Hostname: page-component-78c5997874-t5tsf Total loading time: 0 Render date: 2024-11-04T13:33:32.549Z Has data issue: false hasContentIssue false
  • English
  • Français

‘If you're gonna have a hit’: intratextual mixes and edits of pop recordings

Published online by Cambridge University Press:  16 June 2010

Walter Everett
Walter Everett
Affiliation:
Department of Music Theory, University of Michigan E-mail: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

This essay reviews alternate mixes and edited versions produced for numerous purposes over the past half-century for stock singles, promotional singles, albums and reissues of all sorts, all evidencing a form of literary intertextuality of uniquely central importance to the record industry that has not previously been covered systematically. These multiple texts resulting from different manipulations of a single tape source exhibit what is termed intratextuality, leading to variations in composition, arranging and engineering. In addition, much of the essay's discussion will document for scholars as well as for fans a number of recordings whose continuing availability has been jeopardized by never having been reissued in CD format.

Type
Articles
Information
Popular Music , Volume 29 , Issue 2 , May 2010 , pp. 229 - 250
Copyright
Copyright © Cambridge University Press 2010

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Allen, G. 2000. Intertextuality. (London, Routledge)CrossRefGoogle Scholar
Butler, M. 2003. ‘Taking it seriously: intertextuality and authenticity in two covers by the Pet Shop Boys’, Popular Music, 22/1 (January), pp. 1–19CrossRefGoogle Scholar
Clarke, P. 1983. ‘“A magic science”: rock music as a recording art’, Popular Music, 3, pp. 195–213CrossRefGoogle Scholar
Everett, W. 1999. The Beatles as Musicians: Revolver Through the Anthology (New York, Oxford University Press)Google Scholar
Everett, W. 2008. The Foundations of Rock (New York, Oxford University Press)CrossRefGoogle Scholar
Gracyk, T. Rhythm and Noise (Durham, Duke University Press)CrossRefGoogle Scholar
Headlam, D. 1995. ‘Does the song remain the same? Questions of authorship and identification in the music of Led Zeppelin’, in Concert Music, Rock, and Jazz Since 1945 (pp. 313–63), ed. West Marvin, E. and Hermann, R. (Rochester, University of Rochester Press)Google Scholar
Julien, O. 1999. ‘The diverting of musical technology by rock musicians: the example of double-tracking’, Popular Music, 18/3 (October), pp. 357–65.CrossRefGoogle Scholar
Lacasse, S. 2007 [2000]. ‘Intertextuality and hypertextuality in recorded popular music’, in Critical Essays in Popular Musicology (pp. 147–70), ed. Moore, A.F. (Aldershot, Ashgate)Google Scholar
Martin, G. 1979. All You Need Is Ears (New York, St. Martin's)Google Scholar
Middleton, R. 1990. Studying Popular Music (Philadelphia, Open University Press)Google Scholar
Moorefield, V. 2005. The Producer as Composer: Shaping the Sounds of Popular Music (Cambridge, MIT Press)CrossRefGoogle Scholar
Moylan, W. 2007. Understanding and Crafting the Mix: The Art of Recording (2nd edn) (Amsterdam, Focal Press)Google Scholar
Spizer, B. 2000. The Beatles' Story on Capitol Records, Vol 2 (New Orleans, 498 Productions)Google Scholar
Théberge, P. 2001. ‘“Plugged in”: technology and popular music’, in The Cambridge Companion to Pop and Rock (pp. 3–25), ed. Frith, S., Straw, W. and Street, J. (Cambridge, Cambridge University Press)Google Scholar
