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Sa-Fire

Don't Break My Heart

Label: Cutting Records – CR-209

Format: Vinyl, 12", 33 ⅓ RPM

Country: US

Released: 1986

Genre: Electronic

Style: Freestyle


Tracklist

A1 Don't Break My Heart 7:44

A2 Don't Break My Heart (7" Version) 3:48

B Don't Break My Dub 9:37


Phonographic Copyright ℗ – Cutting Records, Inc.

Copyright © – Cutting Records, Inc.

Published By – Cutting Records Music

Engineered At – Secret Sound

Mastered At – Frankford/Wayne Mastering Labs

Pressed By – Hauppauge Record Manufacturing Ltd.

Backing Vocals – Jimmi Tunnell*

Engineer [Assistant] – Michael Kaufman, Trip Henderson

Engineer [Chief] – Tom Gartland

Executive-Producer – Amado Marin

Keyboards – Peter Schwartz

Keyboards [EMU Solo] – Andy Marvel

Mastered By – Herb Powers Jr.

Percussion – The Latin Rascals

Producer – Aldo Marin, Carlos Rodgers, Omar Santana

Vocals – Wilma Cosme

Written-By – C. Rodgers*, O. Santana*, P. Schwartz*

Written-By [Uncredited] – Frankie Mitchell

Original 1st Pressing.

Matrix / Runout (Both sides of labels): CR-209

Matrix / Runout (Runout A Side Etched & Stamped): A- ᐉ CR-209-A Mastering By Frankford/Wayne New York Herbie Jr :v)

Matrix / Runout (Runout B Side Etched & Stamped): Mastering By Frankford/Wayne New York Herbie Jr :v) "Good luck Sa Fire on a fresh record" A-2 ᐉ CR-209-B

Pressing Plant ID (Hauppauge Pressing stamp): ᐉ

Rights Society: ASCAP



SOUND TESTED / BUYER APPROVED

RECORD PLAYS VG+ > EX-

RECORD COVER IS G > G+ (seem split)

https://www.youtube.com/watch?v=Jey1bfb-J0E&ab_channel=Sa-Fire-Topic

(EXAMPLES, NOT ACTUAL)



FYI 

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A dance party (also referred to as a dance) is a social gathering where dancing is the primary activity. Some dance parties are held in a casual setting and open to the public, such as a rave, or those held in nightclubs.

Other types of dance parties may be a formal or semi-formal private event which often require guests to don formal wear and have an invitation or membership within the community hosting the event, such as school dances and cotillions.

Guests of formal dances often attend in pairs, as consorts or "dates" for one another. The term "stag" refers to going without a consort to a dance organized for couples. Dances commonly take place during the evening, although some are held earlier during the daytime; such events are known as tea dances.

Casual dances are dances that do not have a formal dress requirement; these may include school and community events, raves, evening entertainments provided for guests aboard a cruise ship, and events organized for certain holidays, such as Halloween and Mardi Gras.

A school dance is a dance sponsored by a school, and may be casual or formal. Casual school dances were originally limited to Western countries, although schools in other countries are beginning to adopt such events. There are some schools, such as Arlington High School in Arlington, Massachusetts, that prohibit school-hosted dances, citing sex and alcohol problems.

In the United States: One of the most significant school dances is prom, a relatively formal event normally reserved for Junior grade and Senior grade students. Some schools host a winter formal, a similar event, for the lower grades. In the 1950s, informal school dances in the United States were often called sock hops. The traditional Sadie Hawkins dance may be formal or semi-formal.

A live band dance is an event where the means of serving the dancefloor involves the use of a live band. Before the rise of discotheques and DJ-based dancefloors with recorded music (prior to the 1950s), live bands were the ubiquitous means of serving the dancefloor. Along with that, slow-dancing was the primary method of dancing at the time. However; the rise of Rock and Roll music initially made it hard for people to dance when it was popularized in the early 1950s, however people quickly adapted to it and started dancing at higher speeds almost coinciding the rise of DJ-based dancefloors. Live bands have quickly been displaced by DJ-based dancefloors as the DJ stands took up less space than bandstands and that it played recorded music.

Ambience: Dance parties are usually held at night, and may be hosted in private homes, bars, gymnasiums, nightclubs, community centers, ballrooms, or other large open spaces suitable for use as a dance floor by many people simultaneously.

The music at dance parties is usually played through a PA system or a more powerful sound system, and is often supplied by a DJ who selects and plays pre-recorded songs from vinyl records, compact discs or with a laptop; however, some dance parties feature live instrumentalists or musicians playing their music live on an instrument, or with a laptop. Raves and other large, modern dance parties use visual and lighting effects, such as strobe lighting and smoke machines.

Popularity: In the Jewish community, Bar and Bat Mitzvah celebrations often involve dances.

Dances are common for Quinceañeras, sweet sixteen parties and debutante celebrations. Some of these coming of age events involve a father-daughter dance.

