Grandmaster Flash & The Furious Five - The Message (Vocal) b/w The Message (Instrumental) (1982)

 Grandmaster Flash and the Furious Five were an American hip hop group formed in the South Bronx of New York City in 1978. The group's members were Grandmaster Flash, Melle Mel, Kidd Creole (not to be confused with Kid Creole), Keef Cowboy, Scorpio, and Rahiem. 

The group's use of turntablism, breakbeat DJing, and conscious lyricism were significant in the early development of hip hop music. 

"The Message" is a song by Grandmaster Flash and the Furious Five. It was released as a single by Sugar Hill Records on July 1, 1982, and was later featured on the group's debut studio album of the same name.

"The Message" was an early prominent hip hop song to provide social commentary. The song's lyrics describe the stress of inner-city poverty. 

In the final verses a child born in the ghetto without prospects in life is lured away into a life of crime, for which he is jailed until he commits suicide in his cell. The song ends with a brief skit in which the band members are arrested for no clear reason.

"The Message" took rap music from the house parties of its origin to the social platforms later developed by groups like Public Enemy and KRS-One. 

Melle Mel said in an interview with NPR: "Our group, like Flash and the Furious Five, we didn't actually want to do 'The Message' because we was used to doing party raps and boasting how good we are and all that."

The song was first written in 1980 by Duke Bootee and Melle Mel, in response to the 1980 New York City transit strike, which is mentioned in the song's lyrics. Melle Mel's verse, starting with the line "A child is born with no state of mind, blind to the ways of mankind" was taken from the early Grandmaster Flash and the Furious Five track "Superrappin'" from 1979 on the Enjoy label.

A - The Message (Vocal)  (4:33)

       Written-By – J. Chase, E. Fletcher, M. Glover, S. Robinson

B - The Message (Instrumental)   (3:15)

       Written-By – J. Chase, E. Fletcher, M. Glover, S. Robinson

Companies, etc.

• Phonographic Copyright ℗ – Sugar Hill Records Ltd.
• Copyright © – Sugar Hill Records Ltd.
• Distributed By – Vogue P.I.P.
• Made By – Disques Vogue P.I.P.
• Pressed By – Manufacture De Productions Phonographiques Vogue
• Printed By – P.P.P.
• Record Company – Sugar Hill Records Ltd.

Credits

• Featuring – Duke Bootee, Melle Mel
• Photography By – Hemu Aggarwal
• Producer – Jiggs Chase, E. Fletcher, Sylvia Inc
• Written-By – J. Chase, E. Fletcher, M. Glover, S. Robinson

Taken from the album "The Message" - 540040

Notes

Release:  1982

Format:   Vinyl, 7", 45 RPM, Single

Genre:  Hip-Hop

Label:  Sugar Hill Records

https://drive.google.com/file/d/1T1g_H0KsxKvjXkwNxlW8H6qOE2-25YSg/view?usp=sharing

Kim Wilde - Cambodia b/w Watching For Shapes (1981)

"Cambodia" is the fourth single by British singer Kim Wilde. It was released at the end of 1981—a year in which Wilde had already obtained three highly successful hit singles and a best-selling debut album. 

The single was another international success, topping the charts of France, Sweden and Switzerland and reaching the top 10 in several other nations. The song was not released in North America.

"Cambodia" was released on the 7-inch format but also as a 12-inch single in West Germany, although not in a remixed or extended version. 

The B-side of both releases is an exclusive non-album track called "Watching for Shapes". "Cambodia" was later included on Wilde's second album, Select, which was released six months after the single, in May 1982.

