The twelve-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to LPs. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, thus better sound quality; this record type is used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 45 rpm. Twelve-inch singles have much shorter playing time than full-length LPs, thus require fewer grooves per inch; this extra space permits a broader dynamic range or louder recording level as the grooves' excursions can be much greater in amplitude in the bass frequencies important for dance music. Many record companies began producing 12-inch singles at 33 1⁄3 rpm, although 45 rpm gives better treble response and was used on many twelve-inch singles in the UK; the gramophone records cut for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. By at least 1956 it was standard practice by Jamaican sound systems owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially.
Songs such as Theophilus Beckford's "Easy Snappin'" were played as exclusives by Sir Coxson's Downbeat sound system for years before they were released in 1959 – only to become major local hits pressed in the UK by Island Records and Blue Beat Records as early as 1960. As the 1960s creativity bloomed along, with the development of multitrack recording facilities, special mixes of rocksteady and early reggae tunes were given as exclusives to dancehall DJs and selecters. With the 1967 Jamaican invention of remix, called dub on the island, those "specials" became valuable items sold to allied sound system DJs, who could draw crowds with their exclusive hits; the popularity of remix sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967, led to more exclusive dub plates being cut. By 10-inch records were used to cut those dubs. By 1971, most reggae singles issued in Jamaica included on their B-side a dub remix of the A-side, many of them first tested as exclusive "dub plates" on dances.
Those dubs included drum and bass-oriented remixes used by sound system selecters. The 10-inch acetate "specials" would remain popular until at least the 2000s in Jamaica. Several Jamaican DJs such as DJ Kool Herc exported much of the hip hop dance culture from Jamaica to the Bronx in the early 1970s, including the common Jamaican practice of DJs rapping over instrumental dub remixes of hit songs leading to the advent of rap culture in the United States. Most the widespread use of exclusive dub acetates in Jamaica led American DJs to do the same. In the United States, the twelve-inch single gramophone record came into popularity with the advent of disco music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a twelve-inch single by Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life"; the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single.
Several hundred copies were made available for sale for 98 cents each at two Tower Records stores. Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a. Swamp Dogg. Twelve-inch promotional copies of "Straight From My Heart" were released on his own Swamp Dogg Presents label, with distribution by Jamie/Guyden Distribution Corporation, it was manufactured by Jamie Record Co. of Pennsylvania. The B-side of the record is blank; the first large-format single made for DJs was a ten-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton. The song was; as no 7-inch acetates could be found, a 10–inch blank was used. Upon completion, found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space, he asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him.
Because of the wider spacing of the grooves, not only was a louder sound possible but a wider overall dynamic range as well. This was noticed to give a more favorable sound for discothèque play. Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would become industry practice; this would have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, the DJ in the club wanted sufficient dynamic range, the format would have enlarged from the seven-inch single eventually. The broad visual spacing of the grooves on the twelve-inch made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light. A quick study of any DJs favorite discs will reveal mild wear in
European windstorms are the strongest extratropical cyclones which occur across the continent of Europe. They form as cyclonic windstorms associated with areas of low atmospheric pressure, they are most common in the winter months. On average, the month when most windstorms form is January; the seasonal average is 4.6 windstorms. Deep low pressure areas are common over the North Atlantic, sometimes starting as nor'easters off the New England coast, track across the North Atlantic Ocean towards western Europe, past the north coast of Great Britain and Ireland and into the Norwegian Sea. However, when they track further south, they can affect any country in Europe. Affected countries include the United Kingdom, the Netherlands, the Faroe Islands and Iceland, but any country in Central Europe, Northern Europe and Western Europe is struck by such a storm system. On average, these storms cause economic damage of around €1.9 billion per year, insurance losses of €1.4 billion per year. They rank as the second highest cause of global natural catastrophe insurance loss, after U.
S. hurricanes. Up to the second half of the 19th century, European windstorms were named after the person who spotted them, they would be named either by the year, the date, the Saint's day of their occurrence or any other way that made them known. However, a storm may still be named differently in different countries. For instance, the Norwegian weather service names independently notable storms that affect Norway, which can result in multiple names being used in different countries they affect, such as: 1999 storm "Anatol" in Germany, is known as the "December hurricane" or "Adam" in Denmark and as "Carola" in Sweden. 2011 storm "Dagmar" in Norway and Sweden is known as "Tapani" in Finland. 2013 St. Jude storm in the English media, is known as Christian in German and French it was named Simone by the Swedish Meteorological and Hydrological Institute, as the October storm in Danish and Dutch, it was given the name Allan by the Danish Meteorological Institute following the political decision to name strong storms which affect Denmark.
