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Jesus Arkhipov
Jesus Arkhipov

First Time In Space Original Mix Lilly Palmer !!HOT!!

Lily Palmer originally based in Zurich where Lilly spent a lot of time with the great and flourishingunderground scene, her devotion for music got stronger and stronger which finally led her to thedecision to fully dive into the realm of the underground in 2015!

First Time In Space Original Mix Lilly Palmer

Gramophone records had been introduced in the latter portion of the 19th century, with several pioneers involved in sound reproduction development such as Thomas Edison and Emilie Berliner. Berliner along with Eldridge R. Johnson merged their efforts within the industry to form the Victor Talking Machine Company in New Jersey, USA and perfected the use of 5 and 7-inch rotating shellac discs for sound replay from 1889, with 10-inch records appearing in 1901. In 1903 12-inch discs were introduced by Victor, on their Deluxe label, these able to play for up to four minutes, so increasing what were non-achievable times of the length of a song or speech on the earlier formats. These first twelve-inch releases were all by the Victor Grand Concert Band,[2] led by Frederick W. Hager.[3] During the 1910s discs became the standard sound reproduction format, although the speeds used could vary between manufacturers until 78 rpm became the norm from around 1925. An album would consist of several of these single discs packaged together. These brittle shellac discs remained a popular medium through the first attempt to introduce vinyl records in 1931, the subsequent move towards microgroove formats from 1948, and would survive until the early 1960s.[4]

In March 1970, Cycle/Ampex Records test-marketed a twelve-inch single by jazz-pop guitarist Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life", both from his self-titled debut album issued in 1969. Subtitled 'The world's first 12-inch single!', the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single and album, but with a large runoff area. Several hundred copies were made available for sale for 98 cents each at two Tower Records stores in California.[17]

Shelter Records evidently liked the format enough to use it a few times to promote artists in the US and Australia - they serviced a test pressing of Leon Russell's "It's A Hard Rain's Gonna Fall" backed with "Me And Baby Jane" to radio stations in July 1971, the first track from his Leon Russell and the Shelter People album, with the flip side from his Carney album. Shelter later issued another promotional single "Lowdown in Lodi"/"Me and My Guitar" by Freddie King in 1972 with the tracks taken from his Texas Cannonball LP.[18]

While not his very first production work (his first mixing effort was the northern soul track by the Carstairs "It Really Hurts Me Girl"[22] in 1973), in early 1974, during his quest to adapt songs beyond the radio-friendly three-minute mark for his mixtapes, soon-to-be famed disco mixer Tom Moulton went to record labels for material. At Scepter Records, Cheren recalls playing Tom a previously released Scepter single by singer Don Downing called "Dream World". He had an extra copy of the master tape and let Moulton take it home to experiment. When Moulton brought it back a few days later, Cheren writes, "We were amazed: a so-so record was suddenly snappy, upbeat, and ten times better". But the biggest surprise, Cheren continues, was something "so radical I could hardly believe my ears". Moulton had stretched the original track, not even three minutes long, to almost double its time, and in the process debuted what would become known as the disco break.[23] This innovation would eventually be issued on the song's re-release on a 7-inch 45 in July 1974,[24] and earn Scepter a Billboard Trendsetter of the Year award in December 1974 for 'being the first label to make specialized mixes for discotheques'.[25][26]

The first large-format single made specifically for discotheque DJs was a ten-inch acetate used by a mix engineer (José Rodríguez) in need of a Friday-night test copy for a remix created by Tom Moulton in 1974. The song was "I'll Be Holding On" by Al Downing, brother of Don Downing. As no 7-inch (18 cm) acetates could be found, a 10-inch (25 cm) blank was used.[29] 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. He asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him that for it to be viable, the level would have to be increased considerably. 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. This was immediately noticed by them to give a more favorable, 'hotter' sound which would appeal to discothèque play. It also meant that these extended versions being created by Moulton could be given to fellow DJs and tested within a nightclub environment to see how well it worked the dancefloor, with adjustments subsequently made to the remix.[4]

A sometimes mentioned candidate among these first acetates is Moment of Truth "So Much For Love",[37][38] but this effort was commercially released a year later, the band having been signed to Salsoul Records in June 1976,[39] and the song only appearing in disco charts at the end of July of that year.[40]

