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. [9] More lengthier tracks could be accommodated on each side of the 12-inch disc, or shorter but more numerous tracks per side. No copyright infringement intended. [28] Upon completion, Moulton found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space. 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. [15], Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a. APOLLONIA 6 CD Vanity, PRINCE , MOTOWN Rare CD Extended Version, Limited Edition. Wax or lacquered discs, similar to the masters used to press records and sometimes referred to as acetates or reference (ref) discs, were at this time made to create one-time promotional product such as songs or jingles used by radio stations, as well as archiving. Atlantic Records was an early front runner with two 12-inch promo singles: Ben E. King "Supernatural Thing" backed with Osiris "Warsaw Concerto",[120][121] along with Herbie Mann "Hijack" b/w Jimmy Castor Bunch "The Bertha Butt Boogie",[122] both at 33 rpm and issued in approximately June 1975 (based on the catalogue numbers used),[123] but rumoured to be as late as October. APOLLONIA 6 CD Vanity, PRINCE , MOTOWN Rare CD Extended versions : Condition: Very good. Many record companies in the 1970s began producing 12-inch (30 cm) singles at 33+1⁄3 rpm, although 45 rpm gives better treble response[1] and was used on many twelve-inch singles, especially in the UK. These versions were frequently labeled with the parenthetical designation "12-inch version", "12-inch mix", "extended remix", "dance mix", or "club mix". 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. 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. The gramophone records cut especially for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. [136] In 1988, the compact disc surpassed the gramophone record in unit sales. A wonderful collection of hits from Motown Records as you've never heard them before. [5] The first twelve-inch LP (containing only one track per side), was Beethoven's Symphony No. The B-side of the record is blank.[16]. The popularity of remix sound engineer King Tubby, who single-handedly invented and perfected dub remixes from as early as 1967, led to more exclusive dub plates being cut. This was immediately noticed by them to give a more favorable, 'hotter' sound which would appeal to discothèque play. Marc Almond's lead vocals echo Diana Ross's lead vocals on the original version. $15.00. 30-day returns. Ships from United States. [137][138][139][140], 12-inch singles have continued for sales of dance acts or for dance remixes of commercial artists as there was a continued high regard of the format from DJs into the 2000s and 2010s. [29] Moulton subsequently created a lengthier 7:15 min mix for the album which appeared in late October. Adding to your cart. Tom Moulton began to write for the former from 26 October 1974 in the Disco Action column[44] (which changed name as time went on), while Vince Aletti wrote Disco File in the latter from November 1974. $124.99. Following the lead of the US club DJs, using 12-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 1970s disco tracks onwards.
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