Merci d'avoir écouté toutes ces années plus tard !

Thanks for listening!

@@nushoozmusic glad you guys demonstrative love can last the real deal

forgot to mention I did see you in 2016 at the throwback concert in lincoln /sacramento it was perfect

We are... and thanks!

Terima kasih untuk mendengarkan!

So glad you love that song 'Don't Let Me Be the One.' It's always gratifying when people get past 'I Can't Wait' into our deeper cuts. That song was written around 1985. We were playing four hours a night, four or five nights a week. And we rehearsed every Wednesday. It was impossible to keep four hours of material fresh, so I worked on songs in batches of ten. I tried to finish two songs a week for rehearsal. Still, the last set of the night had all the stuff we were tired of but had to play to fill the time. 'Don't Let Me Be the One,' was made in that 'factory' setting. Whichever songs were nearest to being finished made it to that week's rehearsal. That song was based on a fragment of the song 'Time of the Season' by The Zombies. Valerie wrote the bulk of the verses and the B section. Lyrics were kind of a nuisance for me at the time, and I think she did a great job. My interest was more in the chord progressions and the bassline and horn parts. Anything to fill the dance floor and not have to play 'Shotgun' or 'Rescue Me.'

@@nushoozmusic Awesome. Thanks for that backstory, did not know it was based on a fragment of time of the season, though now that i think of it they both have the same feel. there's very much a kind of bent appeal to the sound that is like bittersweet, almost ominous, yet vibrant and hard hitting. fantastic.

Thanks! It's always nice to get a comment about one of our 'deep cuts.' The song 'Real Thing' was a take-off on the production style of Gamble and Huff, the architects of the "Philly Soul" sound. They produced all those great records by the Ojays. The model for this song was 'Love Train.' The bass line represents that older style of bass playing from the '60s that came before the machine bass lines of the '80s. The images in the video were taken from a book of original collage art we made around 2006. Thanks for listening!

@@nushoozmusic Thanks, that's very interesting. I have noticed that's just not any bass, there is great deal of complexicity in the bass, really amazing, how it flowlesly moves throughout the track completely independent from other instruments. When there is great deal of work put into a single track you can always hear it. I will be definetly coming back to this music, I'm into music production and it is very inspiring. This bass is like bass from valve amplifiers vs bass from transistor amps.

@@emerjay348 I forgot how much I love that song. That was eight years ago, and I was really trying to make a Gamble and Huff tribute. The bass was a 5-string P-Bass plugged directly into an API mic preamp. I've been listening to basslines for a long time, and I figured out that they often play 'square' rhythms that allow the other instruments to syncopate against it. Like James Jamerson, (I assume you know who he is,) playing on Supremes songs like "My World is Empty Without You." Anyway, I wish you luck with your music production. We just got our studio up and running after a couple years of downtime. [The old rig finally died.] And I've been writing songs again. Big fun!

​@@nushoozmusic RIP Isa Gamble. happiness is so hard to find..

That's an awesome memory. Isn't it amazing how music breaks down barriers of all kinds? Even first dance jitters! Thanks for posting here.

what a beautiful memory

"Outside" was recorded in L.A. specifically for that movie. Jeff Lorber produced. I can't remember what studio we recorded in. That was a song we played in clubs before we were signed. It was written in 1984, and the Soul Man soundtrack came out in '87. So, that's probably more than you wanted to know, but there you go! - John R. Smith

@@nushoozmusic That was perfectly explained. Thank you so much. 🙂

That's Make Your Mind Up - the B-side of the original I Can't Wait 45" released on Atlantic.

@@nushoozmusic It’s very nice, thank you!!👍🙏

@@xeropunt5749 Thanks - and you're welcome! Take care.

@@nushoozmusic I can see why Atlantic chose it as the B-side to their “I Can’t Wait” single. It definitely is the one song that sounds the most similar to it.

Você é muito gentil!

Hello Patrick. The famous sound on the front of I Can't Wait was done by Dutch DJ Peter Slaghuis on an E-Mu Emulator II. Another sampler we used was the Linn 9000, a sampling drum machine. It would crash all the time, (this was 1986,) and when it crashed it made a sound like "awwwwwwwwww." Other times we didn't have a sampler so we bounced things in using an Eventide Harmonizer. You could load short phrases into it and trigger them with a button. Hope that answers your question. John R. Smith NuShooz

@@nushoozmusic Thanks so much for getting back to me John! Yes it did and I really appreciate it. 😀 I know exactly what those are. I still have my old Ensoniq Mirage DSK from 1987. I also have an Ensoniq EPS 16+ Rack I acquired about 15 years ago. I have an affinity for vintage gear. I guess because when I bought it, it wasn't vintage! 😉 LOL! The way those sampler was used on I Can't Wait was very creative and not just for a stutter like Rock Me Amadeus. I really liked that song when it came out and still do along with Point of No Return. There was some good stuff back in the day brother! 😄

😆 Good one. Congratulations!

Hmmm... good question! It was a collaboration, actually, between Valerie & filmmaker Larry Johnson. Valerie came up with the concept and got it started. Larry edited and put the finishing touches on everything. Et voila! It came together - and just in time for the single release.

😂 Good one. We see what you did there!