The very first wide-scale record company promotional twelve-inch single according to Moulton (considering his then position with Billboard at the time as disco product reviewer, and that most of the very limited 12-inch records up to this point involved his own remixes), was Frankie Valli "Swearin' To God", issued by Private Stock Records in June 1975 with a 10:32 min running time.[29][54][55] Bob Crewe, co-writer and producer, personally presented 10-inch test pressings to DJs in April 1975 after high pre-release demand.[56] It was then issued commercially as a 7-inch at the end of April/start of May 1975.[57]

As time went on, a growing number of record labels became aware of the 12-inch format as a useful promotional tool, the benefits it gave for sound fidelity, and started to issue product in response. However, into early 1976 none considered them at first as suitable for sale to the general public. Companies came to appreciate the place of the nightclub and how they helped to break a record, but still considered an extended remix to ultimately facilitate sales of the original 7-inch single version or the artist's album, and not as a sale item in its own right.[24] Pop orientated labels began to use the format to promote commercial artists with dance elements to their music, but not necessarily lengthening their tracks, concentrating instead on its novel aspects instead. The costs for the format were also still prohibitive; one label reported 12-inch singles cost more than it did to press an album.[85]

Atlantic Records was an early front runner with two 12-inch promo singles: Ben E. King "Supernatural Thing" backed with Osiris "Warsaw Concerto",[106] along with Herbie Mann "Hijack" b/w Jimmy Castor Bunch "The Bertha Butt Boogie", both at 33 rpm and issued in approximately June 1975 (based on the catalogue numbers used),[107] but rumoured to be as late as October. Robert Palmer "Which of Us Is the Fool" was released by Island Records also in October 1975.[108] Virgin started a line of 12-inch promos in November 1975, with the first being Ruan O'Lochlainn "Another Street Gang".[109] Disco singles started to appear in earnest months later, Brass Construction "Changin'" was promoted around March 1976 by United Artists. A later 12-inch promo issue was a double sider the Moments "Nine Times" / the Rimshots "Do What You Feel" on All Platinum Records via Phonogram in the middle of April 1976,[110][111] however both were released commercially and individually on seven-inch 45s only, in April 1976.[112][113] Candi Staton followed with "Young Hearts Run Free" in the middle of May from Warner Bros. These early issues usually containing the original 7-inch edit, It took a little later for lengthened versions to begin appearing, with 1970s UK club DJ Greg Wilson recalling promotional 12-inch product being mailed out from August 1976, Lalo Schifrin "Jaws" being his first one, which was in extended form. This was followed by disco acts such as James Wells, the Originals, Ultrafunk, Mass Production, Deodato and the Undisputed Truth, however some of these were not UK pressed vinyl but US promos sent over to the UK and distributed through club promotions businesses and record company A&R departments.[114]

The first commercially released twelve-inch vinyl was Ernie Bush "Breakaway" / Banzaii "Chinese Kung Fu" both as Tom Moulton mixes, along with another disc containing the Armada Orchestra "For the Love of Money" / Ultrafunk "Sting Your Jaws (Part 1)". Bush and the latter two acts had Gerry Shury production involvement, and these two releases were issued by John Abbey's Contempo Records from 8 October 1976, these songs having been previously released in either 7-inch format or as album tracks.[115][116][117] Abbey likely had the nod from Scepter Records about the use of the twelve-inch single format, as both had released all these titles on their labels and Contempo had cross-licensed the tracks with Moulton mixes. This was closely followed with a single containing re-issues of the Who's "Substitute" with "I'm A Boy" / "Pictures of Lily" on the flip, all originally from 1966 and 1967 by Polydor Records on 22 October 1976.[118][117]

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. A growing number of DJs eventually began to use CDJs for their convenience, and later along with a crossover period where turntables could be combined with laptops and used with encoded 12 inch discs and DJ software, which could manipulate MP3 or WAV music files but still allow for a turntablism experience. DJ controller all-in-one decks have in later times become the norm which take up less space than a pair of turntables, reducing DJs dependence on the physical format even further. There is however, a dedicated DJ sub-community that maintain their usage of the format, with retro styled 'vinyl only' nights being a unique selling point. Also, there are some new titles being pressed on the format and available at physical record shops, although many sales take place online. There is also a notable second-hand trade business on online sale and auction marketplaces for collectors, of which some titles are still in demand and can be of some value.[125] 041b061a72

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