Eddy Grant ‎– Electric Avenue

Label:
Portrait ‎– 4R9-03574
Format:
Vinyl, 12", 33 ⅓ RPM, Single
Country:
Released:
Genre:
Style:

Tracklist

A Electric Avenue 6:18
B Time Warp 5:56

Companies, etc.

Credits

Notes

A-Side: Special Version From The Portrait Lp: "KILLER ON THE RAMPAGE" BFR 38554

This version is in all ways identical to the alternate US Portrait 12" except for the phono copyright info. This version does NOT have "℗ 1982 Ice Records Ltd.", but instead has "℗ 1982 CBS Inc."

Barcode and Other Identifiers

  • Matrix / Runout (A-Side Label): XSS 170789
  • Matrix / Runout (B-Side Label): XSS 170790
  • Matrix / Runout (A-Side Runout Etching var 1): XSS-170789-1B D G♥ FW P 0
  • Matrix / Runout (B-Side Runout Etching var 1): XSS-170790-1A G♥FW P 0 1P
  • Matrix / Runout (A-Side Runout Etching var 2): XSS-170789-1B G♥ FW D P 0
  • Matrix / Runout (B-Side Runout Etching var 2): XSS-170790-1A G♥FW D P 0

Other Versions (5 of 22) View All

Cat# Artist Title (Format) Label Cat# Country Year
37-03793 Eddy Grant Electric Avenue(7", Single, Styrene, Car) Portrait, ICE 37-03793 US 1982 Sell This Version
ES 861 Eddy Grant Electric Avenue(7", Single) ICE ES 861 Australia 1983 Sell This Version
37 03793 Eddy Grant Electric Avenue / Time Warp(7", Single) Portrait, ICE 37 03793 Canada 1982 Sell This Version
07・5P-224 エディ・グラント* = Eddy Grant エディ・グラント* = Eddy Grant - エレクトリック・アベニュー = Electric Avenue(7") Portrait 07・5P-224 Japan 1983 Sell This Version
4R9-03574 Eddy Grant Electric Avenue / Time Warp(12", Single, Car) Portrait 4R9-03574 US 1982 Sell This Version

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postpunkmonk

postpunkmonk

May 28, 2020

The 12″ version is not radically different to the hit single version of the song. the sound was reggae performed electronically on synths with maybe a drum machine with plenty of dub style space in the mix. Bass was played on a synth. Guitars were relegated to a single slashing chord used rhythmically. The husky vocals of Grant stood out beautifully against the revving mototcycle synth hook that I never tire of. The production and arrangement worked like a charm with the lyric and it was a tough, no-nonsense hit song that found a home in the top ten around the world.

In the UK and America it hit the number two slot. But in America it was number two for five weeks straight [it couldn’t best The Police juggernaut that was “Every Breath You Take”] and that meant this it was awarded a RIAA platinum single for over 1,000,000 in sales. Hundreds of plays later and it still sound welcome to me. The 12″ maintained the same arrangement as the 7″ mix until the middle of the song where it was followed by nearly three minutes of dub coda. In spite of the intelligent use of dub aesthetics in the song, the mix on the 12″ is kind of perfunctory. It would have been more interesting to have heard a real dub pro like Groucho Smykle or Adrian Sherwood get their hands on this.

The B-side was another matter entirely! “Time Warp” existed in a completely different universe from its A-side. First of all, this was a Eddy Grant song from the B-side of a 1977 single credited to The Coach House Rhythm Section! Five years can be an eternity in pop. This was completely different to the reggae/funk mix of the A-side. This was space disco. Motorik drum machines and synth pulses laid down the unwavering rhythm while primitive drum machines kept white noise “hi-hats” popping throughout this one. The lead melody was a meandering monosynth and disco divas offered up all of the “doot-doots” needed to hold it together. The six minute electrodisco instrumental must have sounded completely out of its time when pulled into service as a B-side again, five year later, but today there are a lot of bands trying their best to emulate this sound! I call it a win showing how far a musician like Eddy Grant had traveled in the 15 years of his career at the time. Memo to self: pick up a copy of “Killer On The Rampage” the next time I see one!