Anytime

~ Veröffentlichung von Brian McKnight (alle Versionen dieser Veröffentlichung ansehen, 16 vorhanden)

Anmerkung

A3 doesn't feature MA$E on the promo stickers or record label

Anmerkung zuletzt geändert am 2022-04-15 16:25 UTC.

Titelliste

1▶12"-Vinyl: Record One
2▼12"-Vinyl: Record Two
Nr.TitelBewertungLänge
C1Hold Me
sonstige Unterstützung:
Rich Travali (Engineer) (Aufgabe: recorder)
drum machine-Programmierung:
Poke (hip hop producer Jean Olivier, of Poke and Tone) und Tone (hip-hop producer Samuel Barnes (Poke & Tone/Trackmasters))
leitende(r) Produzent(in):
Bruce Carbone und Herb Trawick
Produzent(in):
Poke (hip hop producer Jean Olivier, of Poke and Tone), Poke and Tone und Tone (hip-hop producer Samuel Barnes (Poke & Tone/Trackmasters))
Mix:
Rich Travali (Engineer)
Keyboard:
Cory Rooney
Hintergrundgesang:
DJ Clue? und Willie Max
Sologesang:
Brian McKnight
phonographisches Urheberrecht (℗) von:
UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 1997)
aufgenommen bei:
Crave Studios in New York, Vereinigte Staaten und The Hit Factory in Manhattan, New York, New York, Vereinigte Staaten
Samples:
I Get Around von 2Pac (US rapper)
recording of:
Hold Me (in 1997)
Verfasser(in):
Mary J. Blige, Gregory Edward Jacobs, Shirley Murdock, Poke (hip hop producer Jean Olivier, of Poke and Tone), Ronald R. Brooks (Money B, of Digital Underground), Cory Rooney, Samuel J. “Tone” Barnes (hip-hop producer Samuel Barnes (Poke & Tone/Trackmasters)), Tupac Shakur (2Pac’s personal identity) und Larry Troutman
publisher:
12 & Under Music, BMG Platinum Songs US, Cancelled Lunch Music, Joshua’s Dream, PolyGram International Publishing, Inc. (renamed Universal PolyGram International Publishing, Inc. circa 1998), Pubhowyalike Publishing, R2M Music (BMI), Round Hill Compositions, Slamuwell Productions, Songs of Lastrada (BMI-affiliated), Sony/ATV Songs LLC, Tricky Track Music Inc., Twelve and Under Music und Universal Music–Z Songs
43:49
C2The Only One for Me
recording engineer:
Chris Wood (recording engineer)
drum machine-Programmierung:
Anthony Nance
assistierende(r) Techniker(in):
Mary Ann Souza
leitende(r) Produzent(in):
Bruce Carbone und Herb Trawick
Produzent(in):
Brian McKnight
assistierende(r) Mix:
Ed Rasso
Mix:
Bassy Bob Brockmann (engineer, producer, remixer)
andere Instrumente [all instruments performed by] und Hintergrundgesang und Sologesang:
Brian McKnight
phonographisches Urheberrecht (℗) von:
UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 1997)
aufgenommen bei:
Backroom Studios in Glendale, California (Kalifornien), Vereinigte Staaten
mixed at:
Sound on Sound Recording Studios (New York) in New York, New York, Vereinigte Staaten
recording of:
The Only One for Me (in 1997)
Verfasser(in):
Brian McKnight
publisher:
Cancelled Lunch Music, PolyGram International Publishing, Inc. (renamed Universal PolyGram International Publishing, Inc. circa 1998) und Universal PolyGram International Publishing, Inc. (existed only since ca. 1998)
45:13
C3Til I Get Over You
recording engineer:
Chris Wood (recording engineer)
drum machine-Programmierung:
Anthony Nance
assistierende(r) Techniker(in):
Doug "The Colonel" Kern
leitende(r) Produzent(in):
Bruce Carbone und Herb Trawick
Produzent(in):
Brian McKnight
assistierende(r) Mix:
Ed Rasso
Mix:
Bassy Bob Brockmann (engineer, producer, remixer)
andere Instrumente [all instruments performed by] und Hintergrundgesang und Sologesang:
Brian McKnight
phonographisches Urheberrecht (℗) von:
UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 1997)
aufgenommen bei:
Backroom Studios in Glendale, California (Kalifornien), Vereinigte Staaten
mixed at:
Sound on Sound Recording Studios (New York) in New York, New York, Vereinigte Staaten
recording of:
Til I Get Over You (in 1997)
Verfasser(in):
Brian McKnight
publisher:
Cancelled Lunch Music und PolyGram International Publishing, Inc. (renamed Universal PolyGram International Publishing, Inc. circa 1998)
34:58
D1I Belong to You
recording engineer:
Chris Wood (recording engineer)
assistierende(r) Techniker(in):
Doug Elkins
leitende(r) Produzent(in):
Bruce Carbone und Herb Trawick
Produzent(in):
Peter Black (rock/soul artist on Hidden Beach Recordings)
Mix:
Brant Biles und Peter Black (rock/soul artist on Hidden Beach Recordings)
