Mario Piu* – Communication (Somebody Answer The Phone)
Label: |
Incentive – CENT2T |
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Format: |
Vinyl
, 12", 33 ⅓ RPM, 45 RPM, Single
|
Country: |
UK |
Released: |
|
Genre: |
Electronic |
Style: |
Hard Trance |
Tracklist
A1 | Communication (Somebody Answer The Phone) (Yomanda Remix) | 7:01 | |
AA1 | Communication (Somebody Answer The Phone) (More Mix) | 5:17 | |
AA2 | Communication (Somebody Answer The Phone) (Mas Mix) | 7:00 |
Companies, etc.
- Published By – Media Songs Srl
- Published By – Warner Bros Music SRL
- Phonographic Copyright ℗ – Media Records Srl
- Licensed To – Incentive Music Limited
- Copyright © – Incentive Music Limited
- Licensed From – Nukleuz Records
- Pressed By – EMI Records
- Record Company – Backlash music
- Record Company – BXR
Credits
- Arranged By – M. Piperno*
- Design – the-unknown.co.uk*
- Executive-Producer – Gianfranco Bortolotti
- Management [Paul 'Yomanda' Masterson Is Represented By] – Backlash Music Management
- Photography By – Clifton Hall
- Producer – Mario Piu*
- Written By – M. Piperno / A. Remondini / R. Ferri / M. Piccotto
- Written-By – R. Ferri*
Notes
A: label states 33 ⅓ rpm but actually plays at 45 rpm. AA-side states and plays 33 ⅓ rpm.
Published by Media Songs Srl / Warner Bros Music Srl.
Special thanks to Peter and Laura at Nukleuz
A1: Remix and additional production by Paul 'Yomanda' Masterson represented by Backlash Music Management
℗1999 Media Records Srl. The copyright in this sound recording is owned by Media Records Srl and is exclusively licensed in UK & Eire to Incentive Music Limited.
©1999 Incentive Music Limited.
Licensed courtesy of Nukleuz Records
Originally produced and released in Italy by BXR Noisemaker
Made in England
Printed track times:
A1: 7:15
AA1: 5:17
AA2: 7:12
Published by Media Songs Srl / Warner Bros Music Srl.
Special thanks to Peter and Laura at Nukleuz
A1: Remix and additional production by Paul 'Yomanda' Masterson represented by Backlash Music Management
℗1999 Media Records Srl. The copyright in this sound recording is owned by Media Records Srl and is exclusively licensed in UK & Eire to Incentive Music Limited.
©1999 Incentive Music Limited.
Licensed courtesy of Nukleuz Records
Originally produced and released in Italy by BXR Noisemaker
Made in England
Printed track times:
A1: 7:15
AA1: 5:17
AA2: 7:12
Barcode and Other Identifiers
- Barcode (Text): 5 060003 070269
- Barcode (Scanned): 5060003070269
- Matrix / Runout (Stamped Runout, Side A): CENT 2T A-1-1-
- Matrix / Runout (Stamped Runout, Side AA): CENT 2T AA-1-1-
- Matrix / Runout (Side A label): CENT2T-A
- Matrix / Runout (Side AA label): CENT2T-AA
Other Versions (5 of 36)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
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Recently Edited
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Communication (12", 45 RPM, Single) | Nukleuz | NUK P 0164, NUKP 0164 | UK | 1999 | ||
Recently Edited
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Communication Remix (Somebody Answer The Phone) (12") | BXR | BXR 1088 | Italy | 1999 | ||
Communication (Somebody Answer The Phone) (CD, Single) | Incentive | CENT2CDS | UK | 1999 | |||
Recently Edited
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Communication (12", 33 ⅓ RPM, 45 RPM) | BXR | BXRG 1073-12 | 1999 | |||
Recently Edited
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Communication (Remix-Vinyl) (12", 33 ⅓ RPM, 45 RPM, Picture Sleeve) | Media Records | BXRG 1073R-12, BXRGC 1073R-12 | 1999 |
Recommendations
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2000 UK12", 33 ⅓ RPM, Single, Stereo
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Reviews
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Woah! If you've started reading the reviews here, I don't recommend going much further, as all you'll find is 'old skool best none of this cheese crap 1992 best year for dance music end of' attitude. 'Communication' is a clever track, The idea of sampling early mobile phone interference and turning it into a techno track, Piu's original idea, is a pretty cool one. The 'Lizard' style percussion of the Mas Mix combined with this interference actually makes a solid track.
