In an age where most music is consumed digitally via streaming platforms, the traditional A-side/B-side distinction has become largely obsolete. Before diving too far into a discussion of the “B-side,” it’s worth defining what that actually meant.
Music once commonly arrived on a 7-inch vinyl single with two songs — one on Side A, and another on the flip side, Side B.
Record companies placed the song they wanted to promote on Side A, reserving Side B for a track they believed was less commercially viable. Side A was intended to be the hit.
Side B was often ignored. But every so often, a curious listener — or a brave soul — would flip the record over to see what was hiding on the other side.
Sometimes that listener was a disc jockey, and if they liked what they heard enough to put it on the air, a hit could be born that the record label never intended to create. That simple act of flipping the record changed how people listened — and sometimes, what they fell in love with.
When the B-Side Took Over
History is full of massive hits that only blew up because someone got curious enough to flip the record (or, in later years, dig past the obvious single).
Take Marvin Gaye’s “I Heard It Through the Grapevine”—originally relegated to the B-side on its initial Motown single pressing in 1968 (with “You’re What’s Happening Baby” as the A-side), it caught fire through radio play and DJ love, becoming Motown’s biggest-selling single up to that point and one of the most iconic soul tracks ever.
Queen’s “We Will Rock You” (1977) is another prime case—released as the B-side to “We Are the Champions” in the UK and Europe (though treated as a double A-side in the US). Written by Brian May with that simple, audience-participation stomp-clap groove in mind, it was never meant to be the lead horse.
But DJs, fans, and eventually entire arenas flipped the script: the track’s raw energy and chant-along power made it a staple at sports events worldwide, outlasting and arguably overshadowing its A-side companion in sheer cultural footprint. It’s the ultimate proof that sometimes the “less commercial” side packs the real punch.
Then there’s Madonna’s “Into the Groove” (1985), which started as the B-side to “Angel” in the U.S. and wasn’t even released as a standalone single stateside. DJs and fans flipped it anyway, turning it into her first U.S. No. 1 dance hit and a defining ’80s anthem.
These stories remind us why the B-side mattered: it rewarded curiosity, defied corporate plans, and let great music rise on its own merits. In today’s world, that same spirit means scrolling past the promoted tracks, hunting bonus content, or exploring an artist’s full catalog. The pulse is still there—you just have to turn the record over (or click deeper).
Finding Side-b is harder
I’ll be the first to admit that the way we listen to music in 2026 makes it significantly harder to find that “Side-B.”
There used to be something physical we held in our hands – be it a vinyl record or a CD – that was filled with music we hadn’t heard. You might buy an album because of 1 or 2 songs on it that you loved, and find 3 or 4 more that you also love!
I encourage you to try a few things. When your favorite artist releases a new album, don’t just let the algorithm feed you the songs the label deemed as commercially viable. Search for the name of the album on your platform, and then listen to it track-by-track. I’ll bet you’ll find some gems you may not have otherwise.
Think about getting into physical media. There are some downsides to that, but some great upsides too. I addressed those here. The main take away is you’ll own the music. That generates a different emotional attachment to it, and you’ll find music outside of the hits.
Finally, leverage AI. That’s a great use of AI without diving into the deep end of the pool with it. Simply list 3 or 4 songs that you like, and ask it to recommend some to you based on that list. Tell you friends about your discoveries!
Flipping the record mattered because it forced us to listen with intention and curiosity, not expectation. The format may be different, but the habit doesn’t have to be. Sometimes the best music still lives on the other side — you just have to turn toward it.
