Item description for 1983 ORIGINAL SOUNDTRACK THE BIG CHILL MORE MOTOWN CCR MARVIN GAYE MOVIE RECORD

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The Big Chill (Original Motion Picture Soundtrack)

Label: Motown – 6062ML

Format: Vinyl, LP, Compilation

Country: US

Released: 1983

Genre: Rock, Funk / Soul, Stage & Screen

Style: Soundtrack, Soul

Tracklist

A1 Marvin Gaye– I Heard It Through The Grapevine

Written-By – Barrett Strong, Norman Whitfield

5:03

A2 The Temptations– My Girl

Written-By – Ronald White, William Robinson, Jr.

2:55

A3 The Rascals– Good Lovin'

Written-By – Arthur Resnick, Rudy Clark

2:28

A4 Smokey Robinson & The Miracles– The Tracks Of My Tears

Written-By – Marvin Tarplin, Warren Moore, William Robinson, Jr.

2:53

A5 Three Dog Night– Joy To The World

Written-By – Hoyt Axton

3:24

B1 The Temptations– Ain't Too Proud To Beg

Written-By – Edward Holland, Jr., Norman Whitfield

2:31

B2 Aretha Franklin– (You Make Me Feel Like A) Natural Woman

Written-By – Carole King, Gerry Goffin, Jerry Wexler

2:41

B3 Smokey Robinson & The Miracles– I Second That Emotion

Written-By – Alfred Cleveland*, William Robinson, Jr.

2:46

B4 Procol Harum– A Whiter Shade Of Pale

Written-By – Gary Brooker, Keith Reid

4:03

B5 The Exciters– Tell Him

Written-By – Bert Russel*

2:29

Distributed By – MCA Distributing, Inc.

Phonographic Copyright ℗ – Motown Record Corporation

Published By – Stone Agate Music Division

Published By – Jobete Music Co., Inc.

Published By – Hudson Bay Music Co.

Published By – Lady Jane Music

Published By – Screen Gems-EMI Music Inc.

Published By – TRO-Essex Music, Inc.

Mastered At – Motown/Hitsville U.S.A. Recording Studios

Artwork [Design] – Lisa Aubin

Compiled By – Roger Nichols

Mastered By – John Matousek

Label Variation to Various - The Big Chill (Original Motion Picture Soundtrack): Distributed By info on label rim, not under track listing.

Barcode (Text): 0 5010-96062-1

Matrix / Runout (Side A Etched): 6062MLA-A-RE1-15D ZKO #13JM

Barcode (Side A Etched Backwards): EPNP

Matrix / Runout (Side B Etched): 6062MLB-B-15B ZKO #13 JM SXHS

Rights Society: ASCAP

Rights Society: BMI

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More Songs From The Original Soundtrack Of The Big Chill

Label: Motown – 6094ML

Format: Vinyl, LP, Compilation

Country: US

Released: 1984

Genre: Rock, Funk / Soul, Stage & Screen

Style: Soundtrack, Soul

Tracklist

A1 Creedence Clearwater Revival– Bad Moon Rising

Written-By – John Fogerty

2:18

A2 The Beach Boys– Wouldn't It Be Nice

Written-By – B. Wilson*, T. Asher*

2:22

A3 Four Tops– It's The Same Old Song

Written-By – Edward Holland, Jr., Lamont Dozier & Brian Holland*

2:45

A4 Percy Sledge– When A Man Loves A Woman

Written-By – Andrew Wright (4), Calvin Lewis

2:50

A5 Martha Reeves & The Vandellas– Dancing In The Street

Written-By – Marvin Gaye, William Stevenson

2:38

A6 Marvin Gaye– What's Going On

Written-By – Alfred Cleveland*, Marvin Gaye, Renaldo Benson

3:52

B1 The Rascals– In The Midnight Hour

Written-By – Steve Cropper, Wilson Pickett

4:00

B2 The Steve Miller Band*– Quicksilver Girl

Written-By – Steve Miller

2:40

B3 Spencer Davis– Gimme Some Lovin'

Written-By – Steve Winwood

2:51

B4 The Marvelettes– Too Many Fish In The Sea

Written-By – Edward Holland, Jr., Norman Whitfield

2:26

B5 The Band– The Weight

Written-By – Robbie Robertson

4:34

Phonographic Copyright ℗ – Motown Record Corporation

Published By – Jondora Music

Published By – Irving Music, Inc.

