Boston promo 45 for Don’t Look Back
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Topic: Boston promo 45 for Don’t Look Back
Posted By: eriejwg
Subject: Boston promo 45 for Don’t Look Back
Date Posted: 13 June 2007 at 11:07am
|
Hello,
Pat and everybody, FABULOUS forum and database! I am about to purchase the promo 45 for Boston's "Don't Look Back" (for the DJ edit) and have a question. Did all promo 45's have the DJ edit? |
Replies:
Posted By: Pat Downey
Date Posted: 14 June 2007 at 6:19pm
| My dj copy lists a running time of (4:05). |
Posted By: BillCahill
Date Posted: 18 June 2007 at 4:29pm
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I never saw a 45 promo with a short/long, it was mono/stereo short 4:05.
FM stations were given a 12 inch promo which said "special FM version). 5:53 |
Posted By: eriejwg
Date Posted: 19 June 2007 at 7:18am
| Thank Bill, your assessment is true. The copy I purchased was a stereo/mono 45 with a run time of 4:05. I was able to clean it up very nicely in Adobe Audition. |
Posted By: eric_a
Date Posted: 18 September 2007 at 6:04pm
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Thanks to John and Jim, I got to hear the promo version...if you're looking to make your own, there are just a couple cuts:
-Around 2:37 (or possibly up to 2 bars later - it's hard to tell), cut to the guitar lick at 2:49. -At 3:39 in your edit (3:50 on the CD), cut back to (3:35 on the CD) and repeat that segment (3:35-3:50) twice. -The edited song fades from about 3:32 to 4:07 |
Posted By: bdpop
Date Posted: 19 September 2007 at 6:44pm
| I have only seen the edited version on promo. I believe "A Man I'll Never Be" had long/short versions on the promo. |
Posted By: eriejwg
Date Posted: 20 September 2007 at 7:53am
| Once, think I saw the short version of "A Man I'll Never Be" on an import CD online. It was called Rock Guitar Legends. |
Posted By: torcan
Date Posted: 20 September 2007 at 2:39pm
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I've always been curious as to why certain edits were promo-only and why some were released commercially.
In other words, it was unusual in 1978 to have a 6-minute single - most of the time they were edited for 45 release. I wonder why that Boston single was released in its full version on 45 when there was an edit available. Does the band have any say in it? Strange when you consider a whole verse and chorus was edited out of "More Than a Feeling". |
Posted By: sriv94
Date Posted: 20 September 2007 at 6:47pm
I think Gordon's reply to John's question in the "Probably A Silly Question" thread provides some great insight. And don't forget--the primary purpose of a promo 45 is to get it on radio. Top-40 radio would be very reluctant to play a six-minute single in 1978, but a (4:05) promo is much more palatable. Given the number of differences between promo 45s and commercial 45s, it seems labels valued making sure it was played on radio a bit more than making sure consumers bought the single. ------------- Doug --------------- All of the good signatures have been taken. |
torcan wrote:Posted By: eriejwg
Date Posted: 20 September 2007 at 8:22pm
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The small station I worked at in 1978 didn't even have the luxury of getting any kind of label service. One of those one station in a small town situations. We got all stock 45 product from RSI (Record Source International) which was in Ohio. And, it was weak service at best. Half of the charted material we had to buy in the local stores because RSI never serviced us with it.