An alternative Scottish naming system arose in 2011 via social media/Twitter which resulted in the humorous naming of Hurricane Bawbag and Hurricane Fannybaws. Such usage of the term Hurricane is not without precedent, as the 1968 Scotland storm was referred to as "Hurricane Low Q"; the UK Met Office and Ireland's Met Éireann held discussions about developing a common naming system for Atlantic storms. In 2015 a pilot project by the two forecasters was launched as "Name our storms" which sought public participation in naming large-scale cyclonic windstorms affecting the UK and/or Ireland over the winter of 2015/16; the UK/Ireland storm naming system began its first operational season in 2017/2018. An independent forecaster, the European Windstorm Centre has its own naming list, although this is not an official list. During 1954, Karla Wege, a student at the Free University of Berlin's meteorological institute suggested that names should be assigned to all areas of low and high pressure that influenced the weather of Central Europe.
The university subsequently started to name every area of high or low pressure within its weather forecasts, from a list of 260 male and 260 female names submitted by its students. The female names were assigned to areas of low pressure while male names were assigned to areas of high pressure; the names were subsequently used by Berlin's media until February 1990, after which the German media started to use the names, they were not approved by the German Meteorological Service Deutscher Wetterdienst. The DWD subsequently banned the usage of the names by their offices during July 1991, after complaints had poured in about the naming system. However, the order was leaked to the German press agency, Deutsche Presse-Agentur, who ran it as its lead weather story. Germany's ZDF television channel subsequently ran a phone in poll on 17 July 1991 and claimed that 72% of the 40,000 responses favored keeping the names; this made the DWD pause and think about the naming system and these days the DWD accept the naming system and request that it is maintained.
During 1998 a debate started about if it was discrimination to name areas of high pressure with male names and the areas of low pressure with female names. The issue was subsequently resolved by alternating male and female names each year. In November 2002 the "Adopt-a-Vortex" scheme began, which allows members of the public or companies to buy naming rights for a letter chosen by the buyer that are assigned alphabetically to high and low pressure areas in Europe during each year; the naming comes with the slim chance. The money raised by this is used by the meteorology department to maintain weather observations at the Free University. Several European languages use cognates of the word huracán to indicate strong cyclonic winds occurring in Europe; the term hurricane as applied to these storms is not in reference to the structurally different tropical cyclone of the same name, but to the hurricane strength of the wind on the Beaufort scale. In English, use of term hurricane to refer to European windstorms is discouraged, as these storms do not display the structure of tropical storms.
The use of the French term ouragan is discouraged as hurricane is in English, as it is reserved for tropical storms
Music recording certification
Music recording certification is a system of certifying that a music recording has shipped, sold, or streamed a certain number of units. The threshold quantity varies by nation or territory. All countries follow variations of the RIAA certification categories, which are named after precious materials; the threshold required for these awards depends upon the population of the territory where the recording is released. They are awarded only to international releases and are awarded individually for each country where the album is sold. Different sales levels, some 10 times lower than others, may exist for different music media; the original gold and silver record awards were presented to artists by their own record companies to publicize their sales achievements. The first silver disc was awarded by Regal Zonophone to George Formby in December 1937 for sales of 100,000 copies of "The Window Cleaner"; the first gold disc was awarded by RCA Victor to Glenn Miller and His Orchestra in February 1942, celebrating the sale of 1.2 million copies of single "Chattanooga Choo Choo".
Another example of a company award is the gold record awarded to Elvis Presley in 1956 for one million units sold of his single "Don't Be Cruel". The first gold record for an LP was awarded by RCA Victor to Harry Belafonte in 1957 for the album Calypso, the first album to sell over 1,000,000 copies in RCA's reckoning. At the industry level, in 1958 the Recording Industry Association of America introduced its gold record award program for records of any kind, albums or singles, which achieved one million dollars in retail sales; these sales were restricted to U. S.-based record companies and did not include exports to other countries. For albums in 1968, this would mean shipping 250,000 units; the platinum certification was introduced in 1976 for the sale of one million units for albums and two million for singles, with the gold certification redefined to mean sales of 500,000 units for albums and one million for singles. No album was certified platinum prior to this year. For instance, the recording by Van Cliburn of the Tchaikovsky Piano Concerto from 1958 would be awarded a platinum citation, but this would not happen until two decades after its release.
