The Brief:
The journey of The Staples, and Mavis, throughout music history is one not to be ignored or taken lightly.  Mavis & Prince have a long relationship of mutual admiration and collaboration efforts.  They’ve worked together, and covered each other’s music (noted later herein).   While I believe Prince appreciates the talented people that preceded him, I also understand that sometimes he just doesn’t know what to do with them when he gets them on board the Paisley train. (Examples stand as the wasted songs given to George Clinton, plus Larry Graham, Chaka Khan (who has a similar history w/ Prince that Mavis does), and even Najee.)

“Melody Cool”, from the Graffiti Bridge soundtrack, as well as the 2nd Paisley Park album from Staples The Voice, is one example (although two different production takes).  While the song, in general, tries to eek its way out as a sassy, seasoned first person anthem of advice, respect, and tell-it-like-it-is (it’s been sweatin’ “I’m Every Woman” since it came out), it lands just inside the border of the over-production-and-too-many-tracks-on-one-song scourge Prince fell victim to in the very late 80s through some of the 90s.  However, the Graffiti Bridge version is still infectious and a fun track, and more of a highlight when it comes to the non-Prince (aka guest vocal) tracks on the soundtrack.  (I say “infectious” like a mosquito bite, not poison ivy.)  Prince’s use of a drum machine puts a little niggle into the song.  It almost seems sacrilegious for Prince to have such a huge and talented band like the very-early version of the New Power Generation behind him, yet still use a lot of dry one-person production.  ”Melody Cool” would have stood a better chance at going up the R&B charts had it been re-recorded with a live band, and The NPG Hornz (like the material on Diamonds and Pearls and O(+>).  But let’s not dismiss it just yet.  Or at all.

The version from The Voice has all the basics of the Graffiti Bridge version.  The synthy horn hits, the metronome-on-crack high-hat… all of that.  However, the differences are in the bass, which is funkier (bringing to mind the funkiness of “Partyman”), and the percussion with a more frenetic purpose to it.  In fact, during a breakdown in the “everybody say hey, hey, hey” section, it almost sounds like Kid N’ Play’s “Funhouse” is sampled underneath (it’s not).  Does it sound dated?  Well yes, but not like I’ve noted before.  It’s the reverb-heavy canned beats of a couple of years later in Prince’s music that spoiled so many potentially good remixes.  ”Melody Cool” from The Voice still has a fun vibe to it.  The soaring and layered vocals of The Steeles are still there, as well, giving it a pseudo-gospel feel (although I don’t know how one reconciles pride & submitting to God, but whatever – this ain’t TBN).  It also stands as a precursor to Prince tracks, album or remixes, that suffered from the aforementioned rabid rhythms and almost desperate attempt to appeal to the urban market, & be danceable, and relevant.  They fall a bit short in all regards, but I’m still giving “Melody Cool” the danceable nod.  The version for this post’s download is an edit of the Graffiti Bridge version.  The b-side to this is the title track taken from the first Mavis Staples album (and far superior to The Voice, in my opinion) Time Waits For No One.  It was co-written by Prince and Mavis Staples, and co-produced by Al Bell, Lester Snell, and Homer Banks who wrote the best songs on that album.  It also needs a live band behind it.

Footnote in Princetory:  Among bootleggers, there is a Prince-vocal version of “Melody Cool”, and the production is essentially identical to the Graffiti Bridge version, and without The Steeles.  Prince later covered a song from The Staples, “When Will We Be Paid”, although with a much darker tone, in 2001 as a non-album single release (the a-side being a duet with Angie Stone, “U Make My Sun Shine”).  All this during the early NPG Music Club days, when people had too little PC memory, and NPGMC.com had too much Flash.  Kinda of like Graffiti Bridge!

The A Side:
Melody Cool (Edit)

The B Side:
Time Waits For No One (Edit)

The Source:
Label: Paisley Park Records
Catalog#: W 9728
Format: Vinyl, 7″, 45 RPM
Country: Germany
Released: 1990

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
When you are a Prince fan and you are a bit serious about that, you sooner or later are going to have to draw some borders for yourself. These will be arbitrary borders and they will delineate how far you will go with your fandom, specifically in buying music. I guess that’s true to a certain extent for any artist but Prince’s prolificness does not make things easier. I entered the Prince universe in 1987 and in those years his output seemed to be at a peak. And not just for himself, wherever you looked (or rather: listened) in the late 80s, early 90s, he seemed to pop up. Now that’s probably a bit of a matter of perspective but still for me the question was: how far did I go in my conquest to get “everything”? For example: Prince wrote many songs for other unrelated artists. Do you buy the complete album that song is on? Do you buy all remixes done by completely unrelated artists? Other example. Rosie Gaines, singer in Prince’s band for a few years. Do you buy her first solo album post- Prince? Yes, because there are two Prince written tracks on it. Do you buy her second album? No Prince involvement at all? In my case , I did, and still regret it….

Anyhow, today’s A-side or in my personal case the album it comes from was a no-brainer for the collection. Time Waits For No-One is a 1989 album of gospel legend Mavis Staples. By the time she recorded this album with Prince she was already firmly established as an artist in her own right, first with her family group the Staple Singers and later solo. Of the 8 tracks of the album, 6 are written by Prince, all of them quite good and well fitting Mavis’ voice. Ironically in Paisley June, today’s A-side is one of the two non-Prince-penned tracks of the album. 20^th century Express was written by two other legends, Homer Banks and Lester Snell, both of Stax Records fame.

The A Side:
20th Century Express (edit) 3:08

The B Side:
All The Discomforts Of Home 4:00

The Source:
Label: Paisley Park Records
Catalog#: 7-22968
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1989

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
Good Question were probably the least celebrated of the artists on Paisley Park Records.  One album, two singles.  No pop success of significance.  “Got A New Love” did post to #1 on the Dance charts but, was that because of the song or because of the remix by Clivilles and Cole?  So, you may ask, why is this the 4th record of theirs being posted to the blog?  Well, an attempt to be complete I guess.  I previously posted the promo 45 of this song with the edit version of “Listen To Your Heart” on both sides.  However, I had been “shopping” for the commercial version of this record for some time.  Because…. it has a non-album b-side!  This record isn’t one of the most valuable Paisley Park releases but, in my opinion, one of the more unique, just for the simple fact that this duo has been pretty much overlooked and here we have one of those little gems on the b-side, a song available only on the single.  There’s not a lot of information available online about Sean and Marc Douglas, the Wikipedia page for Good Question suggests that Marc now works at a Philadelphia hotel and that you will recognize him as soon as you walk in the front door.  So, for anyone living in Philly, start visiting hotel lobbies and see if you can find him.  Maybe we could talk him into doing an interview for the blog!

The A Side:
Listen To Your Heart (Edit) 3:58

The B Side:
My Good Nature 3:59

The Source:
Label: Paisley Park Records
Catalog#: 7-27592
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1988

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
In his early pre-The Revolution days, Prince did not have much impact on the UK singles chart compared to the US. The albums ‘Prince’, ‘Dirty Mind’, ‘Controversy’ and ’1999′ were released pretty much unnoticed with only the 1999 single penetrating the Top 40 (reaching a peak at 25 in January 1983). Indeed his first album, ‘For You’, was not released in the UK until 1986 – eight years after its US release! It was not until ‘When Doves Cry’ was released (reaching no. 4 on the UK singles chart in the summer of 1984) and the huge success of ‘Purple Rain’ did Prince finally become a household name in the UK.

Because of this massive oversight by the British public and the media who, during this period, were obsessed with home grown acts such as Duran Duran, Spandau Ballet, Depeche Mode etc. (me included), Prince was not an artist within my personal sphere of interest or awareness until ‘Purple Rain’. Before those of you who have been fans of Prince since the early days despair, please bear with me. I would like to recall a small incident in August 1980 when on my 10th birthday I received a basic radio as a gift from my parents. Of course because of the novelty of it I had my ear to it constantly and I remember hearing ‘I Wanna Be Your Lover’ being played. That memory stuck with me though at the time I had no idea who was singing the track let alone  the influence on popular music and culture that its singer would later have.

Why I am mentioning all this? I suppose it is a roundabout way of trying to explain that my interest in Prince and his music was somewhat later in his career while trying to maintain a small degree of credibility. How late into his career?, you may be wondering. ‘Purple Rain’? ‘Around The World In A Day’? ‘Parade’…?? ‘Sign ‘O’ The Times’……??? The answer, as you may have guessed, is none of these. It was in fact ‘Lovesexy’; ironically not one of Prince’s most commercially or critically successful albums. ‘Lovesexy’ was the threshold into the next stage of Prince’s career with the first mentions of ‘New Power Generation’ and ‘New Power Soul’.

I loved ‘Alphabet St.’ when it hit the UK charts in the summer of 1988 (reaching number 9) and bought both the 7″ and 12″ versions. Then came the ‘Lovesexy’ album and the ‘Glam Slam’ 7″ and 12″ singles. I particularly liked one track on the album, ‘I Wish U Heaven’ and of course bought the 7″ and 12″ singles. While not the commercial success of ‘Alphabet St.’ reaching number 24 in the UK singles chart it fared slightly better than ‘Glam Slam’ (which reached number 29). I was attending art and design college during this time and had a friend (Hi Ray!) who was heavily into Prince. After listening to a home-taped compilation of highlights from Prince’s back catalogue which he recorded for me, that was it; my new found musical interest took an intense immersion in a somewhat large back catalogue of albums and singles – not to mention releases by other artists with Prince’s participation –  which I began to scour the record shops for and purchase bit by bit.

The commercial vinyl releases of ‘I Wish U Heaven’ were notable for the b-side, ‘Scarlet Pussy’, credited to ‘Camille’ in peach coloured lettering on a black label – perhaps a reference to the ‘Black Album’ which had not long been aborted. The a-side had the standard Paisley Park label design.

The two versions of ‘I Wish U Heaven’ presented here from this promo 7″ vinyl are unique to this release and are edited from the 12″ version, ‘I Wish U Heaven Parts I, II & III’. Both versions consist of Part I but have varying sections of Parts II and III edited into the two mixes.

