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Topic: Top of the Pops on BBC Four - Thread Two.

Started by Dr Rock, August 26, 2018, 02:21:41 PM

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Egyptian Feast

Quote from: Norton Canes on May 24, 2020, 03:14:28 PM
Personal Jesus fact: The band were worried that the 'BEE-YOWWWW' slide guitar bit that punctuates the song didn't have enough punch. Producer Mark Ellis aka Flood messed around with a few effects but they still weren't satisfied. One of the band said "It really needs to go BEEE-YOWWWWWW!!!" but they still couldn't find a way to beef it up enough. So eventually they ended up recording one of the band actually howling "BEEE-YOWWWWWW!!!" and mixing that with the guitar. Look I didn't say it was interesting...

Hahaha! That's a brilliant fact, worthy of the hat-fucking thread. It's given me both a useful idea and a giggle every time I hear the song from now on, so I wouldn't sell it short.

Sebastian Cobb

The tie-die in that Debbie Gibson vid, bloody hell.


Natnar

Quote from: Norton Canes on May 24, 2020, 03:14:28 PM
One of the most disappointing comeback singles ever. After the untrammeled brilliance of Savage they regress to the MOR stylings of Revenge - but where that album had great tunes like Missionary man and Thorn In My Side, this is a horribly enervated gospel tinged thing surely aimed only at getting them back on the Radio 2 playlist. As for the performance... what were they thinking?! Were they going for some sort of Prince-style ensemble production? That shit play-fight between the backing singer and the bassist is horrendous. This is no way for Eurythmics to say goodbye to their decade. There must have been a ton of record company pressure on them to come up with something like this. 

.

Yeah i was very disappointed by Revival, all of the brilliant anger and bitterness of Savage was gone and replaced by blandness. Savage had been their worst selling studio album since In The Garden so i can see why their record company would have leaned on them to make something more commercial. Apparently there were originally plans to release a covers album in 1988 but for some reason that never ended up happening (although some of theses covers ended up appearing on the 2005 album remasters).

daf

14 September 1989: Presenters: Andy Crane & Simon Mayo

(7)   DAMIAN – The Time Warp
(16) MADONNA – Cherish (video)
(19) TECHNOTRONIC featuring FELLY – Pump Up The Jam 
(5)   TEARS FOR FEARS – Sowing The Seeds Of Love (video)



(17) SYDNEY YOUNGBLOOD – If Only I Could 
- - - - - - - - - - - (breakers) - - - - - - - - - - - -
(37) LONDON BOYS – Harlem Desire
(36) ROLLING STONES – Mixed Emotions
(35) WASP – Forever Free
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(10) TINA TURNER – The Best 
(1)   BLACK BOX – Ride On Time 
(23) AEROSMITH – Love In An Elevator  (video / credits)

Sebastian Cobb


kaprisky

Excellent. A studio performance of the track that would give Chris Eubank Sr. his theme tune.

And I can't decide if London Boys are brilliant or rubbish. Maybe they are both, simultaneously.

Sebastian Cobb

Lol at Crane nearly landing on the woman to his left who didn't get move enough during the crineworthy timewarp introduction.

Gulftastic

30 years ago I saw Madonna at Wembley Stadium. Technotronic were the support. They were useless and had no video screens or light show and it was broad daylight but we'd been stood up for about 4 hours when they came on and we'd have cheered anything at that point.

The Culture Bunker

I do have a distinct memory (I would have been eight) of seeing the video of 'Sowing the Seeds of Love' on an episode of Top of the Pops. Beatles pastiche it may be, but I've always rated it as a song. Shame the parent album was a bit duff.

DrGreggles

Quote from: kaprisky on May 30, 2020, 05:40:10 PM
And I can't decide if London Boys are brilliant or rubbish.