So, long story short, in 1978 we played the 5:53 stock 45 where I was. |
Posted By: The Hits Man
Date Posted: 20 September 2007 at 9:37pm
Radio liked short songs so there was more time for ads. ------------- |
Posted By: jimct
Date Posted: 27 April 2008 at 10:40am
| This post actually refers to my commercial 45 of this song. It has a listed time of (5:53), but an actual time of (5:59). |
Posted By: TimNeely
Date Posted: 01 May 2008 at 5:19am
There can be contractual reasons why a 45 is issued to radio edited and to the public unedited. For example, Guns N' Roses' 45s were released on 45 as they appeared on the albums -- even the almost 9-minute-long "November Rain." (That must have been fun to cut to wax!) But radio was serviced with edits of all their longer hit songs. It'd have been a heck of a lot easier to cut 45s using the edits, but the label might not have had that flexibility. I suspect that Boston, as an unproven band, had no "pull" with its record company to demand that its singles from the debut be released unedited, thus we got edits of all three singles from that album. By the time the follow-up came along, Tom Scholz probably had the power to demand that Boston's singles be released to the public unedited, thus consumers got the full-length versions of "Don't Look Back" and "A Man I'll Never Be." This power didn't carry over to radio singles, however. What the labels did to radio singles was considered part of the promotional budget, and thus rarely under the supervision of the artist. The goal was to get the song played -- after all, if no one heard your song, no one was going to buy it, either. An exception that comes to mind is Elton John in the 1974-75 era, when he was releasing increasingly long singles, culminating with the 6:45 length of "Someone Saved My Life Tonight." As far as I know, his 5-plus-minute epics of that period were not released in edited versions, even to radio. My local Top 40 station, or perhaps the chain to which it belonged (Capital Cities), created its own edits of "Bennie and the Jets," "Don't Let the Sun Go Down on Me," "Lucy in the Sky with Diamonds," "Philadelphia Freedom" and "Someone Saved My Life Tonight." At least that is my assumption, because I've never seen any EJ promo 45 from that era with an edited version. Before and after those years, yes, but not in 1974 and 1975. |
Posted By: sriv94
Date Posted: 01 May 2008 at 7:05am
You're not from Chicago by any chance, are you? WLS created edits of those songs (edits that I've actually tried to replicate from memory). The funny thing is they also created an edit for "The Bitch Is Back" (even though the song clocked in at under four minutes unedited). ------------- Doug --------------- All of the good signatures have been taken. |
Posted By: Hykker
Date Posted: 01 May 2008 at 10:38am
What EJ singles pre-1974 had promo edits? The first song of his that I recall seeing a short version was "Empty Garden", and that was from '81. Indeed, the only MCA single of his I can think of that had a radio edit was "I Don't Wanna Go On With You Like That" (and that was just an early fade). |
Posted By: aaronk
Date Posted: 01 May 2008 at 11:13am
While your point is well taken, I'm pretty sure that "Sweet Child Of Mine" is the only song that was ever officially released with an edit (and remix). I've never been able to find any promos with shorter versions of "Welcome To The Jungle" and "Paradise City." I think there might be another thread on "November Rain" where someone talks about an unofficial Hitmakers promo that has edits of the song. Radio stations created their own edits and submitted them to Hitmakers, which distributed the edits. It is my understanding that Geffen was not allowed to edit the song even for radio. |
Posted By: sriv94
Date Posted: 01 May 2008 at 12:15pm
"Tiny Dancer" had one. And the commercial 45 of "Levon" was a slightly earlier fade. ------------- Doug --------------- All of the good signatures have been taken. |
Posted By: 80smusicfreak
Date Posted: 01 May 2008 at 1:10pm
Perhaps, but when it comes to determining the true "hit single" versions, I'm wondering just how relevant is what actually appeared on the vinyl 45s here??? Not to stray too far off topic, but I've been meaning to bring up this issue for quite some time now, and this seems like as good an opportunity as any... :-) Let's not forget, by the time Guns n' Roses first hit the singles charts in June of '88, we Americans had a choice of singles formats in retail stores: vinyl 45 or cassette single. And guess what??? We Yanks chose the cassette single - by then, it was already king! That means the cassette version of EVERY commercial Guns n' Roses single released from 1988-94 outsold its vinyl (or later, CD) counterpart(s). Therefore, why are we considering the "45 versions" (in the literal sense) to be the "official" versions here, especially when as a promotional/sales