Zak, A.J. 2001. The Poetics of Rock: Cutting Tracks, Making Records (Berkeley, Universiry of California Press)CrossRefGoogle Scholar
Zak, A.J. 2004. ‘Bob Dylan and Jimi Hendrix: juxtaposition and transformation, “All Along the Watchtower”’, Journal of the American Musicological Association, 57/3 (Fall), pp. 599–644CrossRefGoogle Scholar
Zak, A.J. 2008. ‘Rock and roll rhapsody: pop epics of the 1970s’, in Expression in Pop-Rock Music: Critical and Analytical Essays (2nd edn) (pp. 345–60), ed. Everett, W. (New York, Routledge)Google Scholar
(US releases unless noted otherwise)Google Scholar
The Beatles, ‘I'll Cry Instead’. A Hard Day's Night (mono). Parlophone, PMC 1230. UK 1964Google Scholar
The Beatles, ‘I'll Cry Instead’. A Hard Day's Night (stereo). Parlophone, PCS 3058. UK 1964Google Scholar
The Beatles, ‘I'll Cry Instead’. Something New (mono). Capitol, T-2108. 1964Google Scholar
The Beatles, ‘Let It Be’. Apple, R 5833. UK 1970Google Scholar
The Beatles, ‘Let It Be’. Apple, PXS 1. UK 1970Google Scholar
The Beatles, ‘Penny Lane’ (matrix 7XCE 18416). Parlophone, R 5570. UK 1967Google Scholar
The Beatles, ‘Penny Lane’, Promotion record (matrix 45-X45871). Capitol, P 5810. 1967Google Scholar
The Beatles, ‘Penny Lane’, Stock 45 (matrix 7XLE 18416). Odeon, 9827. Peru 1967Google Scholar
The Beatles, ‘Penny Lane’, Reissue 45 (matrix 7XCE 18416). EMI, 04475. Brazil 1970Google Scholar
The Beatles, ‘She's Leaving Home’. Sgt. Pepper's Lonely Hearts Club Band (mono). Parlophone, PMC 7027. UK 1967Google Scholar
The Beatles, ‘She's Leaving Home’. Sgt. Pepper's Lonely Hearts Club Band (mono). Capitol, SMAS 2653. 1967Google Scholar
The Beatles, ‘She's Leaving Home’. Sgt. Pepper's Lonely Hearts Club Band (stereo). Parlophone, PCS 7027. UK 1967Google Scholar
The Beatles, ‘She's Leaving Home’. Magical Mystery Year Vol. 2 (exploded four-track). Phony Chick, PC 131-2. 2007Google Scholar
Cream, ‘Sunshine of Your Love’. Atco, 45-6544. 1968Google Scholar
Cream, Disraeli Gears. Atco, 33-232. 1967Google Scholar
Crosby, Stills & Nash, ‘Suite: Judy Blue Eyes’. Atlantic, 45-2676. 1969Google Scholar
Crosby, Stills & Nash, ‘Suite: Judy Blue Eyes’. Crosby, Stills & Nash. Atlantic, SD 8229. 1969Google Scholar
Derek and the Dominoes, ‘Layla’. Layla and Other Assorted Love Songs. Atco, SD 2-704. 1970Google Scholar
Derek and the Dominoes, ‘Layla’. Promotional 45 (matrix ST-71-C-21302 SP). Atco, 45-6809. 1971Google Scholar
Derek and the Dominoes, ‘Layla’. Stock 45 (matrix 2001-11214). Polydor, 2001 172. Canada 1971Google Scholar
Derek and the Dominoes, ‘Layla’. Stock 45 (matrix 72C-20289-PL). Atco, 45-6809. 1972Google Scholar
Derek and the Dominoes, ‘Layla’. Crossroads EP: Radio version. Polydor, 887 754-7. Holland 1978Google Scholar
The Doors, ‘Light My Fire’. Elektra, EK-45615. 1967Google Scholar
The Doors, ‘Light My Fire’, The Doors. Elektra, EKS-74007. 1967Google Scholar
The Doors, ‘Light My Fire’, Spun Gold reissue (matrix ESR 71377T?). Elektra, E-45051. 1971Google Scholar
The Doors, ‘Light My Fire’, Spun Gold reissue (matrix ESR). Elektra, EKS-45051. 1970sGoogle Scholar
The Doors, ‘Light My Fire’, Reissue (matrix 1A-4-X). Elektra, E 45051-1. Canada 1970sGoogle Scholar
The Grateful Dead, Anthem for the Sun (matrix S39369/39370). Warner Bros.-Seven Arts, WS 1749. 1968Google Scholar