"Cambodia" was written by Marty Wilde and Ricki Wilde and has a length of seven minutes and thirteen seconds; on the album, it is teamed with a more uptempo instrumental version of the song called "Reprise". Musically and lyrically, "Cambodia" showed a change in direction for Kim Wilde from the new wave feel of her debut album. The song was mainly synth-driven, with east Asian-sounding percussion. According to Wilde:

It's a tragic love song. It's about someone who loses her lover in sad circumstances. It wasn't written as a commentary on the Cambodian situation, more like a 'song mystery'

A - Cambodia  (3:56)

       Written-By – M. Wilde, R. Wilde

B - Watching For Shapes  (3:40)

       Written-By – M. Wilde, R. Wilde

Companies, etc.

• Phonographic Copyright ℗ – RAK Records Ltd.
• Marketed By – EMI
• Manufactured By – EMI
• Distributed By – EMI
• Record Company – EMI Records Ltd.
• Pressed By – EMI Electrola GmbH

Credits

• Illustration [Front Cover] – Rod Vass
• Producer – Ricky Wilde

Notes

Released: 1981

Format:  Vinyl, 7", 45 RPM, Single, Stereo

Genre: Electronic-pop

Label:  EMI Electrola Records

https://drive.google.com/file/d/16SXns92-p5kXUPBN2Cs5srEzCvpLe3Y2/view?usp=drive_link

Talk Talk - Life's What You Make It b/w It's Getting Late In The Evening (1986)

"Life's What You Make It" is a song by the English band Talk Talk. It was released as a single in 1985, the first from the band's album The Colour of Spring. 

The single was a hit in the UK in January 1986, peaking at No. 16, and charted in numerous other countries, often reaching the Top 20.

Artist James Marsh created the single's cover illustration. The track was re-released as a single in 1990, charting for a second time. 

The song was one of the last to be conceived for The Colour of Spring, following concern from the band's management at the lack of an obvious single among accumulated work. Initially unwilling, Mark Hollis and Tim Friese-Greene, the principal source of original material for the band, accepted the task as a challenge. 

Friese-Greene: "I had a drum pattern loosely inspired by Kate Bush's 'Running Up That Hill' and Mark was playing 'Green Onions' organ over the top."

 

A - Life's What You Make It  (4:25)

       Written-By – Mark Hollis, T. Friese-Greene

B - It's Getting Late In The Evening  (5:47)

       Written-By – Mark Hollis, T. Friese-Greene

Companies, etc.

• Phonographic Copyright ℗ – EMI Records Ltd.
• Copyright © – EMI Records Ltd.
• Marketed By – EMI
• Manufactured By – EMI
• Distributed By – EMI
• Printed By – EMI Services Benelux B.V.

Credits

• Producer – Tim Friese-Greene
• Written-By – Mark Hollis, T. Friese-Greene

Notes

Released: 1986

Format:   Vinyl, 7", 45 RPM, Single, Stereo

Genre: Synth-pop

Label:  EMI Records 

https://drive.google.com/file/d/17b7vVRtoWLPnqIZ91LxvdGS7k89OhJJJ/view?usp=drive_link

The Clash - The Magnificent Seven (Special Remix) b/w The Magnificent Dance (1981)

"The Magnificent Seven" is a song by the English punk rock band the Clash. Released in 1981, it was the third single from the Clash's fourth album, Sandinista!. It reached number 34 on the UK Singles Chart.

The song was inspired by old school hip hop acts from New York City, like the Sugarhill Gang and Grandmaster Flash & the Furious Five.^[4] Rap was still a new and emerging music genre at the time, and the band, especially Mick Jones, was very impressed with it, so much so that Jones took to carrying a boombox around and got the nickname "Whack Attack".

"The Magnificent Seven" was recorded in April 1980 at Electric Lady Studios in New York City, built around a funky bass loop played by Norman Watt-Roy of the Blockheads. Joe Strummer wrote the words on the spot, a technique that was also used to create Sandinista!'s other rap track, "Lightning Strikes (Not Once But Twice)". This white rap single is earlier than Blondie's "Rapture" by six months. Strummer said of the group's encounter with hip hop:

When we came to the U.S., Mick stumbled upon a music shop in Brooklyn that carried the music of Grand Master Flash and the Furious Five, the Sugar Hill Gang...these groups were radically changing music and they changed everything for us.