gimmick, record labels often put different edits/mixes of the same hit song on different formats??? (And quite a number of examples by other artists have already been exposed here on Pat's board!) Who knows, maybe the band had something in their contract that said only the singles on vinyl couldn't be edited/remixed ("Sweet Child o' Mine" notwithstanding)??? I'm not saying that the lengths/versions found on any of the cassette singles from Guns n' Roses do, in fact, differ from the vinyl 45s - I honestly don't know, but it's a REAL possibility there's an example or two - but logically, shouldn't the "cassette single" versions be considered the official "hit single" versions in this group's case??? Yet for whatever reason, when it comes to post-1987 hits, the "singles purists" here always seem to put all the weight on what appeared on either the vinyl 45s or CD singles, even though the cassette was the dominant singles format in the U.S. from 1988-97 (a full ten years!). Only when a hit from that decade was issued exclusively on cassette single does the tape format seem to matter to folks around here - hmmm... My point to all this: If the song was a hit from that time period - as all Guns n' Roses tunes were - and you're going by what is heard on either the vinyl 45 or CD single, you may be fooling yourself, not to mention keeping Pat's database from being completely accurate... (*steps off soapbox*) |
Posted By: torcan
Date Posted: 02 May 2008 at 8:55am
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I'm a vinyl-purist, so I always go by what was on the 45 - but I know I'm probably in the minority. Most of the time, what was issued on the 45 in the '90s (when there was one) was the "hit" version - but there were notable exceptions.
I just never got into cassingles, and if there was no vinyl available would rather have a CD single. It's funny how a 45 was a single in the '70s and '80s, but wasn't in the '90s! |
Posted By: TimNeely
Date Posted: 02 May 2008 at 10:15pm
I'm originally from the Philadelphia area, and WFIL-AM in Philly also played edits of all those songs. Not sure about "The Bitch Is Back," but it played edits of all those others. I too could create them almost from memory if I wanted to. WFIL's "Someone Saved My Life Tonight" edit was actually fairly complex. The others mostly cut out a chunk of the song. |
Posted By: aaronk
Date Posted: 03 May 2008 at 12:04am
The beauty of Pat's database and this message board is that everyone can have his/her own idea of what the *hit* version is. For me, it's always been the version that is/was heard widespread on the airwaves. I've always long considered the DJ versions (which in many cases were the same as the commercial single versions) the "hit" versions. Personally, I think a song can only become a bonafide hit after it receives widespread airplay, via the radio, video, or some other form of promotion. |
Posted By: Todd Ireland
Date Posted: 05 May 2008 at 9:52pm
Greg: According to Joel Whitburn in his Top Pop Singles 1955-1999 book, the cassette single was recognized as the standard configuration on the Billboard Hot 100 chart from 1990 to December 5, 1998. As a result, there are a number of folks on this board like edtop40 and myself who've gone to great lengths to post pertinent cassette single info when necessary. Ed in particular regularly makes it a point to recognize the cassette single as the undisputed single version for Top 40 hits during this time period. And when different versions of a particular Top 40 hit exist from one physical single configuration to another, Pat duly updates all related info in the database and allows the reader to decide for himself which format should be considered the "true" single version. So unless I'm missing something, I honestly don't see anybody doing anything here to prevent the database from being anything less than completely accurate. |
Posted By: Hykker
Date Posted: 06 May 2008 at 7:00am
I wouldn't go so far as to say we "chose" the cassette single as much as I'd say it was imposed on us. For any number of reasons, often the cassette single was all that was available, either because the retailer chose not to carry 45s/CD singles or because the labels chose not to issue them. For the life of me I can't understand why anyone would choose to sonically & mechanically inferior cassette singles if other choices were available. Maybe those of you who lived in or near a major city with numerous record stores had a choice, but those of us who lived in smaller towns/cities didn't have many options. |
Posted By: crapfromthepast
Date Posted: 06 May 2008 at 12:14pm
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I'm sure I'm in the minority here, but I regard the "hit" version as being the version that got all the airplay that made it a hit in the first place, regardless of what format it appeared on or even if it was commercially available at all.
