And in that, he nails down for me what the enduring pull of Ska was to its many fans. Was there ever a more upbeat dance music that combined its boundless Who Cant Hear Will Feel - The Maytones - Only Your Picture (Vinyl with a push for progressive social values and calling truth to power? Search This Blog. The Specials Terry Hall, Lynval Golding, and Horace Panter, plus collaborators have announced that they are releasing their follow-up to Gorilla Grip". Review by Steve Shafer [Full disclosure: I was interviewed for and am quoted in this book, since I was Moon Records' director of promo Duff Interview: Heavyball!
Alimantando 1 Dr. Daniel T. Neely 1 Dr. Jau 1 Dr. Record Store Day will yet again see record shops across the UK join together to celebrate vinyl. Vinyl fans may also be interested to know that there is also a release from The Waterfront, who went on to become The Stone Roses, but when is Record Store Day ? Record Store Day was created in with the purpose of celebrating the culture behind vinyl and record shops, but to also drive customers into stores during the fallow months of Spring in this increasingly digital age.
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Wet Dream 2. Runaway 4. Save The Last Dance 5. Capture Rasta 6. Red Red Wine 7. Long Shot Kick The Bucket 8. Breakout 9. So Long I'm In A Dancing Mood LP) The Children Weeping Willow Enter The Dragon. Rock Steady 2. Freedom Street 3. Black Magic Woman 4. This World 5. Funky Kingston 6. This Way 8. Chant Down Babylon 9. This Old Heart of Mine Let It Be Me Rock Your Bones Reggae is Jam Music Johnny Cool Man Tracks of Disc 2 1. 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 as 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 Who Cant Hear Will Feel - The Maytones - Only Your Picture (Vinyl 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 among these first acetates is Moment of Truth "So Much For Love",   but this effort 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 of that year.
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 response was had from nightclubs, so creating a buzz which would drive the eventual commercial sales.
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 to 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 than the mixer, 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 plain cover. Twelve-inch acetates for this single were pressed in April and was subsequently produced as twelve-inch vinyl promotional singles 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 Atlantic promo to be released in July,    but eventually commercially only on an 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 As time went on, a growing number of record labels became aware of the inch format as a useful promotional tool, the benefits it gave for sound fidelity, and started to issue product in response.
However, into early none considered them at first as suitable for sale to the general public. Companies came to appreciate the place of the nightclub and how they helped to break a record, but still considered an extended remix to ultimately facilitate sales of the original 7-inch single version or the artist's album, and not as a sale item in its own right.
The costs for the format were also still prohibitive; one label reported inch singles cost more than it did to press an album. However, demand was being driven by record shops, particularly those serving disco product, with feedback from buyers. It was particularly noticed that many of the previously released promotional inch singles were attracting a premium in the resellers marketplace, with them in some cases changing hands for the price of an album.
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 mid 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. Although as LP) mentioned regarding the Jamaican dub influence on the use of inch acetates, the inch single was only born once imports of US disco singles were established from onwards.
The issued twelve-inch-single trend spread to Jamaica quickly, where hundreds of reggae singles were pressed in this format, and commercially issued as " discomixes " to catch on the disco hype. 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.
Another emphasis with the new format was the louder sound and better audio quality afforded to the release. 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. The page you are currently viewing enables you to see the status of the various auctions we are running.
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