Anybody who has ever worked with an Oldies/Greatest Hits or Classic Rock station will tell you that having the “right” versions of songs is an ongoing challenge. The version of a song on the CD reissue is sometimes neither the single nor the album version that was heard in the vinyl era. Singles edits often disappear from circulation. Even the version on the library disc you order from a syndicator might not be the hit single version.

I recently came across a Canadian library disc with the nearly five minute version of “Aquarius/Let The Sunshine In” by the Fifth Dimension. But any Canadian Oldies programmer will tell you that they’re playing that song only as Canadian content (the music was written by a Canadian) and would rather get it over with as quickly as possible. “Magic Carpet Ride” by Steppenwolf, which programmers on both sides of the border are happy to play, is still a minute longer and a different take from the hit single as heard on most stations. And as frequent contributor Rich Appel notes, almost every Beatles single from 1964 is now represented by the British mix now available on CD, not the American single.

That said, you also get used to hearing songs a certain way after a decade or so, something that became clear when Ron Gerber, host of the Friday night “Crap From The Past” on Non-comm KFAI Minneapolis recently began playing some long-unheard singles mixes, including Pat Benatar’s “Hit Me With Your Best Shot” and Eddie Money’s “Two Tickets to Paradise.” I was expecting them to be hotter—they were singles mixes, after all—and they did have some additional guitar overdubs. “Two Tickets” is shorter with an alternate vocal and even some lyric changes. But the overall feel of both songs is actually cleaner, and “Hit Me With Your Best Shot” verges on feeling watered-down.

Even when a single edit doesn’t soften a song, there are still times when the right version sounds wrong now. The 3-½ minute version of “Stayin’ Alive” by the Bee Gees sounds like it ends abruptly now; most AC and Greatest Hits stations let it go for nearly five minutes. Should a Greatest Hits station play nearly six minutes of Supertramp’s “Goodbye Stranger”? You can still find the single version, but you definitely notice the edits now.

There’s some irony here in knowing that the album version of Benatar is the one that now plays on practically every Mainstream and Soft AC in America (except those who have already culled it out for being too old). It’s the edgier version, but after nearly 30 years, it is, of course, not so edgy anymore. And it’s being heard by an audience that might have grown up with the single edit on Top 40, but equally likely heard the original on Rock radio, or on a Top 40 that prided itself on playing the album version of a hit.

In other words, it’s hard to serve as a caretaker for a format. Without descending too far into Oldies geekery at a time when radio has plenty of other issues, one still doesn’t want the on-air product to be “wrong” because somebody grabbed a random box out of the label archives 23 years ago. This is a topic that I expect to ignite plenty of passion in certain types of radio people (myself obviously included).

What follows are responses that were e-mailed to me as a result of the column above, first published in Tuesday’s “Ross On Radio” newsletter. You can also use the comment link below to add your thoughts on the topic.

---

Readers Respond:

My pet peeve — some stations(like “Sunny 105.9” Orlando and XM-‘70s) are playing the three minute edit of “Sweet Home Alabama,” for God’s sake! Many Top 40s played the full 4:42 that was on the commercial single release! One thing I remember from the late '70" New York’s 99X had a slogan,“playing the long versions of your favorite songs because we care about your music! — Peter King, Orlando, Fla.

---

The radio hit of “You Never Even Called Me By My Name” which was four minutes long eventually got replaced by the longer (not as good) album version. I spoke to one veteran PD recently who didn’t even know there was a four minute version. — Joel Raab, Joel Raab Associates

---

Let’s not forget all of the Steve Miller fans looking aimlessly for the “funky kicks going down in the city.” Playing that version was almost immediately followed by a caller telling me I had “sold out to the man.” He obviously hadn’t seen my paycheck . — Bob Walker

---

Nice topic, Sean.

We used to stick pretty closely to the TM Century ‘standard’ versions. I think we only got burned a couple of times in 15 years. That being said, I could see some value in using an “alternate” version to perk up the ears and perhaps slow down inevitable burn-out. What about live versions? To me, it’s all about repackaging to try to keep a finite number of records infinitely fresh.

Another couple good ones: “Say You Love Me” by Fleetwood Mac, and “Rebel Rebel” by David Bowie (Classic Rock Division). I also seem to remember a different version of “Silence is Golden” by the Tremeloes on one particular GoldDisc release. Am I hallucinating? — Tom Schuh, OM, WECK/WLVL Buffalo/Lockport, N.Y.