An example off the top of my head - Milli Vanilli's "All Or Nothing": The only version I ever heard (or played) on the radio was the LP version, which was even included on their promo sampler "Hits That Shook The World". There was no 45 for the song, and the cassette single had a drastic remix on it, which got little or no airplay back then. In general, unless there's a huge difference between album and single versions, I tend to lean toward using the LP versions until around 1984, and the 45s from around 1984 onward. There's no hard, fast line in the sand, but around '84, there were a lot of single-only remixes, like "The Reflex", "Adult Education", "It's My Life", "She Bop", and a few others. Before '84, it was primarily edits for the 45, rather than remixes. So I'll use the full LP versions of "Paradise By The Dashboard Light", Diesel's "Sausalito Summernight", Aldo Nova's "Fantasy", Saga's "On The Loose", and so forth, because that's what got played back then. I'll also use the 45 edits of "Slow Ride", "My Sharona", "My Life", and some other classic rock songs that got substantial airplay in their shortened forms on pop radio. That's not to trivialize the intent of this forum, or of those who prefer single versions. I understand that the cassette single was the single format adopted by Billboard and used for the Hot 100 chart methodology, and I completely respect that many collectors seek out the version on those cassette singles. But when I'm compiling my own pop library for radio and mobile DJ work, I'll use the version that most would readily recognize, rather than what they could buy back then. There's plenty of overlap between the library "hit" compiling that I'm doing and those hunting for the single versions, and there's plenty to be learned in the process and shared with the forum... |
Posted By: Todd Ireland
Date Posted: 06 May 2008 at 1:13pm
Speaking for myself, I opted for cassette singles over vinyl 45s because I liked the portability of the cassette single. Unlike a 45, I could play a cassette on my car stereo and on my Sony "Walkman".
Yes... Back in the early '90s in particular, I hated how cassette singles would often feature a drastically different version of a song than what was played on the radio! |
Posted By: eriejwg
Date Posted: 06 May 2008 at 1:24pm
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Speaking as one who actually worked on the radio and played the promo versions, those are the versions I've been trying to acquire.
Luckily, for the last 15 years, I've have subscription services like RPM and now JonesTM to get the 'hit' versions. As a mobile dj, I've owned it all over the years. Vinyl, which I unfortunately sold, then cassette singles, CD's and now, for the last 5 years, digital. |
Posted By: crapfromthepast
Date Posted: 06 May 2008 at 2:07pm
Amen to those! I used Hot Hits from 1991-1996, Spotlight On Hits from 1991-1996, and Top Hits USA/RPM's weekly service since 1996, with recurrents going back to 1992. I also have a full run of in-store samplers called In Play, which ran around 1990-1991, and some late '80s/early '90s promo samplers from Schwartz Brothers. Those CDs make up around 95% of my '90s library, and nearly 100% of my '00s stuff! Back then, I was able to apply to record pools as a jukebox operator (since my mobile DJ boss actually had a jukebox), and I used Record Source International for 45s from around 1990-1993 until they folded. After the fact, I've been able to get a nice pile of other samplers, like Hitmakers, Network 40, and the TM Century discs. All have their merits. Don't have any Promo Only CDs, although I've worked with people who swear by them. |
Posted By: eriejwg
Date Posted: 06 May 2008 at 3:51pm
| The very first commercial radio station I worked at from 1977-1979 got their current music from Record Source International. Most of the time, for the major hits on 45, we'd hit the local G.C. Murphy or Fisher's Big Wheel, at that time, and buy them there. |
Posted By: Todd Ireland
Date Posted: 07 May 2008 at 8:28am
