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March 28, 2024, 11:51:48 AM

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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

Previous topic - Next topic
Quote from: buzby on December 27, 2018, 10:12:41 PM
you missed this one from the Breakers, daf:Written and produced by ex-Argent guitarist and prolific songwriter Russ Ballard (God Gave Rock & Roll To You, Since You've Been Gone and So You Win Again for Hot Chocolate). The instrumentation at the start sounds a bit like Vienna-era Ultravox, but overall the somg could easily be mistaken for something by Jim Diamond (and not just Elkie's voice - the tune isn't that far off I Should Have Known Better).

Russ Ballard also recorded Voices, which like In The Air Tonight was featured on Miami Voice and later became an underground dance hit/Balearic Beat.

https://youtu.be/imiFk2J4Dkk

Norton Canes

#451
Quote from: buzby on December 27, 2018, 10:12:41 PM
Animated by Giblets (Rob MacGillivray, Mike Sumpter, Carol MacGillivray and Michael Olley). On the back of their work on The Housemartins' Happy Hour they decided to make another music video to act as a showreel for their studio, and picked Wilson's Reet Petite to work with. Their animation was included as part of 'Video Jukebox', a programme about the history of music videos presented by Peel & Walters shown at 9.30pm on BBC1 on 9/5/86*, and the buzz generated by this prompted indie soul & dance label SMP (a sublabel of Passion Music, the UK licensee of Wilson's recordings from CBS) to reissue the single (they had originally released it as a 12" in 1983) at the end of November, seemingly in a deliberate attempt to get the Christmas No.1 which was successful, coincidentally knocking Giblets' previous clients off the top spot

An example of a significant difference in placings between the Official Charts and the MRIB Network Chart as used by The Chart Sow and independent radio - The Housemartins' Caravan Of Love was the 1986 Christmas number one, though Reet Petite topped that chart in the new year.

Jockice

There's no doubt at all in my mind that Caravan Of Love would have been the proper Christmas number one if TOTP had let The Housemartins appear live the week they topped the charts with their mums doing a dance routine behind them. What a great idea that was but apparently the powers-that-be wouldn't let them do it on the grounds that the parents weren't MU or Equity members. Shame that.

Sebastian Cobb

I hate Caravan of Love. It's shit.

It amazes me Norman Cook's production is so in your face, considering how drab it is.

daf

Enormous Cock didn't produce that, did he?

Says 'John Williams' * on the label


- - - - -
* finding a small window in his heavy schedule - between writing the music for all those Space Trek films and playing classical guitar in 'Toccata and Fugue in D Minor' hit-makers Sky! (Arf! Chortle! etc.)

Sebastian Cobb

He didn't produce it, but he was a housemartin.

monkfromhavana

Quote from: Better Midlands on December 28, 2018, 07:24:19 AM
Russ Ballard also recorded Voices, which like In The Air Tonight was featured on Miami Voice and later became an underground dance hit/Balearic Beat.

https://youtu.be/imiFk2J4Dkk

Tis a great tune.

buzby

Quote from: Norton Canes on December 28, 2018, 11:46:25 AM
An example of a significant difference in placings between the Official Charts and the MRIB Network Chart as used by The Chart Sow and independent radio - The Housemartins' Caravan Of Love was the 1986 Christmas number one, though Reet Petite topped that chart in the new year.
The MRIB chart was always flawed though. As Gallup had the chart returns contract with the major mainstream retailers like WH Smiths and Woolies, MRIB used mostly independent shops (their sales would have probably been biased more towards The Housemartins' demographic). Anything below the Top 10 in the MRIB chart should be ignored totally, as outside the top 10 airplay and playlisting contributed as sales (like in the Billboard chart) and could have a massive contribution. At least the Gallup chart is based totally on sales.

I think for the Christmas Day episode of TOTP the BBC went off the midweek chart returns (Christmas Eve was on a Wednesday), which is what led to Caravan Of Love getting bumped by Reet Petite. In the Story Of 1986 preview Heaton says they were told they had the Christmas Number 1 on the Sunday morning (the 21st, based on sales from the 14th to the 20th), but as Christmas Day fell on a Thursday then using the midweek sales to get the Number 1 on Christmas Day probably made sense, especially as most of the chart return shops would be closed for the following 2 days.

It must have been filmed quite late too, as the Reet Petite video isn't just edited in at the end - the studio ambience mics are faded up part way through so you can hear the audience clapping along (they did the same thing on the previous week's showing, but left it a little later).