The A Side:
I Wish U Heaven (Radio Edit of Remix) 4:25

The B Side:
I Wish U Heaven (Single Edit of Remix) 5:45

The Charts:

The Source:
Label: Paisley Park Records
Catalog#: PRO-S-3371
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1988

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:

I get a little fearful when it comes to listening to Prince remixes in the late 80′s. While Prince used to set trends in music, in the late 80′s the trends started to influence his music (moreso in the 90s), to the point that otherwise great songs sound a bit (or a lot?) dated. While jams like “Let’s Go Crazy” & “Little Red Corvette”, & “Adore” remain timeless, fun songs like “Glam Slam” start to sound like “Oh, I remember wearing acid-washed jeans when this came out”.

Now in the song’s defense, “Glam Slam” is a good album cut. Keyboards, strings (whether synth or real), and the drums are all cohesive, interesting, and fun. It’s the remix that starts to jack up the sound. There’s a quirky laser gun-esque “pew pew” sound that Prince puts in as a rhythm track into the 12″ and 7″ edit remix of “Glam Slam”, and kills the otherwise organic sensibility & burlap texture of the song (that is also present on the album Lovesexy itself).

“Glam Slam” is not to be sneezed at. Prince has a habit of coming up with quirky or interesting phrases, and memorializing them in song. “Paisley Park”, “My Name Is Prince”, “Glam Slam”, & “New Power Generation”, to name a few. “Glam Slam” is no exception, and while I’m still not quite sure what the hell Prince is talking about in this song, I always enjoyed it. The video was a stage concert clip which caught the ideas & imagery we saw later in the Lovesexy Tour (the first and only tour I’ve seen of his). (Sidenote: It was artist Steve Parke’s first gig with Prince when he was hired to paint the stage’s graphics.) In the actual concert, “Glam Slam” fell somewhere in the second set, the “born again” segment of the show (the first being the sinful side of Prince aka Camille). The ending pseudo-strings on the album segued into the highlight of the record, “Anna Stesia”.

“Glam Slam”, the remix edit on the 7″ promo, starts out with good intentions. The drums kick off immediately, and keeps a kick drum beat throughout the first verse giving it a more aggressive approach than the more subtle beginning on the album. For the most part, the song travels along like the album version does. There’s a few added sound effects, and a few slightly different breaks, but the differences are minor. Until the pew-pew comes in. Barely over a minute into the song, the song starts to incorporate the dated sound effect(s).  It’s not surprising that then-go-to producer Shep Pettibone worked on this remix.  (There were edits by Junior Vasquez.) The same driving addition production can be recalled on “Hot Thing” from the 12″ single of “I Could Never Take The Place Of Your Man”.  Pettibone’s late 80′s sound is very familiar, and that production damages “Glam Slam”. (Ironically, the “Hot Thing” remix is quite danceable and entertaining, and actually enhances the driving throb of the album cut.) As “Glam Slam” goes into the bridge, much more of the instruments seem to be EQ’d to all hell, and underneath is all is the pew-pew. By the time you get to the repeated verse half way in, you think “well, maybe it’s not too bad”. But wait – there’s more!

When we hit the 3-minute mark hits and the extended ending is playing out with synth strings and a funky bass, we realize it’s good. It’s all good. On the 12″ version, it eventually hits the 1988 sound bank snag that ruins the whole song (and the 12″ is longer, and makes one’s ears bleed on mere contemplation). Thankfully on the 7″ remix we have here, the Jamiroquai-time-frame section of the song is deleted. The 7″ ends with a rousing crescendo (as does the album although a bit tamer on there), and that’s that. The pew’s are minimal, but are still enough to f*ck up the flow of it just enough.

You can get lost in Prince’s older music. Unless you’re a hardcore fan, you really don’t know what year a song is from. Sure, we know “When Doves Cry” is 1984, but play “Adore” for a stranger, and ask them to pinpoint the year. Bet they can’t hit it within a year either way. But play this Pettibone remix for them, and they’ll pull out their Dirty Dancing VHS & now you’ve gotten yourself committed to a marathon of sleeper movies.

Is it worth a listen? Sure. Should it be part of your ultimate Prince vinyl collection? Absolutely. Will you be wearing out the grooves? Probably not. Stick to the album version if you have a choice.

-els4

The A Side:
Glam Slam (Remix/Edit) 4:22

The B Side:
Glam Slam (Remix/Edit) 4:22

The Source:
Label: Paisley Park Records
Catalog#: PRO-S-3211
Format: Vinyl, 7″, 45 RPM
Country: USA
Released: 1988

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
Two records have been posted at Fun With Vinyl that feature the highest charting single from Sheila E.’s ‘Romance 1600′ LP. The US 7″ commercial release of “A Love Bizarre” was posted in January of 2011 and a German 12″ in June 2011 entitled “Special Medley” included “A Love Bizarre Parts 1 and 2″ which ran 7:14 in length. Today’s record is a UK 12″ that also features the same “Parts 1 and 2″ version along with the 8:28 version of “Save The People”, which was the b-side of the US “Sister Fate” 12″. Invariably, whenever this song gets posted, I get the question, “Do you have the full version of “A Love Bizarre”?”. Short answer: yes. But, I need to give the long answer or this brief will be briefer than brief (see? I just got an extra 16 words in right there!). The LP version of ALB runs for 12:18. The only appearance the LP version made on vinyl, outside of the LP itself, was on US Promo 12″ PRO-A-2387 which included the 7″ edit on the flip side. I never obtained the promo but, I do have ‘Romance 1600′ on CD and vinyl. So, as a filler for those wanting the 12:18 version of ALB, I have ripped it from my LP copy and included it as a “bonus track” with this 12″.

The ‘Romance 1600′ album was the 2nd full length album to be released on the Paisley Park Records label, the first being ‘Around The World In A Day”. Promotion for ’1600′ was initially kicked off by the release of “Sister Fate” as a single and followed with the single release of “Bedtime Story”. Both singles were available prior to release of the album itself. Neither single generated much airplay or sales, which prompted the record label to push ALB in order to generate sales of the album. The move worked as ALB became Sheila’s 2nd highest charting single on the Hot 100 and the album sales responded, garnering a Gold certification while reaching #50 on the Billboard 200 and #12 on the Top Black Albums charts.

The A Side:
A Love Bizarre, Parts I And II

The B Side:
Save The People

The Bonus Track:
A Love Bizarre (LP Version) 12:18

The Charts:

The Source:
Label: Warner Bros. Records
Catalog#: W 8890 (T)
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1985

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:

If 1983 is the year of the King Of Pop, Michael Jackson and 1985 the year of the Queen Of Pop, Madonna; sandwiched in between is definitely the year of His Royal Badness, Prince.

Let me count the ways.

“When Doves Cry” is the #1 Hot 100 Single and Hot Black Single for 1984 – only time it happened in the 80s decade, and second of five times in Billboard’s entire chart history.

The ‘Purple Rain’ soundtrack sold over a million copies in its debut week, and ruled imperial atop the Billboard 200 album charts for 24 lilac weeks – the lengthiest in 1984, and tied for sixth longest in the all-time list.

The landmark soundtrack album produced 5 Top 40 singles, including two #1s, a #2 and a #8.

This ’84 royal success led to an influx of accolades the following year – a record ten American Music Awards nominations, three Grammy Wins plus an Oscar snag.

The cherry on top of His Highness’ violet cake is the launch of that Parental Advisory sticker.  The album that started this campaign in mid-1984 was Prince’s previous album ’1999′, but the sexual “Darling Nikki” from ‘Purple Rain’ played a pivotal part in fueling this fire of incensed parents to push through that law.

By 1985, the Purple Rainstorm had fizzled to a drizzle, and rightfully so, according to the law of diminishing returns.

The fifth single from it, “Take Me With You”, only managed to sprinkle into the  US Top 30. Originally meant for Apollonia 6′s album, it was reworked as a duet with Apollonia for Prince’s movie soundtrack.

However, what is most special about today’s post is its B-side, “Baby I’m A Star”. The edited version of this track is only to be found on this 7″ format, as it is one of the tracks that The Purple One has never released on CD. It is now ripped directly from Richie’s own 7″ to provide you with your audio pleasure, so take it with U!

The A Side:
Take Me With U (Duet With Apollonia) (3:52)

The B Side:
Baby I’m A Star (2:55)

The Charts:

The Source:
Label: Warner Brother Records
Catalog#: 7-29079
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1984

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
I hope you enjoyed the postings last week and I appreciate all that have shown their support for the guest bloggers.  Three of them got their chance to weigh in last week, this week we get to read musings from the other guest bloggers.  As for my part this week, I get to tell you about the 7″ single release of “I Would Die For You”.  This single doesn’t seem to be a rarity in any way, both sides of this record were released on the 1993 set ‘The Hits/The B-Sides’.  The only anomaly I see is that the track time listed for the B-Side on this single is 4:20 and ‘The Hits/The B-Sides’ lists it at 4:52.  So, I’m not sure where the additional 32 seconds figure in, was the version on ‘The Hits/The B-Sides’ edited from the 12″ extended version, giving us those extra 32 seconds on that collection?  Honestly, I’ve never paid that close attention before and I purposely did not explore this any further because I want to see what you guys think or know about this record.  Perhaps this 4:20 version has never been available anywhere else but on this single?   I know there are lot of knowledgeable Prince fans that visit here so, here’s your chance to finish the story…

On a side note, I went ahead and recorded both sides of this single when I was cobbling together the “Another Lonely Christmas Japanese Promo” that was posted here this past Christmas.  So, for those of you that like to compare audio files for similarities, don’t bother, the B-side for this record and the A-side posted in December are the same file.  Never let it be said I don’t value your time! 

The A Side:
I Would Die 4 U 2:57

The B Side:
Another Lonely Christmas 4:20

The Charts:

The Source:
Label: Warner Bros. Records
Catalog#: 7-29121
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1984

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
I first heard “Blue Limousine” by Apollonia 6 about two years ago while enjoying a spicy margarita with some chips and salsa at my then-favorite Mexican restaurant. It was a cool summer evening, and the patio bartender was blasting tunes from her playlist of Prince protégés. Most of the songs I recognized. But not this one.

I got a disapproving look when I asked the name of the song—after a failed attempt to identify it with my Shazam app. I consider that my encounter with Apollonia 6’s #1 fan. Shame on me.

Taken from the group’s self-titled, one-and-only album, “Blue Limousine” was the follow-up single to “Sex Shooter”—which I do remember. “Blue Limousine” peaked in the top 20 on the R&B charts in 1984, but failed to have any success in pop land. (djrichiep–This is according to Wikipedia.  Whitburn’s Hot R&B Songs 1942-2010 book does not list the song as charting.)