---

Back in late ‘81/early '82, many stations played the “Special Club Version” of “I Can’t Go For That (No Can Do)” by Hall & Oates. This was the version that appeared on the commercial 45 RPM single. It was basically an edited version of the 12" mix. It had a much better outro, lots of reverb on the vocals, thumpier drums and a much fuller bass sound than the album version edit that most stations play nowadays.

Probably one of the most half-assed radio edits in history has to be the 7" version of “While You See A Chance” by Steve Winwood. The edit happens mid-sentence! Oddly enough, I prefer this shorter version to the “Arc Of A Diver” album version.

Another 45 mix that (to my knowledge) has never appeared on CD is the 7" mix of “Foolish Heart” by Steve Perry. The 45 RPM includes some whispering over the instrumental bridge. — Java Joel, nights, WAKS (Kiss 96.5) Cleveland/WYUL (94-7 Hits FM) Montreal

---

I could pen a whole article just on how we play the mono single versions of some songs because they’re so much punchier. (Of course, we have the advantage of being on AM radio, where some of these songs were literally made to be heard.)

A few examples:The Dave Clark Five (COMPRESS ME BABY!) Crazy Elephant (the mono mix is much hotter); Time Won’t Let Me by The Outsiders (because the stereo version, like many other songs, is out of phase in mono).

For a station that only plays music at odd hours on evenings and weekends, we’re very picky.“ — Clarke Ingram, WKHB/WKFB/WKVE Pittsburgh

---

I'd simply make two additions to the ongoing problem of the “right” versions of old hits.

Quite often when they’re transferred to digital, the mix or eq of the original is changed, instantly making the record the “wrong” version, although it was transferred from the “right” one.

Secondly, don’t forget the regional factor. Many songs were hits by different artists, done different ways in different areas of the country. That’s what has made it a bit difficult for network programmers to always be on target everywhere. — Chuck Southcott, now playing the heavy hits and standards on Retro 1260 in Los Angeles

---

As a one-time radio personality (including CBS-FM), music programmer, and current reissue producer/writer, “original hit versions” is a topic near and dear to me. As you pointed out, the arguments for/against are not clear cut, but…(you knew that was coming)…here are my off-the-cuff comments.

I strongly believe that radio should play the original single versions – with few exceptions – of rock ‘n’ roll/pop AM hits from the 1950s through most of the 1960s. The first challenge is with the phrase “original single versions.” Is it the promo edit played on the radio at the time or the version released commercially to the public? Consider, “Like A Rolling Stone.” I can’t imagine anyone wanting to hear the short “part 1” version played on some Top 40 stations in 1965. And what about “Shout” by the Isley Brothers? The original single was split into parts one and two on sides A and B, and only part one was played on the radio then and for some years afterwards. Along the way, though, radio began airing the two back-to-back, and that’s the version most folks remember.

Then there’s the whole stereo/mono issue. Most golden era oldies were released in mono even after stereo mixes became available on the accompanying album. Apart from those hits with distinct differences between the mono and stereo versions (different lead and/or background vocals, missing/added instrumental parts, and so forth), many of those old stereo mixes just don’t sound like the hit singles. Until the mid/late sixties artists and producers spent the most time and money on the mono mix (something I've been told many times in interviews with said people). My bias is to program the version that most closely matches the original hit played on the radio. After all, that’s what drove sales and what listeners expected to get when they bought the record. I just finished up a complete Columbia singles set on Paul Revere and The Raiders, and, believe me, those original hit mixes kick butt compared to the usual stereo reissues. (BTW: If the stereo mix matches the mono in version and sound, then play that one.)

Things get much murkier after the advent of longer album tracks by the likes of Chicago and the Moody Blues that were played in their entirety on FM radio and heavily edited for AM play, which may or may not have matched the commercial single. Whereas there was a pretty clear “standard” version previously (mono hit AM version), there was now often no one agreed-upon benchmark version. Should an oldies station always play the long album version? If so, what do you do about all those extended R&B tracks from the 1970s and beyond? On the other hand, programming only the shorter, single edit mixes makes for some pretty gruesome listening, depending on the record in question. Seems to me the solution here is for a radio station to adopt a basic philosophy and adhere to that as much as possible, making individual exceptions according to what works for its format and audience.

