Visual ‎– The Music Got Me

Prelude Records ‎– PRL D 650
Vinyl, 12", 33 ⅓ RPM

Companies, etc.



A Product of Prelude Records
℗ 1983 Prelude Records

Barcode and Other Identifiers

  • Rights Society: BMI
  • Matrix / Runout (Side A): PRL D 650 AS
  • Matrix / Runout (Side B): PRL D 650 BS
  • Matrix / Runout (Run-out Side A): PRLD-650-AS MASTERING BY FRANKFORD/WAYNE NEW YORK HERBIE JR :<) A-a ←→
  • Matrix / Runout (Run-out Side B): PRLD-650-BS MASTERING BY FRANKFORD/WAYNE NEW YORK HERBIE JR :<) A-a ←→
  • Matrix / Runout (Run-out Side A (Variant)): PRLD-650-AS MASTERING BY FRANKFORD/WAYNE NEW YORK HERBIE JR :v)
  • Matrix / Runout (Run-out Side B (Variant)): PRLD-650-BS MASTERING BY FRANKFORD/WAYNE NEW YORK HERBIE JR :v)

Other Versions (5 of 24) View All

Cat# Artist Title (Format) Label Cat# Country Year
RHR 1188, 1188 Visual The Music Got Me(7") Rams Horn Records, Rams Horn Records RHR 1188, 1188 Netherlands 1983 Sell This Version
RHR 3463 Visual The Music Got Me(12") Rams Horn Records RHR 3463 Netherlands 1985 Sell This Version
SPEC-1344 Visual The Music Got Me(12", RE) Prelude Records SPEC-1344 Canada 1988 Sell This Version
SPEC 1344 Visual The Music Got Me(12", RE) Prelude Records SPEC 1344 Canada Unknown Sell This Version
RAMSH 12-3188 Visual The Music Got Me(12", Single) Rams Horn Records RAMSH 12-3188 Netherlands 1983 Sell This Version


Reviews Show All 4 Reviews

Add Review



December 8, 2017
A proto-garage masterpiece, essential for every fan of the early days of house! That bassline...OMG!


January 13, 2017
edited about 1 year ago

Boyd Jarvis interview for Electronic Standards: "I was specially interested in synthesizers in the early days, so people like George Duke, Herbie Hancock. Chic Corea, Alfonse Johnson, Lenny White, Weather Report keyboardist Josef Zawinul & Isao Tomita were top of my list.
I had most of Hancock's records, and know a lot of his history because his talents span some wide in the musical realm. My good friend & keyboardist Terry Burrus at a very early age was a child prodigy and played with Herbie. My other good friend Ray Cerrano who is on some of the keyboards on Visual went on tour with Herbie. Hancock was classically trained; he's extensive in Jazz, Fusion, traditional & non traditional, Pop - "you name it, he can handle it" - for instance, he blew all of his peers minds when he decided to do Rockit, because it was so left wing, but Herbie was no stranger to the dance floor; he proved that way back with his big hit Chameleon.
George Duke was a phenomenal keyboardist as well, I love him. His ability to make the Synth talk, see, today you don't hear that. My other idle was the, oh, so great Chick Corea. But the one that opened me the most technically & intellectually was Isao Tomita. He, from a technical stand point is the man. He was a Casio man; did many endorsements and researches in Sound modification and modeling. The man could create some vocals from a Synth that would blow your mind! Find the album Snowflakes Are Dancing, and listen to the Girl With The Flaxen Hair - then find the original with the real vocals! It will freak you out!
In part, Technology is what got me in the door. I always just listened to my Records and just dreamed of being involved. It's not until I brought my first Synth - the Yamaha CS-15 from Rick Stevenson at Mannys Music Store in NYC that my world expanded. Rick was very influential in inspiring me to go forward. He told me once that any sound that I could think of, I could get using a Synth, and he was right! The manipulation of Frequencies is amazing, because you have the ability to emulate Sound using the basic building blocks of Sound, components like VOC, VCA, Envelope Generator, Wave Oscillators like Sawtooth, Square, etc Also LFOs, and so forth...
I have known Timmy Regisford since 1980. He was a nice innocent kid then. I met him at a club called Melons; I had taken my Yamaha CS-15 there, and talked with the DJ & the promoter Mike Stone about allowing me to create and play Sound effects over the Music and everyone loved it! Timmy came there one night, he asked me if I would help him. He wanted me to help him with his audition for WBLS Radio with me playing over the mixes, so I agreed and it became so popular! There was nothing ever done like that before in history. The Station with Frankie Crocker leaved it, and we continued to do it ourselves, which started to attract attention. People would really rush home to tune in, including me, since we pre recorded everything. We did most of this in Timmy's bedroom. His mom was supporting. That is when some of those tracks that i was creating exclusively for the show started to get popular, particularly the Track called Stomp which later became The Music's Got Me. It's funny, the label never spelled the credits correctly. It was supposed to be The Music's Got Me, not The Music Got Me! (laughs)
I went and found the people to become Visual. If you can recall, The Music Got Me was just a track called Stomp originally, then, because of its popularity from radio, I decided to write lyrics and go assemble participants. It was all electronic, except for the percussion. All practically made with one monophonic Synth. The first Instrumental version was basically one Synth and a beat from a Beats Album - I just remember what the beats record was called Mix Your Own Stars - it was the first beats album ever made, and then Jive Rhythm Tracks followed; Jive records was born from Rhythm Tracks. Timmy was playing the drum beats, then I started playing over it and so it became!
This first version - Stomp - was made using that Beats Album, then later on, when we made it into The Music's Got Me - The percussion was Congas, performed by Willie White; everything else (including electronic drums) were Synth - at that time, there were no Samplers on the market - yet not until the Akai 612 and the emulator.
The lead singer of Visual was Jason Smith (who also sang for Level 3), and Henry Greene was the background singer with Anthony Malloy. Malloy went on to work with Paul Simpson and do Serious Intention and, No Favors (Temper).
The Congas are on the commercial released version, but, the main rhythm was from an electronic equipment - my Yamaha CS-15. The melody lines were made with a Prophet 600. That was it: the whole Record was made with two Synths.
I am humble, proud and greatful to have and still be a part of this great History; we helped to shape this thing called the Underground, from the earliest of beginnings."


March 30, 2010

The instrumental is the best - very nice record


May 14, 2009
edited over 8 years ago

Way ahead of its time in 1983 and a certified Prelude classic. A dream team of Timmy Regisford, Boyd Jarvis and Tony Humphries combined to make this, one of the earliest examples of house music put on wax. Regisford and Jarvis followed this with other classics like Chocolette on Supertronics, Level 3 on Fleetwood and their remix of Tony Cook's 'On The Floor' but this one is my favourite. Part of the vocals were sampled in 1991 by Masters at Work for the equally amazing 'Our Mute Horn'.