Interestingly, “Blue Limousine” doesn’t feature Apollonia of Apollonia 6 on lead vocals. Brenda Bennett, another member of this trio, does the duty. One could argue that she’s a better vocalist than Apollonia.

A video for “Blue Limousine” is featured in “Happy Birthday, Mr. Christian”—a very campy short film by Apollonia 6. It’s available on YouTube, though it’s likely the word “Christian” will be misspelled in the title. I recommend doing a search using “Blue Limousine” and Apollonia 6 as your key words.

I can’t resist expanding this little history lesson. The Apollonia 6 album was originally supposed to feature two songs that became huge hits for other artists: “The Glamorous Life” (Sheila E.) and “Manic Monday” (The Bangles). The demo for the group’s version of “Manic Monday” is online, and it pales in comparison to the version sung by Susanna Hoffs.

With that said, I encourage you to give “Blue Limousine” a listen. It’s one of those great songs to blast from the car with your windows down. Simply put, it’s delicious pop candy.

The A Side:
Blue Limousine (Full Length Version)

The B Side:
Some Kind of Lover
Sex Shooter (Dance Remix)

The Source:
Label: Warner Brothers Records
Catalog#: 9092
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1984

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
One thing Paisley June will do this month is fill a few long-standing requests for records, like this one today. I have managed to acquire several little gems thanks to generous donations from you guys and some of those will show up this month. A quick look around on Fun With Vinyl and it’s pretty obvious I’ve been following Prince and the artists related to him for over 30 years. (Actually, the first Prince record I bought was ‘Controversy’ in 1981.  What was the first Prince record you bought?) So, when I actually get a record containing a track I’ve never heard, that’s pretty exciting for me. This record is one of those cases. Prior to getting my hands on this record last year, I had never heard the 4:05 version of “He’s So Dull”. The 2:32 LP version was the version released on US singles for this track. I guess I put off getting this record for many years because I could not convince myself to pay import prices for an extra 90 seconds of one song. But, I decided to go ahead and lay the money down and pick it up last year. This 12″ from the Netherlands features the LP version of “Nasty Girl” on the A-side along with the LP version of “Drive Me Wild” on the B-side, which was the basic configuration of most of the “Nasty Girl” single releases. The real highlight of this record for me, is the extended version of “He’s So Dull” and that extra 90 seconds that kicks off the second side.

Vanity 6 came about after several songs were written and prepared for use on an album Prince had planned for The Hookers which consisted of Jamie Shoop and Susan Moonsie. The Hookers record never materialized but, Susan was included when Prince brought in Vanity and Brenda Bennett to form Vanity 6. Despite credits all over the record for Vanity, Brenda, Susan and members of The Time, 7 of the 8 tracks were actually written and recorded by Prince alone (Dez Dickerson wrote and produced “He’s So Dull). Most tracks were already recorded before the band was even assembled. Prince played all instruments on the album with the exception of Dickerson playing drums on “He’s So Dull” & “3 x 2 = 6″ and guitar on “He’s So Dull”. The album reached #45 on the US Billboard 200 and reached #6 on the US Billboard Black Albums charts.

Alrighty, so stay tuned throughout June for more goodies from Prince and his protégés. We have an oft-requested Apollonia 6 12″ tomorrow, a much mentioned “bizarre” record next week along with a couple of hard to find ‘Lovesexy’ 7″ promos. Who knows, there may even be video footage featuring your humble blogger coming up in a few weeks? Not that that is really worth waiting around to see! heh heh Enjoy, I’ll be back behind the keyboard on Monday.

The A Side:
Nasty Girl 5:10

The B Side:
He’s So Dull 4:05
Drive Me Wild 2:31

The Charts:

The Source:
Label: Warner Bros. Records
Catalog#: 92 9858-0
Format: Vinyl, 12″, 45 RPM
Country: NL
Released: 1982

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:

Little Red Corvette is a Prince track that won’t need much of an introduction. The song was Prince’s biggest hit at the time and by now it is one of his classics. Realizing that the song is more than 30 years old , I’m feeling a little bit old myself… What I personally like about the song lyrically is its nice balance between the straightforward story about the protagonist and his “interaction” with this lady that’s much too fast on the one hand and the metaphors of the car and the horses (Trojan or not…) on the other hand – I like Prince songs that “tell a story”. What is of note is that Wikipedia has categorized Little Red Corvette as  a song about an automobile, not sure if that is completely accurate… Musically it’s a classic for a good reason. It’s one of those hard-to-categorize, typical-in-its-uniqueness, Prince songs.

Finally, a recommendation for getting today’s downloads: The edit versions on both sides are two of the Prince tracks that have never been officially released on CD. For the long-time Fun With Vinyl followers it’s worth noting that this is the first time that the b-side is available as a rip from our hosts record collection. It was one of the “borrowed” records on ‘The Vinyl Era‘ set that Richie put together before Fun With Vinyl morphed into a blog. This time around, he has ripped it from his own record instead of lifting from a bootleg set.

The A Side:
Little Red Corvette 3:08

The B Side:
All The Critics Love U In New York 4:21

The Charts:

The Source:
Label: Warner Bros. Records
Catalog#: 7-29746
Format: Vinyl, 7″, 45 RPM
Country: U.S.
Released: 1983

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
You know, for all the fuss Prince made over the perceived artistic stifling he suffered at the hands of Warner Brothers throughout the 1980’s and 1990’s (remember him writing the word ‘slave’ on his cheek for a couple of years?), one has to give his former record label a great deal of credit for recognizing his musical brilliance at such a young age, signing him to a 3-album deal at the tender age of 19 and giving him full artistic control and publishing rights.  Despite their constant pleas to Prince for more time between releases (thereby affording the label more time to properly market them), they still agreed to put out 14 full-length albums of new material during his first 15 years with them, an indulgence none of his peers enjoyed during that era.  Thankfully, their gamble on this Minnesotan musical prodigy began paying for itself (literally) starting in 1979 with his platinum-selling self-titled sophomore effort.  [His debut album, the previous year’s ‘For You’, was a promising debut that failed to generate much chart heat.]

Employing the famously gorgeous falsetto that powers his best-known torch songs (“Adore”, “Scandalous”, “When 2 R In Love”, etc.), “Still Waiting” features Prince at his most lyrically vulnerable.  There’s no flowery prose or talk of metaphorical corvettes or doves to be found here, just an achingly lonely guy who wants to experience the kind of love all of his friends seem to have.  Released as the third single from the album, it failed to match the chart success of lead single “I Wanna Be Your Lover”, but no matter: backed by the barn-burning sizzle of “Bambi”, this 7” gave the public an early sample of the sheer breadth of musical talent this superstar-to-be would go on to display in years to come.

Worth noting here is that the 7” edit of “Still Waiting” featured on this post has NEVER been officially released on CD, with only the odd bootleg offering it to the masses (including djrichiep’s own pre-blog ‘Vinyl Era’ collection).  Richie has been kind enough to reward all good purple boys ‘n’ girls with a proper rip from his very own 7” vinyl single – much thanks!

The A Side:
Still Waiting (Edit) 3:48

The B Side:
Bambi 4:21

The Charts:

The Source:
Label: Warner Bros. Records
Catalog#: WBS 49226
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1979

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
It’s June, and just like the past two years, in celebration of Prince’s birthday on June 7, the blog turns its attention to all things Prince for the entire month.  Paisley June kicks off today and our crew of guest bloggers are on board all month as we bring you 20 records by and related to Prince.  You’ll hear from me each Monday this month and I am turning the other days over to the guest bloggers to add different perspectives to the blog. 

Before this blog came into being, as I am sure most of you know, I got started by compiling vinyl rips (that I did not own on CD) of Prince and related tracks into a series known as Fun With Vinyl, the ancestor of this blog.  The series eventually ended after 20 volumes and I began turning my attention to this blog.  One of those volumes, #18, was a compilation of Prince tracks that had never been released on CD.  It was called “Prince: The Vinyl Era” and it consisted of 33 tracks from various 7″ and 12″ singles that had never made an official appearance on CD or in a lossless digital form.  Of those 33 tracks, at that time, I did not own 8 of them so, I lifted them from previous fan-made vinyl collections to complete the compilation.  Since that time, I have acquired my own copies of those 8 tracks.  This month I/we will be posting my rips of the 4 songs I borrowed from the ’7 Inch In The Computer Volume 1 1978-1986′ set back in 2010.  Leading off the month and the first of those songs is the 2nd of the two singles released from Prince’s debut LP ‘For You’.  “Just As Long As We’re Together” had 3 minutes shaved off the album track to produce a radio friendly version for airplay.  This 3:25 edit has never appeared on CD and is at long last available here as my own rip from my own record using my own equipment.  Enjoy!

The A Side:
Just As Long As We’re Together (Stereo) 3:25

The B Side:
Just As Long As We’re Together (Mono) 3:25

The Charts:

The Source:
Label: Warner Bros. Records
Catalog#: WBS 8713
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1978

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
Time for a six degrees of separation, and we don’t even need six steps to achieve that!

Today’s 12″ connects the genius that is the late great Malcolm McLaren with Mariah Carey. In 1982, English music honcho Malcolm McLaren was so taken in by New York hip hop and its block party culture that he roped in local DJs World Famous Supreme Team to create the classic Buffalo Gals.

It gave Malcolm his very first UK Top 10 hit, and brought prominence to the DJ crew. Two years later, they collaborated on another hip hop club classic. However, this time, Malcolm only got the songwriting credit.  Despite being only a minor UK hit and not even making the Billboard Hot 100, the song would wield its influence in that ranking in the 90s, and twice it did.

In 1994, the rap duo A Lighter Shade Of Brown peaked at #43 with a remake of the song. Three years later, Mariah Carey would storm all the way to #1 with Honey, a song that samples Hey D.J.  Honey is the lead-off single from Mariah’s coming-of-age album Butterfly. Malcolm McLaren also has that insect connection. In 1984, Malcolm combined electronic and opera with his recreation of the brilliant Madame Butterfly. However, I don’t think he is referring to Ms. Carey.

