|
|
Post by chrislc on Apr 24, 2011 18:24:20 GMT -5
Does Premiere do this intentionally for some reason, or do they just not know better? Gee whiz it was a #1 hit, after all.
Did they do the same thing earlier this year with the Cleopatra Jones theme? It sure didn't sound like a single.
|
|
|
|
Post by dukelightning on Apr 24, 2011 19:28:38 GMT -5
Premiere does not edit out wrong versions of songs. They can and should. Or they should play the right version as an optional extra.
|
|
|
|
Post by atruefan on Apr 24, 2011 19:43:38 GMT -5
Part of the problem with swapping out a wrong version for a right version could be that the beginning and end of the "wrong" song has Casey talking over it. Clearly, they are not going to have Casey rerecord intros and outros; so they probably just figure it's easier to leave the wrong version in.
|
|
|
|
Post by bigal on Apr 24, 2011 20:30:30 GMT -5
I think this is the second time AT40 played part 2 of GOT TO GIVE IT UP! I chuckle thinking of some poor listeners back then (as some remember, not all songs were played regionally, even hits, so for some listeners, this is their first time hearing the song, on a AT40 show) , hearing this song debut, saying "wow, new Marvin tune, cant wait to hear his vocal on this" only to hear a bunch of party noises! (:
|
|
|
|
Post by jdelachjr2002 on Apr 24, 2011 23:16:25 GMT -5
For the record, here is which side of "Got To Give It Up" AT40 played during its' chart run
4/23: Part II
4/30: Part II
5/7: Part II
5/14: Part II
5/21: Part II
5/28: Part I
6/4: Part I
6/11: Part I
6/18: Part I
6/25: Part I (peaked at #1)
7/2: No countdown (Girls of Rock 'n Roll Special aired)
7/9: Part I
7/16: Part I (Bruce Philip Miller subs for Casey)
7/23: Part I
7/30: Part I
Honestly I prefer Part I myself as Part II was nothing but as bigal referred to as "party noises".
|
|
|
|
Post by marv101 on Apr 25, 2011 9:56:48 GMT -5
I have no idea what 'Part II' even sounded like, and those 'party noises' were merely an attempt to simulate a live audience, since the song was recorded at a recording studio in Hollywood.
I always played the single at the suburban LA nightclub where I was in charge of programming the sets for our DJ.
|
|
|
|
Post by mkarns on Apr 25, 2011 10:54:06 GMT -5
This has always been, to me, one of the more inexplicable AT40 mistakes. Part 1 clearly sounds more like the actual song, and presumably that's what most radio stations in 1977 were playing. I can understand playing the wrong side once, but five times?
|
|
|
|
Post by matt on Apr 25, 2011 10:57:37 GMT -5
OK, that makes sense now. I was wondering what happened to the verses, chorus, etc. The version they played on the 4/23/77 show just sounded like a jam session. I am a big fan of the song, but would rather listen to Part 1 if I had to choose.
|
|
|
|
Post by dukelightning on Apr 25, 2011 15:16:17 GMT -5
I have no idea what 'Part II' even sounded like, and those 'party noises' were merely an attempt to simulate a live audience, since the song was recorded at a recording studio in Hollywood. I always played the single at the suburban LA nightclub where I was in charge of programming the sets for our DJ. Was part 1 also recorded at a recording studio to simulate a live audience? Part 1 is listed as a live recording and has to be because it was pulled from a live album that was released at the same time. |
|
|
|
Post by dukelightning on Apr 25, 2011 15:21:58 GMT -5
Part of the problem with swapping out a wrong version for a right version could be that the beginning and end of the "wrong" song has Casey talking over it. Clearly, they are not going to have Casey rerecord intros and outros; so they probably just figure it's easier to leave the wrong version in. That is a solvable problem. When I was in radio, I spliced together 2 songs to make 1 song i.e Another Brick in the Wall. The single version has the standard instrumental intro before the vocals but has a fade ending. While the album version has no instrumental intro but has a cold ending. I wanted the instrumental intro and the cold ending in one song so I spliced the 2 together. The same principle applies when editing out wrong versions of songs on AT40. And it must be 10 times easier now than it was in the stone age that I was in radio. |
|
|
|
Post by Big Red Machine on Apr 25, 2011 16:04:26 GMT -5
But the whole point of listening to the original shows is to listen exactly how they played it back then, and not tinker with it.
|
|
|
|
Post by marv101 on Apr 25, 2011 19:50:02 GMT -5
As Vince Aletti, who was the dance music columnist for Record World Magazine in 1977 when Marvin Gaye's 'Live At The London Palladium' album was released noted in his weekly column for RW, he expressed surprise at a sticker on the album cover citing the fact that 'GTGIU' was an 11:48 'smash disco hit', even though the single didn't hit #1 until many weeks after the album was released.
Aletti mentioned at the top of his column that this was indeed a studio cut, and that the background 'party noises' were merely an attempt to simulate a live concert, and anyone who owns the album will notice the difference at once.
|
|
|
|
Post by chrislc on Apr 25, 2011 21:15:13 GMT -5
Wikipedia's page for Got To Give It Up says the background was intended to sound like a disco. What it really sounds like is a house party. Gaye apparently was pressured by Motown to create a disco hit, and chose to try to parody disco music, specifically the song Disco Lady, and even when Gaye only tried to make light of something, he arguably surpassed it. It is an infectious song.
Might it be the first anti-disco hit?
|
|
|
|
Post by dukelightning on Apr 25, 2011 21:21:40 GMT -5
Wikipedia's page for Got To Give It Up says the background was intended to sound like a disco. What it really sounds like is a house party. Gaye apparently was pressured by Motown to create a disco hit, and chose to try to parody disco music, specifically the song Disco Lady, and even when Gaye only tried to make light of something, he arguably surpassed it. It is an infectious song. Might it be the first anti-disco hit? I would guess not. There were several artists who recorded disco but did not like it, his one time duet partner Diana Ross being one of them. And for those of us who heard the SXM AT40 this weekend, Nile Rodgers and Bernard Edwards of Chic also did not like discotheques although Casey never said that they did not like disco music. Ironically, Rodgers and Edwards produced an entire album for Diana.....Upside Down and I'm Coming Out were on it. So Disco Lady led to Got to Give it Up which led to Shake Your Body. Interesting stuff here. |
|
|
|
Post by marv101 on Apr 25, 2011 22:36:40 GMT -5
Nile Rodgers was certainly a much-in-demand producer back then; besides his work with Sister Sledge, he also co-produced David Bowie's 'Let's Dance' CD in 1983, and the title song became Bowie's second #1 single, following 'Fame' in 1975.
I don't know if Gaye was indeed 'pressured' to record a disco song, but, you can't argue with the results, but disco was white-hot in the mid-seventies, so why the heck not?
|
|