I always used to think it was the latter but, after recently hearing Requiem and London Nights for the first time in years, I now declare both songs to be pure Europop bangers.

daf

#2411
Quote from: daf on May 30, 2020, 04:01:42 PM
(1)   BLACK BOX %u2013 Ride On Time 

Am I detecting the Heather Small re-recorded version here? Sounds a bit more like her plummy bark.

Hard to find the Loleatta Holloway version on youtube, but this early TOTP performance should be the original (for comparison).



Quote from: daf on May 30, 2020, 09:46:06 PM
Am I detecting the Heather Small re-recorded version here? Sounds a bit more like her plummy bark.

Hard to find the Loleatta Holloway version on youtube, but this early TOTP performance should be the original (for comparison).

You're right, I can definitely hear the difference between the two you posted here.I guess technically the BBC could have played the version with the Loletta Holloway vocals anytime they wished as long as they reported to the PRS etc that they were playing Love Sensation. I couldn't find the original Italian release on YouTube for comparison, the original Italian release of Starlight (Invention Group) - Numero Uno isn't up there either which is a shame because that has Aretha Franklin vocal samples making up the vocal hook and sounds fantastic.

Dr Rock

A quick peek shows the original version is abundant on Soulseek.

Norton Canes

So, when they got Heather Small to re-record the vocal, did they get her to sing Love Sensation then chop up the vocal like they did with the original, or did they get her to sing Ride On Time?

Quote from: Norton Canes on May 31, 2020, 09:39:59 AM
So, when they got Heather Small to re-record the vocal, did they get her to sing Love Sensation then chop up the vocal like they did with the original, or did they get her to sing Ride On Time?

This would be the best route, just singing the relevant lines. When they do sample recreations nowadays (with music at least) they give you the relevant bar(s) and also the stems.

daf

21 September 1989: Presenter: Nicky Campbell

(21)  LONDON BOYS – Harlem Desire
Mostly 'armless
(17)  AEROSMITH – Love In An Elevator (video)
Ground floor: Cocaine, stationary, and leather goods. Going Down!
(24)  S'EXPRESS – Mantra For A State Of Mind
That'll do nicely!
(2)  RICHARD MARX – Right Here Waiting (video)
Alright Egghead, no need to keep Harpo on about it, Chico-chops!
(19)  THE WONDER STUFF – Don't Let Me Down, Gently
Emergency stool for Drumbo!
- - - - - - - - - - - (breakers) - - - - - - - - - - - -
(31)  THE BEAUTIFUL SOUTH – You Keep It All In
(30)  GLORIA ESTEFAN – Oye Mi Canto (Hear My Voice)
(29)  ARETHA FRANKLIN & WHITNEY HOUSTON – It Isn't, It Wasn't, It Ain't Never Gonna Be
(28)  DEACON BLUE – Love & Regret
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(25)  W.A.S.P. – Forever Free (video)
Manilow (Strum Like a Beast)
(1)  BLACK BOX – Ride On Time
Sneaky Smalls Sample



(22)  JANET JACKSON – Miss You Much (video / credits)
Kiss off!

grainger

Quote from: Norton Canes on May 24, 2020, 03:14:28 PM

Personal Jesus fact: The band were worried that the 'BEE-YOWWWW' slide guitar bit that punctuates the song didn't have enough punch. Producer Mark Ellis aka Flood messed around with a few effects but they still weren't satisfied. One of the band said "It really needs to go BEEE-YOWWWWWW!!!" but they still couldn't find a way to beef it up enough. So eventually they ended up recording one of the band actually howling "BEEE-YOWWWWWW!!!" and mixing that with the guitar. Look I didn't say it was interesting...

Surely this was Policy of Truth, PJ?

Norton Canes

Definitely Personal Jesus. Apologies for my inability to phonetically replicate the sound :)

Cuntbeaks

Quote from: daf on May 24, 2020, 02:07:20 PM
DEPECHE MODE – Personal Jesus [/color](video)

Came up on my first ever shroom trip to this video the night it aired, the video had a real menace to it, and I've always had a soft spot for it since.

buzby

Quote from: daf on May 30, 2020, 09:46:06 PM
Am I detecting the Heather Small re-recorded version here? Sounds a bit more like her plummy bark.