Though it failed to chart in America, the song was a hit on underground and college radio. Music critic Jeff Chang wrote that in New York City, the song "had become an unlikely hit on the Black radio station, WBLS."

"The Magnificent Dance", released on 12 April 1981 by CBS in 12-inch single format, is the dance remix of "The Magnificent Seven". 

The maxi single was released in the UK featuring an edited version of "The Magnificent Seven" on side A, and in the U.S., where it was backed with the extended version of "The Cool Out". It is credited to "Pepe Unidos", a pseudonym for Strummer, Paul Simonon and manager Bernie Rhodes. "Pepe Unidos" also produced "The Cool Out", a remix of "The Call Up". 

This dance version "definitely capitalized on the funky groove of the original, adding in some very cool drumming."

In 2015, Pitchfork Media included the song on its "Early 80's Disco" playlist, saying "if they were bored with the USA in 1977, four years on, they were also bored with both punk and rock. Instead, they became infatuated with NYC street culture, from early hip-hop to post-disco. This dubbed-out disco remix of the lead track off of Sandinista! was a club hit and the record Larry Levan would use to fine tune the sound system at the Paradise Garage."

A - The Magnificent Seven (Special Remix)  (3:40)

        Written-By – Clash

        Remix – Pepe Unidos

B - The Magnificent Dance   (3:33)

       Written-By – Clash

Companies, etc.

• Record Company – CBS Inc.
• Phonographic Copyright ℗ – CBS Records
• Copyright © – CBS Inc.
• Published By – Nineden Ltd.
• Pressed By – CBS, Haarlem – 01-1134

Credits

• Producer – The Clash
• Written-By – Clash

Taken from the album The Album "The Clash – Sandinista!" 1980 (CBS 66363) 

Notes

Released: 1981

Format:   Vinyl, 7", 45 RPM, Single, Stereo

Genre:  Post-punk, Rap Rock

Label:  CBS Records

https://drive.google.com/file/d/1-gvC1PAAl02JWDTbeTeTxX35-fXKSTYd/view?usp=drive_link

David Bowie - TVC 15 b/w We Are The Dead (1976)

"TVC 15" is a song by English musician David Bowie, released on his 1976 album Station to Station. RCA Records later released it as the second single from the album on 30 April 1976. 

The song was recorded in late 1975 at Cherokee Studios in Los Angeles. Co-produced by Bowie and Harry Maslin, the recording featured guitarists Carlos Alomar and Earl Slick, bassist George Murray, drummer Dennis Davis, pianist Roy Bittan and Warren Peace on backing vocals. 

The upbeat song is mostly art rock performed in a style reminiscent of the 1950s. Lyrically, the song concerns a character's girlfriend being eaten by a television set. 

It was inspired by a dream of Iggy Pop's and Bowie's role in The Man Who Fell to Earth (1976). Some lyrics are also influenced by the Yardbirds and Kraftwerk.

Musically, "TVC 15" is described as art rock, while O'Leary calls it an "avant-garde novelty song". 

The writers of Rolling Stone later found the track to be a mix of new wave and boogie-woogie.

Upon release as a single, "TVC 15" peaked at number 33 on the UK Singles Chart and number 64 on the Billboard Hot 100 chart. Its release coincided with the European leg of the Isolar tour. 

Initial reviews praised the song as one of the album's highlights, although some reviewers found the lyrics difficult to comprehend.

A - TVC 15  (3:33)

      Written-By – David Bowie

B - We Are The Dead  (4:48)

      Written-By – David Bowie

Companies, etc.