andere Instrumente [all instruments performed by] und Hintergrundgesang und Sologesang:
Brian McKnight
arranger:
Peter Black (rock/soul artist on Hidden Beach Recordings)
phonographisches Urheberrecht (℗) von:
UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 1997)
aufgenommen bei:
Backroom Studios in Glendale, California (Kalifornien), Vereinigte Staaten
mixed at:
Enterprise in North Hollywood, Los Angeles, California (Kalifornien), Vereinigte Staaten
recording of:
I Belong to You (in 1997)
Verfasser(in):
Peter Black (US acid house producer/guitarist aka Jackmaster Black)
34:47
D2Jam Knock
recording engineer:
Carl Nappa und Chris Wood (recording engineer)
drum machine-Programmierung und Koproduzent(in):
The Characters (US production duo Charles Farrar & Troy Taylor)
Keyboard-Programmierung:
Brian McKnight
assistierende(r) Techniker(in):
Mary Ann Souza
leitende(r) Produzent(in):
Bruce Carbone und Herb Trawick
Produzent(in):
Brian McKnight
Mix:
Paul Logus
Hintergrundgesang:
Troy Taylor
Hintergrundgesang und Sologesang:
Brian McKnight
andere Instrumente [rhythm] arranger:
Brian McKnight und Troy Taylor
vocals arranger:
Brian McKnight und Troy Taylor
phonographisches Urheberrecht (℗) von:
UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 1997)
aufgenommen bei:
Backroom Studios in Glendale, California (Kalifornien), Vereinigte Staaten und The Hit Factory in Manhattan, New York, New York, Vereinigte Staaten
mixed at:
Barking Doctor Recording in Mount Kisco, New York, Vereinigte Staaten
Samples:
I Can’t Wait von Nu Shooz
recording of:
Jam Knock (in 1997)
Verfasser(in):
Brian McKnight und John Smith (Nu Shooz)
publisher:
Cancelled Lunch Music, Nu Shooz Orchestra LLC und PolyGram International Publishing, Inc. (renamed Universal PolyGram International Publishing, Inc. circa 1998)
34:34
D3When the Chariot Comes
recording engineer:
Chris Wood (recording engineer)
sonstige Unterstützung:
Suzie Katayama (Aufgabe: orchestra contractor / coordinator)
assistierende(r) Techniker(in):
Doug Elkins
Techniker(in):
David Reitzas (andere Instrumente [orchestra])
leitende(r) Produzent(in):
Bruce Carbone und Herb Trawick
Produzent(in):
Brian McKnight
assistierende(r) Mix:
Tom Bender (engineer)
Mix:
Mick Guzauski
Altflöte:
Gerry Rotella (flutist) und Louise De Tullio
Bass:
Oscar Meza, Jr. und David Young (bass)
Bratsche / Viola:
Bob Becker (strings), Denyse Buffum, Scott Haupert (violinist), Janet Lakatos, Maria Newman und John Scanlon
Cello:
Chris Ermacoff, Larry Corbett, Dan Smith (cellist), Suzie Katayama, Steve Richards (cellist) und Rudy Stein
Englischhorn [english horn]:
Jon Clarke
Geige / Violine:
Murray Adler, Susan Chatman, Ron Clark (violinist), Bruce Dukov, Armen Garabedian, Berj Garabedian, James Getzoff (American concertmaster and violinist), Harris Goldman, Endre Granat (Hungarian violinist), Peter Kent (violinist), Joy Lyle, Mike Markman, Ralph Morrison, Bob Peterson (violinist), Barbra Porter (violinist, photographer), Jay Rosen (violinist), Anatoly Rosinsky, John Wittenberg und Ken Yerke
Instrumente:
Don Williams (US percussionist, composer, arranger)
Keyboard und Hintergrundgesang und Sologesang:
Brian McKnight
Kornett [coronet / trumpet]:
Rick Baptist
Perkussion:
Dan Greco und Bob Zimmitti
Waldhorn:
David Duke (horn), Joe Meyer (French horn player) und Brad Warnaar (American composer)
Orchestrator(in):
Bill K. Meyers (pianist, composer, producer, arranger, and conductor)
phonographisches Urheberrecht (℗) von:
UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (in 1997)
aufgenommen bei:
Backroom Studios in Glendale, California (Kalifornien), Vereinigte Staaten und Capitol Studios (Hollywood, CA, founded 1956) in Hollywood, Los Angeles, California (Kalifornien), Vereinigte Staaten
mixed at:
Barking Doctor Recording in Mount Kisco, New York, Vereinigte Staaten
recording of:
When the Chariot Comes (in 1997)
Verfasser(in):
Brandon Barnes (songwriter, formerly of Byrne & Barnes) und Brian McKnight
publisher:
Cancelled Lunch Music und PolyGram International Publishing, Inc. (renamed Universal PolyGram International Publishing, Inc. circa 1998)
34:32

Nennungen

Veröffentlichung

gedruckt in:U.S.A.
phonographisches Urheberrecht (℗) von:Mercury Records (the holding company; for use as ℗&© credits only!)
Discogs:https://www.discogs.com/release/7190444 [Info]