Published By – Stone Agate Music Division

Published By – Pronto Music, Inc.

Published By – Quinvy Publishing Co., Inc.

Published By – Jobete Music Co., Inc.

Published By – Cotillion Music, Inc.

Published By – East Publications Inc.

Published By – Sailor Music

Published By – TRO-Essex

Published By – Dwarf Music

Distributed By – MCA Distributing, Inc.

Mastered By – John Matousek

Mastered at Motown/Hitsville U.S.A. Recording Studios, Hollywood, California

Compilation ℗ 1984 Motown Record Corporation, Hollywood, California 90028

A3, A5, A6, and B4 were not in the motion picture "The Big Chill."

All tunes were previously released.

A4 publisher is misspelled as "Quinzy Publishing Co., Inc. (BMI)" on rear sleeve.

B1 publisher is displayed as "East Publications, Inc." on rear sleeve.

Barcode (Text): 0 5010-96094-1

Barcode (Scanned): 050109609413

Matrix / Runout (A runout etch [ZIH, jm cursive letters]): 6094ML-A-15B ZIH jm

Matrix / Runout (B runout etch [ZIH, jm cursive letters]): 6094ML-B-15A ZIH jm

SOUND TESTED - BUYER APPROVED

BOTH RECORD PLAYS EX+ > NM

COVER IS VG+ EX (number notation on Originals back cover)

https://www.youtube.com/watch?v=9TPQurEzC5Y&ab_channel=mytangoinparis

https://www.youtube.com/watch?v=6EJxeI-WOH4&list=OLAK5uy_nm-qsUy_c7YE2or3quTctfR5fhaJVpqnk&ab_channel=CreedenceClearwaterRevival-Topic

(EXAMPLES, NOT ACTUAL)

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FYI

The Big Chill is a 1983 American comedy-drama film directed by Lawrence Kasdan, starring an ensemble cast consisting of Tom Berenger, Glenn Close, Jeff Goldblum, William Hurt, Kevin Kline, Mary Kay Place, Meg Tilly, and JoBeth Williams. The plot focuses on a group of baby boomers who attended the University of Michigan, reuniting after 15 years when their friend Alex dies by suicide. Kevin Costner was cast as Alex, but all scenes showing his face were cut. It was filmed in Beaufort, South Carolina.

The soundtrack features soul, R&B, and pop-rock music from the 1960s and 1970s, including tracks by Creedence Clearwater Revival, Aretha Franklin, Marvin Gaye, The Temptations, the Rolling Stones, and Three Dog Night. The music from the motion picture was composed and conducted by Bill Conti.

The Big Chill was adapted for television as the short-lived series Hometown. Later, it influenced the TV series thirtysomething and A Million Little Things.

Ten of the songs from the film were released on the soundtrack album; four additional songs not from the film were added to the original CD release as "additional classics from the era". The rest of the film's songs (aside from the Rolling Stones' "You Can't Always Get What You Want"), as well as the "additional classics" from the original soundtrack CD were released in 1984 on a second soundtrack album, titled More Songs from the Big Chill. Both albums were re-mastered in 1998; the track list of the first album mirrored the original LP, without the "additional classics". In 2004, Hip-O Records released a Deluxe edition, containing 16 of the 18 songs from the film (again excluding "You Can't Always Get What You Want" and newly omitting "Quicksilver Girl" by the Steve Miller Band) and three additional film instrumentals. A second "music of a generation" disc of 19 additional tracks was included as well. Some of those tracks had appeared on the More Songs release.

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In music, a single or record single is a type of release, typically a recording of fewer tracks than an LP or a CD. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular songs from albums that are released separately for promotional uses such as commercial radio airplay, and in other cases a recording released as a single does not appear on an album. 45 rpm records are played on a record player or turntable. They can be played one at a time, with the records changed manually after they finish, or a stacking spindle could be used to play up to six in succession without manually changing them. The use of the spindle led to the coined "Stack O Wax" term in the 1950s.