And yet….even that argument breaks down once you enter the era a multiple mixes, sometimes five or six of one recording! Gawd knows what to do in that case.

Beyond these points, all programmers involved must do research since, as you noted, many original hit versions are not readily available on CD. Internet forums are a good place to find version info although be prepared for much music geekery. A good straight-ahead starting point is Pat Downy’s site,. As the URL implies, Pat’s site covers Top 40 tracks only (and only domestic CD releases) but that includes most of the oldies tracks programmed today and is, therefore, an invaluable resource. — Ed Osborne

---

One song that seems to set off the “play the single version” purists is “Time Is On My Side”. The single prominently featured an organ that wasn’t on the LP version, & it fades out, as opposed to the cold ending of the LP. For many years, the single version was unavailable, & the album version became “the” version. Even I prefer that to the original single now. That said, I play the single version on my station. — Don Tandler, WHTG (Great Gold 1410) Monmouth/Ocean, N.J.

---

Having been an MD in CHR and an AC and country PD for years, the right version for me was the version that the listener buys when they buy the album the first time.

BUT there are exceptions to that. In the CHR days I was not above making my own versions.

Frampton’s “Do You Feel Like We Do” LP version was chopped down to a respectable 5:30 with my edits. I thought the single was just too edited .

I took the LP intro to “We Are Family” and the cold LP outro, put it on both ends of the single and made a better sounding song than the fade out single, but not as long as the LP version.

I took “Another Brink In The Wall” Pts 1 & 2 and added on Pt 3 from the LP to make our own version. The local record stores (remember those) kept getting people asking about it and how to buy that version.

I got the idea from WLS when they re-did “Make Me Smile” into a longer song by adding on the LP intro and the “Now I Need You More Than Ever” track from the album.

In my CHR days I would always play the LP version whenever possible. At times we had 20 shares and were number one for 11 years.

In my country days I always played the version that the listener would buy. I would play the special versions that the record company would record for us with our call letters if it sounded right.

By up cueing Reba’s “Fancy” or playing the single version to me just does not sound right. While I played the single of Toby’s “A Little Too Late” as soon as I found the LP version, that one went on the air. I feel that Sara Evens “Born To Fly” at 5:00 is better than the single, and the light rotation that song is in really adds a texture to the station that says “ we are hip.”

Are there exceptions, of course there are, and as soon as I hit “send” I’ll think of one. — Joel Dearing

---

For April Fool’s Day someone should temporarily change formats to become “The Hook” – Only the best parts of the songs you love. Or they could get trendy and instead of “Nine” debut a new station called “Three.” With the voice of Nick Michaels, the liner would read, “In an overcommunicated world, sometimes one song just takes too long. That’s why Three plays the best three minutes of every song we play.”

That being said I cringe when I hear the CHR mix of “Tonight Tonight Tonight” by Genesis. They butchered the song for Pop radio. — Adam Jacobson, JakeAdamsDotNet, Miami Beach

---

Queen & David Bowie’s “Under Pressure” is another wrong version that is heard on the radio. The only available CD versions have a slightly different mix with the added “People On Streets” line that repeats twice during the bridge.

Also, when you hear Madonna’s hits from the 80’s, they are usually wrong, since most stations tend to air the versions from her “Immaculate Collection” which had all of the tracks remixed using a brief audio fad called QSound. — Scott Lowe, WHTG (Hit 106) Monmouth/Ocean, N.J.

---

I think the “right” version of a single is the original single edit or the corresponding album cut if it isn’t too long and drawn-out. For example, I'd much rather hear the single edit of “Carry On Wayward Son” by Kansas instead of the longer album version since that’s the one I'm used to. Another is “Always & Forever” by Heatwave. I could never find the single version on CD so I just put my very clean 45 copy on CD-R. Still another is “Take Your Time (Do It Right) by The S.O.S. Band. I could never find a version without that "Let’s do it” crap dropped on the intro; it just ruins it. There are plenty of songs that do sound better with their longer LP version such as “I Heard it Through The Grapevine” by Creedence Clearwater Revival or “She’s Gone” by Daryl Hall & John Oates.

The absolute WRONG version of any song is a re-recording of the original. Watch out for anything that says “New stereo recordings” that leads you to believe that they’re stereo versions of the original recording, which they’re not. — Tom Richard

---

As a former DJ and OM as well as avid music collector I couldn’t agree more with your article and emphasize that a station play the version of a song as it was heard in its heyday.

