Daddykins was helping a friend of his with a Raspberry Pi issue. Part way through the conversation, he mentioned that his Raspberry Pi had stopped the cards from working. Fortunately, there is an easy fix for this. and I thought I’d knock up a few screenshots, and Daddykins can send the link to help with the problem. I’ve also seen this cause problems when trying to burn a new image onto a memory stick you’ve used previously.
Here, I’ve inserted a 16Gb memory card that already has a Raspberry Pi image on it. As you can see, the free space is only a few tens of megabytes, and certainly not the 16Gb on the card. Even if you go to format it, it’ll only show a small amount of space.
This is because, when the card is set up to be used with the Raspberry Pi, it uses the vast majority of the memory card that Windows doesn’t recognise. You simply need to delete these areas (partitions), and combine them back into one area that Windows can see.
Right-Click “This PC” in your start menu and select “More”, then “Manage”
When in there go to “Storage” and select “Disk Management”
You’ll see your memory card listed. As you can see, the drive is split into two. You might see three or four. The size of the first part will match what you can see in Windows, and the others will be the rest of the card that Windows currently can’t recognise. Make sure you select the right drive, because you’re about to delete whatever is on there…. selecting one of your hard drives instead of the memory card will really put a dampener on your day.
Right click each of the parts and select “Delete Volume”. If done right, the split will go, and you’ll end up with the whole card as “unallocated”.
Right click once more, select “New Simple Volume”. Click Next 4 times (This will allow Windows to take care of the drive size) Click Finish, Windows will ask you to format the drive, and you have a full-size memory card again!
Hope you found this helpful. I’ll be back with more blog related stuff when I’m actually doing something interesting. I might even finish the “10 Days of Albums” series… if you’re lucky.
So, apparently I took the whole of July off, but don’t worry, I’m still perservering with this! Maybe I’ll have the last two typed up by the time the lockdown officially ends… assuming this blog is still going in 2028.
Well, we’re still in 1991, folks. After all, these are albums that shaped my music tastes, so I guess they have to be early on in the collection.
Let’s fast-forward a few months to Xmas of that same year. This was the last truly great xmas, as it was the last one I had with my mam. Also, the pick of prezzies I got that year were pretty amazing. Santa’s sack really must have been bulging that year.
Two main presents in this particular year… a Commodore 64 (yes, I’m aware I arrived very late to that particular party!) and finally, a hi-fi I could call my own! Something a lot more modern than the ancient thing I’d been using earlier on in the year. Thanks to the wonderment of the internet, I managed to find an image of that exact same hifi.
I had to lift the image off Gumtree, so apologies if the seller ever finds this site, but as you can see, it was an Alba jobby. It’s meant to look like all the parts are separate, but they’re not, they’re all moulded into one front cover. The speakers (not pictured) were the same height as the unit, and connected at the back via 3.5mm jacks, and there were two phono jacks for an auxiliary input. These would become useful later on.
I absolutely adored this thing. It wasn’t without its quirks, however. It had a very basic remote, which allowed volume up / down, and I genuinely think that was it. Everything else featured manual moving parts. At some point during this hi-fi’s life, we switched over from incandescent light bulbs to the early compact fluorescents. The slight issue was that they gave off light at the same frequency as the volume up / down control, so you’d turn the light on, and the volume would go right down to none. Therefore, the remote sensor ended up with a sticker over it for most of its life.
Although the tuner says “digital” on it, it wasn’t. It was still an analogue dial, with the readout given on an LED display. It didn’t come with a CD player – that got added the following year. Maybe that’s a story for parts 9 or 10… who knows?
This was a hi-fi built at a cost, and obviously 30 years later, it really does show, but being able to play records and takes, and listen to the radio, was all that mattered to me.
This was the first of the “Now!” albums to use the familiar style of logo. At the time of typing, we’re into the Now 100’s, and they’re still using a version of this. The font changed when they broke the 100 barrier, but it’s essentially the same.
