I use YouTube to MP3
Why does it update so much..Is google tying to block it?
Why does it update so much..Is google tying to block it?
Well, I indeed said:Well yes and no. Sometimes the single versions have different arrangements and instrumentation as compared to the album versions. John Waite's tune Missing You is a good example of this. The single mix has reverb on the vocals that is missing on the album version, for example. I'm glad I got it from TM while I had the chance.
Yours is a different example than the one that I cited.assuming that that is the only difference between the single edit and the album version.
Don't know. I can't even log in anymore. But I do not need to log in just to download.I use YouTube to MP3
Why does it update so much..Is google tying to block it?
If you are talking about original single versions of Top 40 hits, might I add:
Tone Loc-Funky Cold Medina.
The single/radio/hit version uses a different vocal than the LP version. I've heard the album version misused on a couple of "Variety Hits" stations. The single version has a spoken intro as well ("...and we go a little something like this...hit it!"). The hit version can be found on Rhino's "Millennium Hip Hop Party" compilation.
As for "Holiday"....most stations seem to use the remix from "The Immaculate Collection".
Another one where stations seem to use the album version (instead of the single): Men Without Hats-Safety Dance
Just finished formatting a Variety Hits station that launches mid March and the decision was made to use album versions where we can. Our thinking is when the CD or whatever was purchased it was the album version that was listened to so why not give people that version instead of some arbitrary edit....I worked for one station in the late 80's that had a 4 minute or less rule, and as the Production Director on add day there would be music on my desk with instructions on where to cut to make the time limit...The majority of the time it was an instrumental bridge that got cut but more than once I cut an entire verse to make the 4 minute rule....Needless to say songs like Baker Street were murdered to make the time limit...I realize using the album cut goes against the norm, but maybe shaking things up a bit is what is needed from time to time.....
In most cases I prefer the radio versions of 80s songs, and that's what I use on my 80s Internet station. The station has been operational since May of 2009, and not one listener has ever complained to me about the versions of songs I use. There are a few exceptions where I will use the longer version. One example is Heart To Heart by Kenny Loggins. In this situation I use the 5:00 minute version, because to my ears the shorter version sounds abrupt.
This reminds me of Money For Nothing. The original single version is around 4:30. Of course cutting the verse from the song that contains the objectionable word, knocks it down to 4:00 minutes.
R
I am annoyed at how some stations still frustratingly stick with the single edit of a given song, rather than going ahead and playing the album version.
I gather that he primarily wants single remixes (not necessarily edits) of songs that apparently weren't available (at least in that particular mix) on the album. With groups who were one- or two-hit wonders, such remixes are going to be EXTREMELY hard to find.You and BRH (post #13) appear to want opposing versions. Remind me never to let you jointly program music anywhere.
(I know that in the case of Hall & Oates, that dance mix of "Out of Touch" had to be counter-balanced with an extended period of silence on the opposite side of the cassette. And I don't know if that wasn't done more often possibly because record companies shied away from long periods of silence on cassettes back in the day.)
Which sort of begs the question, why wasn't silence at the end of an 8-track (I would guess primarily on the fourth channel) acceptable? If you encounter silence, you could easily "play through" it by switching to one of the other channels. Somehow, splitting songs over multiple channels was preferable to having (extended) silence anywhere on the tape. With cassettes, you could obviously fast-forward.Actually, that practice was fairly common; the cassette insert card would contain some kind of disclaimer that the blank portion at the end of a side was to allow for program continuity. Otherwise you would have had switch-over gaps in the middle of a song (remember 8-tracks?)
That's it right there! If you have any of those 12" singles, you would notice that there are often different mixes right there on the same record!This is only going to get worse now that we are in the era of the Cult of the Eternal Remix, where any given song seems to exist in a dozen different versions. No longer is "a" recording "the" recording. I've even heard "Now" CDS that contain alternate mixes other than the ones typically heard on radio; and if any CDS should follow the radio versions, it's those!
Which sort of begs the question, why wasn't silence at the end of an 8-track (I would guess primarily on the fourth channel) acceptable?
Didn't really mean to send this one off-topic, but I will get to that in a moment. The Hall & Oates and Men Without Hats examples were the only ones (that I am aware of) in which a bonus track on the cassette was a dance mix of the single. In the case of John Mellencamp (for example), a song entitled "The Kind of Fella I Am" was a bonus track on Scarecrow which appeared on the cassette and CD, but not on the LP. But that particular song was never a single. What I was getting at earlier was that there would be longer than normal such periods of silence at the end of the cassette when the bonus track was a dance mix of the single.I suspect the reason they would track change in the middle of a song on 8-tracks, instead of having excess silence on any given track, was due to the cost of manufacturing. 8-tracks required lubricated back-coating on the tape due to the endless loop design. I would imagine it cost more to make such tape, as opposed to what was used for cassettes.
they cut off the entire intro of Culture Club's "Do You Really Want To Hurt Me". I've heard it with a shortened intro, but this is the first time I've heard it with the whole intro chopped off, and beginning where the bass drops.
And as for the aforementioned Billy Joel's "My Life", most stations are now playing a re-done edit of the song that avoids the awkward hacked-off hi-hat where the piano solo is skipped over.
I have the same version of the Culture Club and Whitesnake songs. Got them from TM Century awhile back.