The Grateful Dead, Anthem for the Sun. Remix (matrix WS-1-1749-Re1-SR1/WS-2-1749-SR1). Warner Bros-Seven Arts, WS 1749. 1971Google Scholar
Jethro Tull, A Passion Play. Chrysalis, CHR 1040. 1973Google Scholar
Jethro Tull, A Passion Play. Edited Version for DJ Use Only. Chrysalis, CHR 1040. 1973Google Scholar
Jethro Tull, ‘A Passion Play (Edit #8)’/‘A Passion Play (Edit #9)’. Chrysalis, 2012. 1973Google Scholar
Jethro Tull, ‘A Passion Play (Edit #10)’. Chrysalis, 2017. 1973Google Scholar
Jethro Tull, M.U. – The Best of Jethro Tull. Chrysalis, 1078. 1976Google Scholar
Jethro Tull, Nightcap: The Unreleased Masters 1973–1991. Capitol, CD B000007177. 2000Google Scholar
Joel, Billy, ‘The Entertainer’. Columbia, 3-10064. 1974Google Scholar
Joel, Billy, ‘The Entertainer’, Streetlife Serenader. Columbia, PC 33146. 1974Google Scholar
Meat Loaf, ‘Paradise By the Dashboard Light’. Cleveland International/Epic, 8-50588. 1978Google Scholar
Meat Loaf, ‘Paradise By the Dashboard Light’. 12ʹ Demonstration disc. Cleveland International/Epic, AS 477. 1978Google Scholar
Meat Loaf, ‘Paradise By the Dashboard Light’, Bat Out of Hell. Cleveland International/Epic, PE 34974. 1977Google Scholar
The Moody Blues, ‘Tuesday Afternoon (Forever Afternoon)’. Deram, 45-DEM-85028. 1968Google Scholar
The Moody Blues, ‘Tuesday Afternoon (Forever Afternoon)’, Days of Future Passed. Deram, DES 18012. 1968Google Scholar
Oldfield, Mike, ‘Tubular Bells’. Demo (Long Version [7:30] matrix ST-PR-199A SP/Short Version [4:39] matrix ST-PR-199B-SP). Virgin, E.P.-PR-199. 1974Google Scholar
Oldfield, Mike, ‘Tubular Bells’. Stock 45 (‘Exorcist’ Theme [3:18] matrix ST-VR-28231-PL/[4:39] matrix ST-VR-28232-PL). Virgin, VR-55100. 1974Google Scholar
Oldfield, Mike, ‘Tubular Bells’, Tubular Bells. Virgin, VR 13-105. 1973Google Scholar
Oldfield, Mike, ‘Tubular Bells’. Music Excerpts from The Exorcist (soundtrack LP). Warner Bros, WS 2774. 1974Google Scholar
Oldfield, Mike, The Orchestral Tubular Bells. Virgin, CD 0777 7 86049 2 1. 1975Google Scholar
Oldfield, Mike, Tubular Bells 2. Reprise, CD 9 45041-2. 1992Google Scholar
Oldfield, Mike, Tubular Bells III. Warner Music, CD 398423492. UK 1998Google Scholar
The Rascals, ‘It's Wonderful’. [Music 2:30/Effects 0:50]. Atlantic, 45-2463. 1967Google Scholar
The Rascals, ‘It's Wonderful’, Once Upon a Dream [Sound effect 0:10/Music 2:40]. Atlantic, SD 8169. 1968Google Scholar
The Rascals, ‘It's Wonderful’, Time Peace: The Rascals' Greatest Hits [2:40]. Atlantic, SD 8190. 1968Google Scholar
The Rascals, ‘It's Wonderful’, Time Peace: The Rascals' Greatest Hits [2:18]. Atlantic, CD A2 8190 [1968]Google Scholar
The Rolling Stones, ‘Dandelion’. London, 45-905. 1967Google Scholar
The Rolling Stones, ‘Dandelion’, Through the Past, Darkly (Big Hits Vol. 2). London, NPS-3. 1969Google Scholar
Sugarhill Gang, ‘Rapper's Delight’ (matrix VID 7-526 BW) [4:55]. Sugar Hill, SH-755. 1980Google Scholar
Sugarhill Gang, ‘Rapper's Delight’, 12ʹ (Long Version [15:00] matrix VID-152RE/Short Version [6:30] matrix VID-153RE). Sugar Hill, SH-542. 1979Google Scholar
Sugarhill Gang, ‘Rapper's Delight’. European mix (Short Version [3:59]/Long Version [6:33]). Vogue, 101260. France 1979Google Scholar
The Who, ‘See Me, Feel Me (Excerpt from the TOMMY Finale)’. Decca, 32729. 1970Google Scholar