I could sit and write the list out of what tracks are on there, but there’s 40 of them. Instead, I’ll just pick out the real gems… or at least the ones I like. Music is subjective, so you might agree, you might not.
Let’s start off with Side 1, Track 1… “Dizzy” by Vic Reeves and the Wonderstuff. a perfect remake to me…. nothing like the original, and this was also one of my early 7″ singles, given to me by my aunty. I’m sure I mentioned in here before that Chad taped over the first 30 seconds of this with the “Grease” soundtrack. He doesn’t remember, but I do! Actually, this has just triggered a really weird memory I can’t have been in senior school long, and there was some type of assembly going on, probably doubling up as a talent show., with some of the older kids dancing around to this, complete with cardboard “washing machine” props. For some reason, I always remember these props hanging around in a store cupboard somewhere (probably where they kept the basketballs as the gym was right next door), long after they’d served their one and only purchase.
Er, onto “Pet Shop Boys – Where The Streets Have No Name (Can’t Take My Eyes Off You)”. At the time, I didn’t even know this was a remake, never mind a parody of a U2 song. I thought this was great, and still do. I recently bought the extended version of “Behaviour” which has the extended version of this on. Still a cracking, if slightly obscure and forgotten track these days.
“Love To Hate You” and “Sailing On the Seven Seas are both cracking tracks too.
“Something Got Me Started” by Simply Red is a song that was a grower. I hated it when I first heard it. Now, I quite like it. I don’t think it’d ever make my dream jukebox, but I wouldn’t change the channel if it came on the radio. “Let’s Talk About Sex”, on the other hand, is to me, one of the worst songs ever recorded. I’d jump out of a two-storey window if that ever came on the radio in my presence. OK, slight exaggeration, but I really dislike this song.
To this day, I’m surprised of the inclusion of “Gett Off” by Prince. Considering these albums are ained towards the younger audience, some of those lyrics are a bit… “close”, shall we say? I remember being fascinated by the fact they reversed the “big ass” portion of the lyric, so it just sounded weird.
“Get Ready For This” by 2 Unlimited was the standout track for me. this was the one I looked at on Christmas Morning, and went “YES!” Or so I presume. I guess this was the most played song on this side.
This side finished with Moby’s “Go”, and the amazing “It’s Grim Up North” by the band usually known as KLF. This would have been a perfect tune to finish this side on, as it fades to therelaxing sound of birdsong, but no, they stuck “Set Adrift on Memory Bliss” on the end of it. Not a great song, but I knew of this before I knew of “True” by Spandau Ballet, so my mind was blown when I realised it heavily used a sample.
Turn the tape over, and you’re onto song #6 before there’s anything that’s remotely worth typing about. “Too Many Walls” by Cathy Dennis. I liked this particular track, and it was my first experience of her music. She now writes songs for other people, having many more chart hits this way.
“This House” by Alison Moyet was a dreary, forgettable song, instantly followed by “Walking In Memphis” by Marc Cohn. Another song I’d never heard before playing it on here. Lovely, clear lyrics. Great piano playing. If you held a gun to my head, I’d blast this out on karaoke…… without hesitation. I did always wonder this, though… “The lyrics, “Walking with my feet ten feet off of Beale” refers to Beale Street, an actual street in Memphis. Riley B. King became known as the “Beale Street Blues Boy” shortly after he first arrived in Memphis. Later, the nickname was shortened to B.B., and the rest is history.”. I’ll
Right, so we’ve had the first album purchased by myself, but that was 2nd hand, what about the first one I’d actually bought from a shop? Yes, that’s right! Step up “the 12 Commandments of Dance” by The London Boys! “Wait, what”, I hear you say… I thought this was going to be about Belinda Carlisle? Well.
