Discussion in 'Charts, rates etc' started by gezza76, Mar 12, 2019.
I was thinking 'Movin' On' was. And 'Too Many Broken Hearts' and 'Never Too Late'.
Sinitta was so gif-able.
Putting the rest in a spoiler tag in case it's 'too many':
I was thinking that about Hand On Your Heart
'Better the Devil You Know' is overplayedrated too.
Though I wouldn't begrudge it a lower half of the top 10 placing.
The US artwork for the Enjoy Yourself era was so much cooler. I remember our local record shop used to sell US vinyl cheap (the ones that had a hole through their sleeve, presumably because they were returned to the label?) and I got the US Enjoy Yourself cheap but it DIDN'T have a hole in the cover. I also got Bros 'The Time' - it was always very exciting seeing these albums with different artwork, and sometimes a different track-listing. The US version of 'Enjoy Yourself' includes 'Especially For You' and the US version of 'The Time' includes 'IOU Nothing'. Hugely exciting for 13 year old me!
The UK sleeves for the singles from Kylie's first two albums were, for the most part, terrible. The Australian pressings (minus 'Locomotion') were much better.
'Cut-outs', as they were known, were done so that people couldn't return the album/single to the store for a refund for the cost of a full-price album. Receipts obviously weren't a thing in record stores in the US back then.
It's quite an extreme thing to do, really - going to the effort of defacing the artwork of something so that you don't get swindled a few dollars.
So they were bargain bin purchases and the store cut the hole when they reduced the price, is that right?
Yes. Bargain bin-type sales that were cut when they were discounted so that consumers couldn't return them for a full-price refund.
Ooh I didn’t realize US cutouts got exported! I thought they just got dumped in American bargain bins. The cutout purpose was twofold, it definitely was to prevent customers returning them for full price, but the labels also did it to prevent store from selling the copies at full price in the first place. (And believe me they would if they could. When I worked in music distribution in the 90s, some labels did not require you to send back physical inventory for credit on unsold product. You just sent back a notarized invoice of what you had left when they discontinued the product and were supposed to dispose of what you had left. For my company a lot of times the stuff was popular singles that were still selling but the label was deleting to promote album sales. We’d send the invoice and get a credit on the singles from the label but just kept selling them at the full wholesale price to the stores.)
The hole-punch was very common but you’d also see cutout stock with the corners cutoff or with a notch cutout. Anecdotally the corner cutout is what I recall seeing the most. Below from the wiki article:
It was a small independent record shop in Ireland, so I suspect it was a case of the owner having a mate in America who bought the records from the shops and sent them over. I could be wrong though.
Today's elimination was a top 20 hit....
Amazing. She even makes being cheated on look like so much fun!
This is fascinating stuff - and something an Accountant (like me!) would dream up! But unfortunately I never worked in Music Retail (I would have loved to though) when I was younger!
WEST END FEATURING SYBIL- THE LOVE I LOST
AVERAGE SCORE: 8.5
HIGHEST SCORE: 10 x 5 @Odge @WhatKindOfKylie? @letuinmybackdoor @idratherjack @phoenix123
LOWEST SCORE: 4 X 1 @CasuallyCrazed
PEAK POSITION: 3
RELEASED: JANUARY 1993
Some debate recently whether or not this really is a SW production credit but OFFICIALLY it remains one so here it is. The cover of the Harold Melvin & The Bluenotes #21 1974 track delivered the biggest hit of Sybil’s career and the last SW top 3 hit.
What did PJ say?
@Odge thinks this is a masterclass “This is how to do a cover. Still sounds great today. Sybil is a great singer, and the backing track elevates this to a dance floor classic”, @WhatKindOfKylie? is happy with every aspect “One of the last big hits for later day Hit Factory, and it's not hard to see why either. Great song, great voice, great production and just great all round“ but @letuinmybackdoor certainly has their preferred version “the full length version with the long intro is THE one”.
The praise continues from @CasperFan “When SAW do covers well they really do them well. Didn’t know the original but love this, made me notice Sybil-great song” @nanafan “A great record and deservedly a hit. Sybil has a strange chart career and waited a long time for a smash. This style of piano pop suited her well” and myself “Love the beginning of this when it’s just Sybil and the piano and she can clearly belt out a song- love it!”
@Eric cries it “What an absolute bop!” but who’s bop is disputed as @MixmasterRemix reminds us “According to Eddie Gordon and Tony King, they’d created this and were ready for release when Mike and Pete wholesale stole it from them, changed a few settings, and claimed it as their work. Gordon even had to take them to court to get them to give up claim to the West End name!”
@iheartpoptarts is surprised “This one I actually would not have guessed was a cover” whilst @ohnoitisnathan is somewhat cooler “Good.”
Think I was very generous giving this 10 I think it was overscored in comparison to what was around it on the list. It's still a bop tho.
Tomorrow someone will be joining @Eric @CatastropheBoy and @idratherjack in losing their 11.......
Good to see Sybil in the top 20 with two of her songs! I guess it won't take long before When I'm Good And Ready leaves but I liked this new direction for Stock Waterman.
That picture distresses me. Distressed like Linda Barker's handiwork on Changing Rooms.
It's a 10 by 1993-standard SW, but is probably not a 10 by 1986-8 SAW standard.
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