The Who, Tommy. Decca, 7205. 1969Google Scholar
Yes, ‘Roundabout’. Atlantic, 45-2854. 1972Google Scholar
Yes, ‘Roundabout’, Fragile. Atlantic, SD 7211. 1972Google Scholar
Yes, ‘Total Mass Retain (From “Close to the Edge”)’. Atlantic, 45-2899. 1972Google Scholar
Yes, Close to the Edge. Atlantic, SD 7244. 1972Google Scholar
(US releases unless noted otherwise)Google Scholar
The Beatles, ‘I'll Cry Instead’. A Hard Day's Night (mono). Parlophone, PMC 1230. UK 1964Google Scholar
The Beatles, ‘I'll Cry Instead’. A Hard Day's Night (stereo). Parlophone, PCS 3058. UK 1964Google Scholar
The Beatles, ‘I'll Cry Instead’. Something New (mono). Capitol, T-2108. 1964Google Scholar
The Beatles, ‘Let It Be’. Apple, R 5833. UK 1970Google Scholar
The Beatles, ‘Let It Be’. Apple, PXS 1. UK 1970Google Scholar
The Beatles, ‘Penny Lane’ (matrix 7XCE 18416). Parlophone, R 5570. UK 1967Google Scholar
The Beatles, ‘Penny Lane’, Promotion record (matrix 45-X45871). Capitol, P 5810. 1967Google Scholar
The Beatles, ‘Penny Lane’, Stock 45 (matrix 7XLE 18416). Odeon, 9827. Peru 1967Google Scholar
The Beatles, ‘Penny Lane’, Reissue 45 (matrix 7XCE 18416). EMI, 04475. Brazil 1970Google Scholar
The Beatles, ‘She's Leaving Home’. Sgt. Pepper's Lonely Hearts Club Band (mono). Parlophone, PMC 7027. UK 1967Google Scholar
The Beatles, ‘She's Leaving Home’. Sgt. Pepper's Lonely Hearts Club Band (mono). Capitol, SMAS 2653. 1967Google Scholar
The Beatles, ‘She's Leaving Home’. Sgt. Pepper's Lonely Hearts Club Band (stereo). Parlophone, PCS 7027. UK 1967Google Scholar
The Beatles, ‘She's Leaving Home’. Magical Mystery Year Vol. 2 (exploded four-track). Phony Chick, PC 131-2. 2007Google Scholar
Cream, ‘Sunshine of Your Love’. Atco, 45-6544. 1968Google Scholar
Cream, Disraeli Gears. Atco, 33-232. 1967Google Scholar
Crosby, Stills & Nash, ‘Suite: Judy Blue Eyes’. Atlantic, 45-2676. 1969Google Scholar
Crosby, Stills & Nash, ‘Suite: Judy Blue Eyes’. Crosby, Stills & Nash. Atlantic, SD 8229. 1969Google Scholar
Derek and the Dominoes, ‘Layla’. Layla and Other Assorted Love Songs. Atco, SD 2-704. 1970Google Scholar
Derek and the Dominoes, ‘Layla’. Promotional 45 (matrix ST-71-C-21302 SP). Atco, 45-6809. 1971Google Scholar
Derek and the Dominoes, ‘Layla’. Stock 45 (matrix 2001-11214). Polydor, 2001 172. Canada 1971Google Scholar
Derek and the Dominoes, ‘Layla’. Stock 45 (matrix 72C-20289-PL). Atco, 45-6809. 1972Google Scholar
Derek and the Dominoes, ‘Layla’. Crossroads EP: Radio version. Polydor, 887 754-7. Holland 1978Google Scholar
The Doors, ‘Light My Fire’. Elektra, EK-45615. 1967Google Scholar
The Doors, ‘Light My Fire’, The Doors. Elektra, EKS-74007. 1967Google Scholar
The Doors, ‘Light My Fire’, Spun Gold reissue (matrix ESR 71377T?). Elektra, E-45051. 1971Google Scholar
The Doors, ‘Light My Fire’, Spun Gold reissue (matrix ESR). Elektra, EKS-45051. 1970sGoogle Scholar
The Doors, ‘Light My Fire’, Reissue (matrix 1A-4-X). Elektra, E 45051-1. Canada 1970sGoogle Scholar
The Grateful Dead, Anthem for the Sun (matrix S39369/39370). Warner Bros.-Seven Arts, WS 1749. 1968Google Scholar
The Grateful Dead, Anthem for the Sun. Remix (matrix WS-1-1749-Re1-SR1/WS-2-1749-SR1). Warner Bros-Seven Arts, WS 1749. 1971Google Scholar
Jethro Tull, A Passion Play. Chrysalis, CHR 1040. 1973Google Scholar
Jethro Tull, A Passion Play. Edited Version for DJ Use Only. Chrysalis, CHR 1040. 1973Google Scholar