Fast forward a few days later than the Jason Donovan LP, I ended up on a coach trip to Whitby. In fact, this was on Saturday 31st August 1991. I could explain how I know the date, but it’d bore you senseless… Well, if you’re reading this, you must be pretty bored, but you know what I mean.
Anyhoo, around this time, my interests were changing slightly. Up until this point, if we ever went anywhere, like for a holiday, I’d get a computer game as a memento. Earlier on in the year, Daddykins had brought a music centre home. He was a TV engineer, so I assume someone was either giving it away, or it was getting scrapped, or something. I have no idea of the model number or type, but it appeared in the Hogmanay episode of Still Game…
This was the week that my music collecting began, definitely for records anyway. I’d always had the equipment to play tapes, but these were always ones taped off the radio. It was time to get some original albums.
So, back to the trip. For the journey there and back, I’d taken my “walkman”. Personal stereo if you want to be pedantic. The trip, as always, involved a visit to Woolworths, but instead of a game for my Spectrum, I thought I’d treat myself to a music tape. As I mentioned, I’d picked up “The 12 Commandments of Dance”. Unfortunately, after getting the tape out of its box, it became clear there was a manufacturing defect. There was an extra pressure pad bouncing around inside the tape’s casing. For those who remember tapes, this is the metallic bit with a bit of foam or felt on it that would press the tape against the head. I didn’t think much of it, but as my dad rightly pointed out, having a loose bit of metal bouncing around inside would soon rip the tape to shreds, so off back to Woolies to exchange it.
It was the last copy they had. Bugger.
So, off back to the shelves. I wanted something that I’d heard of, and back then, with my tiny music knowledge, there weren’t too many I could choose from. I plumped for “Runaway Horses”. I knew the songs “Leave a Light on” and “We Want The Same Thing”, so at least there were two songs I liked…
Fate was on my side that day. I absolutely got the best one out of the two albums. The first track was “Leave a Light on”… Later in the day, I remember sitting in a pub courtyard, looking at one of the most beautiful women I’ve ever seen. Still, to this day, I wonder what happened to her. Every time I hear that song, I’m transported back to that moment. It may have been The Pier Inn. So, if you were there on 31st August 1991, leave a comment. Or don’t, you’re probably old now.
So, yeah. I loved the album as soon as I heard it. I played side 1 mainly. “Leave A Light on”, “Summer Rain” and “La Luna” are still favourites to this day. The album ends with “Shades of Michaelangelo”, which unfortunately is my least favourite song on the album. Very slow and dreary, with an instrumental bit that really does out-stay it’s welcome.
A few years ago all of Belinda Carlisle’s early albums were remastered and expanded, in a booklet style case, with 2 discs and a DVD. Quite a few of the tracks are just the single versions of the songs, which are no different except they fade out early. There are a few other mixes, such as the acapella version of “La Luna”. Even after 30 years since its original release, the majority of the album still sounds good today.
I can’t conclude this without mentioning the London Boys album. I picked it up years later, and I absolutely hated it. “London Nights” is okay. So is “Requiem”. They get a spin every so often, but everything else on it is truly terrible. In fact, I gave my first copy away. A second copy turned up for 49p so I got it again, just for completeness.
I do wonder what path my music collection would have taken, if it weren’t for that faulty tape. Would I have hated the London Boys album back then? Would I have been so disappointed by it that it put me off buying albums? We will never know.
So, in conclusion, London Boys bad, Belinda Carlisle good.
This is it. This is where it all began. The first album I ever purchased, and yes, I’m totally ashamed to admit it.
Back in the late 80s and early 90s, starts from Neighbours were everywhere. You couldn’t put on one of the four TV channels we had at the time without seeing something about Kylie, Jason, and the rest of the crew. Pete Waterman decided to stick a couple of them in the recording studio, and stick their signature cheap-arse drum machines behind them. And bloody hell, they were popular, and a 9-year-old me actually quite liked them. “Too Many Broken Hearts” was a particular favourite,for reasons I still don’tunderstand.
