Explore releases from The International Pop Orchestra at Discogs. Shop for Vinyl, CDs and more from The International Pop Orchestra at the Discogs Marketplace. The 12 Greatest Songs Ever Written (Album) 4 versions: Columbia: SC The song Summertime was written by George Gershwin, Ira Gershwin and DuBose Heyward and was first performed by Abbie Mitchell. It was first recorded by Abbie Mitchell in It was first released by Helen Jepson in It was covered by Coco Schuman's Quintet, Raymond Scott, Tony Scott and The Indonesian All Stars, Joe Sealy Trio and other artists. Jun 20, · Summer is here and we've put together a playlist of the best summertime music around right now, including songs from Jonas Brothers, Mabel, The Black Keys and Tame Impala. If you're looking for a summer music mix, you've come to the right place - .
Several hundred copies were made available for sale for 98 cents each at two Tower Records stores. Swamp Dogg. It was manufactured by Jamie Record Co. The B-side of the record is blank. Notably, Tom Moultonand Scepter Records along with its production chief Mel Cheren later co-founder of dance label LP End Records were involved in several of these pioneering steps due to their artists and strong base uptempo song material, forward-thinking company executives and innovative remixing.
The key city associated with these initial movements was New York, but as word spread other large cities such as Los Angeles and Miami contributed to the rise of the music and vinyl format. A key reason of the time was that very few varispeed turntables existed, so DJ's would only blend into a track with the same drum tempo or BPMwhich the instrumental naturally was.
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 Album) 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, LP. 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 scene 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 LP 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 to 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 the 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 parenthetical 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 the 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. As advances in compact disc player technology in the s made the CD acceptable for mixing by DJs, CD maxi-singles became increasingly popular for the mixes typically found on vinyl twelve-inch singles.
Any given release might include both a CD and a twelve-inch maxi-single, which might or might not have the same tracks. Around the time twelve-inch releases became a standard for pop records, this practice faded, because of the increase in marketing costs, the reliance on video to sell single releases, and the public's expectation LP quality packaging with photo or picture sleeves. From Wikipedia, the free encyclopedia.
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Retrieved 16 May Vinyl: A History of the Analogue Record. Retrieved 6 June Backbeat Books. Retrieved 15 May Retrieved 24 May Unfortunately, Bent isn't their best. Fancy will be remembered more as the song that introduced Iggy Azalea to the public consciousness, and less for its actual quality. But according to the listeners that sent Cheerleader to No. Xtina is a '90s icon, but nostalgia isn't enough to earn one of her duller hits a higher ranking. California GurlsKaty Perry feat. Snoop Dogg Drake's dancehall phase produced a string of enjoyable singles.
G, and thanks to its May release date, one of rap's most depressing hits also became the year's song of the summer. While it's a classic, it maybe doesn't belong on your pool-party playlist. Is there another track that has compelled as many secular listeners to scream "Mazel Tov! Another weirdly emo choice to hit No. Call Me Maybe is the archetype of the modern song of the summer, an earworm that listeners can't escape, no matter how they try.
And yet, we were always glad to hear Call Me Maybewhich launched the career of one of pop's most effervescent stars. A wistful summertime classic, Usher's earlier hit gets the nod for being a little more upbeat than Confessions Part II.
EU 2 LP set. Beyond being a mere trophy case of commercial success (and it won't be hard to find critics who'll argue that these singles aren't even the band's best work), One is also a Cliff's Notes take on a remarkable seven-year run of musical evolution, one that stretches from the neo-skiffle of "Love Me Do" through a remarkable synthesis of R&B, rockabilly, Tin Pan Alley, gospel, country /5(4). Artists have long embraced their inner symphonic self as you can hear on these 25 classic orchestral rock tracks, featuring Yes to Radiohead. On 10 February in Studio One at Abbey Road, a. May 20, · Best Summer Songs of All Time Few songs have ever dominated a summer like this landmark Latin-pop smash — a seductive reggaeton groove that took the .
Jun 27, · It’s the one that lingers the longest, probably because Summertime Blues is hands down one of the best rock ‘n’ roll songs ever (it’s ranked No. 73 in Rolling Stone’s Greatest Songs.
The undisputed song of summer was Lil Nas X's "Old Town Road," which sat atop the Hot Billboard chart for 17 weeks. The song beat the record set by Mariah Carey's song "One Sweet Day." It stayed on top of the Billboard charts for a total of 19 weeks. Sep 21, · MFSB TSOP (The Sound Of Philadelphia) / Love Is The Message (Philadelphia International Records, ) Listen / Buy. Possible the biggest underground hit in NYC’s late ’70s disco scene, for many this is the Paradise Garage anthem. MFSB’s album by the same name – which also features Soul Train theme ‘T.S.O.P.’ – was a landmark release for the Philly soul movement.
Sep 21, · MFSB TSOP (The Sound Of Philadelphia) / Love Is The Message (Philadelphia International Records, ) Listen / Buy. Possible the biggest underground hit in NYC’s late ’70s disco scene, for many this is the Paradise Garage anthem. MFSB’s album by the same name – which also features Soul Train theme ‘T.S.O.P.’ – was a landmark release for the Philly soul movement.
Jul 24, · In , the British pop duo Chad & Jeremy offered arguably the best song about just that to date with this folk-tinged tune about breezes, sweet summer nights and soft kisses. Dean Martin had been recording singles and EPs for more than six years when he stepped into the studio on November 20, to cut his first 10," eight-song LP. Called Dean Martin Sings, it featured songs from the Martin and Jerry Lewis film The Stooge, a near-drama about a singer who needs his comic partner more than he realizes; the film was shot in but not released until
Jul 24, · In , the British pop duo Chad & Jeremy offered arguably the best song about just that to date with this folk-tinged tune about breezes, sweet summer nights and soft kisses.
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