| Wow, your post just made my day, John! I can immediately tell someone is from around the greater Pittsburgh area when I hear the mere mention of G.C. Murphy and Fisher's Big Wheel. Sadly, these department stores have been out of business for a number of years now, but as a kid I used to beg my parents to drive me to these places so I could buy comic books and toys. I had no idea G.C. Murphy and Fisher's Big Wheel sold 45s, but of course my interest in collecting Top 40 music didn't start developing until I got a little older! |
Posted By: aaronk
Date Posted: 07 May 2008 at 12:15pm
| Man! I started collecting 45s at a very young age (about 4), and I used to have my parents drive me to Fisher's Big Wheel to buy 45s! |
Posted By: Yah Shure
Date Posted: 07 May 2008 at 5:23pm
| At the end of my junior year in college, my folks moved to a townhouse in Bloomington, MN. The nearby strip mall had three (woo,hoo!) record dealers. The Red Owl Family Center had the cheapest current 45s, and G.C. Murphy had a more more limited but slightly cheaper selection of oldies than at Musicland, where I'd special order the obscure new singles. That was a great summer! |
Posted By: Gary
Date Posted: 07 May 2008 at 5:49pm
| Also, who remembers the Almor Playtime Co. out of Amsterdam, NY? They supplied the Record Giant stores which they owned and local stores,including Ben Franklin Variety stores,that wanted to sell 45's and LP's. I remember growing up in a small town of 800 people, and our local general store sold 45's by Almor Playtime. They would have their own Top 40 list and in the early 80's they would never sell any Motown songs for some reason or another. Sometimes some very obscure stuff got put in positions #35-#40, but you could by most of the hits there. I recall bying Bill Burnette's "Oh Susan" which they seemed to want to promote and they listed it at #21. I kept listening to American Top 40 in hopes that I could hear that song debut, but it never did! They changed the Top 40 list every 2-3 weeks. In Ben Franklin stores, the 45's were shrinked wrapped in cardboard about 1 foot tall, labeled Tops in the Pops. |
Posted By: crapfromthepast
Date Posted: 08 May 2008 at 7:01am
Small world - I live in Richfield, MN, about 100 feet from Bloomington. As you might have guessed, things have changed a bit. The only record/CD dealer in Bloomington is Discland, and that probably wasn't around back then. There was a small place in a strip mall in Bloomington called Aardvark Records until about 6 or 7 years ago, but they moved way across town and I haven't been back since. |
Posted By: Yah Shure
Date Posted: 08 May 2008 at 10:05am
|
Ron, things changed in short order at Valley West after 1972. G.C. Murphy closed, Red Owl dropped records altogether (it's a Cub Foods now) and Musicland was gone a few years later. By then I had the folks at the Musicland on 7th Street in downtown Minneapolis trained to the point where they'd have a stack of special order blanks up on the counter by the time I'd gotten there from the front door. :) No, I don't think Discland was around back then. But Bud's Music Center in Hopkins - where I first bought 45s in the '50s - is still alive and well.
Never shopped at Aardvark, but got some goodies at Roadrunner and Let It Be back when I was still a Radio K listener. The St. Paul Cheapo is only a half-mile walk away, and I stopped in there last week for the first time in ages to pick up a few used LPs to fill in the gaps in my WMMR/U of M collection. And I really *should* listen to your show more often on KFAI. [Hangs head in shame] |
Posted By: jimct
Date Posted: 08 May 2008 at 11:30am
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Posted By: Paul Haney
Date Posted: 08 May 2008 at 12:41pm
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These recent posts have brought back some fond memories for me as well. Me & my older brother would ride our bikes up to the local Target store every Saturday to buy what few 45s we could afford. They had their stock arranged to match the KDWB weekly radio surveys. My first ever purchase in 1974 was "Earache My Eye" by Cheech & Chong (hey, I was only 8 at the time and that "song" was the height of hilarity)! First ever album purchase came the next year with One Of These Nights by the Eagles. The greatest day at Target came in the summer of 1978 when they had dozens of boxes of "cut-out" albums for just a buck apiece! I must've bought at least 10-20 albums over those next few weeks until everything was sold.