• Published By – Bewlay Bros. Music
• Published By – Moth Music Corp.
• Published By – Fleur Music Ltd.
• Published By – Chrysalis
• Published By – Mainman
• Distributed By – Inelco
• Manufactured By – Inelco Nederland B.V.
• Phonographic Copyright ℗ – RCA Records
• Lacquer Cut At – Bovema / EMI Studios – 28101
• Lacquer Cut At – Bovema / EMI Studios – 28102

Credits

• Artwork By [Cover] – Arno Van Orsouw
• Producer – Harry Maslin (tracks: A)
• Written-By, Arranged By, Producer – David Bowie

Side A: ℗ 1976 RCA Records from "Station To Station"
Side B: ℗ 1974 RCA Records from "Diamond Dogs"

Notes

Release:  1976

Format:   Vinyl, 7", 45 RPM, Single

Genre:  Art Rock

Label:  RCA Victor

https://drive.google.com/file/d/1IrIxwd5c3jLTj1JTo2QO1YydwQ9HRblE/view?usp=drive_link

Bob Marley & The Wailers - Roots Rock Reggae b/w Talkin´ Blues (1976)

"Roots Rock Reggae" from Marley´s album "Rastaman Vibration" was a great success in the US, becoming the first Bob Marley release to reach the top 10 on the Billboard 200 chart (peaking at number eight), in addition to releasing Marley's most popular US single "Roots, Rock, Reggae", the only Marley single to reach the Billboard Hot 100 chart, peaking at number 51.

Vincent Ford, a childhood friend from Jamaica, is credited as the songwriter for "Roots Rock Reggae".

A - Roots Rock Reggae  (2:57)

       Written By – Vincent Ford

B - Talkin' Blues  (2:40)

       Written By – Bob Marley

Companies, etc.

• Phonographic Copyright ℗ – Island Records Ltd.
• Published By – Tuff Gong Music
• Published By – Cayman Music Inc.
• Mastered At – Sterling Sound
• Pressed By – Ariola Eurodisc Benelux B.V.

Credits

• Producer – Bob Marley & The Wailers

A-Side Taken from the album 'Rastaman Vibration' ILPS 9383 

B-Side Taken from the album 'Natty Dread' ILPS 9281

Notes

Release: 1976

Format:

Genre: Reggae

Label: Island Records

https://drive.google.com/file/d/1VeN5vtVKuoMEAJe7FIg2fm2jfw8iyiT4/view?usp=drive_link

Thin Lizzy - Whisky In The Jar b/w Vagabond Of The Western Word / Sitamoia (EP) (1976)

"Whiskey in the Jar" (Roud 533) is an Irish traditional song set in the southern mountains of Ireland, often with specific mention of counties Cork and Kerry. 

The song, about a rapparee (highwayman) who is betrayed by his wife or lover, is one of the most widely performed traditional Irish songs and has been recorded by numerous artists since the 1950s.

The song first gained wide exposure when Irish folk band the Dubliners performed it internationally as a signature song, and recorded it on three albums in the 1960s. 

In the U.S., the song was popularised by the Highwaymen, who recorded it on their 1962 album Encore.

Irish rock band Thin Lizzy hit the Irish and British pop charts with the song in 1973.

"Whiskey in the Jar" is the tale of a highwayman or footpad who, after robbing a military or government official, is betrayed by a woman; whether she is his wife or sweetheart is not made clear. Various versions of the song take place in Kerry, Kilmoganny, Cork, Sligo Town, and other locations throughout Ireland. 

It is also sometimes placed in the American South, in various places among the Ozarks or Appalachians, possibly due to Irish settlement in these places. Names in the song change, and the official can be a Captain or a Colonel, called Farrell or Pepper among other names. 

The protagonist's wife or lover is sometimes called Molly, Jenny, Emzy, or Ginny among various other names. The details of the betrayal are also different, being either betraying him to the person he robbed and replacing his ammunition with sand or water, or not, resulting in his killing the person

A - Whisky In The Jar  (5:37)

        Arranged By – Downey, Bell, Lynott

        Written-By – Trad.

