He was hilarious back in the early 80s when the Y&R was still on CHCH.  He would mock the characters like Victor Newman, during Community Happenings, halfway during the show.  A great era for CHCH, coupled with TV 11 Newsroom.

Binson Echorec wrote:

@Jody - I don't entirely disagree but I feel you're approaching this from a jukebox-esque perspective, where you're hearing individually isolated songs on their own, outside of its album context. And that's okay.

I'm coming from a much more album-oriented angle. When I put on an album I listen to it from front to back, so I want to hear it untainted, as the artists envisioned it. Song sequencing was an art form once.

I guess I've always treated the radio edits of songs as "testers". If I liked a 3-minute tune on the radio and later found out there was a longer version available somewhere, then I was determined to seek it out.

For some reason, a 9-minute version of Bowie's "Cat People (Putting Out Fire)" was released in Australia only. Does it add much to the song? Probably not. Doesn't make me love it any less.

Absolutely, I'm coming from hearing a variety of music mixed together, not listening to an LP side.  I do love that too however, especially for progressive rock titles.  But when listening to a mix of music, I enjoy hearing the songs the way they were promoted during their chart run.

However, mixing the two listening styles together, you may recall that 1050 CHUM (during its punk/rock heavy) era from 1978 through to maybe 1983, they played hits, but mostly used LP versions.  I enjoyed this somewhat, but sometimes missed the single versions, because they were more familiar.  The other thing is that many single versions contain different mixes than the LP version.  If the album had a longer version of the single mix, I might ever prefer that, because of the familiarity.  Does that make sense at all? 
 

Binson Echorec wrote:

I have always been a fan of the longer, unedited album version of a song as that was the vision of the creators. Did my best to never play edits when working in FM radio.

Tangentially, I'm also not crazy about censoring swear words in songs, especially when the song has been airing unedited for years and the censoring is done only because we've recently become worried someone might take offense.

I'm of the opposite though with Rough Trade's "Highschool Confidential".  I find that hearing "cream my jeans" in a public place seems odd (and I'm no prude), especially if it's a small, upscale supermarket.  Yikes!

I find single mixes are usually more to my liking, because THAT was heard more commonly on hit radio during its chart run.  I miss the single versions of these songs, and actually prefer them:

Phil Collins - In the Air Tonight (also used in the video)
Wham! - Everything She Wants (it's actually longer, being edited from the 12" single)

Then there are songs that I think really benefit from editing.  RA brought up one example of the Doors, with Light My Fire.  When I hear the LP version, I think, get on with it already.  Same with the LP edit of Steppenwolf's "Magic Carpet Ride".  Now this one is different.  The charting promo mono single was from ABC/Dunhill, and contained a complete vocal retake (awful in my opinion).  However, MCA records made a better edit of the instrumental part, and that's what you hear on some classic rock stations now.  It gets to the meat of the song, without feeling as though you missed anything.

Notice whenever Simple Minds' "Don't You Forget About Me" is aired, even on classic rock stations, the radio edit is played?  The LP version just doesn't add anything compelling to the song.  Editing really can improve some songs.

But is that with less bandwith?  How does 9 KHz spacing perform overseas?

I know that a lot iHeart/Clear Channel stations states-side limited their bandwidth to 5 KHz.  I think that was done in the early 2000s, but if someone knows better, chime in.

RadioActive wrote:

Unfortunately, it doesn't look Ring would be able to help me if I run into trouble.

This is on their website:

"We no longer handle speaker, cassette or open-reel tape repairs."
 

Unfortunately, tape decks have become a BIG NO NO with repair guys.  I purchased a second hand Onkyo deck from about 1982 (one of those era-transitioning decks where you still had VU meters, but a logic-controlled transport.)  I bought it from Howard Stereo/TV and it ate tapes.  They admitted they could only do a partial repair, due to lack of available parts.  Apparently there is someone in Ohio that may be able to fix it, so I'll be on the lookout for someone else to fix it.  It's a lovely, well-conditioned deck.

The problem is though, it's difficult to quote repair prices for deck repairs because, even if you can get a parts deck to get otherwise unavailable parts out of, they also may be out of spec.  The man-hours involved could be insane, and the repairs would be more expensive than the deck is worth.  You had better love the tape deck, if you can even convince someone to repair it for you, but also be ready to pay hundreds for the repair.
 

Fitz wrote:

I know for a fact that  "Johnny Spadina" started the Pink Flamingo room on Q but I don't recall an official confirmation that he was John Morris. I know of at least one person who would know as they were at both stations around this time but they don't post here and perhaps I should reach out to them. 

Perhaps I'm confusing the Comedy Bowl being hosted by Ted, and then leading into Pink Flamingo Room.  That could be the case.  Anyway, perhaps someone else knows.
 

Fitz wrote:

What I do remember is that the Pink Flamingo room was started by another NY alum. John Morris using the name Johnny Spadina. Possible that Ted W took it over later. No one at the time confirmed that Morris on CFNY was Spadina at Q but the voice was unmistakable.

Hmmmm ... I seem to remember hearing the name Johnny Spadina, but I can't be sure.  I remembered hearing Woloshyn Sunday nights in 1983 or 1984.  Maybe some Q people can chime in.
 

RadioActive wrote:

a Teac X-1000M, speeds 7½ and 15 ips.)

That's a fine machine
 

RadioActive wrote:

(speeds 7½ and 15 ips.)

Is yours a half-track machine?
 

paterson1 wrote:

Most of these I remember and some you don't hear anymore.

Jon and Vangelis with the "Friends of Mr Cairo" also comes to mind.
 

I liked The Candidate, with him and Peter Boyle.  Brubaker was really good too.

I have to say I'm partial to the Revox PR-99 half-track machines.  Those were the silver-faced ones that seemed to share a lot in common with the older B-77.  They just recorded well, and sounded very natural (and neutral) to me.  I always preferred editing stuff at 15 IPS, and those Revox decks had good editing blocks, for my use any way.

I know when it comes to open reel machines, a lot of radio prod folk seem to like Otari decks.  I just find that the Revox PR-99's had a very simple and logical control layout.  Buttons were spaced apart nicely and the meters were legible.

Never got a chance to use an Ampex deck.  To both RA and FP, how did they sound?

RonaldS wrote:

My ex-wife was (still is) a big Neil Diamond fan so I we went to see him in concert at the old Copps Coliseum in 1998.

Wow!  I was at that same concert!  Small world!
 

Chrisphen wrote:

Sting can keep the royalties for Don't Stand so Close to Me '86. Easily the worst song of that decade.

I very much liked the original.  I also disliked the '86 remake, but I was glad I found it on a 12" single.  It included a reissue of the original track on the second side, and it used a quarter of the side to hold the track.  That means grooves were spaced apart nicely, and it was cut louder.  Man, did it sound REALLY good.

Wasn't Sting the composer?  In my mind, wouldn't the band mates have been paid by A&M as part of their contract, when they made their performances during recording, video production, and Synchronicity touring?  Then that's that ... isn't it?