The A Side:
Hey D.J. (Extended Version) 6:10

The B Side:
Hey D.J. 4:08
Hey D.J. (Instrumental Version) 4:45

The Charts:

The Source:
Label: Island Records
Catalog#: DMD 722
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 1984

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
Ah, the Summer of ’88…hearing this song again for the first time in years, memories of my 15-year-old self flood my mind, including countless late-night drives with my circle of friends: seven of us squeezed into one of our parents’ cars listening to the hits of the day while dishing about whatever nonsense preoccupies the brains of bored teenagers.  Anyway, this song by the UK duo of vocalist Simon Climie and keyboardist Rob Fisher (formerly one-half of Naked Eyes) was one of the bigger hits to come out of the British ‘Blue-Eyed Soul’ Invasion of the late 80’s that also included acts like Johnny Hates Jazz and Breathe.  A commercial disappointment upon its original release in 1987, “Love Changes (Everything)” became a substantial hit around the world when re-released a year later.  A Top 10 hit in several European countries (including the twosome’s native England), it also managed to reach #2 in South Africa, #23 in the US and #16 in Canada.

While listening to these mixes, I can’t help but be reminded of the plethora of 1980’s romantic comedies that infiltrated movie houses back in the day.  If the late director John Hughes had made a sequel to his classic teen dramedy ‘Pretty In Pink’, this could’ve easily been its theme song.  Imagine the movie’s climactic scene when Andie (Molly Ringwald) discovers that the hotshot fashion designer (Patrick Dempsey) who’s been romancing her while in the Big Apple is actually stealing her designs, a swindle foiled by the reluctant tag-team sleuthing of best pal Duckie (Jon Cryer) and her once-and-future boyfriend Blane (Andrew McCarthy).  The movie ends with a flash-forward featuring a shot of Andie and Blane embracing in the middle of Times Square as the camera pans over to a billboard advertising her upcoming Fall Collection…and cue Climie Fisher’s “Love Changes (Everything)”!

But again I digress.  For me, the most interesting track on this 12” single is the ‘House Mix’ courtesy of Phil Harding. Clocking in at 7:47, this is textbook ’88 club music at its best, bringing to mind other beloved house mixes of the period like those for Natalie Cole’s “Pink Cadillac”, Pet Shop Boys’ “Always On My Mind” and The Jets’ “Rocket 2 U”, to name just a few.  In fact, its production sounds so similar to the ‘House Of Love Mix’ for Rick Astley’s “Together Forever” (a huge favourite of mine from that era) that I was going to call out the Climie Fisher remix for copycatting, until it dawned on me that I have no concrete way of knowing which actually came first.

Oh well…let’s just agree that somebody ripped somebody else off and just enjoy this nostalgic trip down memory lane.

The A Side:
Love Changes (Everything) (House Mix) 7:47
Love Changes (Everything) (Single Mix) 4:28

The B Side:
Love Changes (Everything) (Dance Mix) 7:45
Love Changes (Everything) (Pop Mix) 6:14

The Charts:

The Source:
Label: Capitol Records
Catalog#: V-15373
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1987

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
One doesn’t just listen to “Elvira” from The Oak Ridge Boys. One doesn’t just sing along. One doesn’t just try to sing “ba-oom papa oom papa mow mow” in a voice that only God and Darth Vader could successfully mimic.

One experiences “Elvira”.

It’s just one of those songs.  –  If you happened to be alive, and aware of popular music, in 1981, and whether you loved country music or not – you knew “Elvira”. Love it or hate it, you knew it. You saw The Oak Ridge Boys on Hee-Haw, or The Barbara Mandrell & The Mandrell Sisters Show, or any other program. I went through my own country music phase (after all I was born and raised in Oklahoma through the first 18 years of my life), and “Elvira” was as firmly rooted in that as was grilled cheese sandwiches, riding bikes all day in the blazing Oklahoma summer heat, and begging mom to play in the sprinkler when she was watering the yard.

Written by songwriter-turned-preacher Dallas Frazier, who’s written songs for some of the biggest names in country music, “Elvira” hinges on an almost-waltz/swing rhythm, and shoots a straight ahead melody of classic country twang, while telling the story of a woman who has apparently mesmerized the whole group. The song is instantly infectious. I mean, what song about a cherry-wine lipped woman isn’t?  The fact that there are three or four key changes throughout the repeated chorus in the second half of the song doesn’t hurt that “let’s sing this thing one more damn time” feeling. But with all the tricks and gags in the song, it’s a straight-forward country classic. We wouldn’t be talking about it today if it were a major miss in music history; at least not without Danny Bonaduce, Hal Sparks, or some other C-list comedian razzing it on VH-1. (Joe Bonsall provided lead vocals on this take, and Richard Sterban was the bass vocal.)

It stands to note that country artist Rodney Crowell recorded this song a few years earlier, in 1978. It wasn’t a huge hit. Even Dallas Frazier himself, while acting as a singer and songwriter, recorded his own version in 1966. It wasn’t a hit either. But one set of groupies the song did have over time were The Oak Ridge Boys themselves, hence their desire to cover the song on their album Fancy Free. It’s no wonder that “Elvira” sold over 2,000,000 singles. It was everywhere. (It was only matched by the Bee Gee’s penned “Islands In The Stream”, recorded by Kenny Rogers & Dolly Parton.)

The Oak Ridge Boys have a long and rich music history in country music. They’re iconic to classic country, and “Elvira” – while catchy and almost novel – isn’t their only hit, and wasn’t even their first #1 hit. It was their fourth, and certainly wasn’t their last, not by a long shot. No, “Elvira” was just another song recorded in their catalog, but certainly it’s not to be dismissed as a one-off quirk in their career. Rather, The Oak Ridge Boys knew exactly what they were doing.  They kept the momentum of their career (still early on at this point) going with a catchy song that we still remember today. And isn’t that what any artist wants – to be remembered?  Giddy-up!

djrichiep–A note about this record… I posted a couple of other ORB 45′s a while back and got asked about this record, which at the time I didn’t have.  The Fun-wife’s parents passed away several years ago and some time last year we were looking through a box of their stuff and I found this 45 in the bottom, naked, no sleeve, just in the bottom of a cardboard box under some other stuff.  I had serious doubts that it would be playable/listenable but, surprisingly it was mostly unharmed.  And, correct me if I’m wrong but, I don’t think the b-side was on any of their albums?

The A Side:
Elvira

The B Side:
A Woman Like You

The Charts:

The Source:
Label: MCA Records
Catalog#: MCA-51084
Format: Vinyl, 17″, 45 RPM
Country: US
Released: 1981

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:

Recording a cover version of a great original song is a tricky business. If you stay too close to the original then there wasn’t much point in recording the cover in the first place. If you take it too far then you may have considered going for an original instead. “Hard to Handle” is to me a perfect example of striking the balance. The Black Crowes cover is very recognizable as a Black Crowes track but still has the quality of the Otis Redding original in it.

The song is appearing in the 2013 “Summer series” of this blog. To me personally I don’t associate the song as a summer song specifically. Come to think of it there are very few songs that I associate with any time of the year. However, Hard to handle is an exception. For me it’s a song that was played a lot by friends of mine when I lived in the States for a few months in the early nineties. Now remember, those were the days that music was relatively scarce compared to today (internet was very much a dial up thing and online music still a thing of the future). “Hard to Handle” got a lot of air play at those friends’ house that winter. Never got bored of it.

The A Side:
Hard To Handle 3:10

The B Side:
Dreams (Live) 8:18
Stare It Cold (Live) 5:46

The Charts:

The Source:
Label:  Def American Recordings
Catalog#: DEFA 1012,
Format: Vinyl, 12″, 33 1/3 RPM
Country: UK
Released: 1991

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
Today is May 27, 2013 and in the United States this day is dedicated to all Americans who lost their lives fighting for this country.  Memorial Day is a day set aside for the appreciation of those who made the ultimate sacrifice in defense of freedom.  The holiday occurs on the last Monday of May and the weekend is usually observed by memorials, parades and the placing of American flags at each grave in national cemeteries.  The weekend is also the traditional start of the summer vacation season for most Americans.  Last week you heard from me and 4 of the guest bloggers as we celebrate the “beginning” of summer and this week you get me again and the other 4 guest bloggers for another week of odes to summer and its music.

My subject today is Y&T and their 1985 single “Summertime Girls”.  The band was originally known as Yesterday & Today and released their first album under that name in 1976.  I honestly had no idea who this band was prior to the release of this single in 1985 at the height of 80′s hair metal and MTV.  The song, with writing credits on the single simply listed as Y&T, has basically the same subject matter as the Dino song I wrote about last week although both records differ greatly in style.  Y&T’s nod to the girls of summer comes in the form of straight ahead guitar driven rock and roll that in the right setting can double as a dance floor workout.  The video is a perfect summation of the song, summer and summertime girls, give it a look…

The A Side:
Summertime Girls (Studio Version) 3:24

The B Side:
Summertime Girls (Live Version) 4:59

The Charts:

The Source:
Label: A&M Records
Catalog#: AM-2748
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1985

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:

Fine Young Cannibals were a British trio consisting of Roland Gift (vocals), David Steel (bass, keyboards and drum machine) and Andy Cox (guitar). They formed in 1984 in Birmingham, England and remained active until 1992 when they split (except for a brief reunion in 1996 to record a new single for their greatest hits album released that year). Initially, they had a number of hit singles from their eponymously titled first album released in 1985 though Steel and Cox had previously had U.K. chart success in the late 1970′s and early 1980′s as members of 2-tone ska revival band The Beat (known as The English Beat in the U.S. and The British Beat in Australia).

Fine Young Cannibals’ best known songs, which of course includes our featured single, ‘Good Thing’ (written by Gift and Steele), are to be found on their classic second album, ‘The Raw And The Cooked’ released in 1988 (side one of the original vinyl L.P. was titled ‘The Raw’ and side two, ‘The Cooked’).

Despite the eventual success of ‘Good Thing’, it took a while for it to grab the attention of the record-buying public. It reached the top ten in the official U.K. singles chart in the summer of 1989 after its release in April of that year though the song had originally been released in 1987 on the soundtrack to ‘Tin Men’, a movie set in 1963 in Baltimore, U.S.A. starring Richard Dreyfuss, Danny DeVito and Barbara Hershey and which featured Fine Young Cannibals as a band in a nightclub.

