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This was in comparison to the then occasionally found 'Part 2' B-side of a record, while similar, tended to be the latter half of a lengthy album track, split for seven-inch release, but in many cases this wasn't the full instrumental, so could be more awkward to use. While not his very first production work his first mixing effort was the northern soul track by The Carstairs " It Really Hurts Me Girl "  inin earlyduring his quest to adapt songs beyond the radio-friendly three-minute mark for his mixtapessoon-to-be famed disco mixer Tom Moulton went to Scepter Records for material.
He had an extra copy of the master tape and let Moulton take it home to experiment. There were previous albums that had side-long tracks, and medleys which were usually cover versions or re-recordings, but here was a new piece of music composed out of already recorded pieces of music, making it the very first "DJ mix" committed to vinyl, with Moulton admitting it was conceived as a tool for dancefloors. A followup was the Motown compilation Disc-O-Tech series, released mid May  which put together some of the label's most danceable hits onto a number of albums.
Disc-O-Tech 2 however, specifically focused on blending a number of their disco releases into a non-stop medley. Rodriguez told him that for it to be viable, the level would have to be increased considerably.
Because of the wider spacing of the grooves, not only was a louder sound possible but also a wider overall dynamic range distinction between loud and soft as well. It also meant that these extended versions being created by Moulton could be given to fellow DJs and tested within a nightclub environment to see how well it worked the dancefloor, with adjustments subsequently made to the remix.
Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would instantly become industry practice. This would perhaps have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, and the DJ in the club wanted sufficient dynamic range, the format would likely have enlarged from the seven-inch single eventually.
Ironically, Moulton's mix of Downing would be eventually released by Chess Records for sale to the general public, but only on a standard-issue 7-inch record for sale in October An acetate twelve-inch test pressing single hailed as being a first by Moulton was South Shore Commission " Free Man ". In many cases there would be no logos, and many contained handwritten text only.
Test pressings being tried out at discos were reported on in Moulton's weekly column in Billboard during early April Mentioned in his Billboard column in mid April as being 'out soon',  a known 10" acetate had a date of 8 Maywith twelve-inch acetates and promos also appearing at some stage.
A sometimes mentioned candidate for the title is Moment Of Truth "So Much For Love",   but this was commercially released a year later, the band having been signed to Salsoul Records in June and the song only appearing in disco charts at the end of July. Many of the above disco era timelines were driven by the DJ necessity to give a better nightclub dancefloor experience to patrons, and as the Meteor 1 - Rain - The Remixes (Vinyl) grew, it began to be chronicled in trade press publications such as Billboard and Record World.
Tom Moulton began to write for the former from 26 October in the Disco Action column  which changed name as time went onwhile Vince Aletti wrote Disco File in the latter from November The DJs would increasingly be expected to report back, much like with radio, with what songs worked on their dancefloors to the record company and mixers such as Moulton and others so that a strategic decision would be made whether to further fine tune or remix the music to enhance the reaction, typically a new edit would be repeatedly created, pressed on acetates and supplied until a good reaction was had.
Record companies would also supply limited stocks of these dubs or promos to key DJ record shops in New York from such as Colony Records, Downstairs Records and Melody Song Shops, with reports of sales and interest being fed back to the trade press so that they could report trends in the scene, and record companies as further proof of their marketing and promotional efforts.
Record pools were established, the first in New York in June for better distribution of pre-release records to bona fide DJs as record labels began to appreciate their role in breaking and selling records. Although primarily pressed for quality control of both the sound and physical attributes before a large run of vinyl is made, when compared to an acetate, test pressings vinyl issues would be far more durable, much more likely to be funded by the record label, potentially would have printed centre labels, and are possibly pressed in larger numbers than acetates to include them in promotional runs if the records were deemed suitable for play.
These were also much less likely to have picture sleeves, usually depending instead on a generic cover. Twelve-inch acetates for this single were pressed in April and was subsequently produced as twelve-inch vinyl with typed labels in June.
This was released commercially on 7-inch in May This was issued in mid February and was subtitled 'Specially Prepared For Disco Use', but it held same length versions of the selected album tracks. The very first wide-scale record company promotional twelve-inch single according to Moulton considering his then position with Billboard at the time as disco product reviewer, and that most of the very limited inch records up to this point involved his own remixeswas Frankie Valli " Swearin' To God ", issued by Private Stock Records in June with a min running time.