Now, let’s define “right version”. As I eluded to above, different markets played different versions. One reason is that what they played is what they were serviced with by their record rep (these were employees of a label who visited radio stations and supplied media such as vinyl to). I recall hearing Dean Friedman’s “Ariel” on WDRC. At that time I was Chief Engineer at 13-WAVZ a well known AM rocker in New Haven, CT. I asked our MD, Curt Hansen, if he knew the song. Curt told me it was under careful consideration and since I heard it, he would add it. The following day I told him I didn’t hear the “she was a Jewish girl” line. Curt got on the phone with the rep and the next day we were given multiple copies of the album, which WDRC was playing. When 13-WAVZ evolved into KC-101 (FM) we played vinyl because the format change had a strict schedule and we didn’t have stereo cart machines.

KC-101 played the promo 12 inch version of Nicolette Larson’s “Lotta Love” which today is not to be found on CD. To me, that is the “right” version since KC-101 was so dominant back in that time, as were certain longer cuts from a Saturday Night Fever promo 12 inch.

In the past I produced music cuts for a Midwest oldies station. To find the “right” version as well as what songs were locally popular I recommended sending their DJ’s to local record swaps and inviting input from listeners. Many times songs are played in one market and not in others. A prime example is “Fallin' Lady” by Punch. It appears on vol 3 of Rhino’s Super Hits of the 70’s Have A Nice Day series. Rhino’s mastering engineer, Bill Inglot told me it was a huge hit on KHJ. Never heard of it back East. The list can go on and on. I once had a disagreement with a fellow collector/DJ over the “right” version of “Both Sides Now” sung by Judy Collins. WABC played the version from the Wildflowers album whereas Hartford/New Haven, Conn., stations played the single mix. We were both right, for our respective markets.

Bear in mind many of these promo versions are only available on the original 45’s. I have many of them and they will never be pressed to commercial CD. How many MD’s know or care about versions? Not many. How about “Thinking of You” by Loggins & Messina? The “right” version is only available on the original 45. The LP has a completely different version. Same for “Sweet Mary”, “And The Grass Won’t Pay No Mind” and others.

Great article, I enjoyed it and let’s hope others did also. Today I earn my living in broadcast engineering and have done so for many years. Gone are the days when I could bring in my own records, do theme shows, take requests and play them, ask trivia questions and give away records, etc. When I was a PD/MD I did not use format clocks. I encouraged my DJ’s to make use of our extensive library and do something unique and special.It was great when it was, but it is no more. — Tom Osenkowsky

---

I remember the 45 of “Hit Me With Your Best Shot”…always thought the extra guitar riffs were superfluous. Most anywhere I either heard or played it though, we played the album version…those riffs cut like a knife in contrast.

“I Ran” (So Far Away) by A Flock Of Seagulls…when the album came out on CD, it was a weird 5:00 version with a minute-long synth fade up intro replacing the single cymbal right into the guitars as on the original 3:58 album cut. Tried to locate it on a couple other CD’s and each time it was either the 5:00 fade-up version or the 3:30 single edit. Disappointing!! Fortunately I found a 1985 compilation CD, “Arista’s Perfect 10 Rides Again”, in a pawn shop! It has the original 3:58 album version on it.

Three Dog Night “Joy To The World” – here’s one where the 3:17 single edit, with its guitar-driven instrumental break and party-feel ending, has always been the definitive version to me. The album version is really sterile, and the greatest hits version wasn’t much better. Good to hear some oldies stations spinning the original again…although I wonder, does any stereo version exist of that 3:17 “hot” mix?

Duran Duran “Hungry Like The Wolf”…is the original 5:11 hit single (the only version I ever played back in my Top 40 days) even on CD anywhere? I never hear it anymore. I've heard a 3:15 version that didn’t exist back then.

You think someone either with the artist or record company would take a little extra time to research the details, but what do I know?