Quote from: daf on December 27, 2018, 11:13:35 PM
25 December 1986: Presenters: Simon Bates, Gary Davies, Janice Long & Peter Powell (King Herod, Little Donkey, Virgin & Child)
Arf! Not sure Janice Long really fits with 'Virgin' though...
Quote
PET SHOP BOYS – West End Girls
No Fairlight this time (presumably they couldn't be arsed dragging it out and then having to get it working again afterwards), just their old faithful PPG Wave 2.3 and Emulator II

The day charts were announced did not move to the Sunday until October 1987 so wouldn't the 1986 Xmas chart have been revealed on Tuesday Dec 23rd and only be for sales up to the 20th, for which Reet Petite was indeed #1 (and would stay #1 for 3 more weeks)?

Heaton seems to be spinning a left-wing conspiracy theory and incorrectly assuming that the BBC compiled the chart.

Moreover, I doubt Monday 22nd would have a different sales pattern to Mon-Saturday 15th-20th

buzby

Quote from: Satchmo Distel on December 29, 2018, 09:16:24 PM
The day charts were announced did not move to the Sunday until October 1987 so wouldn't the 1986 Xmas chart have been revealed on Tuesday Dec 23rd and only be for sales up to the 20th, for which Reet Petite was indeed #1 (and would stay #1 for 3 more weeks)?
For the 18th of December TOTP editon where The Housemartins were at No.1 it was the Chart valid from the 14th to the 20th of December, which as you say was published on Tuesday the 16th and was based on sales data from the 7th to the 13th of December (the sales for that week were The Housemartins at No.1 with 73000 sales and Reet Petite at No.2 with 61000). Reet Petite had appeared in the Breakers on the 11th of December episode of TOTP, which presumably boosted it sales in the last half of the week including the crucial Saturday (apparently in comparison to the midweek sales it outsold Caravan of Love in the latter half of the week, which lines up with it's appearance on TOTP).

The following week's chart, valid from the 21st to 27th of December would be published on Tuesday the 23rd, as you say. This was based on sales from the 14th to the 20th of December, which had Wilson at No. 1 with 122000 sales and The Housemartins at No.2 with 108000 sales. They both had a boost from being featured in full on the 18th of December edition of TOTP, but Wilson's upward sales trend from the end of the previous week had continued. I can only assume Go! Discs had been fed some incomplete sales figures on the Sunday which were then passed on to Heaton (as you can see, sales-wise there was very little in it).

The Christmas Day edition of TOTP  had probably been recorded on the same day the chart was published, the 23rd, and Reet Petite was No.1. The New Year's Day 1987 TOTP episode went back to normal, featuring the chart valid from the 28th of December to the 3rd of January, based on sales from the 21st to the 27th of December which were 119000 for Wilson at No.1 and 112000 for The Housemartins at No.2. This was the week after both tracks had been played in full on both the 18th of December and Christmas Day episodes of TOTP.
Quote
Heaton seems to be spinning a left-wing conspiracy theory and incorrectly assuming that the BBC compiled the chart.
Regardless of any Establishment conspiracy theory from Heaton, the BBC did contribute 12% of the cost of compiling the chart.

Bobtoo

Didn't the Christmas chart cover two weeks then? I seem to remember they took a week off. The Sunday Top 40 rundown for the second week was always for the whole year sales as I recall.

daf

Quote from: Bobtoo on December 30, 2018, 10:27:21 AM
The Sunday Top 40 rundown for the second week was always for the whole year sales as I recall.

Never heard that one before - a bit like Top of the Pops doing the Christmas show filled with all the number ones * I suppose.

- - - - - -
* (not to mention a few "number two's" as well - eh, playmates!!)

buzby

Quote from: daf on December 30, 2018, 01:40:08 PM
Never heard that one before - a bit like Top of the Pops doing the Christmas show filled with all the number ones * I suppose.
Never heard of it either, unless it was a prerecorded fill-in to allow the presenter to have the day off if the last Sunday of the year was too close to New Years Day.

As far back as the charts go the BMRB and Gallup have always carried on producing them over the Christmas period.

Here is the Radio Times listing of the 1980 one:

17.02: Tony Blackburn
with the best-selling singles of 1980 Producer BERNIE ANDREWS
Contributors
Producer: Bernie Andrews

https://genome.ch.bbc.co.uk/schedules/radio1/england/1981-01-04

daf

#464
Nice find!