The album cut was minutes in length. Although Private Stock distributed nationally, these 10 and inch pressings may have been limited to New York DJs only. Barrabas "Mellow Blow" became the first 33rpm promo to be released in July,    but eventually commercially only on an Atlantic 7" in September. Warner-Spector 's Calhoon " Do You Wanna Dance, Dance, Dance" had a inch acetate from May,   given out as a one sided inch vinyl promo in the same month,  and as a inch promo in July The first song found on a twelve-inch single commercially issued for public purchase from the disco era onwards was " Ten Percent " by Double Exposure on Salsoul Records in May The seven-inch edit had been released a month earlier but sales of this were slow.
A clutch of releases including Jakki "Sun This was issued with a promotional sticker stating "we have a very BIG single for you". The sides were the same lengths as the versions on his Naturally album.
The Jamaican reggae and US disco trend also hit London, reggae being popular along with uptempo forms of music such as Motown and northern soul, the seven-inch record being the primary medium in the early s for this material, with the UK following up a little later than the US with inch singles.
The reasons were different, the UK jocks did not have the same need to extend records like the US pioneers who wanted longer records for the dancefloor. Although the use of larger temporary singles primarily 10" started from the Jamaican influence and before such as the pre- Beatles band The Quarrymen with the one-off " In Spite of All the Danger " inacetates were also used by the record labels to quality control the eventual product, and not for servicing single songs or exclusive remixes, and then not in the inch format.
The usage of the inch vinyl as a medium followed the US promos introduction but was initially seen as a marketing tool to help promote an artist more uniquely. It therefore was not exclusively used for disco songs but included pop artists, however it eventually came into its own in the later s with the lengthened versions of US disco songs being promoted in the UK. Atlantic Records was an early front runner with two inch promo singles: Ben E.
These early issues usually containing the original 7-inch edit, It took a little later for lengthened versions to begin appearing, with s UK club DJ Greg Wilson recalling promotional inch product being mailed out from AugustLalo Schifrin "Jaws" being his first one, which was in extended form. Bush and the latter two acts had Gerry Shury production involvement, and these two releases were issued by John Abbey 's Contempo Records from 8 Octoberthese songs having been previously released in either 7-inch format or as album tracks.
The broad visual spacing of the grooves on the twelve-inch records made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light without having to listen while dropping and re-dropping the stylus Meteor 1 - Rain - The Remixes (Vinyl) find the right point. A quick study of any DJs favorite discs will reveal mild wear in the "break points" on the discs' surfaces that can clearly be seen by the naked eye, which further eases the "cueing" task a club DJs tone-arm cartridge will be heavily weighted and mild wear will seldom spoil the sound quality.
Many DJ-only remix servicessuch as Ultimix and Hot Tracks, issued sets with deliberately visualised groove separations i. Motown were one of the first to "eye cue" their 12" disco discs, giving DJs the track's BPM and info on the exact length of the various sections of the song - one of the earliest examples of a record company recognising how important the DJ was to become by making their product more user-friendly.
Following the lead of Meteor 1 - Rain - The Remixes (Vinyl) US club DJs, using inch extended versions in the UK as a mixing tool was advocated particularly by James Hamilton of the Record Mirror music weekly paper, with him notably indicating the approximate BPM of late s disco tracks onwards. Increasingly in the s, many pop and even rock artists released twelve-inch singles that included longer, extended, or remixed versions of the actual track being promoted by the single.
These versions were frequently labeled with the Meteor 1 - Rain - The Remixes (Vinyl) designation "inch version", "inch mix", "extended remix", "dance mix", or "club mix".
Later musical styles took advantage of this new format and recording levels on vinyl twelve-inch "maxi-singles" have steadily increased, culminating in Meteor 1 - Rain - The Remixes (Vinyl) extremely loud or "hot" cuts of drum and bass records of the s and early s. Many record labels produced mainly twelve-inch singles in addition to albums during the s, lots being mostly regular A and B-sides, not remixes.
Certain labels such as Factory Recordsonly ever released a handful of seven-inch singles. It was somewhat helped by the fact that Factory did not release a seven-inch version of the single untilfive years after the single was originally released as a twelve-inch-only release. Besides, the seven-inch version that was released was not the original version released on twelve-inch, but a re-recording called "Blue Monday ". The term "twelve-inch" usually refers to a vinyl single with one or more extended mixes or remixes of a song.