Interestingly, of the ten tracks on ‘The Raw And The Cooked’, three (including ‘Good Thing’) were previously released on the ‘Tin Men’ soundtrack album. Another track – a cover of Buzzcock’s ‘Ever Fallen In Love’ – was culled from the movie soundtrack ‘Something Wild’ which was released in 1986. ‘Good Thing’ was one of six singles (seven if you include ‘Ever Fallen In Love’ which had previously been released as a single to promote the ‘Something Wild’ soundtrack album) eventually released from ‘The Raw And The Cooked’ though only ‘She Drives Me Crazy’ had anything like the chart success of ‘Good Thing’ (both songs hit the number one position on the U.S. Hot 100 and numbers five and seven respectively on the U.K. singles chart).

Production on ‘The Raw And The Cooked’ is mainly credited to Steel, Cox and Gift though Prince fans may be interested to learn that Fine Young Cannibals had wanted Prince to produce the last few tracks to be recorded for the album. Though this desire never came into fruition, three tracks (one being ‘She Drives Me Crazy’) were recorded at Prince’s Paisley Park Studios with David Z – brother of The Revolution drummer, Bobby Z – taking on production duties.

The 12″ single presented here features the Prince Paul Remix of ‘Good Thing’ on the A-side (Prince Paul is a producer and artist in his own right but probably best known for his production of De La Soul’s first three albums) as well as the 7″ single version and the honestly titled ‘Nothing Like The Single Mix – Instrumental’ version of ‘Good Thing’ on the B-side.

The A Side:
Good Thing (Prince Paul Remix) 5:30

The B Side:
Good Thing (7″ Mix) 3:22
Good Thing (Nothing Like The Single Mix – Instrumental) 4:38

The Charts:

The Source:
Label: MCA Records
Catalog#: IRS-23959
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1989

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
According to Wiki ‘I wonder if I take you home’, Lisa Lisa and Cult Jam’s demo was discovered in a tape bin. It’s hard to believe really as the song was an instant radio and club hit which peaked at number 1 on the Billboard Hot Dance Club Play in June 1985. The track was written and recorded in 1983, discovered in the ‘bin’ and originally released on a compilation in 1984. After much club play it was released as a 12” single the following year. A very significant time for me as I was 18, just out of school and was beginning to take music seriously and by seriously I mean ‘stop-start’ taping everything that played on the radio. Lisa Velez, Alex Moseley and Mike Hughes were an unlikely group at the time as they were not choreographed like everyone else in the chart, They were also part of the ‘Freestyle’ movement which involved mostly Latino bands at the time. The track is an infectious mix of electronic Roland 808 beats, reverb and Lisa’s high pitched voice all brought together by the rapper/ production team of Full Force who were already famous for producing UTFO of ‘Roxanne, Roxanne’ fame.

Although ‘I Wonder…’ was a pop hit it also became a ‘breakers’ anthem back in 1985 much like Shannon’s ‘Let the music play’ and Ollie and Jerry’s ‘Breakin’ (There’s no stopping us)’ the year before. The record has since been sampled and interpolated by many artists which is a clear indication of its continued popularity. April 2013 marked the 28th birthday for the release of the 12” that still sounds fresh and to me evokes that feeling that summer has arrived.

The A Side:
I Wonder If I Take You Home (Extended Version) 6:48

The B Side:
Take Me Home (Rap) 2:09
If I Take You Home Tonight (Cult Jam Dub) 6:40

The Charts:

The Source:
Label: Columbia Records
Catalog#: 44-05203
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1984

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

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The Brief:
Let’s state the obvious first: Regina’s “Baby Love” sounds a lot like a Madonna song. There’s a good reason for that. Regina co-wrote “Baby Love” with frequent 80s-era Madonna collaborator Stephen Bray, who also produced the song.

Rumor has it that the Material Girl was originally supposed to record the song, but turned it down. That’s too bad. “Baby Love” would’ve been a nice addition to Madonna’s “True Blue”—arguably catchier and much stronger than that album’s title track. Plus, just imagine a live medley of “Papa Don’t Preach” and “Baby Love” during a Madonna tour.

Oh well, Madonna’s loss became Regina’s claim to fame. Her version of “Baby Love” peaked at #10 on Billboard’s Hot 100 in 1986. The stalkeresque video is quite entertaining, and it has a “Miami Vice” look and feel to it. Give it a view on YouTube if you haven’t seen it.

Unfortunately for Regina, her other singles never matched the success of this song. And that’s crazy to comprehend, especially if you’ve ever heard “Say Goodbye”—maybe one of the best 80s power ballads by a female singer. What’s worse is that most of Regina’s songs are difficult to find.

Regina might be a one-hit wonder, but at least she gave us a delicious piece of pop candy to remember her by.

The A Side:
Baby Love (Vocal/Long Version) 6:30

The B Side:
Baby Love (Dub Mix/Long Version) 4:50

The Charts:

The Source:
Label: Atlantic
Catalog#: DMD 939
Format: Vinyl, 12″, 33 1/3 RPM
Country: U.S.
Released: 1986

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

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The Brief:
I always think people love Amy Grant as much as they hate her.  She’s too tame for regular folks, but too rebellious (although not) for the Christian crowd.  Yet through all that, somehow she’s found a middle ground, and her audience has stayed with her.  I’m in that audience.  I’ve been an Amy Grant fan since early on, way before she was ever accused of crossing over.  But if the public thought 1985′s unguarded was a cross over, they were clutching the pearls for months after the single “Baby Baby” debuted in January 1991, promoting her then-new album Heart In Motion.  She was more adult, fun, sexy, and flirting with someone other than her then-husband singer Gary Chapman in the video.  (It’s acting, people!)  The third single, “Every Heartbeat”, was released over the summer of 1991, and continued her flirty, sophisticated, and sexier adult image.  She wasn’t slutty, but she wasn’t hiding behind a leopard print jacket & mall hair either.

This particular promotional single holds almost all of the mixes of the songs, the only ones missing are “Every Heartbeat (7″ Heart And Soul Mix)”, ”Every Heartbeat (12″ Heart And Soul Mix)”,  ”Every Heartbeat (12″ Piano Mix)”, and the album version.  The video uses the “7″ Piano Mix”, included here.

“Every Heartbeat”, written by Grant, songwriter Wayne Kirkpatrick, & Christian artist Charlie Peacock (who wrote the music and chorus for starters), soared to the  near-top of the charts.  It’s as catchy as “Baby Baby”, if not more, and its driving beat, energetic keyboards, & lung-filled vocals.  The album version is damned near perfect.  The “Body And Soul” mixes were mixed during an interesting time in music.  The late 80′s had a distinct (I blame credit Taylor Dayne’s producer Ric Wake) echoy & reverb-filled production.  It was the sound everyone wanted.  That big sound carried over into the early 90′s, yet it was around this time (1991) that the sound changed a bit, and became a bit more compressed on some levels of production.  The album version of this song reflects that, yet the remixes and their sections of sparse production, and “recorded in a sewer pipe” drum machine tracks still bend backwards to the late 80′s.

However, the “Body And Soul” mixes are an interesting breakdown of the vocals and the swing/two-step feel the original brought forth. It highlights the layered vocals, and fun dance-able feel the song has naturally.  The piano mix, used for the video, is more punctuated in its percussion, yet seems to almost bland the song out into an attempt at blue eyed soul crafted for the pop charts (a la Hall & Oates).  While Hall & Oates perfected the art of blue eyed soul, the piano mix of the song here falls short of that (whether it was the intention or not).  Having said that, I can see where it would be more video friendly, while the album version still dominated radio airwaves.

I’d be remiss if I didn’t mention the “12″ Heart In Motion Mix” of “Baby Baby”.  This remix really hearkens to the moody remixes you’d hear in another few years.  Think Snap “The Power”, Mantronix, and Enigma.  While the remix is interesting, it totally strips the pure pop sensibility of the song.  Remixes are meant to highlight, reinvent, and retell a song’s story, yet sometimes a remix does more damage than any good.  ”Baby Baby” is a pop song with an underground dance beat mixed in, and it falls short of anything interesting.  This one is probably best left on the shelf.

A last note about “Every Heartbeat”.  The song was so memorable, that in 2004 Sixpence None The Richer covered the song on a Peacock 20th anniversary tribute album, Full Circle: A Celebration of Songs And Friends.

– Ernest L Sewell, IV Proprietor of: Enemy Of The State

The A Side:
Every Heartbeat (12″ Body & Soul Mix) 5:21
Every Heartbeat (7″ Body & Soul Mix) 3:50

The B Side:
Baby Baby (12″ Heart In Motion Mix) 6:02
Every Heartbeat (7″ Piano Mix) 3:30

The Charts:

The Source:
Label: A&M Records
Catalog#: 75021-2361-1
Format: Vinyl, 12″, 33 1/3 RPM
Country: USA
Released: 1991

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

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The Brief:
In the northern hemisphere the official first day of summer will be June 21 however, in the US the traditional beginning of the summer season is the Memorial Day holiday weekend coming up next week.  You guys have already “met” the motley crew of folks that have joined in on the blog as guest bloggers, for the coming two weeks the gang and I will be covering records with either a summer theme or that were hits in the summer of their release.  I have asked them to relay summer memories and summer themed articles to go along with the daily posting of records.  I hope that you will enjoy the next two weeks and provide everyone with good feedback, comments, appreciations and shower each of them with large sums of money!

I decided to kick off the summer postings with Dino’s “Summergirls” which was released in the summer of 1988 and had moderate success on the charts.  Dino’s ode to the girls of summer kicks off with “Summertime’s in the air, and summergirls are everywhere.”  Yes, Dino is maybe not the most cerebral lyricist but, the point is well made.  The weather is turning warm, people are shedding pounds and shedding clothes in celebration!  “Excuse me if I stop and stare.  I like the kind of clothes they wear”.  Trips to the beach and summer go hand in hand and one of beachgoer’s favorite pasttimes is people watching.  “Summergirls at the beach, Sexy suits and hard bodies”.  So get out your swimsuits, your sunscreen and your flip-flops cause this summer is gonna be a scorcher!  “I like summergirls, The way they walk and talk, I wish they all could be like summer, Wish they all could be like summergirls”.