Once I could drive me and my collector buddies would hit just about every record store in the Twin Cities metro area. Some I remember are Oarfolkjokeopus (great name) and the little "auxiliary" 45 shop in the nearby basement, Garage D'or, Hymie's, Wax Museum, Cheapo and the name of another I can't remember...the owner was a real prick and we just referred to his shop as "The Bald Jerk's" shop, but he sure had some great stuff (and karma got my hairline eventually). We also hit the Salvation Army stores, the best of which was in a really rough neighborhood in South Minneapolis (lots of homeless people, drug dealers and hookers, really opened up my naive suburban 16 year-old eyes)! Went to college in Winona, Minnesota, where the local video arcade had tons of recent hits pulled off of jukeboxes for just a quarter apiece, my collection really took off there. Can't imagine growing up in today's environment of sterile "mega-stores" and iTunes. Some of my best times were scouring those local record shops and meeting some of the most "interesting" characters I've ever met. |
Posted By: crapfromthepast
Date Posted: 08 May 2008 at 1:30pm
|
Interesting discussion of both Minneapolis (surprising that so many of us have connections there!) and those old music surveys.
If you'd like to see a nice sample of these surveys from the New York City area from 1978-1986, I've got a few hundred posted http://www.crapfromthepast.com/favorites/sights4/index.htm - here . Mine are from "Alpha Distribution Corp" from NYC, and they serviced Caldor, Bradlees, Korvettes, Two Guys, and a few other department stores that aren't around anymore. The phrase "Please request by number" still makes me smile! |
Posted By: eriejwg
Date Posted: 08 May 2008 at 2:49pm
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My first experiences purchasing 45's were in 1971, when I was 12. First 45 I bought was "Feelin' Alright" by Grand Funk Railroad. Later, "It Don't Come Easy" and "Sweet And Innocent."
The store where I had carte blanche was called Mason's Dept. Store and purchased those records, as my late Grandfather was store manager there. Mason's was part of a retail chain, who's parent company was M.H. Fishman. He met my late Grandmother at the store in Massena, NY. I have a 12" broadcast recording from 1935, in which he appears briefly. They moved all over New England, my Mom was born in Maine, I, in Boston, then eventually after my parents divorce to Erie in 1959, my Mom and I arrived here in 1960. I also recall buying 45s at Murphy's and Grant City (W.T. Grant's.) |
Posted By: Yah Shure
Date Posted: 08 May 2008 at 3:12pm
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Paul, I often bought import LPs at Discount Records in Dinkytown, but was always disappointed that no record stores near the "U" carried singles. One day on my way out the door at Discount, I spotted a KDWB 6+30 survey tacked to the wall. After I glanced around and didn't see a stash of them anywhere, I asked the clerk why it was on the wall. "That's for the 45s for the kids." Great. They'd been selling 45s all along! You ordered them by their chart number, and they kept them hidden away behind the counter. Methinks they were years ahead of the labels in not wanting to cannibalize a potential album sale on account of a lowly 45. :)
Was it the Record Collectors Co-op that you think was the "auxilliary shop" near Oarfolk? There was one real treasure in town: Don Leary's in St. Anthony. Don had been an independent dealer for decades, and he had THE BEST inventory of 45s new and old, and often bought directly from the labels. Don was one of those cranky owners who'd yell at you if you took the 45 out of its sleeve in plain view to inspect it. He'd sell promo copies with "certified gold standard" stickers covering the promo markings on the labels. I didn't care, because 75% of what I'd special order at Musicland would come back stamped "not available," and Leary's was my last hope of finding those singles. In 1973, I was glad to find that he had two stock copies of "Sunshine Ship," a WMMR fave by Arthur, Hurley & Gottlieb on Columbia, so I bought one. The last time I stopped in during his going-out-of-business sale around 1986, I found the other copy still sitting there in the bins, so I bought it, too. I'd spend hours there browsing, unable to focus on much of anything beyond an arms-length for some time after leaving the store. It was while working at Heilicher Brothers (Musicland's owner) that I discovered why so many of those special orders weren't fulfilled. If the 45 was new and on one of the majors with its own distribution (Columbia, Decca/MCA, Capitol) no matter how obscure the record was, they could almost always get it. WEA was hit and miss (mostly miss.) For the independently-distributed labels that Heilicher's themselves distributed (ABC/Dunhill, Motown, Bell/Arista, UA, etc.) their 45 buyer had to purchase each title from the labels first, and the minimum order requirements pretty much ruled out those single copies special-ordered by some Yah(oo.) |
Posted By: Paul Haney
Date Posted: 09 May 2008 at 6:08am
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Yah Shure, how could I forget about ol' Don Leary! I didn't discover him until about 1983 or so and I was also at his going out of business sale. He was mostly cranky, but for some reason he took a liking to me and he'd let me get first crack at any new 45's he got in each week. If the record came with a picture sleeve he was sure to have it.
