ELO - Can’t Get It Out Of My Head

Yes, the single version can be created from the LP. Apparently, the T/L folks just goofed on their edit. The edit points referenced by Roscoe refer to the segments in the LP version that need to be cut.

About three months ago, Epic/Legacy issued a new CD, The Essential Electric Light Orchestra, which differs from the 2003 release of the same title. It contains an 'edit' version of 'Can't Get It Out Of My Head' running about 3:06 described in the database as 'neither the 45 nor LP version'. I purchased a download of the track and compared it to the Time-Life CD. The two differ in the key 1:12 to 1:33 time period, with the new CD in line with Jim's description of his 45, but since I don't own an original 45 myself I can't say with certainty that this is the 45 version.

Thanks Paul for finding this 45 version and Pat for confirming. Are "Telephone Line" and "Evil Woman" the remaining two ELO 45 versions still MIA?

Edited by Santi Paradoa

Santi Paradoa wrote: Thanks Paul for finding this 45 version and Pat for confirming. Are "Telephone Line" and "Evil Woman" the remaining two ELO 45 versions still MIA?

Unless one is going to issue a needledrop of the
"Telephone Line" 45, it will never be issued on CD. The
unique telephone signals on the intro are in different
spots than the common LP version. The tones were added
during the disk cutting stage by Kevin Gray.

Grant actually posted this in the "Telephone Line" thread awhile back,
so here is a quote from Kevin Gray:

One other tidbit... The telephone effect in “Telephone Line” was actually done by me in mastering. It is NOT on the master tape that way! Jeff for some reason didn’t think about it ‘til mastering. He asked if I could do a "telephone effect". We took a ”ton” of bass out and put a “ton” of midrange in one Sontec EQ (to give the exaggerated telephone feel), then set a second Sontec up with the EQ for the rest of the song. Then I did a long, slow cross-fade between the 2 Eqs in real time as I cut each lacquer. ...a little tricky. I still remember having sweaty palms every time I cut an acetate on that side. We made a tape copy and everything of a reissue nature has been cut from that dub.

If I'm reading this correctly, that means there are multiple LP
versions where the phone sound effects would be slightly different
between each lacquer. However, he says they also made a tape copy
in the same way they did the lacquers, and everything after that would
have been taken from the 2-track tape they made that day. This would,
of course, mean the single would have to be taken from that tape, too,
correct?

Edited by aaronk