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All Of That (Industry Standard Vocal Remix) - Thelma Houston - All Of That (Industry Standard Mixes) (Vinyl) download full album zip cd mp3 vinyl flac

Published 13.07.2019

Download All Of That (Industry Standard Vocal Remix) - Thelma Houston - All Of That (Industry Standard Mixes) (Vinyl)

His hard work paid off, eventually leading to a contract in with Scepter Records' Roadshow label producing B. Don Downing's "Dream World" [Roadshow ] originally lasted only but was reissued a year later, extended to with 'Disco Mix:Tom Moulton' printed on the label [Scepter SCE ] thus creating by happenstance the 'signature Moulton' deconstructive breakdown where he would 'strip' the song down to its basic core elements - drums and percussion - and build them back up again one layer after the other.

And just as the guys from the Brooklin Trucking Express did not appreciate - at least at first - Major Tom's 'rearrangements', nor did the 'first disco queen' rejoice upon listening to the extended version of her hit, finding he used her vocals too sparingly. In its heyday, Moulton would book All Of That (Industry Standard Vocal Remix) - Thelma Houston - All Of That (Industry Standard Mixes) (Vinyl) straight from Monday to Thursday night, leaving him Friday to head down to Media Sound to cut some test pressings for a few lucky DJs.

One such night when they were out of 7-inch blanks, they resorted to use a inch instead and to fill the side, boosted the bottom end and extended the top and also the cutting level; leading to the invention of the DJ's best friend - the 12 inch disco single.

He was the first to leave his imprint with the following trademark: "A Tom Moulton Mix" - always a symbol of top quality among connoisseurs. Over the course of his career, he has mixed in the vicinity of different songs! Contrary to Radiohead's TKOLRMX [tbd records ] project I evaluated last May where it was often nearly impossible to identify the original track that inspired the remix, here the original songs are treated with the utmost respect, typical of Moulton's gifted 'handiwork'.

The back cover simply lists the 31 remixed songs including the undeniable increased track timings versus the original versions. Each CD comes in its individual glossy cardboard sleeve reproducing the front cover artwork, the latter presented in a succession from lighter to darker hues of brownish grey instead of white. All four CDs sport the same label featuring the classic PIR logo over a plain white background, which is not ideal detail wise when listened to on a very high resolution system.

In addition, a page booklet is included containing "A Word from the Executive Producer - Reid Whitelaw" and more importantly 10 pages dedicated to the Maestro himself - Tom Moulton, as he "Breaks It Down Track By Track", providing us with some rare inside info and his personal opinions and memories of that rich musical period. Interspersed are numerous 'sepia-toned' photos of the producers and artists lending a welcomed 'nostalgic' and historical touch - kudos! Note that with one exception, all songs are sequenced chronologically in their original chart debut entry dates spanning nearly a decade from July to February This mistake aside, being a music history buff, I applaud this order choice over others.

I have not heard any of these so I cannot comment on any sound distinctions versus these CDs under evaluations. Both formats were mastered and cut by Barry Grint a.

Bazza at Alchemy Music Mastering in the U. These extended mixes were also released on individual inch singles in different incarnations either on white label promo copies, black and silver in and later circain green on the 45 rpm Mixed Masters series.

The remaining 5 were mixed in and with 3 of the 4 Trammps tracks previously available on the LP Disco Champs [Philadelphia International Records ZX ] but slightly extended here, All Of That (Industry Standard Vocal Remix) - Thelma Houston - All Of That (Industry Standard Mixes) (Vinyl).

CD One They smile in your face, all the time they want to take your place, the back stabbers How ironic that the first track to inaugurate the 40th anniversary of PIR contains lyrics that deal with betrayal for which Moulton freely associates with the Music Industry and just happens to be chronologically the top contender for first spot - The O'Jays top million-seller, the 'social-oriented' soul classic "Back Stabbers". And what a great opener it is.

The original U. LP [Philadelphia International Records KZ ] always sounded a bit thinny and tipped up to my ears the Canadian Columbia ' sound' 1rst pressing was duller but no better and much too short for such a great song. To think that there was never a "Moulton Mix" before this is almost a crime but the wait was well worth it.

I'm glad to report that this new version addresses all of the original's lackings. As I expected from the maestro mixer, he re-adopts his successful formula of the s by postponing the vocal tracks a few bars to let us appreciate the beautiful instrumental background composed of superb strings and arrangements.

Conga and percussion gain much prominence in this new version with increased detail precision and spatial panning. The lead rhythm section of bouncy electric bass and 'metronomic' drum stick give better propulsion and much improved weight vs the 'middy' original.