While this isn’t strictly he first album I owned, it was the first one to be purchased with my own money. The year is 1991. The local pub (which is now a block of flats) hosted an “It’s a Knockout” style fun day on the summer bank holiday – it had a patch of land behind the back of it that was used. Don’t quite know why, as from memory is always seemed to be a few inches deep with broken glass and remnants of old cars, etc. On this particular day there was a record stall. Just someone randomly placed outside with a box of vinyl. I’ve mentioned many times during these about my lack of pocket money as a kid, but I had enough scraped together to pick up a couple of choice records. Obviously, this one, and two singles… “Secret Garden” by T’Pau” and “swing The Mood” by Jive Bunny. I know, I know. Don’t judge me.
I don’t think I had the LP for very long. I had a habit of destroying records that I didn’t like anymore. I gained great pleasure on sticking them onto a 60-watt light bulb and watching them turn to goopy mush. The Jive Bunny single suffered this fate. Amusingly, I must have frizbeed that Jive Bunny single into next door’s garden, as it turned up still in one piece about 10 years later when they cu the hedge down. I think it still played too… well, apart from the bit where I’d melted it.
Anyhoo, back to the album. I did find a copy in a charity shop a couple of years ago, but really, listening to it in 2020 makes you realise just how cheap the production is. I’d had hoped that the years had been good to it, and that not hearing it for at yeast 25 years may have brought back some rose-tinted memories, but no. It wasn’t good then, and it’s not good now. You can see why PWL were called “The Hit Factory”, because they churned these out by the dozen. So, this one isn’t great, and I wouldn’t recommend hunting it down, but to me it’s my first, and if I’m doing these, I might as well include it. If you really are interested, a “deluxe” 2-disc version was released in 2010 that has different remixes on, including instrumental versions. It’s going for obscene money on ebay and amazon, so if I saw it for Â£0.99 in a charity shop I’d pick it up
Now all of a sudden I have a craving for Darkmilk chocolate…
No track listing for this one either, as I don’t think I could sit through it again.
Surprisingly, yet another entry that’s been influenced by long-time reader, and my far the most imaginative troll on this site, Chad. The year is 1992. I’d only been collecting records for just inder a year, so the name of Mike Oldfield was a bit unknown to me. The only music of his I was aware of, was his single “Moonlight shadow”.
“Sentinel” was the lead track on the album, which was released and remixed as a single. Around this time, Chad had picked up a copy of the afore-mentioned album on tape. I distincly remember its blue background, and yellow tube on the front. I only remember hearing the first track of the album, and was surpried to find out how differnt it was to the version released as a single. I think it was the first experience I’d had with an album version of a rack being different to the single version.
Sadly, around that time came the worst period of my life. and I remember, a few days after this particular thing happened, I went into Hit Parade on York Road, picked up the single version of “Sentinel”….. and “Tetris” by Dr. Spin. I’m guessing grief made me make some strange musical decisions that day.
At some point, I picked up the original Tubular Bells album. Admittedly, I wasn’t really a fan. I must have been about 14, and the two long passages of music didn’t really keep me entertained as much as, say, Pato Banton’s “Baby Come Back”, or whatever was in the charts back then. No idea what happened to the tape
Many, many years later, I found a 2nd hand copy of Tubular Bells 2. I was intrigued to hear what the full album sounded like, after only hearing the first track in its entirety. Needless to say, the fact that I’m writing this now proved just how much I liked the album. It was great. Much more polished, a lot less experimental. The two long passages of music still existed, as none of the tracks have gaps in between them (except, of course where you need to change sides).
There are some great hidden gems in there, and although a few singles came from the album, Sentinel was the only one that had any type of chart success – sentinel reached number 10, “Tattoo” reached 33, and “The Bell” reached 55.