History

The basic parameters of the music single were established in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12″/30 cm). By around 1910, however, the 10-inch (25 cm) 78 rpm shellac disc had become the most commonly used format.

The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The relatively crude disc cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, and a high rotation speed was necessary to achieve acceptable recording and playback fidelity. 78 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm.

These factors, combined with the 10-inch songwriters and performers increasingly tailored their output to fit the new medium. The 3-minute single remained the standard into the 1960s when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recordings. In 1968 songwriter Jimmy Webb shattered the standard 3 minute format with "MacArthur Park" which exceeds 7 minutes length. Although Webb had written million-selling songs and was a multiple Grammy winner, the song had been rejected by several labels as simply too long for the marketplace to bear. The Beatles' also challenged deliberately the long-standing 3-minute standard for pop singles with their 1968 7 minute 20 second single "Hey Jude" which according to some was extended in length in order to exceed "MacArthur Park"

Singles have been issued in various formats, including 7-inch (18 cm), 10-inch (25 cm) and 12-inch (30 cm) vinyl discs (usually playing at 45 rpm); 10-inch (25-cm) shellac discs (playing at 78 rpm); cassette, 8 and 12 cm (3- and 5-inch) CD singles and 7-inch (18 cm) plastic flexi discs. Other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc (5″/12 cm, 8″/20 cm, etc.).

The most common form of the vinyl single is the 45 or 7 inch, the names are derived from its play speed, 45 rpm and the standard diameter 7″ (18 cm).

The 7″ 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s.

Although 7″ remained the standard size for vinyl singles, 12″ singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12″ discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they 'wore' better, and were less susceptible to scratches. The 12″ single is still considered a standard format for dance music, though its popularity has declined in recent years.

The sales of singles are recorded in record charts in most countries in a Top 40 format. These charts are often published in magazines and numerous television shows and radio programs count down the list. In order to be eligible for inclusion in the charts the single must meet the requirements set by the charting company, usually governing the number of songs and the total playing time of the single.

In popular music, the commercial and artistic importance of the single (as compared to the EP or album) has varied over time, technological development, and according to the audience of particular artists and genres. Singles have generally been more important to artists who sell to the youngest purchasers of music (younger teenagers and pre-teens), who tend to have more limited financial resources. Perhaps the golden age of the single was on 45's in the 1950s and early 1960s in the early years of rock music. Starting in the mid-sixties, albums became a greater focus and more important as artists created albums of uniformly high quality and coherent themes, a trend which reached its apex in the development of the concept album. Over the first decade of the 21st century, the single generally received less and less attention in the United States as albums, which on Compact Disc had virtually identical production and distribution costs but could be sold at a higher price, became most retailers' primary method of selling music. Singles continued to be produced in the UK and Australia but have declined since the mid first decade of the 21st century.

Dance music, however, has followed a different commercial pattern, and the single, especially the 12-inch vinyl single, remains a major method by which dance music is distributed.

As of 2006 the single seems to be undergoing something of a revival. Commercial music download sites reportedly sell mostly single tracks rather than whole albums, and the increase in popularity seems to have rubbed off on physical formats. Portable audio players, which make it extremely easy to load and play songs from many different artists, are claimed to be a major factor behind this trend.

A related development has been the popularity of mobile phone ringtones based on pop singles (on some modern phones, the actual single can be used as a ringtone). In September 2007, Sony BMG announced they would introduce a new type of CD single, called "ringles", for the 2007 holiday season. The format included three songs by an artist, plus a ringtone accessible from the user's computer. Sony announced plans to release 50 ringles in October and November, while Universal Music Group expected to release somewhere between 10 and 20 titles.

In a reversal of this trend, a single has been released based on a ringtone itself. The Crazy Frog ringtone, which was a cult hit in Europe in 2004, was released as a mashup with Axel F in June 2005 amid a massive publicity campaign and subsequently hit #1 on the UK charts.

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