Leafing through that I see Tommy Vance takes over for the best of 1982 & 1983,
then . . .
Richard Skinner for 1984 & 1985,
and . . .
Bruno Brookes for 1986

There doesn't seem to be one after that, just the weekly chart.

Going backwards, 1979 also has one . . . and then I got bored!

- - - - -

Some choice nuggets in these listings, though - this from January 2 1978 :

Quote
13.31 : Jonathan King Rules
over a lunchtime quadraphonic spectacular during which he tries to realise a lifetime's ambition, that of being in four different places at the same time. He will attempt this feat without a safety net and aided only by a few of his more outstanding productions in quadraphonic sound. Producer DAVE TATE
(A quadraphonic broadcast using Matrix H, compatible for both stereo and mono receivers)

Quote
17.00 : It's D.L.T. OK!
(Mono only from 6.0)

From Quadraphonic to mono in under 5 hours - beat that!

Gradual Decline

Quote from: Satchmo Distel on December 31, 2018, 11:30:53 AM
Here is the Radio Times listing of the 1980 one:

17.02: Tony Blackburn
with the best-selling singles of 1980 Producer BERNIE ANDREWS
Contributors
Producer: Bernie Andrews

https://genome.ch.bbc.co.uk/schedules/radio1/england/1981-01-04

Full show in two parts - 1980

Enjoy.

#466
If you check the charts on the OCC site, you will see that up to 1983 the last chart in December always just duplicates positions from the previous chart. This caused some controversies, most notably the belief that "Happy Xmas (War Is Over)" was denied No. 1 in the weeks between St Winifred's School Choir and Imagine being No. 1, i.e. this chart:

https://www.officialcharts.com/charts/singles-chart/19801228/7501/

The duplication of this chart from the previous one gave the erroneous impression the following week that Imagine has jumped from 9 to 1 whereas a week's sales had actually been missed.

The first year that the Xmas chart was not duplicated on the second week was 1984*, as shown by the fact that TOTP on 3.1.85 was a new chart (Peel and Skinner). Apparently Gallup compiled this chart because it wanted to collect accurate sales for Band Aid, which became the top seller of all time in the final week but had been behind Stevie Wonder in the 1984 rankings prior to that week. This was the chart given by TOTP on 3.1.85 but not played by Radio 1 on 30.12.84:

https://www.officialcharts.com/charts/singles-chart/19841230/7501/

See how the positions match the TOTP episode:

https://www.tapatalk.com/groups/popscene/1985-t1269.html

Oddly, however, Skinner's Sunday Top 40 on 30.12.84 was the End of Year chart.

https://www.mixcloud.com/tunnicliffe1972/end-of-year-chart-1984-richard-skinner-30-12-1984/

I infer that Radio 1 chose not to broadcast the weekly chart because there had been so little movement over that week and there was more interest in an annual chart that year.

Some other shows:

https://www.mixcloud.com/discover/uk-top-40/


The programme on 1987 caused some tracks to enter the iTunes Top 1500 at these positions:

204. Curiosity Killed The Cat - Down To Earth
242. Terence Trent D'Arby - Sign Your Name
342. Terence Trent D'Arby - Wishing Well
426. Rick Astley - Never Gonna Give You Up
496. Black - Wonderful Life
506. T'Pau - China In Your Hand
600. Curiosity Killed The Cat - Misfit
602, 837. Bee Gees - You Win Again
659. Terence Trent D'Arby - If You Let Me Stay
772. Whitney Houston - I Wanna Dance With Somebody
739. Beastie Boys - Fight For Your Right
900. Michael Jackson - Bad
952. T'Pau - Heart and Soul
1008. Pet Shop Boys - It's A Sin
1056. Def Leppard - Animal
1139. Pet Shop Boys - Always On My Mind
1146. Michael Jackson - The Way You Make Me Feel
1310. Labi Siffre - (Something Inside) So Strong
1328. George Michael - Faith
1395. M/A/R/R/S - Pump Up The Volume
1398. Belinda Carlisle - Heaven Is A Place On Earth
1422. Mel & Kim - Respectable

DrGreggles

Quote from: Satchmo Distel on January 05, 2019, 11:41:34 AM
The programme on 1987 caused some tracks to enter the iTunes Top 1500 at these positions:

204. Curiosity Killed The Cat - Down To Earth
242. Terence Trent D'Arby - Sign Your Name
342. Terence Trent D'Arby - Wishing Well
426. Rick Astley - Never Gonna Give You Up
496. Black - Wonderful Life
506. T'Pau - China In Your Hand
600. Curiosity Killed The Cat - Misfit
602, 837. Bee Gees - You Win Again
659. Terence Trent D'Arby - If You Let Me Stay
772. Whitney Houston - I Wanna Dance With Somebody
739. Beastie Boys - Fight For Your Right
900. Michael Jackson - Bad
952. T'Pau - Heart and Soul
1008. Pet Shop Boys - It's A Sin
1056. Def Leppard - Animal
1139. Pet Shop Boys - Always On My Mind
1146. Michael Jackson - The Way You Make Me Feel
1310. Labi Siffre - (Something Inside) So Strong
1328. George Michael - Faith
1395. M/A/R/R/S - Pump Up The Volume
1398. Belinda Carlisle - Heaven Is A Place On Earth
1422. Mel & Kim - Respectable

Terence Trent D'Arby's first album is fucking great.
I think the first time I was aware of him was when he did 'If You Let Me Stay' on 'Friday* Live' in 87ish.

*or was it still 'Saturday Live' then?

Norton Canes

Just watched The Story Of 1987, it's definitely one of the most entertaining ones in the series.

daf

Poor old Ben Vol-au-Vent Poirot looked like he'd been pickled!

I assume a large chunk of the Curiosity millions were blown on some high-grade Colombian toot in order to achieve such a wizened old husk.

Also, that massive hat : You are bald, sir - BALD!

steveh

Am I misremembering or did the earlier Story Ofs have more analysis of music trends in them?


Jockice

Quote from: daf on January 05, 2019, 02:02:58 PM
Poor old Ben Vol-au-Vent Poirot looked like he'd been pickled!

I assume a large chunk of the Curiosity millions were blown on some high-grade Colombian toot in order to achieve such a wizened old husk.

Also, that massive hat : You are bald, sir - BALD!

He was on First Dates not long ago. Meeting up with someone who was a CKTC fan back in the day. But still turned him down.

daf

#473
Quote from: steveh on January 05, 2019, 02:15:24 PM
Am I misremembering or did the earlier Story Ofs have more analysis of music trends in them?

There were a lot more 'commentators'  than actual performers in the early ones - which gave them a bit more of a 'musical trend' analysis feel - as shown in the exhaustive list compiled below.

Note the big flip in the balance from 1978 - with the focus firmly on memories of the performers themselves.


1976 :
QuoteIn 1976, glam was over and nothing had replaced it - the charts belonged to Showaddywaddy, Brotherhood of Man and the Wurzels, all to be found on Top of the Pops hosted by the Radio 1 DJs. If you wanted rock you looked to the Old Grey Whistle Test, while outside the charts a new scene was rumbling.
Commentators :
Tony Blackburn (DJ / Presenter) / Paul Morley / Toyah (as viewer) / Diddy Dave Hamilton (DJ / Presenter) / Stanley Appel (TOTP producer) / Judd Lander (record company A&R & future Culture Club Harmonicist) / Lavinia Greenlaw (author) / Dave Haslam (writer / DJ)

Performers :
Brotherhood of Man / The Wurzels / Dave from Showaddywaddy 
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

1977
QuoteAs the country veered between strikes and street parties, pop bastion Top of the Pops was stormed by punk and new wave acts such as the Stranglers and the Jam. Yet Top of the Pops at first seemed unaware of the changes afoot and the way in which the show is made was beset by working practices that are perhaps symptoms of the way in which Britain could be said 'not to be working'.

Jeans were getting tighter, hair shorter and the tunes louder, but it was an incredibly diverse year. Disco was also a dominant force with Donna Summer's I Feel Love, alongside the reggae of Bob Marley and the Wailers, the pub rock of Eddie and the Hot Rods and the plastic pop of Boney M. British pop that year was in a state of flux - unpredictable and exciting.

Commentators :
Pete Paphides (music writer) / Eric 'Monster' Hall (PR) / Stanley Appel (TOTP producer) / Scott Talbot (TOTP sound assistant) / Alexis Petridis (music writer) / David Kemp (audience member) / Nicky Wire (Manics / as viewer) / Kid Jensen (DJ / Presenter)

Performers :
John Otway / Darts / JJ from The Stranglers / Paul Cook (Sex Pistols) / The Adverts
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

1978
QuoteIn 1978, Top of the Pops began to turn the credibility corner. As the only major pop show on television, Top of the Pops had enjoyed a unique position in the nation's hearts since the 1960s - the nation's teenagers who were now fed up with the show's predominantly light entertainment blend still tuned in every week in the hope of seeing one of the new young outfits thrown up by punk, new wave and disco. In 1978 it seemed the kids' time had come again for the first time since glam rock. Yet the biggest-selling singles of 1978 were by the likes of Boney M, John Travolta & Olivia Newton John, Rod Stewart, The Bee Gees and Abba.