Always good stuff, keep up the good work! — Charlie Mitchell, air talent, WDSY (Y108) Pittsburgh

---

Obviously, the idea of an oldies station is to rekindle memories for the listener. If you don’t play the hit version as they remember it, then you miss the mark. Part of the nuance is to know which songs are still remembered by their original hit single version and which became known by another cut. Some are even acceptable in either form. This really comes down to having a programmer who is a member of the target audience. You really can’t “learn” oldies, you just have to know. Listen to satellite services and you'd think they never even bother to listen to the tunes before they put them up on the bird. — Sean Michael Lisle, KLIV San Jose''

---

I think this one goes back to the old “knowing your audience best” argument. If you’re an oldie station, it’s got to be imperative that you know or have a good understanding of who the stations were back in the day in your market that played these songs when they were current. Air checks (love those) and correspondence with those associated with those stations might help you find out which versions of these songs were played.
I’d also point out that sometimes a newer or different version of a song can sound “acceptable” after being played in that same market over time by a successful station. In 1984, I remember playing the album version of Chicago’s “Hard to say I’m sorry” which was really a medley of 2 songs. The single version heard more times than not has been played in Hartford for many years now since, which I would guess has overshadowed the memory of that version I used to play. — Al Levine, WBLI Long Island, N.Y.

---

Another great column, Sean. I’ve often been frustrated by this myself. I’ve especially noticed this with old Madonna tracks – AC stations are more likely these days to play cuts off her “Immaculate Collection” and other greatest hits CDs, which aren’t the original versions. I don’t think I’ve heard the original versions of “Like a Prayer” or “Holiday” on the radio in years – it’s always those updated edit/remixes. — Michael Schneider, Variety

---

I read your latest blog about the “right versions” of songs with a lot of interest as it’s a topic close to my heart. When I was APD at Classic Hits WERV-FM (95.9 The River) in suburban Chicago, I was very aware of playing the “right” versions of songs. Especially since our station had listeners that directly descended from listening to either WLS Musicradio and WLUP “The Loop” in the 70’s and 80’s.

I find the Pat Benatar example interesting, mainly because most Chicago stations didn’t play the single mix.I remember buying it on a 45 and found it odd, since the stations weren’t playing that version. This of course, was during the Rock 40 era in the early 80s.

I also thing that geography had a lot to do with it as well. There are several songs that played in Chicago that implemented different mixes than in other parts of the country. Case in point, many stations here aired Naked Eyes' “Always Something There To Remind Me” with the “soft” intro, rather than the mix that started with the electronic drums. I'd say that I prefer the former over the latter.

When Kenny Loggins released his 2-record “Alive” album, WLS and a couple of AOR and AAA stations (when you could still get away with Kenny Loggins) flipped to the live version of “I'm Alright.” It had a less “pop” sound to it, but got plenty of airplay. The live version was the one I remembered most, so that’s the one that went into rotation at The River. Of course, the same could be said for “Rock & Roll All Nite” by Kiss and “Coming Up” by Paul McCartney & Wings.

I remember being shocked to hear several radio edits on our station when I arrived. Even though we were Classic Hits, we also aired “radio friendly” AOR hits from the 70’s and 80’s. “Take The Long Way Home” was one of those radio edits that I replaced with the full version. Others were “Feels Like The First Time” and “Cuts Like A Knife” (all of which WLS did play the full versions).

Conversely, I dayparted “Abacab” and “Tonight, Tonight, Tonight” with radio edits in the day and full versions after 7pm. No one needs 8 minutes of Genesis at 10:30am.

I could cite many more examples, which is the fun part of it.

Thanks for a great article! — Scott Childers

---

Nothing infuriates a rock listener more than hearing a single edit. I remember working at WPYX when I played “Sweet Emotion” and got chastised by a listener because I'd unknowingly played an edit from the Greatest Hits album. Heck, I didn’t even know there was an edit of that song! Many years later, when WNOR moved from CDs to automation, the library we bought was riddled with single edits and remixes. Even today here in Baltimore I occasionally hear a “weird” (to me) version that turns out to be a remix that found its way into the computer. In the rock world it’s usually pretty easy to know the “right” version to play: the original album version. — Harvey Kojan, PD, WZBA (the Bay) Baltimore

---

The right version is the one that was played in your market. For oldies stations, that’s always the 45 edit.

Care must also be taken to avoid “re-sings” that artists released once the rights to their songs expired. Many greatest hits packages are littered with these songs. Some are so close to the original, even I've been fooled.

Luckily, we have original 45’s to use as a baseline – or to even dub to air. A few of our very loyal listeners can spot re-makes a mile away, and don’t hesitate to call if I ever let one slip in.

iTunes might have re-sings actually marked as such in their store – but even they get fooled and don’t liste every artists songs correctly (eg.– Tommy Roe, Jimmie Rodgers, Grass Roots, Paul Anka etc.) There are even versions that are sped up on later releases – example – “In The Misty Moonlight” by Jerry Wallace.

