Sinatra/Hazlewood-"Some Velvet Morning"

The three database CD timings for this fall between (3:36) and (3:40). However, my commercial 45 has both a listed and actual time of (3:45). But the last :08-:09 seconds on the 45 are at VERY low volume, during a longish fade, and are barely audible. This fact may have caused the CD masterers to just choose to "dump out of it" a few seconds early.

Todd: Your point is logical. But in my experience, I don't believe the labels ever gave even a moment's thought to "Don't bother giving DJ copies a long fade; they just dump out of it early anyhow." There were plenty of long, low-volume fades on DJ copies. In one way, a few flexibile, optional seconds of a record could actually help radio, especially at smaller stations. Because, for example, they would often be looking for exactly a 3:30 record, at, say, 3 1/2 minutes before the top of the hour, trying to "backtime" the song's finish to coincide with the start of "Network News" at EXACTLY the top of the hour. A few seconds of flexibility would come in handy in such cases. Aside from that, when we started playing a new song, we would both initially time it and enter it into the computer system, so all our DJs could view the music log, and know of the song's "particulars" before becoming (often all TOO) familiar with it, structured like this, for example: (:10/3:00/fd). This meant there was 10 seconds of a music intro before the vocals began, and then, exactly 3:00 into the record, the fade would become audible, so the DJ would then know to quickly move on to the next "program element", be it a DJ mic break/commercial/newscast/traffic report/another song. Most radio station consoles would have TWO easily seen digital clocks - one for the Time Of Day, and another, for when you pressed a "remote start button", which would start up either a song or a commercial, and would also zero-out/re-start a sort of "stopwatch" function, so we always knew how far along the currently-being-played song/commercial was - this "element in progress" clock re-set hundreds of times of day, as EACH new program segment was started. As to your question, Todd, I don't currently have a DJ 45 for "Some Velvet Morning", but I'm always on the lookout - in this case, though, I'd be shocked if it weren't exactly the same as the commercial 45. I think I read once where Hazlewood said he spent more time producing "..Velvet.." than any other Nancy Sinatra solo/duet 45, intending it as their "progressive opus", of sorts - the last minute or so of the record really sounds like two different tunes, forcefully swapping vocal slices back and forth, every 10 seconds or so, one with Nancy singing a line, the next with Lee. From early '68, late in their hit partnership, I could sense just the slightest hint of a little "Good Vibrations/Sgt. Pepper" mentality/influence coming through in Hazlewood's production, trying to take the duo to a more hip level. While hardly achieving those lofty levels, one can still sense the "superstar inspiration" impacting Hazlewood here, IMHO.