Heaven 17 ‎– I'm Your Money

Label:
Virgin ‎– VS 417
Format:
Vinyl, 7", 45 RPM
Country:
Released:
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Tracklist Hide Credits

A I'm Your Money
Written-By – Gregory*, Marsh*, Ware*
B Are Everything
Acoustic Guitar – David LockwoodWritten-By – P. Shelley*

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Credits

Notes

Cut at Tape 1.
Dinsong Ltd/Sound Diagrams (A), Dinsong Ltd/Virgin Music (Publishers) Ltd (B)

Barcode and Other Identifiers

  • Matrix / Runout (Runout A etched / stamped): VS - 417 - A - 1 BILBO TA1PE BETTER LUCK NEXT TIME J.H. JNR ∴
  • Matrix / Runout (Runout A etched / stamped / etched / stamped): VS 417 B1 8 BILBO TA1PE ∴

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Crijevo

Crijevo

December 10, 2013
edited over 4 years ago
Looking back on it now, Heaven 17 made some truly great stuff (in both album and single form), but some singles obviously never made it any further than self-indulgent studio doodling. "I'm Your Money" happens to be a double-edge sword - on one side there is this amazing groovy idea of a provocative song about total possession and/or self-exploitation, while on the other hand, the song sounds a bit unfinished, left with a raw, rotating beat box... delivering an obvious (specially fortified) dance experiment on the back of a then-novelty format that was the 12" single. The good aspect of it is, this early H17 song still leans on B.E.F.'s post-League cold electronics period (well conceived on "Music For Stowaways"/"Music For Listening To") rather than slightly later white-boy funk pretense (already evident on the debut album "Penthouse & Pavement").

Presented in a number of random vocal loops, "I'm Your Money" remains a bizarre electro-chant in terms of foreign currency with Glenn Gregory's cool vocals on top - the whole mood is the equivalent of a UK entry attempt at the 1981 Eurovision song contest, in a way predicting the EU concept way too early (and for all the wrong reasons).

The B-side "Are Everything" is in a way a more interesting (if not better) offering - an up-tempo obscure leftover track (actually The Buzzcocks cover that is nowhere near the original, still adorably mechanical and sterile), originally intended for B.E.F.'s first edition of "Music Of Quality & Distinction" but should have fitted in even better on one of the Foundation's early cassettes. Too bad the arrangement kept its focus only on the rudimentary synthetics, instead of delivering a more fully-blooded dancefloor killer.