Jethro Tull, ‘A Passion Play (Edit #8)’/‘A Passion Play (Edit #9)’. Chrysalis, 2012. 1973Google Scholar
Jethro Tull, ‘A Passion Play (Edit #10)’. Chrysalis, 2017. 1973Google Scholar
Jethro Tull, M.U. – The Best of Jethro Tull. Chrysalis, 1078. 1976Google Scholar
Jethro Tull, Nightcap: The Unreleased Masters 1973–1991. Capitol, CD B000007177. 2000Google Scholar
Joel, Billy, ‘The Entertainer’. Columbia, 3-10064. 1974Google Scholar
Joel, Billy, ‘The Entertainer’, Streetlife Serenader. Columbia, PC 33146. 1974Google Scholar
Meat Loaf, ‘Paradise By the Dashboard Light’. Cleveland International/Epic, 8-50588. 1978Google Scholar
Meat Loaf, ‘Paradise By the Dashboard Light’. 12ʹ Demonstration disc. Cleveland International/Epic, AS 477. 1978Google Scholar
Meat Loaf, ‘Paradise By the Dashboard Light’, Bat Out of Hell. Cleveland International/Epic, PE 34974. 1977Google Scholar
The Moody Blues, ‘Tuesday Afternoon (Forever Afternoon)’. Deram, 45-DEM-85028. 1968Google Scholar
The Moody Blues, ‘Tuesday Afternoon (Forever Afternoon)’, Days of Future Passed. Deram, DES 18012. 1968Google Scholar
Oldfield, Mike, ‘Tubular Bells’. Demo (Long Version [7:30] matrix ST-PR-199A SP/Short Version [4:39] matrix ST-PR-199B-SP). Virgin, E.P.-PR-199. 1974Google Scholar
Oldfield, Mike, ‘Tubular Bells’. Stock 45 (‘Exorcist’ Theme [3:18] matrix ST-VR-28231-PL/[4:39] matrix ST-VR-28232-PL). Virgin, VR-55100. 1974Google Scholar
Oldfield, Mike, ‘Tubular Bells’, Tubular Bells. Virgin, VR 13-105. 1973Google Scholar
Oldfield, Mike, ‘Tubular Bells’. Music Excerpts from The Exorcist (soundtrack LP). Warner Bros, WS 2774. 1974Google Scholar
Oldfield, Mike, The Orchestral Tubular Bells. Virgin, CD 0777 7 86049 2 1. 1975Google Scholar
Oldfield, Mike, Tubular Bells 2. Reprise, CD 9 45041-2. 1992Google Scholar
Oldfield, Mike, Tubular Bells III. Warner Music, CD 398423492. UK 1998Google Scholar
The Rascals, ‘It's Wonderful’. [Music 2:30/Effects 0:50]. Atlantic, 45-2463. 1967Google Scholar
The Rascals, ‘It's Wonderful’, Once Upon a Dream [Sound effect 0:10/Music 2:40]. Atlantic, SD 8169. 1968Google Scholar
The Rascals, ‘It's Wonderful’, Time Peace: The Rascals' Greatest Hits [2:40]. Atlantic, SD 8190. 1968Google Scholar
The Rascals, ‘It's Wonderful’, Time Peace: The Rascals' Greatest Hits [2:18]. Atlantic, CD A2 8190 [1968]Google Scholar
The Rolling Stones, ‘Dandelion’. London, 45-905. 1967Google Scholar
The Rolling Stones, ‘Dandelion’, Through the Past, Darkly (Big Hits Vol. 2). London, NPS-3. 1969Google Scholar
Sugarhill Gang, ‘Rapper's Delight’ (matrix VID 7-526 BW) [4:55]. Sugar Hill, SH-755. 1980Google Scholar
Sugarhill Gang, ‘Rapper's Delight’, 12ʹ (Long Version [15:00] matrix VID-152RE/Short Version [6:30] matrix VID-153RE). Sugar Hill, SH-542. 1979Google Scholar
Sugarhill Gang, ‘Rapper's Delight’. European mix (Short Version [3:59]/Long Version [6:33]). Vogue, 101260. France 1979Google Scholar
The Who, ‘See Me, Feel Me (Excerpt from the TOMMY Finale)’. Decca, 32729. 1970Google Scholar
The Who, Tommy. Decca, 7205. 1969Google Scholar
Yes, ‘Roundabout’. Atlantic, 45-2854. 1972Google Scholar
Yes, ‘Roundabout’, Fragile. Atlantic, SD 7211. 1972Google Scholar
Yes, ‘Total Mass Retain (From “Close to the Edge”)’. Atlantic, 45-2899. 1972Google Scholar
Yes, Close to the Edge. Atlantic, SD 7244. 1972Google Scholar