The tonal balance is spot on with a good combination of warmth and modern crispness without veering into hyper-digital sterility. My sole nitpick is the vocal tracks seem a bit lean as if a 'lo-cut' EQ was applied and some added artificial reverb could have been dialed down to blend better in the mix instead of 'standing out', especially during the "What They Do" acappella riff. In essence vocal and never before heard instrumental sections share time while a welcome breakdown is created midway with the vocals uttering "Dirty, Dirty" before the piano ruffles the keys.

I always say: be it a book, a movie or a music album, the key is to make an impressive beginning to win over your audience. Splendid indeed! While the original had some good moments, the production values were not as refined as later Gamble-Huff material plus it contained some quirky 'sound effects' that always put me off to a degree.

This is truly a magnificent metamorphosis of Moulton magnitude. The minimalist intro consist of a beat measure loop of kick drum, hi-hat and electric bass locking us into the groove; a gradual one note key ascension paves us up the ladder culminating in the soaring violins that sweep us to heaven; vocals come in afterwards with a touch of added reverb that reaches celestial heights; the whole buildup reminiscent of a perfect symphony.

In addition, gone are the 'corny' trumpet and horse racing overdubs, making it much classier as a result. Sound is quite good, almost on par with the previous track if it were not for the vocals and strings - beautiful as they are - that could be mixed about 2 dB lower to let the kick and bass stand out a tad more. Thankfully compression and gain leveling are moderate on this track as on the previous one and in no way approach the ear-annoying levels found in modern pop nowadays.

This and the opening selection are two of the three best tracks from the box set in terms of remix appreciation and sound quality. Veering more funky is Johnny Williams' single "Slow Motion" [Philadelphia International Records ZS7 ], a great little gem that astonishingly I had never heard before this new release. It boasts some heavy meaty bass and a nice wide soundstage panned by a clean rhythm guitar on the left.

Sound is a bit compressed, thick and could be airier to equal the two previous tracks; that aside it is mainly well balanced and for this genre, better to err on the 'fat' side than the thin and aggressive. It would be wishful thinking that the whole box set adhere at least to this quality level; alas such will not be the case. Talk about world music before its time! It is such an inclusive song.

The original version - the LP being identical to the single - lasted a paltry 3 minutes and like the rest of the Back Stabbers album sounded a bit middy and thin. Thus it was only natural that Moulton would give it all the care it demanded and such was the case back in November when he remixed and extended it beautifully to over 6 minutes in preparation for the original compilation Philadelphia Classics [Philadelphia International Records PZG ].

As Tom would surely concur, there is no sense wasting time in doing over something that was and still remains an incredible remix that clearly outshined the original both in musical emotion and sound quality.

So in this box set, we can simply sit back and enjoy this classic Moulton remix, right? Unfortunately no this is not the case.

Do not sell your original vinyl records yet! Nevertheless it was then and now, a great remix that follows his successful recipe of prolonging the instrumental parts while postponing the vocal ones. The best sounding versions in decreasing order are the original LP; the extended white label promo inch [Philadelphia International Records ASD ]; the Philadelphia Classics [Philadelphia International Records PZG ]; the 45 rpm 'Mixed Masters' series inch [Philadelphia International Records 4ZH ] and way behind, the one included in this box set sounding even worse than the previous track.

How do you go about improving on perfection? Obviously it is a tricky question because naturally you cannot; at best you can merely wish to equal it. When it first surfaced in Septemberit set the tone for a new musical phenomenon - disco. Surprisingly the song was supposed to be a soul ballad and when you listen to singer extraordinaire Teddy Pendergrass belt out the lyrics it becomes clearer that its origins hail more from the heart than the dance floor.

The original LP version lasted just over 6 minutes including a beautiful 'beatless' intro of 'churchy' organ sharing stage with warm electric guitar and towards the midway point, something approaching a musical breakdown. So in a sense, it never felt lacking in structure. Though there was not any extended version available during the s, rumor has it Moulton had come up with a longer remix some years ago but somehow it got lost!

The intro remains 'beatless', no doubt paying tribute to the older version though organ and guitar seem panned wider, while the former a few measures further, takes on a 'frenzier' funky shuffling rhythm pattern. This brings a more exciting 'edgier' - though not necessarily better - mood to the piece.

Also, Young's drumkit enters a measure earlier hitting forcefully the snare and toms instead of coming in 'on the 4' of the syncopated kick. The first chorus is 'dropped out' of the mix leaving us the pleasure of taking in Don Renaldo's strings which in turn helps build up the emotional intensity of the score like never before.

When the first chorus finally enters in reality the 2nd chorus on the actual tape we rejoice even more than the original, then cleverly leading us back to the first verse via digital editing most probably. The break differs a lot and is much longer while Pendergrass' " Never, Never " shouts are repeated several times, taking on a loop pattern over Young's near-metronomic funky groove.

