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A star is reborn. And a new star is born!

There's No Business Like Show Business / Ethel Merman.  Miss Merman first sang this Irving Berlin classic in "Annie Get Your Gun."  It's a very wonderful addition to your evening's repertoire, just to have the special talent and voice of Miss Merman in between the drum breaks.  A shorter version of this song will be out on Ethel's A&M LP later this summer, and is also being released as a 12".  Before returning to Italy for the summer, Valapucci remixed the tracks for Disconet.  Enjoy!

Baby, Don't Stop Dancin' / France Joli.  Learn to pronounce it now, because a lot of people are going to ask you what's playing!  France (pronounced "Franz'") is 16 years old, and from Montreal.  She's been singing since early childhood, and met Tony Green two years ago who has written and produced her first LP for Prelude.  Tony wrote "Come To Me" the day after he met France, and does the duet with her on Bonus Side 2 later in the program.  "Baby, Don't Stop Dancin'" is high energy all the way with some nice breaks.  So your audience will do just what France sings.

SPECIAL NOTE TO DJs: Side A runs 16:53 at 132 BPM.

White Heat, Midnight Magic, Double Exposure funk it up.

Hey, Baby! / White Heat.  "Silver" Sylvester Levay has written and produced a new group for Karma Musikproduktion in Germany called White Heat.  The intro, beat, and funk are right on.  White Heat's debut LP will be out in Europe in a few weeks, and probably coming over the Atlantic soon.

Dance Funky / Midnight Magic.  The mood and pace continue with an upbeat cut from Midnight Magic's forthcoming LP for Orange House Records (Japan).  Randy Do It To Daddy Dewdrop Sills did the Concept Mix on the tracks, which were recorded in Los Angeles.  Look for domestic release soon.  Hot!

I Got The Hots For You / Double Exposure.  Double Exposure is back with more of their welcome sound on Salsoul.  This is from the 12" version, which will also be one of the cuts on their new LP.  Bobby DJ Guttadaro did the mix at Bob Blank's a11-night studio.  Test reaction… superb!

SPECIAL NOTE TO DJs: Side B runs 18:49, from 115 to 114 BPM.

POUSSEZ! war intensifies. Say hello to Raul's "Never Gonna Say Goodbye."

Here we are, only 26 programs "old", and we're already in a vicious cover battle!  After Raul did the fabulous "Come On And Do It" remix on Volume 2, Program 11, Vanguard has produced their own remix by Roy Thode.  Since both Raul (through New York, New York) and Roy (through the Ice Palace) have been charter Disconet subscribers, we can only say that both remixes are fine, different, and have a definite place in your evening's entertainment.  That's one of the nice things about any remix… it gives the producers, engineers, and DJ the opportunity to bring a new focus to a song.

Since ill health prevented Brezhnev from mediating this unusual (both probably to be repeated) situation, and Henry Kissinger refused to ride the subway between Vanguard on 23rd Street and Disconet at 40th Street, the Disconet strike force staged a late-night attack on Vanguard's studios.  Lead by Raul, aided by Valapucci (on his way back to Italy), and other unnamed individuals, Vanguard's associate producer on the POUSSEZ! LP, Mark Berry, was tied and bound and forced to help out in a remix of "Never Gonna Say Goodbye."  Under gunpoint, a new exciting 12 minute version of the song has been created.

The remix begins with 8 accapello "Chicky chicky wah wah"'s, which last a total of 32 beats.  This way, you can overlay with a lot of songs, and have nothing from the remix fighting whatever is being mixed into.  If you don't want to use all 8, use 6, 4, 2, 1, or none… and begin on the drum roll intro.

Later in the song, you'll hear Alphonse in a very effective duet with the group that he wrote, produced, and arranged.  These tracks were originally intended to add dimension to the vocals, and were so effective by themselves (and reminescent of Giorgio's "Knights In White Satin") that Alphonse makes his lead vocal debut on this remix.  Raul has provided easy exit, as well, with some real "chicky chicky" sounds from Ray Purdue, Frank's cousin who's a trainer for the Barnum & Bailey circus.

SPECIAL NOTE TO DJs: Bonus Side 1 of Program 13 runs 11:53 at a consistent 132 BPM.  It ends with a fade at 132 PPM (pucks per minute.)

Raw Silk sings "•••———•••", and France says "Come To Me."

•••———••• (S.O.S.) / Raw Silk.  Raw Silk's debut single will be out shortly on Carrere (France), and is bound to create interest in other areas very fast.  Stephen Scheaffer produced and engineered the group, and co-wrote the song with Ken Garretson.  Harold Wheeler arranged and conducted.  To help you get into the dit dits and dahs, there's a disco oscillator sound and 8 clunks before Raw Silk starts their message.

Come To Me / France Joli.  Here's France's other LP cut on this program.  The slow, "Last Dance" / "I Will Survive" intro was handled with another oscillator sound to alert your audience that something hot was about to start.  Naturally, you'll find your own way to best introduce this song.

SPECIAL NOTE TO DJs: Bonus side 2 runs 17:48, from 131 to 134.

At last Graffitti, now called HOTT CITY.

HOTT CITY is coming!  Butterfly Records has been kind enough to include a preview of the entire LP in this program package, with 5 great cuts. (You already got a taste of HOTT CITY on Program 9, when the initial mix of "Feelin' Love" was programmed.)  Thanks for your suggestions which make tine final mix even more exciting. And it looks like the only place you'll find graffitti is still on the subways, because the name of the group was changed for some reason.

The great E•A•R Plug/Disconet experiment.

People who work in high-noise environments run the risk of permanent hearing damage.  And too much noise can also tire you out before you're really tired.  While there's been some discussion about this fact of nature vis a vis the disco environment, no one has come up with a solution.  So here's a try.

People who work in discos operate in a noise environment of about 120 dBs… somewhere between operating a rivet gun and a punch press.  The Federal government requires hearing protection for jobs such as these, so before Big Brother makes everyone wear earmuffs in a disco, you should try out the samples of a rather handy, practical, and inexpensive way to protect your hearing (as well as the hearing of bartenders, waitresses, etc.) A few pair of E•A•R Plugs are included in this program package.  They work in a disco just like they do in an airplane, cutting out the disturbing sounds but letting the spoken word get through.

We'd like you to try one pair for a week or so, and give us your comments on the bottom of the Program 13 Feedback card.  Can you cue and mix the next record through your headphones or monitor speaker satisfactorily?  Can the manager still yell and scream at you?  Can that person that always sicks a dumb request on you at the middle of a fantastic 3 minute overlay still make that dumb request?  And please give a pair to the bartender or waitress who always bugs you that the music's tooooo loud, and pass along their comments on the feedback card.  If you want to order additional sets of the E•A•R Plugs, there's a stamped envelope and order form in the package.  Our special thanks to Tom Sweeny at E•A•R who provided the samples for you.  The drawings on the left show how to properly use the plugs, so give taking it in the ear a try.

John Matarazzo wins the LCD chronograph.  John returned the feedback card from Program 11, and his pressing serial number (#641) matched the winning number for that program.  John plays at Charlie's West in East Orange, New Jersey.  His favorite songs on Program 11 were the "Double Cross" remix, "Step, Step", "All Through Me", "The Real Thing", "Love Magic", "Double Or Nothing'" and the "Come On And Do It" remix.  Congratulations, John.  To win the watch, complete and return this program's feedback card with the pressing serial number shown in the upper left hand corner of your "Program 13" jacket.  Good luck!!!

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