Hard to find the Loleatta Holloway version on youtube, but this early TOTP performance should be the original (for comparison).

Yes, the 'painter's overalls' performance for it's second week ayt #1 is when it changed to Heather Small's vocals. Listen to her voice crack at the end of the 'You're such a hot temptation' line - Holloway's doesn't. The harmonies on the 'time won't tell' section at the start aren't as rich either, presumably as they only had a couple of days to redo 3 versions of the track to keep it in the shops. The lawsuit came in the week it got to #1, and prevented the sale and distribution of any further copies of the record.

DeConstruction originally wanted to buy the rights to distribute Numero Uno, but Daniele Davoli's label Discomagic had already sold it to Beggars Banquet. They then asked him is he had anything else so he sent them Ride On Time which Discomagic had also released. Unbeknownst to him, Mike Pickering had already been pushing for them to release Ride On Time as it had been a big hit in Ibiza (courtesy of Oakenfold and Rampling, who had bought copies of the Discomagic release while on a trip to Italy).

As soon as DeConstruction heard the record, they were straight on to Daniele to agree to buy the rights, and they said they would sort out clearing the samples. The lawyers at BMG sent a contract to Holloway's label Salsoul to clear the samples for £5000 and 1% of the royalties. When it got to #1 Holloway went public and said it was her singing as she wasn't getting any money from it, and Salsoul started a lawsuit. Dan Hartman, the writer of Love Sensation also became involved, as he had not been credited either (he wanted 30% of the publishing, despite the fact he could have asked for 100%). BMG said that they had cleared the samples, but Salsoul replied in saying 'no you haven't, and we want £500,000 for them'. BMG said they had already agreed the deal, but when they went and checked the paperwork they hadn't had the contract back from Salsoul and had released the single regardless.

The injunction went in and BMG went into panic mode, and the only solution to keep the record in the shops was to rerecord the vocal samples ASAP. BMG found one of their development artists who could do a decent impression of Holloway's vocals (Ms. Small, who was at the time singer for the band Hot House who were signed to DeConstruction, and would soon become part of Pickering's band, also on DeConstruction) and got her to rerecord the vocals. They then rushed the tape of Small's vocals out to Daniele in Milan, and he had 24 hours to replace the vocals in all 3 mixes in order for the records to be manufactured for the following weekend.

The suits with Salsoul and Hartman were eventually settled out of court, with Hartman getting his writing credit and Holloway getting not much, as any royalties she got went to paying off her original advance to Salsoul.

We did cover the Heather Small/Black box situation in some depth in the 'F**k My Hat' thread 2 years ago (starting at this post from BM.).

#2421
Quote from: buzby on May 31, 2020, 10:50:41 PM
DeConstruction originally wanted to buy the rights to distribute Numero Uno, but Daniele Davoli's label Discomagic had already sold it to Beggars Banquet

Nick Halkes signed Numero Uno to City Beat (the dance division of Beggars Banquet) after hearing Andrew Weatherall playing it in Windsor, he later set up XL which was a sub label of City Beat with Richard Russell (the pair had their own hit Kicks Like A Mule - The Bouncer) and signed amongst others The Prodigy who he manages to this day. After leaving XL (where Richard Russell stayed and later signed Adele and The XX) he set up Positiva for EMI which was one of the dominant dance labels of the 90's.

Davoli/Limomi/Semplici has a purple patch in 1988/89 making amongst others Numero Uno, Ride On Time and my favourite and what was definitely their biggest club/rave hit Wood Allen - Airport '89 which was ostensibly a cover version of The Rah Band's - Electric Fling. For their trademark wailing diva sample in Airport '89 this time they ingeniously sampled Ian Gillan's vocal from a live version of Deep Purple - Some Kind Of Woman.