In 1999, the diamond certification was introduced for sales of ten million units. In the late 1980s, the certification thresholds for singles were dropped to match that of albums; the first official designation of a "gold record" by the Recording Industry Association of America was established for singles in 1958, the RIAA trademarked the term "gold record" in the United States. On 14 March 1958, the RIAA certified its first gold record, Perry Como's hit single "Catch a Falling Star"; the Oklahoma! Soundtrack was certified as the first gold album four months later. In 1976, RIAA introduced the platinum certification, first awarded to the Eagles compilation album Their Greatest Hits on 24 February 1976, to Johnnie Taylor's single "Disco Lady" on 22 April 1976; as music sales increased with the introduction of compact discs, the RIAA created the Multi-Platinum award in 1984. Diamond awards, honoring those artists whose sales of singles or albums reached 10,000,000 copies, were introduced in 1999.
In the 20th century, for a part of the first decade of the 21st, it was common for distributors to claim certifications based on their shipments – wholesale to retail outlets – which led to many certifications which outstripped the actual final retail sales figures. This became much less common once the majority of retail sales became paid digital downloads and digital streaming. In most countries certifications no longer apply to physical media but now include sales awards recognizing digital downloads. In June 2006, the RIAA certified the ringtone downloads of songs. Streaming from on-demand services such as Apple Music, Spotify and Napster has been included into existing digital certification in the U. S since 2013 and the U. K. and Germany since 2014. In the U. S. and Germany video streaming services like YouTube, VEVO, Yahoo! Music began to be counted towards the certification, in both cases using the formula of 100 streams being equivalent to one download. Other countries, such as Denmark and Spain, maintain separate awards for digital download singles and streaming.
The International Federation of the Phonographic Industry was founded in 1996, grants the IFPI Platinum Europe Award for album sales over one million within Europe and the Middle East. Multi-platinum Europe Awards are presented for sales in subsequent multiples of one million. Eligibility is unaffected by time, is not restricted to European-based artists; the Independent Music Companies Association was founded in 2000 to grow the independent music sector and promote independent music in the interests of artistic and cultural diversity. IMPALA sales awards were launched in 2005 as the first sales awards recognising that success on a pan-European basis begins well before sales reach one million; the award levels are Silver, Double Silver, Double Gold, Diamond and Double Platinum. Below are certification thresholds for the United States, United Kingdom and France; the numbers in the tables are in terms of "units", where a unit represents one sale or one shipment of a given medium. Certific
Isabelle Nanty is a French actress and theatre director and screenwriter. She was a teacher for several years at the Cours Florent, received a nomination for the César Award for Most Promising Actress for her performance in Tatie Danielle, two nominations for the César Award for Best Supporting Actress for Amélie and Not on the Lips. She's known for her roles in La Belle Histoire directed by Claude Lelouch, Les Visiteurs, Asterix & Obelix: Mission Cleopatra, her leading role in Les Tuche, Serial Teachers and the sequel Serial Teachers 2. Isabelle Nanty can not have children. In 2004, she adopted a one and a half years old girl, born in 2002 in China. Isabelle Nanty on IMDb
Dance-pop is a pop and dance subgenre that originated in the early 1980s. It is uptempo music intended for nightclubs with the intention of being danceable but suitable for contemporary hit radio. Developing from a combination of electronic dance music and pop music, with influences of disco, post-disco and synth-pop, it is characterised by strong beats with easy, uncomplicated song structures which are more similar to pop music than the more free-form dance genre, with an emphasis on melody as well as catchy tunes; the genre, on the whole, tends to be producer-driven, despite some notable exceptions. Dance-pop borrowed influences from other genres, which varied by producer and period; such include contemporary R&B, trance, new jack swing, synthpop and some forms of Europop. Dance-pop is a popular mainstream style of music and there have been numerous pop artists and groups who perform in the genre. Notable ones include Cher, Britney Spears, Kylie Minogue, Gloria Estefan, Christina Aguilera, Jennifer Lopez, Spice Girls, Paula Abdul, Backstreet Boys, Michael Jackson, NSYNC, Destiny's Child, Janet Jackson, Taylor Swift, Miley Cyrus, Katy Perry, Lady Gaga, Ariana Grande and Selena Gomez As the term "disco" started to go out of fashion by the late 1970s to early 1980s, other terms were used to describe disco-based music, such as "post-disco", "club", "dance" or "dance-pop" music.
