Whitney Houston – Whitney

$

42

Whitney Houston – Whitney

Label:Arista – AL-8405
Format:Vinyl, LP, Album
Condition: Vinyl=VG++,Cover=VG++
Country:US
Released:1987
Genre:Electronic, Funk / Soul, Pop
Style:Soul, Synth-pop, Ballad, Disco


A1 I Wanna Dance With Somebody (Who Loves Me)
Backing Vocals – Jennifer Hall, Jim Gilstrap, Kevin Dorsey, Kitty Beethoven, Myrna Matthews, Whitney Houston Drums – Narada* Drums [Simmons] – Greg "Gigi" Gonaway* Guitar [Synth] – Corrado Rustici Programmed By [Percussion] – Preston Glass Saxophone [Alto] – Marc Russo Synthesizer – Walter "Baby Love" Afanasieff* Synthesizer [Bass Synth] – Randy Jackson (2) Synthesizer [Synth Horns] – Sterling* Written-By – George Merrill, Shannon Rubicam 4:50
A2 Just The Lonely Talking Again
Arranged By [Strings], Conductor [Strings] – Michael Gibbs Backing Vocals – Jennifer Hall, Jim Gilstrap, Kitty Beethoven, Nikki Harris* Bass [Electric] – Randy Jackson (2) Drums [Brushes On The Kit Of Life] – Narada* Guitar [Synth] – Corrado Rustici Saxophone [Tenor] – Kenny G (2) Synthesizer, Vibraphone [Dx7 Vibes] – Frank Martin Written-By – Sam Dees 5:30
A3 Love Will Save The Day
Arranged By, Synthesizer – Jack Waldman Arranged By, Written-By – Toni C. Backing Vocals – Whitney Houston Engineer – Doc Dougherty Engineer [Additional] – Dennis McKay Engineer [Assistant] – Craig Vogel, Don Peterkofsky, Fernando Kral, Jay Healy, Mark Roule, Nick Delre, Paul Pesce (2), Tim Reppert, Toni Greene, Tony Maserati Engineer, Engineer [Mix] – Michael Hutchinson Guitar – Paul Jackson, Jr.* Other [Production Coordinator] – Doreen Dorion Percussion – Bashiri Johnson, Paulinho Da Costa, Sammy Figueroa Producer, Drum Programming – Jellybean* Synthesizer – Fred Zarr Tom Tom [Simmons Toms] – Linden Aaron Vibraphone [Vibes] – Roy Ayers 5:20
A4 Didn't We Almost Have It All
Arranged By [Rhythm] – Lee Holdridge Arranged By [Strings], Electric Piano [Rhodes], Piano [Acoustic] – Robbie Buchanan Bass – Nathan East Drums – John Robinson (2) Engineer – Dean Burt, Fred Law, Jim Boyer, Michael DeLugg, Mike Mancini* Engineer [Assistant] – Fernando Kral, Tony Maserati Engineer, Engineer [Mix] – Russ Terrano* Guitar – Paul Jackson* Other [Production Coordinator] – Alicia Winfield Producer, Written-By – Michael Masser Written-By – Will Jennings 5:05
A5 So Emotional
Backing Vocals – Whitney Houston Drums – Narada* Guitar [Synth] – Corrado Rustici Keyboards, Synthesizer [Bass] – Walter "Baby Love" Afanasieff* Programmed By [Percussion], Sampler [Drum Sampling] – Bongo Bob (2) Written-By – Billy Steinberg, Tom Kelly 4:33
B1 Where You Are
Arranged By [Horns, Strings] – Gene Page Backing Vocals – Whitney Houston Bass – Marcus Miller Drums – Paul Leim Engineer [Additional] – Calvin Harris (2), Russ Terrano* Engineer [Assistant] – Amy Ziffer, Bob Loftus, Dennis Mitchell, John Dranchak, Larry Smith, Mike Ross*, Mike Dotson, Milton Chan, Steve Macmillian* Engineer, Engineer [Mix] – Darroll Gustamachio Guitar – Dan Huff*, Ira Siegel, Paul Pesco Keyboards, Synthesizer – Ralph Schukett* Mastered By – George Marino Other [Production Coordinator] – Russell Sidelsky Producer, Arranged By [Rhythm], Backing Vocals, Keyboards, Programmed By, Synthesizer – Kashif Saxophone [Solo] – Vincent Henry Written-By – Dyan Humes, James Calabrese, LeMel Humes 5:29
B2 Love Is A Contact Sport
Acoustic Guitar [Takamine] – Shambhu Neil Vineberg Arranged By [Horns], Horns – Jerry Hey Backing Vocals – Claytoven Richardson, Jennifer Hall, Jim Gilstrap, Kitty Beethoven, Nikki Harris* Bass [Electric] – Randy Jackson (2) Congas – Paul Rekow* Drums – Narada* Drums [Simmons], Tambourine – Greg "Gigi" Gonaway* Guitar [Synth] – Corrado Rustici Horns – Marc Russo, Premik Russell Tubbs*, Wayne Wallace Programmed By [Percussion] – Bongo Bob (2) Saxophone [Tenor] – Kenny G (2) Synthesizer [Dx7, Prophet 2002, Oberheim, Matrix 12] – Walter "Baby Love" Afanasieff* Synthesizer [Oberheim Expander] – Cory Lerios Written-by, Keyboards, Programmed By [Percussion], Synthesizer [Synth Strings] – Preston Glass 4:16
B3 You're Still My Man
Arranged By [Rhythm, Strings] – Gene Page Bass – Nathan East Drums – John Robinson (2) Electric Piano [Rhodes] – Robbie Buchanan Engineer – Dean Burt, Fred Law, Jim Boyer, Michael DeLugg, Mike Mancini* Engineer [Assistant] – Fernando Kral, Tony Maserati Engineer, Engineer [Mix] – Russ Terrano* Guitar – Paul Jackson* Other [Production Coordinator] – Alicia Winfield Piano [Acoustic] – Randy Kerber Producer, Written-By – Michael Masser Synthesizer – Michael Boddicker Written-By – Gerry Goffin 4:10
B4 For The Love Of You
Backing Vocals – Whitney Houston Congas – Paul Rekow* Drum Programming – Narada* Programmed By [Linn, Roland 808] – Preston Glass Saxophone [Alto Sax Lyricon] – Kenny G (2) Saxophone [Alto] – Kenny G (2) Synthesizer [Dx7, Oberheim, Matrix 12, Birds] – Frank Martin Synthesizer [Moog Synth] – Randy Jackson (2) Written-By – C. Jasper*, M. Isley*, O. Isley*, R. Isley*, R Isley* 4:12
B5 Where Do Broken Hearts Go
Arranged By [Strings], Conductor [Strings] – Michael Gibbs Backing Vocals – Jennifer Hall, Jim Gilstrap, Kitty Beethoven, Nikki Harris* Bells, Programmed By [Synthesizer] – Preston Glass Drums – Narada* Drums [Simmons] – Greg "Gigi" Gonaway* Guitar [Synth] – Corrado Rustici Piano, Synthesizer – Frank Martin Synthesizer [Bass Synth] – Randy Jackson (2) Written-By – Chuck Jackson (2), Frank Wildhorn 4:37
B6 I Know Him So Well
Arranged By [Strings], Conductor [Strings] – Michael Gibbs Bass [Electric] – Randy Jackson (2) Drums [Acoustic] – Narada* Guitar [Synth] – Corrado Rustici Synthesizer – Cory Lerios Synthesizer [Dx7] – Preston Glass Synthesizer [Kurzweil, Dx7, Super Jupiter] – Walter "Baby Love" Afanasieff* Vocals [Duet With] – Cissy Houston Written-By – Benny Andersson, Bjorn Ulvaues*, Tim Rice 4:26

