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jimct
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| Posted: 22 April 2007 at 10:11pm | IP Logged
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My commercial 45, which is stereo, has a listed time of (2:45), but an actual time of (2:40).
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jimct
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| Posted: 04 February 2016 at 9:19pm | IP Logged
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This was one of those songs that was first released on a small Florida
label, Platinum (as # 105), b/w "Over At My Place" (as # 106; some small
labels listed the 45's B-side as one sequential number higher than the A-
side of the same single; this was one of those cases.)
This song was first reviewed in Billboard on 5/23/70. I'd always
wondered if the song had been re-recorded, or if UA simply had released
the exact same take included on the Platinum 45 for the eventual #3 July
1971 smash hit, albeit more than a year later, as UA 50721.
I have just acquired a Platinum 105 stock 45. It is mono, with handwritten
deadwax of "M/F 105A1-1-11". And the answer is yes; it's one and the
same recording. Although this initial copy also has a listed time of (2:45),
its actual time is (2:44), 4 seconds longer than my UA 45 copy runs. "Over
At My Place" is also the B-side of the UA 45. Current db CDs that include
this song run between (2:39) and (2:44). I may just shoot a dub of this
Platinum 45 out to Aaron, just to make sure the UA 45 simply fades out
:04 earlier, and that's it's not a speed issue I failed to pick up on.
It makes sense that the same master recording would've been used, as
Platinum label owner Bob Archibald had produced "Treat Her Like A Lady"
himself, from his brand new Music Factory Studio in Miami, so the
recording facility used was top notch. FYI, fellow Platinum label act "Sandy
Torano And The Nemo Spliff" served as the "house band" on the smash
track. So this was purely a distribution partnership between Archibald and
UA, that both sides seemed happy with, with Archibald continuing to
record the group at his studio until at least 1974, while UA kept issuing
the group's 45/LP product on their label.
Edited by jimct on 04 February 2016 at 9:21pm
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MPH711
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| Posted: 05 February 2016 at 10:41am | IP Logged
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I could swear my commercial 45 on UA is mono. I know all the follow up
45's were stereo. Now I'll have to go dig it out and check.
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jimct
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| Posted: 05 February 2016 at 11:55am | IP Logged
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MPH711, my UA 50721 promo 45 copy is mono, was on the orange and
black "Division of Liberty Records" label design, with handwritten deadwax
of "UA-6772-5", with "X-8779" and "BERT" also present. Both my UA stock
45 copies are stereo (although it doesn't feature the widest stereo
separation I've ever heard), are on the cream label, has no mention of
Liberty on them, with deadwax of "UAST 6772-1". And although my
copies do not happen to state stereo on the label, I do see other cream-
colored UA stock 45 scans on Discogs that do, in fact, state stereo.
I wouldn't be the least bit surprised if your stock 45 copy was mono,
however, as the UA label's ownership situation was changing at this exact
time. There were also some stock 45 copies for "Treat Her..." issued on
the orange and black Liberty/UA era label. I'm thinking those were likely
all mono, and were the earliest UA 45 pressings, just as my promo 45
was. I'm thinking your mono 45 copy is one of these. But this song took
quite a long time to finally hit nationally, and by the time it did, UA was
now an indie label, no longer part of Liberty, and had changed its label
design to cream, to reflect this fact. They also now appeared to want their
45s to be issued in stereo, so a "UAST" stereo 45 stamper was made for
these later, UA-as-an-indie-label, 1971 "Treat Her...." pressings.
If you can find your stock copy 45 of it, MPH711, could you possibly let us
know if the label was the orange/black or cream design, and provide the
deadwax info? I'm thinking it will be similar to the info found on my
promo 45.
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Yah Shure
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| Posted: 05 February 2016 at 3:15pm | IP Logged
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I have three stock 45s from two different pressing plants, all on the tan and brown UA label. Two are identical vinyl pressings, which, judging from some of the type fonts, are from Plastic Products. Deadwax is "UAST 6772 X" with "BERT" written in all caps on both copies.
The other is a styrene Philips Recording Co. pressing, with deadwax "UAST-6772-X-1-1-1" and "Bert" written in script.
All three copies state and play stereo.
Jim, just to clarify what was going on with UA at the time: Transamerica Corporation had owned both United Artists and the Liberty/Imperial family of labels for about three years when they picked up national distribution for this single. There was no change in ownership in 1971; instead, Transamerica made the decision to fold the Liberty labels into the United Artists Records operation, which itself had moved from New York City to Los Angeles in 1969, when the blue-red-and-white UA label with the Transamerica/NYC blurb on the label's perimeter was replaced by the black-and-orange design with the Liberty/UA-Los Angeles perimeter info.
The UA label remained an indie before and after the 1971 consolidation, although at some point by 1972, it was being distributed through Phonogram. That arrangement didn't last long, and by 1973, United Artists Records, which Transamerica had reorganized as the United Artists Music And Records Group, was once again being independently distributed. Transamerica sold UAMARG to the division's management executives in 1978; a deal which was doomed when Don Arden got wind of it, threatening to pull his Jet label from UAMARG distribution if Transamerica sold UAMARG. They did, he did and without its biggest moneymaker, ELO, the label faltered, financially. In 1979, UA's new owners defaulted on the loan they'd gotten from EMI to buy the company from Transamerica. The UA label continued to operate autonomously after EMI took over its operations, and it was at this time that the label's corporate name changed to Liberty/United Records, Inc.
The United Artists trademark had been licensed for a specified period of time by Transamerica (which retained the UA film division) following the initial sale of UAMARG, and with the expiration of that licensing agreement, the United Artists label name was permanently retired in favor of Liberty, at the time the Vapors' "Turning Japanese" was a hit.
Back to that 1971 transition: I remember being rather amused upon buying a copy of the Nitty Gritty Dirt Band's "House At Pooh Corner" 45: it featured big front and back photos of the parent Uncle Charlie & His Dog Teddy album cover on the respective sides of the 45's picture sleeve, with a prominent "From the Liberty Album..." and LST-7642 catalog number on the bottom of both sides, as well as on the record label itself. After all that Liberty business, it seemed pretty odd to see the brand-new tan and brown United Artists label on the 45 itself!
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MPH711
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| Posted: 06 February 2016 at 7:25am | IP Logged
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jimct wrote:
If you can find your stock copy 45 of it, MPH711, could you possibly let
us
know if the label was the orange/black or cream design, and provide
the
deadwax info? I'm thinking it will be similar to the info found on my
promo 45. |
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I just looked for my copy and unfortunately I must have recently
donated it when I was downsizing some of the common 45's out of my
collection. I do know that it was on the cream colored UA label and that
it was styrene. It was a stock copy with nothing on the label that
indicated stereo or mono. I am a stereo fanatic and am sure it was
straight mono. I'm just sorry I can't prove it and provide the info to you.
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Hykker
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Posts: 1386
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| Posted: 06 February 2016 at 8:20am | IP Logged
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jimct wrote:
Both my UA stock 45 copies are stereo
(although it doesn't feature the widest stereo separation
I've ever heard), are on the cream label, has no mention
of Liberty on them, with deadwax of "UAST 6772-1". |
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Well that could go down as the understatement of the week.
My stock copy agrees with yours, and there is extremely
little separation to the point where up until now I always
considered this to be mono.
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Top 40 Music on Compact Disc : Chat Board
Topic: Cornelius Bros...-"Treat Her Like A..."