Punk never quite fitted in with the mainstream - it had been treated with disdain by Top of the Pops and largely ignored by the show. Britain's teenagers had to endure the all-round family entertainment on offer when all they wanted was teenage kicks. Along came a generation of young post-punk and new wave bands armed with guitar and bass, ready to storm the Top of the Pops stage - from The Undertones, The Buzzcocks, Siouxsie and the Banshees, The Skids and Ian Dury and the Blockheads to The Boomtown Rats, Elvis Costello, The Jam and Squeeze - some weeks teenagers would get to see one of their bands, very rarely they got two, but there they were on primetime TV.

Commentators : Kathryn Flett (Journalist) / Mike Read (DJ / Presenter) / Ian Gittins (journalist)

Performers :
Richard Jobson (Skids) / Johnny Fingers (Boomtown Rats) / Fay Fife (Rezillos) / Boney M / Bryan & Matchstalk Michael / Jimmy Pursey (Sham 69) / Chris Difford (Squeeze) / Viv Albertine (Slits) / Barron Knights
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

1979
QuoteIn the year that the 'winter of discontent' saw continuing strikes black out ITV and TOTP reduced during a technicians strike to a narrator introducing videos, the show also found itself the site of conflict backstage. TOTP's old guard of 70s MOR acts had their feathers continually ruffled by new wave bands, as the Skids spat at the Nolan Sisters backstage and Generation X urinated off the roof onto the Dooleys.

Elsewhere in the corridors of TV Centre, in preparation for playing their single Death Disco, Public Image Ltd demanded their teeth were blacked out in make-up to appear ugly, while Gary Numan remembers the overbearing union presence which prevented TOTP artists moving their own microphones without a union technician and the Musicians Union trying to ban him from the show for his use of synthesizers.

The most popular musical styles of 1979 were 2 Tone, reggae and disco. The latter saw Nile Rodgers, the man of the year, score four hits with Chic as well as writing and producing a further four hits with Sister Sledge, Sheila B Devotion and Sugarhill Gang, who appeared with what would prove to be the first ever rap hit.

Jamaican and UK reggae artists scored continual hits through the year and then watched as the Police notched up three hits with white reggae and the label 2 Tone revived the 60s reggae style known as ska. In November, in what is remembered as the 2 Tone edition, all three of the label's new acts - Madness, Specials and Selecter - appeared on one historic night and took the show by storm, with Madness capping off their performance of One Step Beyond by leading a 'nutty train' conga through the studio.

Commentators :
Patrick Humphreys (journalist) / Trevor Nelson (DJ / as viewer) / Shaun Tilley (DJ / as viewer) / Kid Jensen (DJ / Presenter) / Judd Lander

Performers :
Jim Dooley (The Dooleys) / Nile Rogers (Chic) / Jah Wobble (PIL) / The Ruts / Linda Nolan (The Nolan Sisters) / Woody (Madness) / Nicky Tesco (Members) / Bruce Thomas (Elvis Costello & The Attractions) / Chas & Dave (Chas 'n' Dave) / Gary Numan (Numaniod) / Janet "Silly Games" Kay
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

buzby

Quote from: daf on January 05, 2019, 02:02:58 PM
Poor old Ben Vol-au-Vent Poirot looked like he'd been pickled!
He still looks just as much of a massive tit as he did then though.
Quote
I assume a large chunk of the Curiosity millions were blown on some high-grade Colombian toot in order to achieve such a wizened old husk.
In the Story Of 1986 I think someone (Paul Heaton possibly) mentions doing a TOTP on the same show as them and they were a typical 'drugs, booze & groupies' band. Funny how they and TT-D were both part of the same soul-jazz club scene.

Last night's 'Story Of 1987' had some proper gear porn in it with all the footage of the Publison Infernam Machine 90 - a truly mythic piece of 80s studio gear that is still in use and highly regarded due to it's unique sound and capabilities, even in these days where everything can be done on a laptop.

"Introducing The Hardline...." by T T-D is a cracking album, partly due to Martyn Ware's production.