“The Bell” is possibly my second favourite track on the album. Alan Rickman is featured as the “Master of Ceremonies”. though there are many different versions, with other people doing the role of the MC, such as Bully Connolly, MC Otto who is a German comedian. One version also has Vivian Stanshall reprising his role from the first LP. Unfortunately he wouldn’t be able to carry this role on in the third in the series, as he died in 1995. There were no MC tracks on the third album.
Interestingly, Alan Rickman isn’t credited on the album
I’m not going to do a track-by-track section as you really have to listen to the album in its entirety. Plus, they’re tedious as hell to type out
The 1980s was a time of uncertainty for the British Isles. Margaret Thatcher was in power, the coal mines were on the brink of closing, and things really didn’t look rosy. In 1984, a new TV series started, featuring the exploits of 4 labourers from around the country, all applying for jobs in Germany, and ending up in a building site in Dusseldorf., with *hilarious* consequences. Anyway, I could babble on about the plotlines and characters for hours, but I’m up early for work in the morning, and seeing as I haven’t done one of these for a while, I thought I’d continue it.
A very early memory of mine comes from this first showing. At the end of one episode, the sound started going all wobbly. Amazingly, thanks to the power of youtube, someone captured this very fault onVHS, and uploaded it to Youtube albeit from a different ITV region…
Now, for some reason I believed that “Do not adjust your set” type messages were actually there, because if you DID adjust your set, it would blow up., so every time something like this happened when I was a youngster, it used to scare me. Obviously, it’s 2020, and I now know that faults like this were caused by a master tape fault, or a dirty video head… either way, something was causing the video player to lose its tracking, and not able to keep the correct tape speed. Two memories of the show stuck with me… that fault, and the last episode of season 1 where “the hut bornt doon”. Oh, and of course, the theme music.
In (possibly) the summer of 1988, ITV started to show abridged 30 minute episodes, cutting the 1-hour long episodes in half. I remember watching, and liking the show, and also the two theme songs. It was one of the few shows at the time that used a completely different theme for the beginning of the show, and the end. I still have recordings of the theme that i’d grab off the telly, holding the tape recorder up to the telly. At the end of these episodes, the announcer would remind us that the soundtrack was available to purchase on LP.
Later that year, one of Chad’s freinds, Darren, who was several years older than me, said he had the afore-mentioned LP, and would I like a copy. Well. Of course I would. I handed him a cassette tape, and he returned, a few days later, with this…
The writing’s mine, by the way, written several years later
It’s a very old photo, and again, I’m sure I’ve blogged about this before, but bollocks to it, I might touch on something I missed out previously. Plus, seeing as we’re in lockdown, it’s something to do, innit?
This was the night before I was going away for my first holiday to Sandy bay, and obviously the tape would come away with me. It would be played in the car ad infinitum. The tape would return to Sandy Bay, up to our last visit in 1992.
Of course, I picked up the soundtrack album, both on CD and LP. I was surprised just ow many differences there were in the two.
So, onto the tracks themselves. I’m only going to concentrate on side 1 of the LP, as Side 2 is just incidental music from the show. Darren didn’t record this, as cassette tape was a finite resource at the time, and to be honest, it’s not particularly interesting unless you have a knowledge and interest of the show. I’m also going by the original LP, as the CD has some minor differences, mainly the track order and lengths.
01. THAT’S LIVING ALRIGHT
The end theme to Series 1. Released as a single, and got to, I believe number 3 on the charts. It was featured on Now That’s What I Call Music 2. There are three versions of this I know of. The first is the one used on 12 out of the 13 episodes of the show. Episode 10 uses a different revision. This is also the episode that broke down as mentioned above. I always assumed that the tape fault had damaged the audio, so they had to hurriedly re-record it for future showings. Turns out this wasn’t the case, as if you listen carefully, this is also playing that dodgy version, so I’m at a loss as to why this version is different.
The third version is the partially re-recorded one. A strange one this, as it exists back in 1984, it’s used in his TOTP performance. Every second line is re-recorded, and sounds different to the original. No idea why this version was used on TOTP, as the original version clearly still existed.
