Midnight Star – No Parking On The Dance Floor
Label: |
Solar – 9 60241-1 |
|---|---|
Format: |
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Country: |
US |
Released: |
|
Genre: |
Funk / Soul |
Style: |
Disco |
Tracklist
| A1 | Electricity | 6:58 | |
| A2 | Night Rider | 4:40 | |
| A3 | Feels So Good | 4:23 | |
| A4 | Wet My Whistle | 5:06 | |
| B1 | No Parking (On The Dance Floor) | 4:27 | |
| B2 | Freak-A-Zoid | 8:06 | |
| B3 | Slow Jam | 4:17 | |
| B4 | Playmates | 4:10 |
Companies, etc.
- Record Company – Warner Communications Inc.
- Manufactured By – Elektra/Asylum Records
- Distributed By – Elektra/Asylum Records
- Phonographic Copyright ℗ – Solar Records
- Copyright © – Solar Records
- Produced For – Mid-Star Productions
- Recorded At – Counterpart Creative Studios
- Recorded At – Fifth Floor Recording Studios
- Mastered At – Allen Zentz Recording
- Mastered At – Allied Record Company
- Mixed At – Counterpart Creative Studios
- Mixed At – Fifth Floor Recording Studios
- Lacquer Cut At – Sheffield Lab Matrix – ∆ 4298
- Pressed By – Specialty Records Corporation
- Published By – Hip Trip Music
- Published By – Midstar Music, Inc.
- Published By – Inner Rhythm Music
Credits
- Art Direction – Norm Ung
- Backing Vocals – Reggie Calloway
- Bass – Melvin Gentry
- Bass Vocals – Kenneth Gant
- Coordinator [A & R] – Dina Andrews
- Drums – Melvin Gentry
- Engineer [Additional] – Taavi Mote
- Engineer [Mastering] – Brian Gardner
- Engineer [Mixing, Recording] – Ric Probst
- Executive-Producer – Dick Griffey
- Flute – Vincent Calloway
- Guitar – Melvin Gentry
- Hair – Elasta Hair Products Co.*
- Keyboards – Vincent Calloway
- Lacquer Cut By [Runout Etching ❀ Or ⁀⁀ ⁀⁀] – Brian Gardner
- Lead Vocals – Melvin Gentry
- Management [& Direction] – William "Pablo" Davis
- Percussion – Vincent Calloway
- Photography By – Jim Shea
- Producer – Reggie Calloway
- Programmed By [Synthesizer] – Wes Boatman
- Saxophone – Bill Simmons
- Synthesizer – Bo Watson
- Trombone – Vincent Calloway
- Trumpet – Vincent Calloway
- Typography [Logo Design] – Mark Galarneau
Notes
"SP" in label matrix denotes a Specialty Records Corporation pressing.
The 'two flying birds' and five-petal flower w/stem etchings in the runouts represent mastering engineer Brian Gardner.
Runouts are etched with 'MASTERED AT ALLEN ZENTZ L.A., CALIF.' stamped.
Produced for Mid-Star Productions
Recorded & mixed at Counterpart Creative Studios & Fith Floor Recording, Cincinnati, Ohio
Mastered at Allen Zentz Recording
℗ © 1983 Solar Records
The 'two flying birds' and five-petal flower w/stem etchings in the runouts represent mastering engineer Brian Gardner.
Runouts are etched with 'MASTERED AT ALLEN ZENTZ L.A., CALIF.' stamped.