In the mid-to-late s, popular artists often used the twelve-inch format to include extra songs that were not included on albums, just as a seven-inch single often included a B-side song that was not found on full-length albums. CD singles grew in popularity in the s, so the term "maxi-single" became increasingly used for these. Many CD singles contain a number of such songs, in a manner similar to the older EP vinyl format.
Meteora Studio album by Linkin Park. Nu metal rap metal rap rock alternative rock. Warner Bros. Machine Shop. Don Gilmore Linkin Park. We really learned the meaning of pressure. But it wasn't pressure from outside people. It was artistic pressure from ourselves. You can't control the commercial success of a record, so there's no point in investing energy in that. But the quality of your record is entirely up to you, and you can't blame anyone else if you write crappy songs.
I don't remember how we did it, and I don't know how we're gonna do it again. We're kind of screwed. Then, fortunately, we were able to invest ourselves fully in the process for 18 months, and that helped us make a really great record. This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.
April Learn how and when to remove this template message. Linkin Park. The Making of Meteora. Nielsen Business Media, Inc. Retrieved Retrieved March 21, Retrieved August 18, Studio Expresso. NRG Recording Studios. Archived from the original on October 17, Retrieved August 21, July 25, Chester Bennington, Linkin Park singer has died at age of 41", Meteor 1 - Rain - The Remixes (Vinyl).
July 20, Retrieved May 28, Archived from the original on August 23, Retrieved May 7, Dot Music. Archived from the original on December 22, Retrieved 4 November Q Review. The Seattle Times. The Seattle Times Company. December 5, Retrieved February 12, July 24, Retrieved July 26, The Asian Age.
January 9, Retrieved May 14, Hung Medien. Phononet GmbH. June 5, Archived from the original on April 9, Polish Society of the Phonographic Industry.
Retrieved April 7, April 12, UK Albums Chart. Official Charts Company. Retrieved June 21, Retrieved 28 October Australian Recording Industry Association. Retrieved July 30, Note : On the chart page, select on the field besides the word "Zobrazit", and then click over the word to retrieve the correct chart data.
Retrieved August 3, Retrieved February 7, December 31, January Retrieved 16 January Archived from the original on January 8, The Meditations. Channel One recordings. Mighty Douglas Wardrop on the remix for this one.
Vivian Jones on the vocal. Back out on market courtesy jahfingers Two Plus One. Related Pages See all. Creation Rebel Sound System. Horus Records. Dub Vendor. Tudor Lion. Jah youth roots ambassador sound system. Natty Campbell MC.
Jan 17, · This feature is not available right now. Please try again later. View credits, reviews, tracks and shop for the CD release of Meteor Rain on Discogs. Best Meteor Rain Free Video Clip Downloads from the Videezy community. Free Meteor Rain Stock Video Footage licensed under creative commons, open source, and more!
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Rain-X: Outsmart the Elements with Rain-X wiper blades, windshield treatments, washes, waxes and tar and bug repellent products. Meteora is the second studio album by American rock band Linkin sioprovcabradeperfscormarcodenmenssol.co was released on March 25, through Warner Bros. Records, following Reanimation, a collaboration album which featured remixes of songs included on their debut studio album Hybrid sioprovcabradeperfscormarcodenmenssol.co album was produced by the band alongside Don Gilmore. The title Meteora is taken from the Greek Orthodox monasteries.
RELEASE: After Rain (Øostil & Heîk Remix) ARTIST(S): Blancah, Øostil, Heîk REMIXERS: Øostil, Øostil & Heîk, Heîk LABEL: Renaissance Records / REND GENRE: Lossless, Melodic House & Techno RELEASED: AVAILABLE FORMAT: Kbps, .
1枚目の「流星雨」より，f4一人一人の歌唱力がupしています。曲もそれぞれの個性が出ていて，とてもよかったです。f4のハーモニーもなかなか。f4で6曲歌っていますが，｢この声はjerry.これは・・」など，声当てしながら楽しんで聴いています。5/5(10). Aug 10, · Terraria has over eighty music tracks across every version of the game. Each one will play and loop endlessly while the player is in a specific biome or while certain events are taking place. Music is individual to each player, and as such its volume can be lowered or disabled entirely within the settings menu.. All the music in Terraria was composed by Scott Lloyd Shelly of Resonance Array.
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