B1 - Vagabond Of The Western World (4:12)

         Written-By – Phil Lynott

B2 - Sitamoia (3:17)

          Written-By – Brian Downey

Companies, etc.

• Record Company – The Decca Record Company Limited
• Published By – Luddington House Music
• Mastered At – Decca Studios
• Phonographic Copyright ℗ – The Decca Record Company Limited

Credits

• Mastered By – C
• Producer – Nick Tauber

Notes

Released: 1976

Format:  Vinyl, 7", 45 RPM, Single

Genre: Hard rock

Label: Decca Records

https://drive.google.com/file/d/1OT1CWHQcs1Y9QTgY0RLzP21DV3ylsRdk/view?usp=drive_link

Billy Jones & Solat - You´re Gonna Miss Me b/w I´ll Be Around (1976)

Real Name: William Oran Willie Bill Jones 

US soul/funk vocalist, songwriter and producer. Born in Denison, Texas on November 20, 1945 - died in Amsterdam, The Netherlands on June 10, 1982. 

Billy Jones started his career singing gospel in church. He also toured the USA as a member of the Army Air Defense Command Choral Group. 

In 1968, he settled in Amsterdam, The Netherlands and started a solo career in 1970. 

He soon became a vocalist with Oscar Harris And The Twinkle Stars, making the transition from The Twinkle Stars into Thunderstorm in 1979. He also sang lead with Solat, een Amsterdamse band met o.a. gitarist Franky Douglas (ook in The Needles en The Stew) en toetsenman Glenn Gaddum. 

 

A - You're Gonna Miss Me  (3:35)

       Written-By – Billy Jones 

B - I'll Be Around  (4:24)

       Written-By – Billy Jones 

Companies, etc.

• Record Company – Basart Records International B.V.
• Published By – MASCO
• Lacquer Cut At – Dureco Studio

Credits

• Lacquer Cut By – C
• Producer – Stan Lokhin

Notes

Release: 1976

Format:   Vinyl, 7", Single, 45 RPM

Genre: Soul

Label: Poker

Catalog# S 637

https://drive.google.com/file/d/17ZnYllY7QUwO3tgAgtvOA8XMpeELMxzr/view?usp=drive_link

Eric Capton - Promises b/w Watch Out For Lucy (1978)

"Promises" is a single released by the British rock musician Eric Clapton in September 1978. It is part of his studio album Backless. 

"Promises" consists of four verses, two choruses and one outro. The song is in the key of G major and backing vocals were performed by Marcy Levy. Billboard called "Promises" a "swaying, melodic rocker" that sometimes sounds like Clapton's earlier hit "Lay Down Sally." 

Record World said that it "is largely acoustic with smooth and easy vocals." AllMusic critic William Ruhlmann calls the song an "understated pop shuffle" and notes the writing credits of Richard Feldman and Roger Linn. Ruhlmann then goes on to criticize that Backless and the song "Promises" are not "memorable recordings" of Clapton. 

The German music journalist Steffen Greifswald writes in his review for the Frankfurter Allgemeine Zeitung: "Backless is a good recording for music lovers and of course Eric Clapton fanatics. 

One recording definitely sticks out – the song "Promises" has integrity, soul and passion. The track therefore perfectly sums up Eric Clapton and his work".

A - Promises  (3:00)

       Written-By – Richard Feldman, Roger Linn

B - Watch Out For Lucy  (3:13)

       Written-By – Eric Clapton

Companies, etc.

• Published By – Throat Music Ltd.
• Published By – Virgin Music Ltd.
• Lacquer Cut At – Phonodisc B.V.
• Pressed By – Phonodisc B.V.

Credits

• Producer – Glyn Johns

Notes

Released: 1978

Format:  Vinyl, 7", 45 RPM, Single, Stereo

Genre:  Blues rock

Label:  RSO

Catalog#   2090 324

https://drive.google.com/file/d/1vndYi-n-uwGjQvtVKSDjJmJGWmL648IY/view?usp=drive_link