Credits
Arranged By [Vocals] – Whitney Houston
Engineer [Additional Assistant] – Bill "Sweet William" Miranda*, Noah Baron, Paul "Goatee" Hamingson*, Rob Beaton, Ross Williams, Stuart Hirotsu
Engineer [Additional] – Jay Rifkin, Ken Kessie, Lincoln Clapp, Maureen Droney
Engineer [Additional], Engineer [Additional Assistant] – Gordon Lyon
Engineer [Assistant] – Dana Jon Chappelle
Executive Producer – Clive Davis
Producer, Arranged By – Narada Michael Walden
Recorded By, Mixed By – David Fraser*
Notes
Produced for Perfection Light Productions
Recording Studios: Tarpan Studios, San Rafael, CA, Right Track Studios, NYC, Clinton Recording Studios, NYC, The Plant Studios, Sausalito, CA

Love Will Save The Day produced for Jellybean Productions, Inc.
Recording Studios: Sigma Sound Studios, NYC, The Hit Factory, NYC, Z Studios, Brooklyn, Larrabee Studios, LA, Sound Track, NYC
Didn't We Almost Have It All & "You're Still My Man"
Recording Studios: Sigma Sound Studios, NYC, Record Plant Studios, NYC, Devonshire Studio, LA, Hitsville, LA, Leed's L'Mobile, LA
Where You Are
Recording Studios: New Music Group Studios, Stamford, Conn, Soundwork Digital Studios, NYC, The Hit Factory, NYC, Ocean Way Recording, Hollywood, Hitsville, LA
Mastered at Sterling Sound


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Record Grading

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Here is a quick guide to vinyl record grading according to Goldmine Magazine(the industry standard):

Mint (M)
Absolutely perfect in every way. Certainly never been played, possibly even still sealed.(More on still sealed under "Other Considerations"). Should be used sparingly as a grade, If at all.

Near Mint (NM or M-)
A nearly perfect record. Many dealers won't give a grade higher than this implying (perhaps correctly)that no record is ever truly perfect. The record should show no obvious signs of wear. A 45 RPM or EP sleeve should have no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling. An LP cover should have no creases, folds, seam splits or other noticeable similar defects. No cut-out holes, either. And of course, the same should be true of any other inserts, such as posters, lyric sleeves and the like. Basically, an LP in near mint condition looks as if you just got it home from a new record store and removed the shrink wrap. Near Mint is the highest price listed in all Goldmine price guides. Anything that exceeds this grade, in the opinion of both buyer and seller, is worth significantly more than the highest Goldmine book value.

Very Good Plus (VG+)
Generally worth 50 percent of the Near Mint value. A Very Good Plus record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. Record surfaces may show some signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experiences. Slight warps that do not affect the sound are "OK". The label may have some ring wear or discoloration, but it should be barely noticeable. The center hole will not have been misshapen by repeated play. Picture sleeves and LP inner sleeves will have some slight wear, lightly turned up corners, or a slight seam split. An LP cover may have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount. In general, if not for a couple things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.

Very Good (VG)
Generally worth 25 percent of Near Mint value. Many of the defects found in a VG+ record will be more pronounced in a VG disc. Surface noise will be evident upon playing, especially in soft passages and during a song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as with light scratches (deep enough to feel with a fingernail) that will affect the sound. Labels may be marred by writing, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them. Goldmine price guides with more than one price will list Very Good as the lowest price. This, not the Near Mint price, should be your guide when determining how much a record is worth, as that is the price a dealer will normally pay you for a Near Mint record.



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