These genres were, in essence, a more modern variant of disco music known as post-disco, which tended to be more experimental and producer/DJ-driven using sequencers and synthesizers. Dance-pop music emerged in the 1980s as a combination of dance and pop, or post-disco, uptempo and simple, club-natured, producer-driven and catchy. Dance-pop was more uptempo and dancey than regular pop, yet more structured and less free-form than dance music combining pop's easy structure and catchy tunes with dance's strong beat and uptempo nature. Dance-pop music was created and produced by record producers who would hire singers to perform the songs. In the beginning of the 1980s, disco was an anathema to the mainstream pop. According to prominent Allmusic critic Stephen Thomas Erlewine, Madonna had a huge role in popularizing dance music as mainstream music, utilizing her charisma and sex appeal. Erlewine claimed that Madonna "launched dance-pop" and set the standard for the genre for the next two decades.
As the primary songwriter on her self-titled debut album and a co-producer by her third record, Madonna's insistence on being involved in all creative aspects of her work was unusual for a female dance-pop vocalist at the time. The staff of Vice magazine stated that her debut album "drew the blueprint for future dance-pop."In the 1980s, dance-pop was aligned to other uptempo electronic genres, such as Hi-NRG. Prominent producers in the 1980s included Stock and Waterman, who created Hi-NRG/dance-pop for artists such as Kylie Minogue, Dead or Alive and Bananarama. During the decade, dance-pop borrowed influences from funk, new jack swing, contemporary R&B. Other prominent dance-pop artists and groups of the 1980s included the Pet Shop Boys and Kim, Samantha Fox, Debbie Gibson, Tiffany. By the 1990s, dance-pop had become a major genre in popular music. Several dance-pop groups and artists emerged during the 1990s, such as the Spice Girls, Britney Spears, Christina Aguilera, Jessica Simpson, Backstreet Boys, and'NSYNC.
During the early 1990s, dance-pop borrowed influences from house music, as well as contemporary R&B and new jack swing. By the late 1990s, electronic influences became evident in dance-pop music. Additionally in 1998, Cher released a dance-pop song called "Believe" which made usage of a technological innovation of the time, Auto-Tune. An audio processor and a form of pitch modification software, Auto-Tune is used as a way to correct pitch and to create special effects. Since the late 1990s, the use of Auto-Tune processing has become a common feature of dance-pop music. Celine Dion released a midtempo dance-pop song, "That's the Way It Is" by the end of 1999. During this period, some British bands connected with Britpop and alternative pop experimented with dance pop as a form - examples include Catatonia single Karaoke Queen, Kenickie's final single Stay in the Sun and Romo band Orlando's major label debut single "Just For A Second." Another Britpop band, Theaudience was fronted by Sophie Ellis Bextor who went on to a successful solo career in artist-driven dance-pop.
At the beginning of the 2000s, dance-pop music was still prominent, electronic in style, influenced by genres such as trance, house and electro. Nonetheless, as R&B and hip hop became popular from the early part of the decade onwards, dance-pop borrowed a lot of its influences from urban music. Dance-pop stars from the 1980s and 1990s such as Britney Spears, Christina Aguilera, Janet Jackson and Kylie Minogue continued to achieve success at the beginning of the decade. Whilst a lot of dance-pop at the time was R&B-influenced, many records started to return to their disco roots.
