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Rotary Connection ?– Peace
Label: Chess ?– CH 9719, Chess ?– CH-9719
Format: Vinyl, LP, Album, Reissue
Country: US
Released: 1984
Genre: Funk / Soul
Style: Soul, Psychedelic
Tracklist
A1 Opening Round
Written-By – M. Aliota*
1:52
A2 Silent Night
Arranged By – C. Stepney*
5:57
A3 Christmas Love
Written-By – M. Dollison*
3:09
A4 Last Call For Peace
Written By – H. White
Written-By – A. Feldman*
2:52
A5 Shopping Bag Menagerie
Written-By – S. Barnes*
3:49
A6 Silent Night
Arranged By – C. Stepney*, M. Paul*
3:41
B1 Christmas Child
Written-By – C. Stepney*, M. Dollison*
2:42
B2 Peace At Least
Written-By – A. Feldman*
4:11
B3 Santa's Little Helpers
Written-By – J. Donlinger*, J. Nyeholt*
0:34
B4 Sidewalk Santa
Written-By – S. Barnes*
4:21
B5 If Peace Was All We Had
Written-By – J. Donlinger*, T. Donlinger*
4:49
B6 Silent Night Chant
Written-By – C. Stepney*, M. Paul*
4:33
B7 Silence 0:30
Companies, etc.
Copyright (c) – Chess Records
Phonographic Copyright (p) – Chess Records
Published By – Heavy Music
Published By – Arc Music
Published By – Lyman & Feldman Pub.
Published By – Chevis Music
Record Company – Sugar Hill Records Ltd.
Manufactured By – MCA Distributing Corporation
Distributed By – MCA Distributing Corporation
Mastered At – Trutone Mastering Labs
Pressed By – MCA Pressing Plant, Pinckneyville
Credits
Cover [Art Direction And Production By] – AQ Graphics Inc.*, Hemu Aggarwal
Mastered By – Pa*
Reissue Producer – Freddi Jefferies, Milton W. Malden, Norman Schoenfeld
Barcode and Other Identifiers
Barcode: 0 76731-9719-1
Rights Society: BMI
Matrix / Runout (A-Side Label): VID-443-A
Matrix / Runout (B-Side Label): VID-443-B
Matrix / Runout (A-Side Runout Etching): VID-443-A-1 TR Pa 8-84 ?-P-? 1
Matrix / Runout (B-Side Runout Etching): VID-443-B TR Pa 8-84 ?-P-? 1
SOUND TESTED - BUYER APPROVED
RECORDS PLAY NM-
COVERS EX+ > NM-
EXAMPLE, NOT ACTUAL
https://www.youtube.com/watch?v=YpoC2HnnVh0&feature=emb_logo
FYI
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.?
----------------------------------
Rotary Connection was an American psychedelic soul band, formed in Chicago in 1966.
In addition to their own recordings, including their 1967 debut album Rotary Connection, the band is notable as the backing band for Muddy Waters on his 1968 psychedelic blues album Electric Mud. The band's members included Minnie Riperton, who would emerge as a notable solo artist.
Career
Foundation and debut album
The highly experimental band was the idea of Marshall Chess, son of Chess Records founder Leonard Chess. Marshall was the director behind a start-up label, Cadet Concept Records, and wanted to focus on music outside of the blues and rock genres, which had made the Chess label popular. This led Marshall to turn his attention to the burgeoning psychedelic movement. He recruited Charles Stepney, a vibraphonist and classically trained arranger and producer. Marshall then recruited members of a little-known white rock band, the Proper Strangers: Bobby Simms, Mitch Aliotta, and Ken Venegas. Sidney Barnes, a songwriter within the Chess organization, also joined, as did Judy Hauff and a Chess receptionist named Minnie Riperton, who would later be successful in her own solo career. Marshall also called up prominent session musicians associated with the Chess label, including guitarist Phil Upchurch and drummer Morris Jennings. Chess described the band's members as "the hottest, most avant garde rock guys in Chicago".
The band released their self-titled debut album in late 1967. It had various styles, borrowing heavily from pop, rock, and soul, but was not radio friendly. The album also boasted an Eastern influence through its use of the sitar on the tracks "Turn Me On" and "Memory Band". Stepney's arrangements, brought to life by the Chicago Symphony Orchestra, imbued the album with a certain dreamlike quality; this would become a trademark of both the arranger and the mouthpiece.
Electric Mud and The Howlin' Wolf Album
As a result of the success of The Rotary Connection, Chess felt that he could revive the career of bluesmen Muddy Waters and Howlin' Wolf by recording two albums of experimental, psychedelic blues with members of Rotary Connection as the backing band for the singers, producing the albums Electric Mud (1968) and The Howlin' Wolf Album (1969). Chess hoped the new albums would sell well among fans of psychedelic rock bands influenced by Muddy Waters and Howlin' Wolf. In place of Muddy Waters and Howlin' Wolf's regular musicians were Gene Barge, Pete Cosey, Roland Faulkner, Morris Jennings, Louis Satterfield, Charles Stepney and Phil Upchurch. Cosey, Upchurch and Jennings joked about calling the group "The Electric N-----s". Marshall Chess liked the suggestion, but Leonard Chess refused to allow the name. Ultimately, blues purists criticized the psychedelic sound of Electric Mud and The Howlin' Wolf Album.