A brief note about this record, the Fun-Wife and I have a playlist on our iPod that we listen to while boating on the lake.  The songs in the playlist have a theme of summer, water, lakes, oceans, rivers, etc.  I wanted to add “Summergirls” to the playlist but the only version I had was the 6:12 remix from the ’24/7′ CD.  So, I hunted down this 12″ primarily for the Radio Edit.  To my knowledge, none of the tracks on this 12″ have been previously available on CD

The A Side:
Summergirls (Extended Version) 5:30

The B Side:
Summergirls (Radio Edit) 3:45
Summergirls (Instrumental) 5:30

The Charts:

The Source:
Label: 4th & B’Way Records
Catalog#: PRO 468
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1988

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
In 1983 and 1985, Talking Heads released ‘Speaking In Tongues’ and ‘Little Creatures’, two great albums from start to finish that attained sales of over a million copies each.  ‘Creatures’ was certified Double Platinum noting sales of over 2 million copies.  In 1986, a David Byrne film entitled True Stories was released and a “soundtrack” to that movie was released by Talking Heads with the same title.  Except, it wasn’t truly a soundtrack because the musical performances by the actors in the film were not included, the album is a studio production of songs used in the movie.  Some of the musical performances from the movie did trickle out as b-sides on singles released by Talking Heads.  Today’s record is one of those singles featuring a single mix for “Love For Sale” that differs from the LP version and the St. Thomas Aquinas School Choir’s performance of “Hey Now” that was used in the movie.  To my knowledge, neither of the versions on this single have appeared on an official Talking Heads CD release.  I stress, “to my knowledge”, meaning I didn’t spend a lot of time trying to find these versions elsewhere and am basically going by my memory so, someone may prove me wrong in the comments below… therefore, I make no guarantees as to the validity of my statements. 

The A Side:
Love For Sale (Special New Version) 3:58

The B Side:
Hey Now (Kids Mix) 4:38

The Source:
Label: Sire Records
Catalog#: 7-28497
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1986

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
Depending on your musical taste, the concept album that served as a soundtrack for the musical stage production Chess, was one god-awful messy hodge-podge of crap with a few gems thrown in or a dazzling score that covers nearly all the pop bases.  Either way, the worldwide hit “One Night In Bangkok” was part of that package and was well-received all over the world, hitting #1 on pop music charts in Spain, Germany, Switzerland, Belgium and Australia.  For all you Buffy The Vampire Slayer TV series fans, Rupert Giles is played by Murray Head’s younger brother Anthony.  Murray is still actively recording and releasing music, in October of 2012 the album ‘My Back Pages‘ was released.  The album is a collection of songs (by other people) that served as signposts and flags for different eras in his life. At the end of 2011 he decided to take on the challenge of celebrating these songs by recording his versions with his musician friends, paying homage to their authors.

The A Side:
One Night In Bangkok 3:54

The B Side:
Merano 7:08

The Charts:

The Source:
Label: RCA Records
Catalog#: PB-13988
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1984

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
There always seems to be a warm welcome here for S.O.S. Band records so, I hope this one isn’t an exception.  The title track from 1984′s ‘Just The Way You Like It’ LP was the lead off single and the highest charting of the 4 singles released.  The song was one of 4 tracks written and produced by Jimmy Jam and Terry Lewis, the remaining 3 tracks on the album were produced by The S.O.S. Band.  The album reached #6 on the Billboard Hot Black Albums but failed to sell enough copies for Gold certification, the previous and succeeding LPs; ‘On The Rise’ and ‘Sands Of Time’ were both Gold-selling albums.  This 7″ single version shaves exactly 4:00 off of the album track time.

The A Side:
Just The Way You like It (Long Edit) 4:39

The B Side:
Body Break 3:48

The Charts:

The Source:
Label: Tabu Records
Catalog#: ZS4 04523
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1984

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
As with yesterday’s 7″ single, today’s shaves a little over 2 minutes off of the LP version to get the song down to a more radio friendly under 4 minutes track time.  O’Bryan Burnette II was approximately 18 years old when his first album hit the streets on Capitol Records in 1982.  O’Bryan was guided by Ron Kersey (Trammps keyboardist) and Don Cornelius, the host and creator of Soul Train.  Cornelius introduced O’Bryan to Capitol Records where a deal was made that resulted in four albums being released from 1982 to 1986.  His third album release would be his best seller, producing the R&B #1 single “Lovelite” and reaching #3 on the Billboard Hot Black Albums chart.  O’Bryan is listed in the songwriting credits on all 8 tracks from the album with Don Cornelius listed as co-writer on 7 of those songs.  In 2007 O’Bryan released a new album called ‘F1RST’ on his own Headstorm Records label.  To follow what is currently going on with O’Bryan, visit his website.

The A Side:
Lovelite 3:56

The B Side:
Lovelite (Instrumental Version) 3:56

The Charts:

The Source:
Label: Capitol Records
Catalog#: B-5329
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1984

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
It may sound strange to hear on a blog primarily full of 12″ singles featuring extended and remixed versions of songs that are generally several minutes longer than the album versions but, sometimes a good 7″ edited version is a welcome change to the seemingly endless jam that some album versions are.  Case in point, “More Bounce To The Ounce” by Zapp.  The LP version of this song runs 9:25 on the album.  The single version is a sparse 3:59 version.  Now, don’t get me wrong, in the right mood, I’m all for all 9 minutes of the tasty, funky goodness of this tune but, the edit is a welcome change of pace from time to time.  The song had an interesting beginning, it was originally developed in 1979 by Roger Troutman for George Clinton’s Uncle Jam Records label.  The label folded due to disagreements between Clinton and Warner Bros. Records so, Troutman and the Zapp band inked their own deal with WB and released their first of six albums in 1980 simply titled ‘Zapp’.  The song featured Roger on vocals/vocoder/talk box and almost everything else.  Bootsy Collins played guitar on the track and helped Roger produce it.  Interestingly, the original principal lineup of the band was brothers Roger, Larry, Lester and Terry Troutman along with Greg Jackson.  Jackson is the US trademark owner of ZAPP!

Here’s the Unsung episode documenting Roger and Zapp:

The A Side:
More Bounce To The Ounce Part I 3:59

The B Side:
More Bounce To The Ounce Part II 3:50

The Charts:

The Source:
Label: Warner Bros. Records
Catalog#: WBS49534
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1980

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
The sons of Eddie Levert, Sean and Gerald, along with Marc Gordon made up the group Levert which released its first album in 1985.  Eddie, a native of Bessemer, Alabama, formed the O’Jays with Walter Williams, Bill Isles, Bobby Massey, and William Powell in 1958.  In 1966 his son Gerald was born and the younger brother, Sean, came along in 1968.  The group Levert hit #1 on the Billboard R&B charts in 1986 with “(Pop, Pop, Pop, Pop) Goes My Mind” and placed 2 more songs in the Top 30 of the chart, all from their second LP ‘Bloodline’.  1987 saw the release of their third album, ‘The Big Throwdown’ and the lead single was “Casanova”, a song written and produced by Reggie Calloway.  It became the biggest selling single of the group’s career as it crossed over to the pop charts where it reached #5 and was also a #9 song on the UK charts.  The two following singles from the LP both went Top 5 on the R&B charts but, Levert never cracked the pop Top 40 again.  Sadly, in 2006 Gerald passed away and in 2008 Sean died as well.  Both near the age of 40, born almost two years apart and died almost two years apart.  Way too young…

The A Side:
Casanova (Vocal/Extended Mix) 7:56

The B Side:
Throwdown (Vocal/LP Mix) 4:16

The Charts:

The Source:
Label: Atlantic Records
Catalog#: 0-86663
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1987

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
At the outset, the Calloway brothers break away from Midnight Star appeared to be a wildly successful move as the duo racked up a #2 hit on the Billboard and Cash Box pop charts and #5 on the R&B charts.  That great start quickly fizzled out and their “solo” career went downhill from there as follow up singles “Sir Lancelot”, “All the Way” and “Let’s Get Smooth” failed to match the success of “I Wanna Be Rich”.  That’s not to say that the brothers career completely flopped, as producers they were sought out by numerous artists.  Reggie and Vincent were hired to provide their songwrting and production talents to numerous artists such as Teddy Pendergrass, Natalie Cole, Gladys Knight and Levert.

The A Side:
I Wanna Be Rich (Extended Mix) 7:25
I Wanna Be Rich (7″ Version) 4:30
I Wanna Be Rich (Dub Version) 4:30

The B Side:
I Wanna Be Rich (12″ Dance Mix) 8:05
I Wanna Be Rich (12″ Dance Dub) 7:58

The Charts:

The Source:
Label: SOLAR Records
Catalog#: 4Z9 74503
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1989

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
Our final Midnight Star record of the week is the title track from the 1986 ‘Headlines’ LP.  ‘Headlines’ was the third album in a row for the band that was certified Gold, following the double Platinum success of ‘No Parking On The Dance Floor’ and the Gold certification of ‘Planetary Invasion’.  It would, however, be the last big selling album of the band’s career.  Following this LP, the band splintered and the Calloway brothers, whose production and songwriting had been integral to the group’s success, formed Calloway and began writing and producing for themselves and other artists.  Midnight Star produced 3 more studio albums of original material; 1988′s ‘Midnight Star’, 1990′s ‘Work It Out’ and 2002′s ’15th Avenue’.

The A Side:
Headlines (Club Mix) 7:49

The B Side:
Headlines (Instrumental Dubwise Mix) 4:18

The Charts:

The Source:
Label: MCA Records
Catalog#: MCAT 1065
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1986

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
The last appearance on Billboard’s Hot 100 that Midnight Star made was in 1986 with this single, “Midas Touch”.  It was from the LP ‘Headlines’ which was the last album from the group with Reggie and Vincent Calloway as members.  The song just missed the Top 40 in the US but did reach the Top 10 in the UK, the highest charting single the band had in the UK.

Back in March of this year, the TV One network featured Midnight Star in an episode of Unsung.  Give it a look…

The A Side:
Midas Touch (Vocal/Extended Remix) 6:22

The B Side:
Midas Touch (Vocal/Edit of Remix) 5:30
Midas Touch (Instrumental) 6:37
Midas Touch (Bassapella) 5:40

The Charts:

The Source:
Label: SOLAR Records
Catalog#: 0-66836
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1986

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
By sheer coincidence, I posted 3 Midnight Star 12 inchers almost exactly a year ago.  And, this week I have 3 more lined up along with a couple of related records.  I am still on the theme of the “Uptown” music from my teen years and Midnight Star was definitely one of those bands that got a lot of play while we were cruising around with the windows down and the car stereo blasting away.  I happened across today’s 12″ about a year ago while actually browsing through the crates in a record store, getting my fingers dusty as I flippped through the records looking for gems.  When I flipped to this one, I immediately snatched it out and inspected it to make sure it looked in good shape and, once satisfied that it was, I added to my stack to buy.  This is a nice little compilation featuring a remix of “Freak-A-Zoid” by Timmy Regisford that was commissioned when the groups’ ‘Greatest Hits’ was released in 1987.  We also get the album versions of “Freak-A-Zoid”  and “Operator”.  The last track is one my favorite remixes of all time, “No Parking (On The Dance Floor)” from a promo only 12″ in 1983.  Couldn’t find anything listing who did this remix, do any of you know?