Then, the More Mix too is pretty good. It's here the 'ringing cell phone' sample comes in to play, which I'm perfectly alright with, although from what I can tell from the reviews beneath, apparently it can cause one's ears to burn, so be careful. The little section where she answers the (DAMN) phone is a nice touch too.
Then, Paul Masterson steps in. I've always been a little unsure with Yomanda tracks and remixes, since they basically all sound the same. 'Synth & Strings' was probably Masterson's best. As for here, yeah its cheesy, but take it to a dancefloor and it will (or would have I suppose) do some damage.
Whether or not you like it depends on how many records you (claim) to own. -
Edited 2 years agoHahaha, love these comments, so true. The only thing I can do when I come across this record is grin very loud lol. I hesitate to play it here though as I'm afraid it will break the whole internet if I click on play.... Feels like it's from another century. Oh wait, it actually is... My God I'm really getting old, but nevertheless as an DJ at the time trying to play in clubs everywhere and nowhere I had to buy this because that mobile phone sound was sooo trending! Everyone talked about it. Yes, via word of mouth as a matter of fact. Or 160 spaces SMS text messages....Not anything digital as there was internet for 5 years already but hey it was the slow era so no rushhhh....
The record, and def it's cover is cult now. Hang it on your wall and amaze (or bore) your kids with story's that we were taking small "refridgerator" sized phones with antennas on it bigger than Apple Earpods in our pockets to the club! And then annoyed the DJ when you were texting your 160 characters message next to the DJ booth.....ahh good times though ;-)) -
I always heard that he came up with this sound due to mobile phone interference on a speaker. Mate, I heard that interference in 1998 from my PAYG Vodafone Sagem phone, through my Aiwa stereo system and thought nothing of it. It could have been my name here being slated as the most annoying dance record. Hated it at the time even though I purchased it, had to keep up my Trance/House/Hard Trance collection booming.
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Don't be so hasty. The Mas mix isn't so bad at all, not particularly stand-out techno, but not bad by any means.
The break in the More mix where the girl takes the call is fun, but probably only for novelty value, I can't see it going down well in a club more than once. Both the Yomanda mix and the other even cheesier (yes, it's possible) one that ended up in the uk pop charts are both obviously bollocks though. -
Edited 15 years agoI would rate this about minus infinity.Listen and you know why.Anyone who adores this record must make an appointment with a mental-facility and let their brains be reset.
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Edited 15 years agoYou will find almost impossible to discover a more annoying dance track that tries to be this serious. Almost everything about this arrangement makes me want to leave planet earth. I hated it the first time I heard it, and I find it even more loathesome now. For the few people who are blessed with not having had their ears poisoned with this filth, count yourselves lucky, and stay well away.
The saddest point is, Mr Piu has written some amazing tracks over the years.
Best listened to through a telescope. -
Edited 19 years agoThis track would be more appropriately titled "Somebody Please Stab Me To Death So I Don't Have To Suffer Through This F--king Song One Second Longer." Here we have a fine example of a track that never should have made it beyond the sick recesses of Mr. Piu's mind. Doesn't he have friends? They should have been honest: "It sucks!" Cheesy, formulaic hard trance beats, possibly the most annoying vocal sample ever put to wax, and the painful cell phone beeping noise combine to make this one a travesty. I anticipate years of therapy after hearing this one.
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okay production, but an incredibly obnoxious vocal. besides which, i thought we all hated cell phone ringers, who's demented enough to use that as a sample?
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