This gives DJs ample time to segue into their following song but it would be most unfortunate to lose out on what follows the break, i. The overall sound is fairly good but a bit inferior to tracks 1 through 3 and more so compared with the original vinyl LP engineered by Joe Tarsia which is really superb in tonal balance and everything else.

This time around, some dynamic compression and leveling seems apparent though close to tolerable. On the new version, reverb and vocals are a few dBs too strong vs the rest of the mix. The hi-hat is nicely defined for a CD but the drumkit does not have enough punch and weight in the kick. Soundstage is fine and wide with really nice clean electric guitar and an airy top end.

A small dose of s analog warmth would really help in elevating this remix to its full potential. The latter recorded by engineer Joe Tarsia sounded 'middy' and tipped up while the remix was a bit better balanced on the original Philadelphia Classics album but on this CD it is less so. The soundstage is very wide with good tonal balance. Again, a bit too much reverb on the vocals and strong in level.

The outro is heavy in reverb on the a cappella vocals. This is the third best remix in sonic terms. The Trammps' "Love Epidemic" remix from the Disco Champs LP [Philadelphia International Records ZX ] seems to be the same version as the one in this compilation except that the latter outlast the older one - instead of Surprisingly this one for a change has good bass and punch but lacks a bit of top end detail; the original LP still surpasses it in sound.

Here it is transferred much too loud, compressed and inferior to the vinyl LP and even more so to the black and silver label inch [Philadelphia International Records 4Z8 ] with "Love is the Message" on the B-side. The intro is really great before the vocals appear. Too bad the sound is not up to the remix quality level; vocals are too loud; compression is too high producing a 'middy' tonal All Of That (Industry Standard Vocal Remix) - Thelma Houston - All Of That (Industry Standard Mixes) (Vinyl) not enough punch, kick drum and hi-hat.

After what appears to be an identical intro, the first verses of the newer remix are instrumental while the older version kept the vocals in. The sound transfer is just awful compared with the sublime warm and crisp sound of the original LP; clearly suffering from major debilitating digititus. All the beautiful low end, brass and drum cymbals etc.

Elements of Big Band and jazz permeate throughout the instrumental piece with arrangements to die for. The original version from the LP Love is the Message [Philadelphia International Records KZ ] remains my preference in structure and sound; the latter of true audiophile reference level.

The version included in this box set was mixed in September and is identical to the Philadelphia Classics album but - not surprisingly by now - with very inferior sound.

Just in case you skipped the preceding track, the same applies here: clearly suffering from major debilitating digititus. On All Of That (Industry Standard Vocal Remix) - Thelma Houston - All Of That (Industry Standard Mixes) (Vinyl) scale of 1 to 5, the original LP scores a 5; the remix on the Philadelphia Classics album, a 4; while the one included here is a miserable 2.

And like the previous track, the old first pressing vinyl copies are really worth hunting for. The single sounds full and bass heavy and lacks a lot of air in the highs. Running at onlythere is not enough time for instrumental or break sections to develop Then one by one starting with keyboard, guitar, strings, vibes, bass and cymbals, they add on like a symphony and before long a melody hinting at what will be an enormous influence on the future sound of The Salsoul Orchestra a la s "Nice and Nasty" [Salsoul 12D] before The Trammps' Robert Upchurch sings and swings his oh so soulful voice.

The breakdown further on is just to die for, with instrument after instrument panned from left to right gradually filling in the soundstage before stripping away towards the outro. The sound retains the full thick bass but thankfully adds some top end detail All Of That (Industry Standard Vocal Remix) - Thelma Houston - All Of That (Industry Standard Mixes) (Vinyl) compensate and clear up the original's 'fogginess' and lo and behold even adds a deeper bass bottom, anchoring the tonal balance down to new depths.

To think that this great song never benefited from Tom's magic touch until now is hard to believe. This is one of the four best tracks from the box set in terms of remix appreciation and sound quality. When released, the song was a top 10 hit in the US, peaking at number seven, after reaching number three in the UK Singles Chart earlier in the year.

The song was released on May 9, and was, to date, her only solo single to reach 1 on the US dance chart. The single also went on to become a minor hit in several countries, including 45 in the UK and 70 on the US Billboard Hotwhere it remains her last entry to date. A music video was produced for the single, featuring Harry dancing in front of various cultural backdrops in a couple different outfits throughout the clip.

Atlantic Starr started inin Greenburgh, New York, by trumpeter Duke Jones who left the band prior to their first recordingsalong with drummer Porter Carroll Jr. All mixes were edited by The Latin Rascals. Post to Cancel. By continuing to use this website, you agree to their use. To find out more, including how to control cookies, see here: Cookie Policy.


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