The A Side:
Freak-A-Zoid (Remix) 8:23
Freak-A-Zoid 8:01

The B Side:
Operator 7:29
No Parking On The Dance Floor 7:58

The Source:
Label: Unidisc Records
Catalog#: SPEC-1376
Format: Vinyl, 12″, 33 1/3 RPM
Country: CAN
Released: 1988

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

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The Brief:
Love Tractor is considered, along with The B-52′s and R.E.M., as one of the founders of the Athens, GA alternative music scene.  The band formed in 1980 and began life as an instrumental outfit, only adding a vocalist with the release of their second album in 1983.  Their 3rd album came in 1986 with the title ‘This Ain’t No Outerspace Ship’ which included a cover version of The Gap Band’s “Party Train”.  In 1987 the band’s version of “Party Train” was remixed and slapped on a 12″ with another R&B cover on the flip side, “Got To Give It Up” by the late Marvin Gaye.  Surprisingly or not suprisingly (whatever your attitude may be towards alternative music), both sides of this 12″ work well, an alternative frat-house R&B mesh that comes off quirky and danceable. 

Love Tractor last released a studio album of new material in 2001 but, according to guitarist Mark Cline at that time, “We used to read these articles in the music press that said Love Tractor had broken up in such-and-such a year. And we were always going, ‘We never broke up.’ We’re just like Kraftwerk, you know. It takes a long time for that cake to rise.”  Perhaps the guys are still in the kitchen whipping up another cake…

The A Side:
Party Train (Dance Mix) 5:41

The B Side:
Got To Give It Up 4:40

The Source:
Label: Big Time Records
Catalog#: 6033-1 BDAB
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1987

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

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The Brief:
In 1988 The Gap Band along with Four Tops, Jermaine Jackson, Curtis Mayfield and others contributed songs to the blaxploitation parody movie I’m Gonna Git You Sucka which was directed by and starred Keenen Ivory Wayans.  The movie featured a large cast of characters including some veterans of the blaxploitation genre such as Jim Brown, Bernie Casey, Antonio Fargas, and Isaac Hayes along with Kadeem Hardison, Ja’net Dubois, John Witherspoon, Damon Wayans, Clarence Williams III, and Chris Rock.  The basic premise of the comedy was Wayans’ battle against Mr. Big and the epidemic of gold chains on the streets, which had resulted in the death of his brother.  The title song on the movie soundtrack was written by Motown veteran Norman Whitfield and William Bryant II who recorded, performed and toured with Marvin Gaye and Maze featuring Frankie Beverly.  The legendary Frankie Knuckles provided additional production and remix.

The A Side:
I’m Gonna Git You Sucka (Extended Version) 6:13
I’m Gonna Git You Sucka (Sugar Shack Version) 6:00

The B Side:
I’m Gonna Git You Sucka (Single Version) 3:34
I’m Gonna Git You Sucka (Extended Edit) 3:58
I’m Gonna Git You Sucka (Tripped Out Dub Version) 6:00

The Charts:

The Source:
Label: Arista Records
Catalog#: ADI-9777
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1988

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

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The Brief:
In 1987 the 3rd and final sequel to the 1979 blaxploitation movie Penintentiary was released.  The soundtrack to the movie featured songs from such artists as Freda Payne, Yarbrough & Peoples, Midnight Star and The Gap Band.  “Sweeter Than Candy” was The Gap Band’s contribution to the soundtrack and the song also appeared on their 1988 LP ‘Straight From The Heart’.  Neither the single nor the album brought much success with both peaking around the middle to lower rungs of the R&B singles and albums charts.  Despite the poor chart performance, this is one of my favorite Gap Band tunes, a nice groove and pleasant vocals make it a nice light R&B tune for cruising with the top down.

The A Side:
Sweeter Than Candy 4:10

The B Side:
Sweeter Than Candy (Instrumental) 4:10

The Charts:

The Source:
Label: RCA Records
Catalog#: 5305-7-R
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1987

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

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The Brief:
Oh man, start a discussion about outdated songs and this one would have to be in the conversation!  Although kind of cool and humorous when released, this one certainly has not stood the test of time.  The basic story line is about a guy who can’t ever get in touch with his girl, so he bought her a beeper.  In this day and age of smartphones, I’m not even sure if pagers are even in use anymore?  Certainly not in use by anyone by choice!  And, though it was kind of novel to use the beeper sound throughout the song, it tends to be annoying after time as the sound never stops, it goes on throughout the song. This single lead off the ‘Gap Band VI’ album of 1984 and did well, it spent 2 weeks at #2 on the R&B charts and the Wilson brothers added another Hot Black Albums #1 to their trophy case but, did not sell enough units for Gold certification. 

The A Side:
Beep A Freak 7:47

The B Side:
Beep A Freak (Dub Version) 7:20

The Charts:

The Source:
Label: Total Experience Records
Catalog#: TED1-2606
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1984

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

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The Brief:
The Gap Band came roaring down the tracks for the release of their 7th studio album entitled ‘Gap Band V: Jammin’ with the leadoff single “Party Train”.   Surprisingly, after all the success with the previous album, the band failed to continue the momentum with the single falling short of #1 on the R&B charts and the album posting at #2 on the Hot Black Albums chart instead of reaching #1 as the previous two albums had.  And, sales slipped a bit as well with ‘V’ certifying as a Gold selling album instead of Platinum.  It would also prove to be their last Gold or Platinum selling album.  Still, their success with this album was notable and the envy of many other bands that would have been overjoyed with comparable sales.  Unfortunately, this small slide would be the start of a steady decline in album sales throughout the 80s and into the 90s.

The A Side:
Party Train (Edited Version of Special Dance Mix) 3:59

The B Side:
Party Train (Re-Mix by: Jim Stader) 3:59

The Charts:

The Source:
Label: Total Experience Records
Catalog#: TE 8209
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1983

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

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The Brief:
The 3rd and final single from ‘The Gap Band IV’ album was “Outstanding”.  The single was the band’s last appearance on Billboard’s Hot 100, peaking at #51.  On the postivie side, it became their 3rd #1 on the R&B charts and has been sampled numerous times by other R&B and hip-hop artists, no less than 18 songs are listed at Wikipedia that have sampled this tune.  As I said yesterday, ‘The Gap Band IV’ LP was certified as a Platinum seller, it reached #1 on the Hot Black Albums chart and #14 on the Billboard 200. 

The A Side:
Outstanding 3:57

The B Side:
Outstanding 3:57

The Charts:

The Source:
Label: Total Experience Records
Catalog#: TE 8205 DJ
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1982

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

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The Brief:
One would think that after reaching the Top 25 of the pop charts with their first Top 40 single that The Gap Band and Total Experience Records would be eager to get the next single out and capitalize on the success.  One would think…  “Early In The Morning” was released in April of 1982, “You Dropped A Bomb On Me” was not released until August of 1982, almost 4 months later.  Perhaps the band and their label were pushing for more album sales than singles but, it just seems to me an earlier release of “Bomb” would have pushed this song higher on the charts and probably generated more album sales.  Then again, the album was certified as a Platinum seller by RIAA so, maybe they knew better than I do.  As it were, the song did bring them their second consecutive Top 40 hit but, it was also their last Top 40 hit, future Gap Band singles primarily found success on the R&B charts with some flashes on the Dance charts.

The A Side:
You Dropped A Bomb On Me 3:59

The B Side:
Lonely Like Me 5:21

The Charts:

The Source:
Label: Total Experience Records
Catalog#: TE 8203
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1982

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

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The Brief:
After concquering the R&B charts with 2 Top 5 singles from ‘The Gap Band III’ album, the Wilson brothers now set their sights on the pop charts.  In my opinion, ‘The Gap Band IV’ album was the the strongest and most consistent album the band ever released.  Drop the needle on track one and listen to both sides all the way through, you will hear no filler, just top notch funk and smooth quiet storm ballads.  This is definitely on my list of desert island albums.  To kick off promotion for ‘IV’ the band released “Early In The Morning” as the first single, the 45 version shaved 2:31 off of the album version and created a radio friendly track that garnered them their highest charting single on the US pop Top 40 for their career.  Additionally the song held the #1 spot on the R&B charts for 3 weeks.  Robert Palmer’s cover of the song reached #19 on the Hot 100 in 1988, besting the original version by 5 spots.

The A Side:
Early In The Morning 3:59

The B Side:
I’m In Love 5:24

The Charts:

The Source:
Label: Total Experience Records
Catalog#: TE 8201
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1982

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

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The Brief:
“16 Tons of coal and whadda ya get?”  This song definitely grooves and the lyrics thrown around throughout the song are quite clever and humorous.   ”You get a hump in ya back, sucker”.  This was the second of 3 singles from the ‘Gap Band III’ LP of 1980.  My copy of “Humpin’” is a promo with the same track on both sides.  The Billboard charts listed it as the b-side to “Burn Rubber” so, I’m not sure if this was ever commercially released but, obviously, it was sent to radio for airplay. “Where’s all the humpin’ people at?  Where they at?”

The A Side:
Humpin’ 3:52

The B Side:
Humpin’ 3:52

The Charts:

The Source:
Label: Mercury Records
Catalog#: 76114 DJ
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1980

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

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The Brief:
From Tulsa Oklahoma, originally called the Greenwood, Archer and Pine Street Band, the Gap Band have been making funky music since 1967.  At the very beginning the band consisted of Ronnie Wilson, Roscoe Smith, Chris Clayton and Tuck Andress who later formed the jazz duo Tuck & Patti with Patti Cathcart.  A few lineup shuffles over the years resulted in the band having as many as 12 members but, over the years the core of the band became the brothers Ronnie, Charlie and Robert Wilson.  The brothers anchored the band that lasted 43 years and basically retired in 2010 when Robert was lost to a heart attack.  But, man oh man what a funky 43 years that was.  We join in on their career in 1980 when I, a 14 year old automobile racing  fanatic, heard the opening motor revs and screeching tires to “Burn Rubber” and flipped out.  The song earned the brothers Wilson their first of 4 #1′s on the R&B charts and set them up as a dominating force in R&B music throughout the 80s.  A couple of weeks ago I began talking about Uptown music and how it was the soundtrack to my teenage years, well, the Gap Band were a big part of that and we’re going to take a look at their singles for the next two weeks.  Most of these will be 7″ singles as I found those radio edits to be harder to come by than the usual album cuts.

