Heaven 17 – I'm Your Money
Tracklist
| A | I'm Your Money | ||
| B | Are Everything | 2:59 |
Companies, etc.
- Phonographic Copyright ℗ – Virgin Records Ltd.
- Published By – Dinsong Ltd.
- Published By – Sound Diagrams
- Published By – Virgin Music (Publishers) Ltd.
- Lacquer Cut At – Tape One
- Pressed By – CBS Pressing Plant, Aston Clinton
Credits
- Artwork [Packaged By] – Bob Last
- Artwork [Packaged By] – B.E.F.*
- Backing Vocals – Christopher Umfreville Wilkinson, Elzunia Kardasinska, Huanita Rana Martinez, Kurt Von Rauchitz
- Lacquer Cut By – BilBo (3)
- Lacquer Cut By [Cutting At Tape 1] – Dennis Blackham*
- Photography By – Virginia Turbett
- Producer, Engineer – B.E.F*
- Synthesizer – Ian Craig Marsh
- Synthesizer, Backing Vocals – Martyn Ware
- Vocals – Glenn Gregory
Notes
Cut at Tape 1.
Dinsong Ltd/Sound Diagrams (A), Dinsong Ltd/Virgin Music (Publishers) Ltd (B)
MADE IN ENGLAND on labels.
Time for "I'm Your Money" is 3:26 for the actual song only. The record also includes what's come to be known as the "B.E.F. Ident" as well.
The B-side is a shorter version than appears on the 12" single (by more than a minute). Despite the text on label, the B-side did not appear on "Music of Quality and Distinction."
Dinsong Ltd/Sound Diagrams (A), Dinsong Ltd/Virgin Music (Publishers) Ltd (B)
MADE IN ENGLAND on labels.
Time for "I'm Your Money" is 3:26 for the actual song only. The record also includes what's come to be known as the "B.E.F. Ident" as well.
The B-side is a shorter version than appears on the 12" single (by more than a minute). Despite the text on label, the B-side did not appear on "Music of Quality and Distinction."
Barcode and Other Identifiers
- Matrix / Runout (Label matrix side A): VS 417-A
- Matrix / Runout (Label matrix side B): VS 417-B
- Matrix / Runout (Variant 1 runout side A etched / stamped): VS - 417 - A - 1 BILBO TA1PE BETTER LUCK NEXT TIME J.H. JNR ∴
- Matrix / Runout (Variant 1 runout A etched / stamped / etched / stamped): VS 417 B1 8 BILBO TA1PE ∴
- Matrix / Runout (Variant 2 runout side A etched / stamped): VS - 417 - A2 : ) BILBO ⋅ TA1PE BETTER LUCK NEXT TIME J.H.JNR ∴
- Matrix / Runout (Variant 2 runout side B etched / stamped): VS 417 B2 2 BILBO ⋅ TA1PE ∴
Other Versions (1)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
| I'm Your Money (Special Fortified Dance Mixes!) (12", 45 RPM, Single, Stereo) | Virgin, Virgin | VS 417-12, VS 41712 | UK | 1981 |
Recommendations
Reviews
- Can someone who has the 7" of this song please update this entry to include the actual times for this record?
- Edited 9 years agoLooking 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.
