Various - 12X Goud (Vinyl, LP)


Download Various - 12X Goud (Vinyl, LP)

Label: CNR - KRO 24 • Series: Kroon Serie • Format: Vinyl LP, Compilation • Country: Netherlands • Genre: Pop, Folk, World, & Country •

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Custom vinyl packaging Custom vinyl cover, sleeve, gatefold jacket, center labels, fully personalized with your artwork. Small order vinyl pressing Artists and record labels only need the quantity that they can sell. Limited edition vinyl records Fans will pay the right price for highly collectible records, with HQ audio and packaging. He had an extra copy of the master tape and let Moulton take it home to experiment. When Moulton brought it back a few days later, Cheren writes, "We were amazed: a so-so record was suddenly snappy, upbeat, and ten times better".

But the biggest surprise, Cheren continues, was something "so radical I could hardly believe my ears". Moulton had stretched the original track, not even three minutes long, to almost double its time, and in the process debuted what would become known as the disco break. 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 [26] 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', [37] a known 10" acetate had a date of 8 May , with 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", [43] [44] but this was commercially released a year later, the band having been signed to Salsoul Records in June , [45] 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 [47] which changed name as time went on , while 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 , [56] 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 remixes , was 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, [68] [69] [70] 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, [71] [72] given out as a one sided inch vinyl promo in the same month, [73] 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 " in , acetates 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 August , Lalo 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 October , these 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.



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