The A Side:
Burn Rubber (Why You Wanna Hurt Me) 3:59

The B Side:
Nothin’ Comes To Sleepers 5:37

The Charts:

The Source:
Label: Mercury Records
Catalog#: 76091
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 1980

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
The final installment of Record Store Day week is a limited edition ABBA 12″ released last year.  Tomorrow is the day, please go out and support your local independent record store tomorrow and any other day during the year.  A complete list of releases for the day is available on Record Store Day‘s website, make your shopping list and arrive early, some of these special releases are very limited and sell out quickly!

ABBA To Release A Limited Edion 12-inch Single For Record Stores Day

ABBA will release a limited edition 12-inch vinyl single for Record Store Day on Saturday, April 21, 2012. Side A features Voulez-Vous (Extended Dance Remix), originally released as a promo-only single in the United States and France. This marks the first commercial vinyl release of this remix. On side B is the equally danceable If It Wasn’t For The Nights, originally released on the Voulez-Vous album.

This special Record Store Day release is pressed on blue glitter vinyl and packaged in a cardboard sleeve. The 12-inch single, which is limited to 4,000 numbered copies (catalogue number 00602527957302), is for sale exclusively in participating stores. For more information, please visit www.recordstoreday.com

The A Side:
Voulez-Vous (Extended Dance Remix) 6:07

The B Side:
If It Wasn’t For The Nights 5:09

The Charts:

The Source:
Label: Polar Records
Catalog#: 00602527957302
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 2012

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

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The Brief:
Today’s Record Store Day goodie is a Side by Side offering from Warner Bros. Records featuring Run-D.M.C. and Carolina Chocolate Drops.  The record actually has the labels applied to the wrong sides, that’s been corrected in today’s post…

This limited edition, Record Store Day Exclusive colored vinyl 7″ features the Carolina Chocolate Drops performing the Run-DMC classic “You Be Illin’” along with the original 1986 recording on the opposite side. The Drops’ cover was recorded in the fall of 2011 during the sessions for their February 2012 full-length, Leaving Eden, produced by Buddy Miller. Limited edition 7″ Coke bottle colored vinyl in clear plastic sleeve.

This limited edition vinyl was released for Record Store Day 2012.

The A Side:
Run-D.M.C. – You Be Illin’ 3:26

The B Side:
Carolina Chocolate Drops – You Be Illin’ 3:14

The Charts:

The Source:
Label: Warner Brothers Records
Catalog#: 7-530721 (K1)
Format: Vinyl, 7″, 45 RPM
Country: US
Released: 2012

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

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The Brief:
For day 3 of Record Store Day week, we shift gears, throw on our pointy boots and our ten-gallon hats for the traditional country sounds of the late, great Buck Owens…

Buck Sings Eagles

Available in record stores only on Record Store Day/Black Friday, November 23, 2012
 
Unique 10″ vinyl EP in a beautiful picture sleeve!
4 previously unissued covers of classic Eagles hits!

If Buck Owens wasn’t already a household name by 1968, this Father of the Bakersfield Sound and legend of country music was about to be beamed into the living rooms of America via the new country variety show called Hee Haw to insure he’d never again pull up to a lunch counter unnoticed. Naturally, music was a part of any variety show of the era, and Buck and the Buckaroos were called upon for musical numbers in each episode. To accomplish this in the most professional manner for the broadcasts, the backing tracks were recorded in Buck’s studio and then played back on the show, to which the singers, Buck included, would sing live. However, while recording in the studio, guide vocals were also recorded but not used on the show, and that is how today, we have an incredible treasure trove of previously unissued Buck Owens recordings to hear for the first time.

In these recordings, made for Hee Haw, were four covers of songs cut by the legendary Eagles. Recorded in the ’70s, these selections demonstrate how closely Buck was paying attention to the music of the era and are a natural fit for his style, as the Eagles no doubt, were influenced by the cutting edge country of Buck’s Bakersfield sound to begin with! These tracks are compiled for the first time anywhere on a new 10″ EP coming November 6th that will be released in advance of the forthcoming double-CD release in 2013, Honky Tonk Man: Buck Sings Country Classics.

The A Side:
Take It Easy 2:16
Peaceful Easy Feeling 3:15

The B Side:
Lyin’ Eyes 2:29
Tequila Sunrise 2:37

The Source:
Label: Omnivore Recordings
Catalog#: OVS10-53A
Format: Vinyl, 10″, 33 1/3 RPM
Country: US
Released: 2012

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

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The Brief:
On day 2 of our look at Record Store Day goodies we have The Clash’s “London Calling 2012″.  Here’s a brief promotional item announcing the release:

THE CLASH TO RELEASE LIMITED EDITION ‘LONDON CALLING’ SINGLE FOR RECORD STORE DAY
THE CLASH will release a limited-edition 7″ single to mark Record Store Day on April 21st, 2012. The single will feature two previously unreleased mixes of ‘London Calling’ – the ‘London Calling (2012 Mix)’ and the ‘London Calling (2012 Instrumental)’ courtesy of the band’s MICK JONES and PAUL SIMONON.

The A Side:
London Calling (2012 Mix) 3:29

The B Side:
London Calling (2012 Instrumental) 3:29

The Source:
Label: Columbia Records
Catalog#: 88691959247
Format: Vinyl, 7″, 45 RPM
Country: Europe
Released: 2012

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
Coming this Saturday, April 20th, is Record Store Day 2013.  This week we will take a look at some of the records I picked up at previous Record Store Days and Record Store Day’s Black Fridays in November.  Here’s the press release announcing today’s record:

Universal Music Group has announced that The Rolling Stones will issue the previously unreleased track ‘No Spare Parts’ on exclusive limited edition 7” vinyl to mark Record Store Day’s ‘Black Friday’, Friday 25 November, 2011. A digital download version of the single will be available week commencing 14 November.

“No Spare Parts” is one of twelve bonus tracks that have been unearthed for inclusion on the forthcoming deluxe and super deluxe reissue of The Rolling Stones’ Some Girls – widely regarded as one of the band’s greatest albums. Some Girls is released on 21 November.

‘No Spare Parts’ captures the daring and diverse spirit of the album’s legendary sessions. Recorded in Paris in 1978, the song tells the story of a trip from Los Angeles to San Antonio, Texas featuring Mick Jagger on electric piano, Keith Richards on acoustic piano, Ronnie Wood on pedal steel guitar, Charlie Watts on drums and Bill Wyman on bass. With a country guitar twang, subtle groove, and soulful storytelling, it’s a powerful and poignant acoustic tune from The Rolling Stones, and an essential addition to any fan’s catalogue.

The limited edition 7” version of the single will also include Some Girls album track “Before They Make Me Run” on the B-side.

Other never-heard-before tracks featured on the Some Girls reissue will include We Had It All’, ‘I Love You Too Much’ and ‘Don’t Be A Stranger’.

Also, note the production credit for Don Was of Was (Not Was).

The A Side:
No Spare Parts 4:30

The B Side:
Before They Make Me Run 3:25

The Source:
Label: Rolling Stones Records / A&M Records
Catalog#: 278 806-8
Format: Vinyl, 7″, 45 RPM
Country: Europe
Released: 2011

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
One more Bar-Kays connected record to close out a week of Uptown Music.  I’m not really sure who all the members of Focus were but, Bar-Kays alumni are all over the credits of this record.  The song was written by Mark Bynum and Howard Redmond, Jr, both were members of the band in the 80s.  Bynum is credited with lead voclas and is listed as co-producer with James and Daisy Alexander.  James is the sole remaining original member of the Bar-Kays.  There wasn’t enough room on Otis Redding’s plane for Alexander in 1967 so he took another plane.  The other members of the band were on Otis’ plane when it crashed on Dec 10, 1967.  Trumpet player Ben Cauley survived the crash and along with Alexander, rebuilt the group but, Cauley departed the band in 1971.  This promo 12″ features remixes by Tony Joseph that are different mixes from the commercial 12″ that was previously posted here at Fun With Vinyl.

The A Side:
Zero In July (12″ Remix) 7:54
Zero In July (Edited Remix) 3:48

The B Side:
Zero In July (Dub Remix) 8:29
Zero In July (Bonus Beats) 3:05

The Charts:

The Source:
Label: EMI America Records
Catalog#: SPRO-9965
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1986

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!

The Brief:
Another band formed in Memphis, Tennessee, like the Bar-Kays, was Chocolate Milk who released 8 albums between 1975 to 1982.  The last LP to bear their name was ‘Friction’ and it contained the single “Who’s Getting It Now” which was produced by Allen A Jones, the producer and manager for the Bar-Kays.  He produced all of the Bar-Kays records up until his death in 1987.  His signature funk sound can be heard all over this record.  A remix by Dance Music Hall of Fame inductee Tee Scott adds to the sheer pleasure of listening to this record.

The A Side:
Who’s Getting It Now (Remixed by Tee Scott) 6:39

The B Side:
Who’s Getting It Now (Instrumental) 7:16
Who’s Getting It Now (A cappella) 3:49

The Charts:

The Source:
Label: RCA Records
Catalog#: JD-13448
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1982

The Equipment:
Technics SL-1200MK2 Turntable
Audio Technica AT440MLa Phono Cartridge
Yamaha RX-Z1 A/V Receiver
Sony PCM-R300 DAT Deck
Turtle Beach Catalina sound card
Mustek Scan Express A3 1200 Scanner
Spin Clean Record Washer MKII

The Software:
Cool Edit Pro
ClickRepair
dBpoweramp
Microsoft Digital Image Suite 2006
Microsoft ICE

The Links:

password is: funwithvinyl

If you enjoyed today’s post, please click the Like button! Thank you.

And, if you haven’t Liked the Fun With Vinyl Facebook page, what are you waiting for?

Enjoy and get it on!