02. BREAKIN’ AWAY
This was the intro to the show, and stayed the same all the way through. the first episode’s version is edited, and omits the “Not tryin’ a run” section. the first episode does, however, have the full guitar instrumental. The record fades after 25 seconds where it ends after 36 seconds in the programme.
It was this exact song that got me into looking for full versions of songs. I’d listen each time it was on and see if they’d play an extra bit of that guitar instrumental. The CD version fades out even earlier.
03. BACK WITH THE BOYS AGAIN
Undoubtedly my favourite theme of the show. Chuggy electric guitars, hint of piano, a great little track. Used for series 2, and Slightly re-recorded for the show, depending on the length of the credits, with the final episode having it played in full.
The same version is on the CD release.
04. GET IT RIGHT
A completely different version was used on the show for most episodes. The version on the show is a re-recording. the drum track remains the same, but the vocal and guitar are slightly different, with a slow instrumental ending, This was never aired in full (though I can recall a very long version being played on one of the abridged 30-min episodes) – the longest version of this instrumental features in episode 10 (Scoop).
Episode 1 also uses a different version, but this never used the official intro. Episode 3 uses this released version, with the 2nd verse faded out and used as the instrumental
05. THE SEVEN AGAIN
Used in Series 2, episode 2, one of the two songs that was used just once in an episode, and also one of the few times were a song needed LESS cowbell. It was re-edited for the soundtrack with the cowbell dropped way back in the mix, a slightly different arrangement, and an instrumental added. Fades early on the CD release. Probably my least favourite of the 6, but it still has its own charm.
06 TONIGHT’S THE NIGHT
Featured in Series 2, episode 5 and the last time an original song would be used in this series. The LP has the complete version, the show uses the instrumental after the first verse and chorus. the CD cuts out most of the song.
So, in conclusion, if you were after this I’d track down the original LP (Towerbell Records (1986), AUF 2), failing that, the CD, if the above shortfalls aren’t much of a concern (Prestige Stage + Screen , CDSGP0201)
So, onto Day 3 now, and I’m taking my first excursion into the left-field, and talking about a band and album that I’m sure literally none of you have ever heard of, unless I’ve gnawed your ear off about them. or you’ve found this from a Google search result.
You’ll be happy to know that I expect this post to be a hell of a lot shorter than the previous one, but just to warn you, I’m going to get a little into detail about one particular song again.
If you have *ever* heard of this band, it’ll be for their 1988/89 single “Downtown”, and that’s probably because I’ve played you it. It seems to be a favourite among radio afficionados. Tom Davies (spit) used it as one of this musical “beds”. Ron “Boogiemonster” Gerber also has a very soft spot for this song (more on that later), and when Ron wasn’t available for a show one day, a fan of his stepped in and opened up with this song.
I’m going to talk in-depth about “Downtown” first of all. Track 6 on the album. This was how I discovered the band. I’ve definitely talked about this in the past, so I’m probably repeating myself.
The year is 1996. Daddykins picked myself and Chris up after school. You remember Chris. Mentioned him on here many times before. Yes, we’ve been friends for that long. Anyway. Daddykins had an errand to run. He needed a power supply from a place up near Washington. I remember, it was a cold winters’ day. Snow had drifted up against the fences on the way there, and everything looked ever so slightly wintry. I don’t particularly remember anything about the journey there other than the snow, but the power supply was acquired, and we were heading back.
TFM, the local radio station, was still in range at that point, and they had a daily quiz called “The 4 at 4”. Basically, 4 songs. Ring in and state the artist and title. Grab yourself a prize, maybe a CD or two. We were heading back, and a song came on the radio. Oh my. Slow piano intro. Synthy, slightly tinkly instruments, female vocals, extended piano section (which, I remember, we lost slightly as we went under a bridge)… It was like this song was performed just for me.