Produced for Mid-Star Productions
Recorded & mixed at Counterpart Creative Studios & Fith Floor Recording, Cincinnati, Ohio
Mastered at Allen Zentz Recording
℗ © 1983 Solar Records
Barcode and Other Identifiers
- Barcode (Text): 0 7559-60241-1
- Barcode (Scanned): 075596024112
- Rights Society: BMI
- Matrix / Runout (A Side Label): ST-E-60241-A-SP
- Matrix / Runout (B Side Label): ST-E-60241-B-SP
- Matrix / Runout (Runout A, variant 1): ST-ES-60241-A 5 ⁀⁀ ⁀⁀ [Allied 'ɑ' Logo] B-18042-A5 SLM MASTERED AT ALLEN ZENTZ L.A., CALIF. ∆ 4298 1-2
- Matrix / Runout (Runout B, variant 1): ∆4298-X 1-6 ST-E60241-B4 B-18043-B4 MASTERED AT ALLEN ZENTZ L.A., CALIF. SLM
- Matrix / Runout (Runout A, Variant 2): ST-E60241A-4 ❀ ɑ B-18042-A4 MASTERED AT ALLEN ZENTZ L.A., CALIF. O-2SM1-1 1-3 SLM ∆4298
- Matrix / Runout (Runout B, Variant 2): ST-E60241B11 ❀ ɑ B-18043-B4 MASTERED AT ALLEN ZENTZ L.A., CALIF. SLM ∆4298-X (scratched out) 0-2 SM1-1
- Matrix / Runout (Runout A, Variant 3): ST-E60241A-4 ❀s @B-18042-A4 MASTERED AT ALLEN ZENTZ L.A., CALIF. 1-3 SLM
- Matrix / Runout (Runout B, Variant 3): ST-E60241-B4 ❀ SP @ B-18043-B4 MASTERED AT ALLEN ZENTZ L.A., CALIF. SLM △4298-X 0-2SM1-4
- Matrix / Runout (Runout A, Variant 4): ST-E60241A-4 ❀s @B-18042-A4 MASTERED AT ALLEN ZENTZ L.A., CALIF. 1-2 SLM ∆4298-X 0-(scratched out)2 1 SM1-2
- Matrix / Runout (Runout B, Variant 4): ST-E60241-B4 ❀ @ B-18043-B4 0-1SM1-4 MASTERED AT ALLEN ZENTZ L.A., CALIF. SLM △4298-X 1-2
Other Versions (5 of 47)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
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Recently Edited
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No Parking On The Dance Floor (LP, Album) | Solar | 96 02411 | Canada | 1983 | ||
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Recently Edited
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No Parking On The Dance Floor (Cassette, Album) | Solar | 96 02414 | Canada | 1983 | ||
| No Parking On The Dance Floor (LP, Album) | Solar | 96-0241-1 | 1983 | ||||
|
Recently Edited
|
No Parking On The Dance Floor (LP, Album) | Solar | MCL 1841 | UK | 1983 | ||
|
New Submission
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No Parking On The Dance Floor (LP, Album, Promo) | Solar | 60241-1 | US | 1983 |
Recommendations
Reviews
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Man I don't think Midnight Star gets enough recognition in the development of techno music, where the conversation is usually focused on what was happening in Detroit, obviously. But they really seem like the link between boogie/synthfunk and that early Detroit techno stuff. This album and Planetary Invasion both. Planetary Invasion especially starts feeling like electro, but without much of a TR-808 presence. It's more LinnDrum and TR909 than anything else, I believe. So, electro without an 808? It's a different and unique feeling. A decade later, British B12 of Warp Records would try to imitate the techno records from Detroit, but used a TR909 for just about all their drum sounds. I swear it's all related man. Techno fans should really be talking about their music too! -
Edited one year agoArguably so of all the albums that Midnight Star released during the 1980s by far, No Parking On the Dance Floor was their most successful venture. The album cracked the Billboard Pop Album listing for 1983 at a highly remarkable #27 which is well inside of top 40 territory. That was led by the success of the title track of course. And again there are numerous other floor fillers in here. And then there's quiet storm/smooth jazz entry, Slow Jam. The album is musically solid. A few tracks are atypically synth_laden which is not uncommon. Still, there are catchy vocals. The album teases the listener with some musicianship. Ultimately though, this an album that was considered their commercial breakout. All in all, it's great R&B
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Classic jams from the fabulous 80's! Full range quality sounding electro-funk with a mad bass line, puts a smile on your face!
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