Further albums, Texas International Pop Festival and disbandment
In 1968, Rotary Connection released their second and third albums, Aladdin and Peace. Aladdin found Riperton assuming a more prominent vocal role than the "background instrument" status she had on the debut. The latter was a Christmas release, with strong messages of love and understanding for a nation in the grips of Vietnam. The album's cover art featured a hippie Santa Claus. Peace was notable for being involved in controversy: an anti-war cartoon, in a December 1968 edition of Billboard magazine, featured a graphic image of a bruised and bloodied Santa on a Vietnam battlefield. Mistaking this cartoon for the album's cover art, a drunken executive at Montgomery Ward cancelled all shipments of the album.
On August 30, 1969, the band played at the Texas International Pop Festival followed by the Palm Beach Pop Festival on November 29. Rotary Connection released three more albums: Songs, in 1969, a collection of drastic reworkings of other artists' songs, including Otis Redding's "Respect" and The Band's "The Weight"; Dinner Music in 1970, in which they added elements of folk and country into the mix along with some electronic experimentation; and Hey, Love in 1971, a more jazz-oriented LP on which the band was billed as the New Rotary Connection. From this album came "I Am the Black Gold of the Sun".
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.?
----------------------------------
Rotary Connection was an American psychedelic soul band, formed in Chicago in 1966.
In addition to their own recordings, including their 1967 debut album Rotary Connection, the band is notable as the backing band for Muddy Waters on his 1968 psychedelic blues album Electric Mud. The band's members included Minnie Riperton, who would emerge as a notable solo artist.
Career
Foundation and debut album
The highly experimental band was the idea of Marshall Chess, son of Chess Records founder Leonard Chess. Marshall was the director behind a start-up label, Cadet Concept Records, and wanted to focus on music outside of the blues and rock genres, which had made the Chess label popular. This led Marshall to turn his attention to the burgeoning psychedelic movement. He recruited Charles Stepney, a vibraphonist and classically trained arranger and producer. Marshall then recruited members of a little-known white rock band, the Proper Strangers: Bobby Simms, Mitch Aliotta, and Ken Venegas. Sidney Barnes, a songwriter within the Chess organization, also joined, as did Judy Hauff and a Chess receptionist named Minnie Riperton, who would later be successful in her own solo career. Marshall also called up prominent session musicians associated with the Chess label, including guitarist Phil Upchurch and drummer Morris Jennings. Chess described the band's members as "the hottest, most avant garde rock guys in Chicago".
The band released their self-titled debut album in late 1967. It had various styles, borrowing heavily from pop, rock, and soul, but was not radio friendly. The album also boasted an Eastern influence through its use of the sitar on the tracks "Turn Me On" and "Memory Band". Stepney's arrangements, brought to life by the Chicago Symphony Orchestra, imbued the album with a certain dreamlike quality; this would become a trademark of both the arranger and the mouthpiece.
Electric Mud and The Howlin' Wolf Album
As a result of the success of The Rotary Connection, Chess felt that he could revive the career of bluesmen Muddy Waters and Howlin' Wolf by recording two albums of experimental, psychedelic blues with members of Rotary Connection as the backing band for the singers, producing the albums Electric Mud (1968) and The Howlin' Wolf Album (1969). Chess hoped the new albums would sell well among fans of psychedelic rock bands influenced by Muddy Waters and Howlin' Wolf. In place of Muddy Waters and Howlin' Wolf's regular musicians were Gene Barge, Pete Cosey, Roland Faulkner, Morris Jennings, Louis Satterfield, Charles Stepney and Phil Upchurch. Cosey, Upchurch and Jennings joked about calling the group "The Electric N-----s". Marshall Chess liked the suggestion, but Leonard Chess refused to allow the name. Ultimately, blues purists criticized the psychedelic sound of Electric Mud and The Howlin' Wolf Album.
Further albums, Texas International Pop Festival and disbandment
In 1968, Rotary Connection released their second and third albums, Aladdin and Peace. Aladdin found Riperton assuming a more prominent vocal role than the "background instrument" status she had on the debut. The latter was a Christmas release, with strong messages of love and understanding for a nation in the grips of Vietnam. The album's cover art featured a hippie Santa Claus. Peace was notable for being involved in controversy: an anti-war cartoon, in a December 1968 edition of Billboard magazine, featured a graphic image of a bruised and bloodied Santa on a Vietnam battlefield. Mistaking this cartoon for the album's cover art, a drunken executive at Montgomery Ward cancelled all shipments of the album.
On August 30, 1969, the band played at the Texas International Pop Festival followed by the Palm Beach Pop Festival on November 29. Rotary Connection released three more albums: Songs, in 1969, a collection of drastic reworkings of other artists' songs, including Otis Redding's "Respect" and The Band's "The Weight"; Dinner Music in 1970, in which they added elements of folk and country into the mix along with some electronic experimentation; and Hey, Love in 1971, a more jazz-oriented LP on which the band was billed as the New Rotary Connection. From this album came "I Am the Black Gold of the Sun".
(THIS PICTURE FOR DISPLAY ONLY)
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