At wedding receptions, the newlywed couple may opt to have a first dance (before all guests are invited to participate on the dance floor).

A dance party that is gaining popularity is the Bollywood dance party, featuring music from Hindi cinema from India. A popular dance party that demonstrates this style of music and dance combination is produced by Wicked Karma that is produced by Christie Sanam and DJ RDX

Nurai, a nightclub in Beirut hosted a party event on the 28th August 2017 and by August 30, 2017 it broke the Guinness World Record for hosting a 56-hour long party to show that "it is the best party city in the world!"

In Australia, dance parties are popular amongst teenagers, to the point that many dance parties are held specifically for teenagers in nightclubs or other locations which allow underage guests, who are usually unable to attend such places due to local laws.

Specialized events:  Some dance events may put an emphasis on certain genres of dance. For example, an event may feature swing or square dancing rather than dancing in general. A masked ball is a type of costume party that features dancing. Dance parties at which people mainly dance Tango are called Milongas.

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A disc jockey, more commonly abbreviated as DJ, is a person who plays recorded music for an audience. Types of DJs include radio DJs (who host programs on music radio stations), club DJs (who work at nightclubs or music festivals), mobile DJs (who are hired to work at public and private events such as weddings, parties, or festivals), and turntablists (who use record players, usually turntables, to manipulate sounds on phonograph records). Originally, the "disc" in "disc jockey" referred to shellac and later vinyl records, but nowadays DJ is used as an all-encompassing term to also describe persons who mix music from other recording media such as cassettes, CDs or digital audio files on a CDJ, controller, or even a laptop. DJs may adopt the title "DJ" in front of their real names, adopted pseudonyms, or stage names.


DJs commonly use audio equipment that can play at least two sources of recorded music simultaneously. This enables them to blend tracks together to create transitions between recordings and develop unique mixes of songs. This can involve aligning the beats of the music sources so their rhythms and tempos do not clash when played together and enable a smooth transition from one song to another. DJs often use specialized DJ mixers, small audio mixers with crossfader and cue functions to blend or transition from one song to another. Mixers are also used to pre-listen to sources of recorded music in headphones and adjust upcoming tracks to mix with currently playing music. DJ software can be used with a DJ controller device to mix audio files on a computer instead of a console mixer. DJs may also use a microphone to speak to the audience; effects units such as reverb to create sound effects and electronic musical instruments such as drum machines and synthesizers.

Etymology: The term "disc jockey" was ostensibly coined by radio gossip commentator Walter Winchell in 1935 to describe the radio work of Martin Block. The phrase first appeared in print in a 1941 Variety magazine. Originally, the word "disc" in "disc jockey" referred to phonograph or gramophone records and was used to describe radio personalities who introduced them on the air.

Role: "DJ" is used as an all-encompassing term to describe someone who mixes recorded music from any source, including vinyl records, cassettes, CDs, or digital audio files stored on USB stick or laptop. DJs typically perform for a live audience in a nightclub or dance club or a TV, radio broadcast audience, or an online radio audience. DJs also create mixes, remixes and tracks that are recorded for later sale and distribution. In hip hop music, DJs may create beats, using percussion breaks, basslines and other musical content sampled from pre-existing records. In hip hop, rappers and MCs use these beats to rap over. Some DJs adopt the title "DJ" as part of their names (e.g., DJ Jazzy Jeff, DJ Qbert, DJ Shadow and DJ Yoda). Professional DJs often specialize in a specific genre of music, such as techno, house or hip hop music. DJs typically have extensive knowledge about the music they specialize in. Many DJs are avid music collectors of vintage, rare or obscure tracks and records.

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In music, a single or record single is a type of release, typically a recording of fewer tracks than an LP or a CD. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular songs from albums that are released separately for promotional uses such as commercial radio airplay, and in other cases a recording released as a single does not appear on an album. 45 rpm records are played on a record player or turntable. They can be played one at a time, with the records changed manually after they finish, or a stacking spindle could be used to play up to six in succession without manually changing them. The use of the spindle led to the coined "Stack O Wax" term in the 1950s.

History
The basic parameters of the music single were established in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12″/30 cm). By around 1910, however, the 10-inch (25 cm) 78 rpm shellac disc had become the most commonly used format.

The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The relatively crude disc cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, and a high rotation speed was necessary to achieve acceptable recording and playback fidelity. 78 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm.

These factors, combined with the 10-inch songwriters and performers increasingly tailored their output to fit the new medium. The 3-minute single remained the standard into the 1960s when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recordings. In 1968 songwriter Jimmy Webb shattered the standard 3 minute format with "MacArthur Park" which exceeds 7 minutes length. Although Webb had written million-selling songs and was a multiple Grammy winner, the song had been rejected by several labels as simply too long for the marketplace to bear. The Beatles' also challenged deliberately the long-standing 3-minute standard for pop singles with their 1968 7 minute 20 second single "Hey Jude" which according to some was extended in length in order to exceed "MacArthur Park"

Singles have been issued in various formats, including 7-inch (18 cm), 10-inch (25 cm) and 12-inch (30 cm) vinyl discs (usually playing at 45 rpm); 10-inch (25-cm) shellac discs (playing at 78 rpm); cassette, 8 and 12 cm (3- and 5-inch) CD singles and 7-inch (18 cm) plastic flexi discs. Other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc (5″/12 cm, 8″/20 cm, etc.).