Also of note from this period is their version of Rick Astley's - Never Gonna Give You Up if only for this fantastic cover.


monkfromhavana

Quote from: Better Midlands on June 01, 2020, 01:51:57 AM
Nick Halkes signed Numero Uno to City Beat (the dance division of Beggars Banquet) after hearing Andrew Weatherall playing it in Windsor, he later set up XL which was a sub label of City Beat with Richard Russell (the pair had their own hit Kicks Like A Mule - The Bouncer) and signed amongst others The Prodigy who he manages to this day. After leaving XL (where Richard Russell stayed and later signed Adele and The XX) he set up Positiva for EMI which was one of the dominant dance labels of the 90's.

Davoli/Limomi/Semplici has a purple patch in 1988/89 making amongst others Numero Uno, Ride On Time and my favourite and what was definitely their biggest club/rave hit Wood Allen - Airport '89 which was ostensibly a cover version of The Rah Band's - Electric Fling. For their trademark wailing diva sample in Airport '89 this time they ingeniously sampled Ian Gillan's vocal from a live version of Deep Purple - Some Kind Of Woman.

Also of note from this period is their version of Rick Astley's - Never Gonna Give You Up if only for this fantastic cover.



Also Mixmaster - Grand Piano as well.

Quote from: monkfromhavana on June 01, 2020, 08:23:15 AM
Also Mixmaster - Grand Piano as well.

I used to love that one too, I think they managed to have a top 10 hit with a tune that was 100% samples and get away with it - the way it's put together to make a cohesive whole is genius, it took me years to realise where all the pieces came from.

buzby

#2424
Quote from: Better Midlands on June 01, 2020, 01:51:57 AM
For their trademark wailing diva sample in Airport '89 this time they ingeniously sampled Ian Gillan's vocal from a live version of Deep Purple - Some Kind Of Woman.
Daniele Davoli is a fan of heavy rock who got in to dance music via being a DJ (as rock music wasn't taken seriously in Italy at the time). He's a big fan of Deep Purple, and Ride On Time was an attempt to 'do a song with the power of Led Zeppelin and Deep Purple, but with a dance beat'.
Quote from: Better Midlands on June 01, 2020, 08:53:24 AM
I used to love that one too, I think they managed to have a top 10 hit with a tune that was 100% samples and get away with it - the way it's put together to make a cohesive whole is genius, it took me years to realise where all the pieces came from.
It's noticable that on the original Italian release it's credited as written by Davoli and Limoni, but on the UK licenced releases on BCM there's just an 'arranged and mixed by' credit to their pseudonyms.

Quote from: Gulftastic on May 30, 2020, 07:43:38 PM
30 years ago I saw Madonna at Wembley Stadium. Technotronic were the support. They were useless and had no video screens or light show and it was broad daylight but we'd been stood up for about 4 hours when they came on and we'd have cheered anything at that point.

I think John Peel reviewed a Madonna Wembley concert around this time, maybe this one?

Quote from: buzby on June 01, 2020, 09:42:29 AM
Daniele Davoli is a fan of heavy rock who got in to dance music via being a DJ (as rock music wasn't taken seriously in Italy at the time). He's a big fan of Deep Purple, and Ride On Time was an attempt to 'do a song with the power of Led Zeppelin and Deep Purple, but with a dance beat'

Thay makes sense, I also read on Discogs

"I guess they started sample this screaming because at the 1988-89 DMC World Mixing Championships, many djs use it a scratching tool. Daniele Davoli was judging these competitions.
This record is a wonderful track for playing in those early acid house rave days and a very nice tool for djs using the screaming and frequency effects on the B-side."

So being a rock fan he probably picked up on that sample, it's a great bit of sampling and I'd been looking out for it on disco accapellas for decades before I found out.

Norton Canes


Norton Canes


Norton Canes