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edtop40
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Posted: 29 October 2006 at 10:05am | IP Logged Quote edtop40

pat

do any of the cd version contain the true 45 version??

the commercial 45 version starts with a very slight inhale breath before the vocals "we built this city".....the version i have from the omigod box set edits out/off this breathe....can you check to see if any of the cd versions in the db contain this breathe.....thx edtop40

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Paul Esch
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Posted: 29 October 2006 at 11:24am | IP Logged Quote Paul Esch

The version on Time-Life's Sounds of the Eighties-1985 doesn't
have the split-second breath either. The original 45 sounds as
though it was a bad edit in the middle of the breath; I don't know
how the original LP version starts.
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aaronk
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Posted: 29 October 2006 at 2:31pm | IP Logged Quote aaronk

The version on Billboard Top Hits 1985 has the breath at the beginning.
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Pat Downey
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Posted: 29 October 2006 at 7:19pm | IP Logged Quote Pat Downey

Pulling the 53 cd's in the database that contain "We Built this City" to find a breath at the beginning is a very low priority item for me so I would say don't hold your "breath" waiting for the answer to this question.
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edtop40
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Posted: 30 October 2006 at 7:09am | IP Logged Quote edtop40

pat...no problem on waiting awhile.....BUT.....this should be unearthed at some point, no?....we should be as thorough as possible.....

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Paul C
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Posted: 03 November 2006 at 6:45am | IP Logged Quote Paul C

I don't hear it on either the Platinum And Gold Collection CD or the Rhino Omigod! 80s box set. That's four CDs down; only 49 more to go.

There's definitely something at the start of the 45; but I'm not sure it's a breath, since it overlaps the start of the vocals. If it is a breath, I can loop it, put on headphones, and listen to Grace Slick breathing in my ear - which would fulfill a lifelong fantasy.
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aaronk
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Posted: 03 November 2006 at 1:43pm | IP Logged Quote aaronk

Paul C wrote:
If it is a breath, I can loop it, put on headphones, and listen to Grace Slick breathing in my ear - which would fulfill a lifelong fantasy.


That's true, but don't forget that the opening chorus has Mickey Thomas singing the harmony. Technically, you'd have Grace and Mickey both breathing in your ear.
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Pat Downey
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Posted: 25 November 2006 at 4:39pm | IP Logged Quote Pat Downey

Ed, you will be happy to know that I went through all 53 cd's that contain "We Built This City" today and have updated the database with the results. I must disagree with Paul however as my copy of "Sounds Of The Eighties - 1985" does inclue the inhale breath. Perhaps there are two pressings of this cd? My matrix number is OPCD-2731-2 SRC*01 M1S6.
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edtop40
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Posted: 25 November 2006 at 5:15pm | IP Logged Quote edtop40

i saw that...outstanding....you must have SOME filing system in which to be able to find all the cd's that quickly.....i can't find some of mine from time to time.....thank you...

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Paul Esch
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Posted: 26 November 2006 at 2:56pm | IP Logged Quote Paul Esch

There IS some kind of quick little sound in the split second before
the vocals on the version on Sounds Of The Eighties - 1985, but
on the 45, it sounds more abrupt. On the Time-Life CD, it sounds
as though the sound was smoothed a little. It's really almost too
close for me to call. But, on closer examination, my matrix number
is 10 OPCD 2731-2 SRC**01 M1S9. Hmmmmm!
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crapfromthepast
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Posted: 30 April 2012 at 9:09pm | IP Logged Quote crapfromthepast

Nothing earth-shattering to report on, I think.

First, my commercial 45: Grunt FB-14170. I don't know what the "FB" prefix means, since it's usually "PB". Matrix number FB-14170-D-5S SLM 10410 1-1. The "D" is interesting to me, since it's usually "A" for the A-side of the single. The B-side, "Private Room (Instrumental)" has the B- in the matrix number. I don't know what the "A-" and "C-" would have been, although the promo 45 (early fade of LP b/w early of LP and no DJ rap) could probably offer clues. Printed 4:49, actual 4:51, runs at 144.1 BPM throughout. Interesting credit on label: "Remixed by Bill Bottrell"; Bill Bottrell produced Thomas Dolby's Aliens Ate My Buick album, the Toy Matinee album, and Sheryl Crow's Tuesday Night Music Club. There's about 0.2 seconds of something before the opening vocals, but it just sounds like a little tape noise to me, not a deliberate breath. I attribute its presence to a mastering error, since it's not on the LP version at all.

Next, the LP version from the Knee Deep In The Hoopla that I ripped but no longer own. It runs 4:54, and also runs at 144.1 BPM throughout. The difference in length is due to the very tail of the fade being about 3 seconds longer on the LP. I don't have the LP credits anymore, but it would be interesting to see if it has a "remixed by" credit for this song. One disc that seems to use the same analog transfer as Knee Deep is Cema's Entertainment Weekly Presents Rock Archives Vol. 2 (1990).

The first compilation the song appeared on is Warner Special Products' 2-CD Night Beat (1988), where it runs 4:52 and 144.0 BPM throughout.