I was absolutely in love. Obviously, it was part of a quiz, so the DJ couldn’t just blurt the title out. I remember the guy ringing in, attempting to get the artist. He incorrectly guessed “SWV”. They did have a song called Downtown, but clearly wasn’t this one. The DJ naturally gave the right answers at the end of the ‘quiz’, so at least I didn’t have to search high and low for the title. Neither did I have to wait long for a slightly decent copy. No idea why, but whichever computer selects the records for the week inserted this one again a few days later, and I happened to get most of it on tape.
Tom Davies (c*nt) must have been listening at the time, as he began to use an edited “instrumental” version on his talk-in.
In a stroke of unbelieveable fortune, only a few months later, I was down the flea market one day and managed to pick out “Downtown”. I was absolutely over the moon. I didn’t have to spend years looking for a copy!
SO, that would be the end of the story. I had everything I wanted. That would be great if I wasn’t such a clumsy and/or untidy bastard. Somewhere down the line, I broke the record, chipped a great part out of it, and leaving a crack down the rest of the surface. Aaaaargh. It was still playable, if you missed the first minute or so out.
Gutted, and in search of a nother copy, I turned to Tom Davies. I rang the talk-in show, and asked where I could get a copy. He really was a knob about the whole thing, eventually cutting me off. Somewhere in the vast tape archives, I have that exact recording. I’ve never listened to it.
At some point, I did indeed pick up another copy, again from the very same flea market. Unfortunately, some of the pellets used to mould the record had not been melted correctly. Admittedly, it played on my older equipment, but a finely balanced tone arm would be more than likely sent into orbit. Bugger.
The internet era came, and more exactly, the ability to grab MP3s. WinMX was my piracy tool of choice at the time, and back then, everything came through a 56K modem. I’d wait hours, even days for one single song. Eventually, a decent copy of the song became available. One Friday night, Coatesy had came round (now there’s a name I’ve not mentioned for over a decade), and he was talking to me, just as the download had completed. His words were a blur. I finally had an unscratched, unbumped copy. After that, we ended up in my now long demolished local.
Thanks to the internet, I found of other versions of the record being available. Unlike “the Way It Is”, there are many different remixes of the song available
I weas going to do a breakdown of every track, but really it’s an academic excersise. Unless you have the CD or album, my whitterings about an album that’s been completely out of print for 30 years. Instead, I’ll continue talking about my searches for every version of “Downtown” available.
In Europe, it’s simple. You’ve got the 7″ / album version, and also the 12″ single version and instrumental version. All of these are available in the 4-track CD single version from Germany. This was nice and easy to pick up. It’s in the collection, it’s ripped as FLAC.
The UK version of the CD single is 3″ in size, as opposed to the standard 5″. If you ever look at the tray on a CD player, that’s what the indent is for. These small CDs. That’s another blog post in itself. Either way, forget the UK copy. It was printed by PDO, and the copy I own has >rotted and is unplayable. America and Canada had several different versions to contend with, all with the same design of cover, but in different colours, and also, slightly different lyrics. I’ve never been able to put together an exact timeline of recordings and releases of the song, but there are two distinct versions of the lyrics. This version features the line “Loosen up down in the village for a while, we can live a life of happiness and style”. The “main” 7″ and album mix mangles it slightly, to “Loosen Up (Wooo hoo hoo hoo hoo), we can live… etc” . I have no idea why this line was ovberdubbed.
Anyhoooooo, on to the different promo releases. Firstly, there’s the 12″ yellow cover, catalogue number SP-12297.
I have no way of checking, but This seems to be from an earlier release of the song. This record also features a 7″ version that’s different to the one finally released. There’s no long instrumental, and the percussion is different, sounding a lot more basic than the final version. The fade out is also slightly longer.
Secondly is the 1-track “blue cover” CD single, catalogue number CD 17708.
This is the standard “album” mix, but with an edited intro. The piano intro is cut down from 48 seconds to just 8 seconds. It’s not even subtle.