On occasion we do offer an album version of a hit as a Spice tune (Light My Fire – Doors, Signs – 5 Man Electrical Band) for an artist feature. — Charlie O'Brien, CKWW (AM580) Windsor/Detroit

---

Sean, this is a great topic! Being an oldies PD at one time (WCFL-FM Joliet) and trying to play the “correct” versions was certainlyl a chore. It was around this time that many songs were being “reissued” on CD. In more than a few ocassions, the CD version was a completely different version than anyone ever heard on the radio, on the single or the album! It was just a brand new recording of an oldie! Ugh! ( Little Willy and Chirpy, Chirpy, Cheep Cheep, come to mind)

In a few cases the single version was clearly the way to go. Ram Jam’s Black Betty (without the extra musical bridgel) Guess Who’s American Woman (w/o the slow sorta-acapella intro) and Beach Baby (w/o the extra music bridge and verses)

There were also the songs where the album versions were just too long or too repititous to play. Skin Tight—about a 3 minute single that had an album version that went for almost 3 times that length. I'm sure everyone’s familiar with the whole-side of-an-album versions of Iron Butterfly’s In-A-Gadda-Di-Vida, CCR’s Heard It Through the Grapevine and The Temptations' Masterpiece.

Then there were those where the album version seemed like the only choice for a modern oldies stationL That Lady-Isley Bros, Signs-Five Man Electrical Band or Layla-Derek & The Dominoes. I once got cussed out on the request line from a listener for playing the single version of Won’t Get Fooled Again. He thought the CD player was skipping around!

Single or hit radio versions that I had a hard time locating included Kiss-Rock And Roll All Nite—I couldn’t find the version where they yelled “rock and roll” at the very end. Summer In The City: I couldn’t find the version where the cat meow’s at the very end. I could never find a version of Three Dog Night’s Old Fashion Love Song that didn’t fade out what seemed to be too soon.

Here’s an old, but excellent discussion from a newsgroup from about 10 years ago. — Don Beno

---

I detest listening to remakes of any song, even by the same artist. I am one of those who can detect the fake version each time, every time. I will settle for nothing less than the original 45 single that played on the radio originally. I usually turn off the radio for the rest of the day when I hear a remake. That’s how much it upsets me.

Two examples of very elusive radio edits are “The Last Farewell” by Roger Whittaker and “Could It Be Magic” by Barry Manilow. The way they release remakes of these songs on their albums, one would think the originals never existed! Yeah, I don’t enjoy enduring six minutes of Supertramp’s “Goodbye Stranger", either! — Harry Anchan, Calgary, Alberta

---

Another problem for some was [how songs were played] in the 1970’s. Many top 40 PDs told the station engineer to recalabrate the turntables to a slightly faster speed. This created a more “up” sound and managed to get one additional song to play each hour, therefore; playing more music per hour than the competing station. Interesting article, thanks for making us think. — Gary Hunt, WGVU (Real Oldies 1480/850 AM) Grand Rapids, Mich.

---

We don’t play “Livin' Lovin' Maid” piggybacked to “Heartbreaker,” [even though] many Rock stations play the two as one. As the APD and a Zep fan, I find it amusing when told part two isn’t considered a classic hit! Love the radio insight you provide….keep it coming. — Rick Wyman, APD, Big Daddy 103.9, Sudbury, Ont.

---

Hi, I want the 7-½ minute version of “What Goes Around Comes Around” but no top 40 station it seems will play it! Hi I am Marcus Geibel a very passionate radio listener totally blind from birth so listening is very important to me! I hate how the top 40 stations chop and cut What Goes Around Comes Around and I can’t for the life of me understand why they do it! I grew up in the ‘70s and to me the full version of a song is the only acceptable one in my not so humble opinion! the only place that’ll play the full 7 and ½ minute version is Muzak on their hit line channel (923 on dish network) so kudos to them! top 40 radio needs to take a lesson from muzak and do it right! love your columns keep up the great work! — Marcus Geibel

---

I could write a BOOK on this one…maybe I will.

I can list dozens of the CORRECT versions classic hits/oldies/classic rock stations SHOULD play…and each situation and song IS subjective…but…

I can say from a RECORD PIG’S point of view that the SINGLE mix (or even a Stereo version of same track) is the one we USUALLY want to hear, as that’s the one we remember.