Razor & Tie's 2-CD Awesome '80s (1994) uses the same analog transfer as Night Beat, but sounds significantly better due to a much better EQ. Warner Special Products' 2-CD Rock This Way (1995) sounds extremely close to Awesome '80s.

The next compilation is RCA's Nipper's Greatest Hits The '80s (1990), where it has a slightly shorter fade than the above discs, and runs at 144.3 BPM throughout. Priority's Eighties Greatest Rock Hits Vol. 3 Arena Rock (1992) uses the same analog transfer as Nipper, but it's mastered way too loud and clips a lot.

RCA's Greatest Hits Ten Years And Change 1979-1991 (1991) starts with the first downbeat of the instrumentation and cuts off the entire intro. Too bad, because it sounds very nice here.

EMI's 2-CD Now 1985 (1993) has an early fade, running only about 4:30.

Finally, Bill Inglot did a fresh analog transfer for Billboard Top Hits 1985 (1994). It sounds good, but there's a small amount of tape drift. The song starts at 144.0 BPM and ends at 143.6 BPM. No normal person would be able to hear it, but now that I have the numbers in front of me, and I know that the 45 and LP versions don't have any drift, it kinda bugs me.

It looks like whatever tapes Rhino used for the Starship tracks on their Billboard discs all have this slight tape drag at the end. On 1986, "Sara" starts at 99.7 BPM and ends at 99.5 BPM. On 1987, "Nothing's Gonna Stop Us Now" starts at 95.0 BPM and ends at 94.8 BPM.

A few other CDs use the same analog transfer as Billboard Top Hits 1986, including Time-Life's Sounds Of The Eighties Vol. 2 1985 (1994), Rhino's 7-CD Like Omigod set (2002), and Realm's 3-CD Greatest Hits Of The '80s Vol. 3 (2002).

The 50-CD promo set The "A"-List is actually the no-DJ-rap version from the promo 45. I can't tell if it's taken from vinyl - I don't hear evidence of NR on the fade out and I don't hear any turntable rumble.

For overall sound quality, I'd vote for Awesome '80s here.

Edited by crapfromthepast on 01 May 2012 at 7:21am
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Yah Shure
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Posted: 30 April 2012 at 9:55pm | IP Logged Quote Yah Shure

crapfromthepast wrote:
Matrix number FB-14170-D-5S SLM 10410 1-1. The "D" is interesting to me, since it's usually "A" for the A-side of the single. The B-side, "Private Room (Instrumental)" has the B- in the matrix number. I don't know what the "A-" and "C-" would have been, although the promo 45 (early fade of LP b/w early of LP and no DJ rap) could probably offer clues.


Hold your calls, we have a winner!

-A = no rap
-C = early fade of LP

RCA's use of -A, -B, -C and -D designations goes back at least as far as the multiple DJ 45 issues of Pure Prairie League's "Amie."
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Brian W.
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Posted: 01 May 2012 at 7:25am | IP Logged Quote Brian W.

Yah Shure wrote:
crapfromthepast wrote:
Matrix number FB-14170-D-5S SLM 10410 1-1. The "D" is interesting to me, since it's usually "A" for the A-side of the single. The B-side, "Private Room (Instrumental)" has the B- in the matrix number. I don't know what the "A-" and "C-" would have been, although the promo 45 (early fade of LP b/w early of LP and no DJ rap) could probably offer clues.


Hold your calls, we have a winner!

-A = no rap
-C = early fade of LP

RCA's use of -A, -B, -C and -D designations goes back at least as far as the multiple DJ 45 issues of Pure Prairie League's "Amie."

Well, then what does -D mean?
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Yah Shure
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Posted: 01 May 2012 at 9:51am | IP Logged Quote Yah Shure

Brian W. wrote:
Well, then what does -D mean?


-A = no-rap DJ 45 (listed 4:17)
-B = stock 45 B-side "Private Room (Instrumental)" (listed 4:54)
-C = DJ 45 flip, early fade of LP (listed 4:17)
-D = stock 45 "We Built This City" (listed 4:49)


Clarification on the "Amie" DJ designations: they were -A, -C, -Y and -Z.

Edited by Yah Shure on 01 May 2012 at 9:55am
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EdisonLite
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Posted: 01 May 2012 at 10:29am | IP Logged Quote EdisonLite

Yah Shure wrote:
Clarification on the "Amie" DJ designations: they were -A, -C, -Y and -Z.


Shouldn't they have been -A, -M, -I and -E?

:)
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Yah Shure
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Posted: 01 May 2012 at 11:23am | IP Logged Quote Yah Shure

EdisonLite wrote:
Shouldn't they have been -A, -M, -I and -E?:)


In Quebec, for sure. :) Good one, Gordon!

Apparently not too many frustrated comedy writers working in RCA's mastering lab...
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MMathews
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Posted: 03 May 2012 at 6:27pm | IP Logged Quote MMathews

crapfromthepast wrote:

RCA's Greatest Hits Ten Years And Change 1979-1991
(1991) starts with the first downbeat of the
instrumentation and cuts off the entire intro. Too bad,
because it sounds very nice here.



I just wanted to add that this CD is also the promo "no
DJ rap" version, but with the intro missing.

If one wants a digital version of the DJ 45, the intro
can be spliced back on from another CD. Works quite well.
MM
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