Right, onto the “RED” CD single.
Ohhh, and this is a story I never want to relive. If anyone asks about a low point in collecting CDs, this is it.
This single was the last piece of the puzzle. I had every other known release, and I’d searched high and low for a copy of this particular disc.
Let’s fly back to 2016. Ebay was a thing. It still is, but I’m trying to add depth to the story. Amazingly, up comes this particular red single. Meh, it’s an auction. I slap a bid of Â£1.50 on it, and away I go, doing whatever I was doing in 2016. Probably the same as what I’m doing right now, but with more clothes on.
Time passes, and so does my memory of checking my email. I’d totally forgot about bidding on this. 3rd September rolls along, and I get an unexpected email…
Thank you for your purchase. Details are provided below and your total amount due is Â£2.77.
Now, if I’d actually had been checking my specially set-up email that I use especially for my auctions, I’d be over the moon. Except, I didn’t.
The 5th September rolled along..
Thanks for your recent purchase on eBay! Please remember to pay for your item so that the seller can send it to you as soon as possible. Note: If you’ve already made payment arrangements with your seller, please disregard this reminder. Thanks again for shopping on eBay!
I’d still forgotten that I’d bidded on anything on ebay… On comes 7th September…
Seller has opened an unpaid item case for One 2 Many – Downtown [CD single]. They opened the case because they havenâ€™t received payment for the item.
Please pay by 11-Sep-16, so the seller can ship the item to you, otherwise, the seller can cancel this order.
Yep, I was still sound asleep.
11th September comes around… yes, a day that shall remain infamy for something else, but for me…
Payment for this item hasn’t been received during the past 8 days. [user] has cancelled the transaction, and you’re no longer entitled to receive the item. Also, an unpaid item has been recorded on your account.
Unfortunately, I haven’t kept records of the eact dates and times, but at some point a a few days after that, I emailed the seller. I explained I was a complete idiot, and if there was any chance of sending me the CD. Quite rightly so, he refused. I hold my hands up. It was my fuck-up It’s really one of those moments I still hit myself in the balls over. A genuine low point.
Years passed. I kept an open eye out for this CD. It would eventually turrn up for stupid money.
One day, I was browsing discogs, and a copy appeared. The very same “red” CD single I was after.Who happened to be selling it? Yup, none other than Ron “boogiemonster” Gerber. That was enough for me to click “purchase”. I think I’d been working some overtime (or I was very, very drunk), as the cost of the CD was $22, postage of $14.25, meaning a total of Â£28.62. Yikes.
Days passed, and I tracked the CDs location, as it made its way from the leafy subburbs of Minneapolis, to the quiet fishing village of Hartlepool. I soon ran into a problem. Customs. I didn’t even think of it at the time, but any goods over a vertain value entering the UK are subject to customs duties, and as luck would have it, my package had been stopped. As the CD had been given a commerial value of $50, this meant I had to pay roughly Â£18 in customs duty.
I’m pretty sure I screamed. This was a lot of money to lose, but at the end of the experience, I had a CD I wanted to own, from someone who I’ve spent many, many hours listening to.I’ll kick myself on spending Â£48 on a CD single that I could have had for under Â£3, but it’s a learning curve. It’s shit that happens if you’re a music hoarder, and now that I’ve publicly shared this, it’s a period I can put behi… Oh, wait. I haven’t even mentioned the single, have I?
The “Red” single is Track 1 from the yellow 12″ mix, and track 2 the early 7″ mix”.
Well, that concludes the post for now, as I really want to move onto another album. One that won’t be so “wordy” and has no relevance, as nobody knows the album. I’ll return to something more mainstream next. I could still talk about the song, and my discovery about the end of the song but this is has already gone on far too long, and is beginning to sound like the ramblings of a madman who has not left the house for four weeks The rest of the album isn’t too mad if you like late 80s stuff.