But (here comes the Devil’s Advocate) the versions of MANY songs that have been played for years now have become the DEFAULT versions. Case in point: “Time Is On My Side” Rolling Stones. I can’t STAND that guitar intro…but that’s all that has been played for nearly 40 years now. Why? Because it was on the first real “greatest hits” set on High Tides And Green Grass. Then the double album came out with it on it…then the CD version was that one. I think the RECORD COMPANY requested a “stereo” version of the song…and they either re-did it because of that OR…one or more members of the group wanted it punchier than the dirge-like version WE BOUGHT on the original purple and white London 45! I like THAT one better. For a while, Sirius ‘60’s Vibrations and even the merged Sixties on Six played that SINGLE version. NOW…they seem to play that guitar intro… I know…most people used to hearing the STEREO version think THAT is the right one SIMPLY because it is the one played now…and for the last umpteen years. But for PURISTS like ME…play me the ORGAN intro and the rest of THAT take…mistakes and all…and there are many…tambourine hits not in the right place…bad notes, etc…and THAT may be THEE reason it was either re-cut or SOMEONE chose to put out the GUITAR intro. Perhaps a Stones-Record Pig could explain more.

Then…there’s “Creeque Alley” by The Mamas & The Papas. Please. The SINGLE was what we HEARD back in ’67…but suddenly FM radio played the STEREO version…without the horns…honky-tonk piano parts…and most of all the dropped-out vocals at the end of the song where SOMEONE didn’t turn the VOLUME control UP for a moment in the mastering process. Same thing with “I Saw Her Again” and “Words Of Love”… The SINGLE mixes ARE the right versions. I guess the same argument raised above (as Devil’s Advocate applies with all of these examples.

Then there is the SINGLE EDITS vs. the ALBUM versions. SOME longer versions NEED to be played BECAUSE they SOUND better…like “Get Together” by The Youngbloods…imagine THAT song without the magnificent fluid guitar solo…and how about “I’ve Been Lonely Too Long” by The Young Rascals. Please…the STEREO album version is SO good…and the edit was HORRIBLE on that 45 mix. HORRIBLE. I still cringe. How about “Make Me Smile” by Chicago? Well…I have made (and many others have too) a LONG version of the 45 with a blending of the TWO parts of the song from Chicago II…complete with the WHOLE intro and the complete OUTRO. The GREATEST HITS album that came out killed ANY chance of doing what many FM stations had done for years. THOSE edits don’t even make sense…but Columbia was just giving the Top-40 stations a version under 3:00!! Some labels LIED about the length of the song on the promotional versions and even the stock copies JUST so WABC would at least LISTEN to the record for possible play. “American Pie” anyone? “Aquarius/Let The Sun Shine In/Flesh Failures”??? Play the short version and you might as well turn in the license.

That is another point. If you listened to FM stations starting with OR-FM (in its Top-40/oldies hybrid moment of glory after the brief AOR days, you got used to hearing the longer versions of songs…same thing with WNEW-FM and stations like that across the country. It was RARE that WABC, WLS, WFIL, WIBG, KHJ, WCFL, WIL, CKLW etc…played LONG versions UNLESS the audience MADE them due to the popularity of a song on the new FM stations That’s MY take on that.

So I understand MOST of the arguments pro and con about which version IS the right one to play. When I hear the horns come in on “Kind Of A Drag” on the instrumental bridge, I cringe…’cause my USA Records 45 did NOT have that on it! Then the greatest hits ALBUM comes out a few years later and MOST station playing ’60s tunes played THAT one because it was in STEREO.

There are DOZENS of songs like this.

Then there’s the case of “Magic Carpet Ride.” I can’t tell you how many BAD edits there are of THAT song out there. In programmers efforts to play the stereo versions, but wanted that song in the SINGLE LENGTH…they usually edited it in the wrong places…thus making a mockery of the original single…which, by the way, was a COMPLETELY DIFFERENT take vocally and instrumentally than the NOW more accustomed STEREO LP version. Follow that? I listened to the original 45…and synced it up with the STEREO version to SEE if I could DUPLICATE the SINGLE EDITS from the STEREO versions as countless of you have done yourselves. It ain’t EASY…mostly because the SINGLE was slower…the lead vocal was a COMPLETELY different take…and most don’t know how to EDIT with precision (I did it with a razor and grease pencil)…Same with “Na Na Hey Hey (Kiss Him Goodbye).” The SINGLE is shorter, making it less boring…and whoever did the original edit was a GENIUS because it is SOOOO difficult to do! The edits on THAT version happen in places that baffle the logical mind of anyone with a good ear. But it WORKS. I finally did it after listening to both versions side by side…and man was I surprised at how long it TOOK. Hours upon hours. But the SINGLE version just works BETTER..and THAT’S what people SHOULD be playing. It just pops. The LP version lingers too long on certain parts.

