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Contributors
Hashim – Al-Naafiysh (The Soul)
| Label: | Cutting Records – CR-200 |
|---|---|
| Format: | Vinyl, 12", 33 ⅓ RPM |
| Country: | US |
| Released: | |
| Genre: | Electronic, Hip Hop |
| Style: | Electro |
Tracklist
| A1 | Al-Naafiysh (The Soul) | 6:06 | |
| A2 | Bonus | 1:27 | |
| B1 | Al-Naafiysh (The Soul) | 5:26 | |
| B2 | Bonus | 2:10 |
Companies, etc.
- Copyright © – Cutting Records
- Phonographic Copyright ℗ – Cutting Records
- Recorded At – Secret Sound
- Mastered At – Frankford/Wayne Mastering Labs
- Published By – Dorian Music
- Pressed By – Hauppauge Record Manufacturing Ltd.
Credits
- Edited By, Producer, Mixed By – Aldo Marin
- Engineer – Jim Lyon*, Tom Gartland
- Executive-Producer – Amado Marin
- Lacquer Cut By – Herbie Jr*
- Producer, Mixed By – Jerry Calliste Jr.
- Written-By – Calliste Jr.*
Notes
Sure Force Productions
Sure Shot Edit by Aldo
℗ © 1983 Cutting Records
111 Dyckman Street
NY NY 10040 (212) 569-4589
Sure Shot Edit by Aldo
℗ © 1983 Cutting Records
111 Dyckman Street
NY NY 10040 (212) 569-4589
Barcode and Other Identifiers
- Rights Society: ASCAP
- Matrix / Runout (Side A etched/stamped): MASTERING BY FRANKFORD/WAYNE NEW YORK HERbiE JR :v) ANgiE ✬ "DEdiCATED To DORIAN MARTiNEZ" "P.S." "HEY BRO." A-1 ⟷ CR - 200 - A
- Matrix / Runout (Side B etched/stamped): MASTERING BY FRANKFORD/WAYNE NEW YORK HERbiE JR :v) Hi KEllY!! "CONgRAdulATioNs PAPA Whiz KID" A-1 ⟷ CR- 200 -B
Other Versions (5 of 41)View All
| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
Recently Edited | Al-Naafiysh (The Soul) (12", 45 RPM, Stereo) | Streetwave, Arista, West End Records | MKHAN 4 | UK | 1983 | ||
Recently Edited | Al-Naafiysh (The Soul) (12") | ZYX Records | ZYX 5134 | Germany | 1983 | ||
Recently Edited | Al-Naafiysh (The Soul) (12", 45 RPM) | Streetwave | MKHAN 4 | UK | 1983 | ||
Recently Edited | Al-Naafiysh (The Soul) (12", 33 ⅓ RPM, Dark blue) | Cutting Records | CR-200 | US | 1983 | ||
Recently Edited | Al-Naafiysh (12", 33 ⅓ RPM, Test Pressing) | Cutting Records | CR-200 | US | 1983 |
Recommendations
Reviews
Show All 28 Reviews
All the comments, memories equate an important piece of art. Big up to all involved.
Did Hashim do the Scratchin in this song? If not who did? Even more important what is the Original source of the Scratch sound being cut up?
i remember how at the end of 1984 a buddy had a 30 second snippet on tape of this song.the rest had been overdubbed.we really wanted to know the name of the song to have it complete.only when i bought the streetsounds crucial with the flat knob in 1985 the mystery was solved
Easily in the top 10 all time electro records. Doesn't get better than this.
Hanging out at Cutting Records in New York in 1987 Aldo showed me the keyboard that Hashim used to make this masterpiece and also the many Imperial Brothers killers like Dub to Scratch which is a killer record and one of y all time faves.. great memories
Maybe number one breakdance record. The tuff attitude in this record made it a favorit for a lot of breakdancers.
A clever interpolation of one of the synth lines from Duran Duran's "New Religion", released just one year before.
Record was a breakthrough in the days, was a favorite for breakdancing in Washington Square Park New York, You would most definitely find me any day in the week battling! What great memories!
Love the comments, label.aside. im still wondering what was the inspiration behind the track. Why would you make this vocal? What does it mean ?
Edited 4 years ago
This was one of the tracks that opened doors that were closed to rap music, Also it helped break the Electro sound into the mainstream as clubs and radio stations refused to play rap, because pop and disco were the main agenda.
Rap music would get very little air play and you may hear some during the late night shows but not in the day time.
The public could not get enough of the bassline and synths, it was a brand new sound, the DJs had no choice but to play this and all hell broke loose.
This track not only helped lay the foundations but also set the benchmark for Electro and Electronic music, that could be listenable and danced too by the general public.
All music has its defining moment this is once of them.
Rap music would get very little air play and you may hear some during the late night shows but not in the day time.
The public could not get enough of the bassline and synths, it was a brand new sound, the DJs had no choice but to play this and all hell broke loose.
This track not only helped lay the foundations but also set the benchmark for Electro and Electronic music, that could be listenable and danced too by the general public.
All music has its defining moment this is once of them.