The most common form of the vinyl single is the 45 or 7 inch, the names are derived from its play speed, 45 rpm and the standard diameter 7″ (18 cm).

The 7″ 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s.

Although 7″ remained the standard size for vinyl singles, 12″ singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12″ discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they 'wore' better, and were less susceptible to scratches. The 12″ single is still considered a standard format for dance music, though its popularity has declined in recent years.

The sales of singles are recorded in record charts in most countries in a Top 40 format. These charts are often published in magazines and numerous television shows and radio programs count down the list. In order to be eligible for inclusion in the charts the single must meet the requirements set by the charting company, usually governing the number of songs and the total playing time of the single.

In popular music, the commercial and artistic importance of the single (as compared to the EP or album) has varied over time, technological development, and according to the audience of particular artists and genres. Singles have generally been more important to artists who sell to the youngest purchasers of music (younger teenagers and pre-teens), who tend to have more limited financial resources. Perhaps the golden age of the single was on 45's in the 1950s and early 1960s in the early years of rock music. Starting in the mid-sixties, albums became a greater focus and more important as artists created albums of uniformly high quality and coherent themes, a trend which reached its apex in the development of the concept album. Over the first decade of the 21st century, the single generally received less and less attention in the United States as albums, which on Compact Disc had virtually identical production and distribution costs but could be sold at a higher price, became most retailers' primary method of selling music. Singles continued to be produced in the UK and Australia but have declined since the mid first decade of the 21st century.

Dance music, however, has followed a different commercial pattern, and the single, especially the 12-inch vinyl single, remains a major method by which dance music is distributed.

As of 2006 the single seems to be undergoing something of a revival. Commercial music download sites reportedly sell mostly single tracks rather than whole albums, and the increase in popularity seems to have rubbed off on physical formats. Portable audio players, which make it extremely easy to load and play songs from many different artists, are claimed to be a major factor behind this trend.

A related development has been the popularity of mobile phone ringtones based on pop singles (on some modern phones, the actual single can be used as a ringtone). In September 2007, Sony BMG announced they would introduce a new type of CD single, called "ringles", for the 2007 holiday season. The format included three songs by an artist, plus a ringtone accessible from the user's computer. Sony announced plans to release 50 ringles in October and November, while Universal Music Group expected to release somewhere between 10 and 20 titles.

In a reversal of this trend, a single has been released based on a ringtone itself. The Crazy Frog ringtone, which was a cult hit in Europe in 2004, was released as a mashup with Axel F in June 2005 amid a massive publicity campaign and subsequently hit #1 on the UK charts.​
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Dubstep is a genre of electronic dance music that originated in South London in the early 2000s. The style emerged as a UK garage offshoot that blended 2-step rhythms and sparse dub production, as well as incorporating elements of broken beat, grime, and drum and bass. In the United Kingdom, the origins of the genre can be traced back to the growth of the Jamaican sound system party scene in the early 1980s.

Dubstep is generally characterised by the use of syncopated rhythmic patterns, with prominent basslines, and a dark tone. In 2001, this underground sound and other strains of garage music began to be showcased and promoted at London's night club Plastic People, at the "Forward" night (sometimes stylised as FWD>>), and on the pirate radio station Rinse FM, which went on to be considerably influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used by around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in these remixes became more noticeable and distinct from 2-step and grime.

A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards. In 2004, the last year of his show, his listeners voted Distance, Digital Mystikz, and Plastician in their top 50 for the year. Dubstep started to enter mainstream British popular culture when it spread beyond small local scenes in late 2005 and early 2006; many websites devoted to the genre appeared on the Internet and aided the growth of the scene, such as dubstepforum, the download site Barefiles and blogs such as gutterbreakz. Simultaneously, the genre was receiving extensive coverage in music magazines such as The Wire and online publications such as Pitchfork, with a regular feature entitled The Month In: Grime/Dubstep. Interest in dubstep grew significantly after BBC Radio 1 DJ Mary Anne Hobbs started championing the genre, beginning with a show devoted to it (entitled "Dubstep Warz") in January 2006.

Towards the end of the 2000s and into the early 2010s, the genre started to become more commercially successful in the UK, with more singles and remixes entering the music charts. Music journalists and critics also noticed a dubstep influence in several pop artists' work. Around this time, producers also began to fuse elements of the original dubstep sound with other influences, creating fusion genres including future garage and the slower and more experimental post-dubstep. The harsher electro-house and heavy metal-influenced variant brostep, led by American producers such as Skrillex, greatly contributed to dubstep's popularity in the United States.


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