I'm surprised the section on M/A/R/R/S and the lawsuit brought by PWL over the sample from Roadblock (a transformer-scratched 'Hey!' that was basically unrecognisable) didn't mention that Roadblock itself was full of samples and lots of S/A/W records nicked bits (particularly basslines) from other songs. It also didn't mention that Pump Up The Volume was climbing the charts quickly and was threatening to knock Never Gonna Give You Up off No.1 (which it eventually did), so Pete had quite the ulterior motive to try and get M/A/R/R/S single withdrawn.

While the lawsuit was pending, 4AD got Dorrell, Mackintosh and Colourbox to do a 7" edit which removed the Roadblock sample and a couple of others that had become contentious due to other record companies being altered by the PWL case, and that was ready to go into the shops on the next manufacturing run to sustain the single's momentum. However, they also had to produce a new 12" 'the 'Remix' version) for the track to be licenced to $th & Broadway for release in the US, and this had huge swathes of the samples (including all the James Brown ones) removed or repalced as the lawyers over there were basically lying in wait for it to be released.

kalowski

Quote from: buzby on January 06, 2019, 12:15:00 AM
I'm surprised the section on M/A/R/R/S and the lawsuit brought by PWL over the sample from Roadblock (a transformer-scratched 'Hey!' that was basically unrecognisable) didn't mention that Roadblock itself was full of samples and lots of S/A/W records nicked bits (particularly basslines) from other songs. It also didn't mention that Pump Up The Volume was climbing the charts quickly and was threatening to knock Never Gonna Give You Up off No.1 (which it eventually did), so Pete had quite the ulterior motive to try and get M/A/R/R/S single withdrawn.
It years since I heard Roadblock, but isn't it a rip off of Flashlight by Parliament?

buzby

Quote from: kalowski on January 06, 2019, 08:07:15 AM
It years since I heard Roadblock, but isn't it a rip off of Flashlight by Parliament?
it's not really that similar - they share a similar feel, but not enough to get sued for. S/A/W did apparently get sued over Roadblock by the session sax player on the track, Gary Barnacle (who also played sax on Swing Out Sister's Breakout and T'Pau's China In Your Hand) for lack of a co-writing credit, but they settled out of court.

The 'Hey' sample used by M/A/R/R/S only featured on the 12" club 'Rare Groove' version' mix of Roadblock, and was sung be session singer Dee Lewis.

I saw an interview with Phil Harding and he said that when creating extended mixes for SAW he would lay drum loops of hot club tracks under their beloved Linn drums. The example given was on the outro to Kylie's Hand On Your Heart at 5.55 you can here the Linn drum drop out leaving the loop exposed.

https://youtu.be/A6TKPEPtEHU

buzby

Quote from: Better Midlands on January 06, 2019, 01:32:26 PM
I saw an interview with Phil Harding and he said that when creating extended mixes for SAW he would lay drum loops of hot club tracks under their beloved Linn drums. The example given was on the outro to Kylie's Hand On Your Heart at 5.55 you can here the Linn drum drop out leaving the loop exposed.

https://youtu.be/A6TKPEPtEHU
As I said about Respectable, it was 'heavily influenced' by Steve 'Silk' Hurley's Jack Your Body. S/A/W were as bad as anyone for thievery, which makes the hoo-hah Waterman made about the sampling of Roadblock even more hypocritical and transparent that he was trying to maintain Rick Astley's no.1 position.

One thing yuo can hear on that Kylie track is the unmistakable sound of the Publison Infernal Machine doing it's job on the vocals. They made it out to be a sampler in the Story Of 1987, but that was only an ancillary function of it's real purpose (like you could use an AMS DMX digital delay as a sampler). It was actually an advanced digital multi-effects unit, with a particular specialism in micro-pitch correction of vocals (like a more advanced and flexible version of an Eventide Harmonizer). I can't think what use S/A/W would have had for pitch correction though....

#479
Quote from: buzby on January 06, 2019, 02:14:00 PM
I can't think what use S/A/W would have had for pitch correction though....

You're obviously joking here, but I read once that SAW used to create harmonies for vocals by using pitch shifting/time stretching on samplers - would this machine be capable of that?

Harding said that a lot of their earlier success was due to the fact that they could get these "heavily influenced" 12" extended versions in to the clubs quickly as an independent label.

The most blatant one has to be the French Kiss copy remix of Sonia's - You'll Never Stop Me From Loving You.

https://youtu.be/p8QahHsO_xE