Then…there is the “HEY JUDE” controversy. Ok…NOBODY EVER play anything BUT the complete song until virtually the very end. Just don’t mess with it or fade it until Sir Paul sings “awell a NAAA…” Thank you.

I have NOTICED a lot lately, that SIRIUS/XM’s decade channels FADE songs WAYYYY too soon. Sometimes the part they FADE too soon is the most IMPORTANT part of the SONG!!!!!! I can’t stress enough about that. DON’T fade songs 10 seconds BEFORE it ENDS…no matter what! People who adore certain songs (we all have about 10 songs in our heads that can NOT be messed with) know they’ve been cheated. They KNOW that little DRUM thing or certain phrase by the singer is about to happen, only to hear a BAD segue or worse, a crappy re-sung PAMS jingle coming out of seemingly NOWHERE to interrupt the ending!!!! Jeez…people AIN’T that dumb. At least I hope not. I’m not picking on my old comrades at SIRIUS/XM…just pointing something out.

I’ve been discussing this for decades now with my peers. Many message board discussions about this VERY topic have been around since the internet was invented by Al Gore. There IS no CORRECT answer, as EACH case IS subjective. But if I was elected President of Radio…the above mentions would indeed become LAW. Ain’t I ain’t talkin’ Al Brady.

Capish?

I’ll be happy to debate this stuff with anyone. I’ve already been doing it for YEARS at virtually every radio station I’ve even had an affiliation with… NO I haven’t had a discussion about this with my present employer…as they seem to be doing what’s RIGHT most of the time…although…..never mind.

Each song and station has a reason for everything they do. SOME don’t because of a lack of knowledge of what the AUDIENCE REALLY remember and what they don’t. I propose a compromise. Put two versions of the song in packets…and alternate them. THUS, you have an “oh wow” affect every other time you play the song. SOMEONE out there GETS it. Many won’t know the difference. But if you want those precious P-1’s with PPM’S to feel satisfied ALL of the time with the songs played (and the right versions) then try THAT for a while and see how it works. You might be surprised at the response.

Ya know, I could be TOTALLY wrong about all of this…as in…perhaps most people driving down the road in their Toyota don’t CARE what version you play…as long as you play it. And to hell with the purists. THEY are a small minority who read Goldmine or Record Collector magazines…and collect recordings in various forms.

And the beat goes on…edited.

BE BIG! — Big Jay Sorensen, WCBS-FM New York

---

Interesting article on the “right” versions: that single edit of “Two Tickets To Paradise” is on his “Playlist” CD. I can remember many remixes for Top 40L the whole “Heart' album from 1985 seemed to be remixed; there’s a no rap version of Motownphilly. I have never heard the "soft” version of “hit me with your best shot.” Some stations edited ‘You give love a bad nam'e on the beat after the cold open that sounded simply awful. I've heard this weird “beat” remix of in the air tonight on AC radio. — Mark Summer, PD/MD, WDDJ/WQQR/WKYQ Paducah, Ky.

---

I enjoyed reading all the comments from folks who obviously grew up listening to and/or programming the songs being discussed.

While reading, I wondered, “what will a column like this look like years from now, when jocks discuss the umpteen versions available for many of today’s hits – especially from the Crossover world”? Do you want the one with or without the talk-up ramp … with or without the ‘rap’ … the one where the second verse moves to the front of the song to make it catchier (see Black Eyed Peas “Where Is The Love”) … and then I saw the comment about “What Goes Around.” The first of many to come, I’m sure.

But back to us old farts. The song I would add to this discussion is “I’m Alright” by Kenny Loggins. While most of radio played the single version, WLS Chicago played a ‘live version’ from Loggins’ live album. Sooooo much better – and with an intro to boot! At our station, I would alternate between the two, but always preferred the live take. — Ed Brown, All Access

---