technologies
Q4: During what years did the term HiFi take off with engineers?
A4: 1930s and 1940s
Q5: What term would be used when one said they produced perfect sound reproduction?
A5: high fidelity
Stereophonic sound recording, which attempts to provide a more natural listening experience by reproducing the spatial locations of sound sources in the horizontal plane, was the natural extension to monophonic recording, and attracted various alternative engineering attempts. The ultimately dominant "45/45" stereophonic record system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933 (see Bell Labs Stereo Experiments of 1933) although the system was not exploited commercially until much later.

Q1: What did Alan Blumlein event?
A1: stereophonic record system
Q2: When did EMI create the first stereo discs?
A2: 1933
Q3: What was the benefit of 45/45 stereo sound?
A3: more natural listening experience
Q4: What year was stereo sound patented?
A4: 1931
Q5: How was the commercial success of stereo sound in the 1930s?
A5: was not exploited commercially until much later.