I'll never forget one day at Oarfolk I met Peter Buck of R.E.M. I also saw Paul Westerberg of The Replacements there on a few occasions (the owner of Oarfolk was The 'Mats manager). The Record Collector's Co-op (how could i forget THAT name:) was the 45 shop that started in the basement of Oarfolk proper, then moved just around the corner to another little basement shop. Their prices were a little steep, but you could usually haggle with the guy to get a better deal. Those were some great days. |
Posted By: crapfromthepast
Date Posted: 14 May 2009 at 7:35pm
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After a 1-year break from this thread, I actually have a real "Don't Look Back" question.
Compared with the version I have on three Time-Life CDs (AM Gold - 1978, Sounds Of The Seventies - AM Nuggets, Guitar Rock - 1978-1979), the version on Music By Mail's Rock This Way sounds much cleaner and runs about 1.9% faster. Rock This Way runs 5:57. Was there a pitch difference between the LP and the 45? I sold off my Boston LPs years ago, and this is right before I started collecting 45s, so I don't have a vinyl copy of this song at all. |
Posted By: Hykker
Date Posted: 15 May 2009 at 6:16am
As I recall, the 12" promo single had the 5:53 version on one side, and a longer version on the other that essentially segued into the next cut on the album ("The Journey"?) to make a roughly 7:00 tune. The station I worked P/T during the song's chart run wanted us to play this long version whenever possible since no one else in the market was playing this version. Otherwise we used the 5:53 one...I don't think we played the 4 minute edit at all...never saw a copy of it there. Kind of odd for a small-ish market AM! |
Posted By: Bill Cahill
Date Posted: 16 May 2009 at 6:43am
| I don't have an original LP to compare with but the 12" promo "Don't Look Back" has a label time of 5:53 but runs 6:01. (That's the side without "The Journey") The DJ 45 (both sides) have a label time of 4:05 but both run 4:06. The pitch of all three of these is about the same, I couldn't determine much of a difference, any slight difference might have simply been due to mastering from different machines. That doesn't answer the main question as to whether or not the stock 45 is pitched different than the original LP, someone else will have to check that, but the DJ copies, 12" and 45 rpm were very close to being the same pitch. |
Posted By: sriv94
Date Posted: 16 May 2009 at 7:19am
As a postscript to this, I finally realized why WLS created an edit for "The Bitch Is Back." Seemingly they might have a problem with the verse that contained the line "I get high in the evening sniffing pots of glue." ------------- Doug --------------- All of the good signatures have been taken. |
Posted By: Yah Shure
Date Posted: 16 May 2009 at 10:53am
Ron, although the stock 45 runs a tad faster, I wouldn't call it a significant difference. Because the LP cut tracks into "The Journey", I timed them both up to the beginning of the last note, which occurs at 5:50.205 on the stock 45, and at 5:50.820 on the LP, a difference of .615 of a second. |
Posted By: crapfromthepast
Date Posted: 16 May 2009 at 11:15am
That's consistent with the Rock This Way version. Looks like the Time-Life versions all run 1.9% too slow. |