Gregorian is a German band headed by Frank Peterson that performs Gregorian chant-inspired versions of modern pop and rock songs. The band features both vocal instrumental accompaniment, they competed in Unser Lied für Stockholm the German national selection for the Eurovision Song Contest 2016 with the song "Masters of Chant". They placed 5th in the first round of the public voting, missing the top 3, they gained 9.06% of the public vote. Gregorian was conceived as a more pop-oriented group in the vein of Enigma. Under this concept, they recorded the 1991 album Sadisfaction, with lead vocals provided by The Sisters of Oz: Susana Espelleta and Birgit Freud. However, this was the only album in that style. In 1998, Peterson and his team of Jan-Eric Kohrs, Michael Soltau and Carsten Heusmann re-invented the project to perform popular songs in the Gregorian style; the criteria for song selection were strict. For each album, songs were chosen in addition to original songs written by Jan-Eric Kohrs, Amelia Brightman and Carsten Heussman.
Twelve vocalists - acclaimed session and choir singers - were hired to record the tracks. Each Gregorian album is digitally tracked at Nemo Studios, Peterson's Hamburg studio; the vocalists record their parts in a church atmosphere with dimmed lights and candles, in order to escape what Peterson referred to in a 2001 interview as the "cold and technical" studio atmosphere. The concept proved to be successful, the group proceeded to record several more Masters of Chant albums in the same style, their 2004 album, The Dark Side, was a slight departure from the others, featuring a darker repertoire consistent with the title. In 2005, The Masterpieces, a compilation album with a live DVD, was released. A fifth Masters of Chant album was released on 31 March 2006. In 2006, a festive album was released, titled Christmas Chants. A sixth Masters of Chant album was released on 28 September 2007. In 2009 a seventh Masters of Chant album followed. On 8 September 2010 the next album, titled The Dark Side of Chant, was announced to be published on 15 October 2010.
On 14 September 2012 a new album titled Epic Chants was published with the collaboration of the Russian newcomer Eva Mali. On 12 November 2015 the tenth album from the "Masters Of Chant" series was released, called "Masters of Chant X: The Final Chapter". Gregorian have toured parts of Europe, China and Japan. Live concert DVDs have been released; the male singers of Gregorian are/were Alain Bernard, Andrew Busher, Andrew Keelan, Adrian Coverdale-Hill, Alexandre Mack, Ashley Turnell, Benjamin Clee, Brendan Matthew, Berwyn Pearce, Benoit Riou, Chris Goater, Christopher Tickner, Daniel Hoadley, Daniel Williams, David Chabert, David Porter-Thomas, David Tilley, Edward Hands, Frederic Bernard, Gauthier Fenoy, Gregory Moore, Gerard O'Beirne, Jeremy Birchall, Jonathan Clucas, John Grave, John Langly, Karim Bouzra, Loic Boissier, Lawrence White, Mark Anderson, Mark Bradbury, Michael Dore, Matthew Long, Matthew Minter, Matthew Vine, Nicolas Kern, Paul Badley, Phil Conway, Pierre Kuzor, Rhys Bowden, Richard Collier, Richard Naxton, Robert Fardell, Robert Johnston, Roger Lanford, Simon Baker, Simon Grant, Sion Lloyd, Stephen Miles, Stephen Weller, Stephane Werchowski, Thomas Barnard, Thomas Phillips, Timothy Holmes, Timothy Lacy, William King, William Purefoy and Yves Blanchrd.
The female singers of Gregorian are/were Amelia Brightman, Sarah Brightman, Anette Stangeberg, Anna-Lena Strasse, Charlotte Cracht, Eva Mali, Joana Adu, Julia Dorandt, Marjan Shaki and Stefanie Hundertmark. Gregorian have released ten albums in their Masters of Chant series and a number of other albums, including a Christmas album, they have released two types of video album. 1999: Masters of Chant 2001: Masters of Chant Chapter II 2002: Masters of Chant Chapter III 2003: Masters of Chant Chapter IV 2004: The Dark Side 2006: Masters of Chant Chapter V 2007: Masters of Chant Chapter VI 2009: Masters of Chant Chapter VII 2010: Dark Side of the Chant 2011: Masters of Chant Chapter VIII 2012: Epic Chants 2013: Masters of Chant Chapter IX 2014: Winter Chants 2015: Masters of Chant X: The Final Chapter 2017: Holy Chants 1991: Sadisfaction 2005: The Masterpieces 2006: Christmas Chants 2007: Masters of Chant 2011: Best of 1990–2010 2016: Live! Masters Of Chant - Final Chapter Tour 2017: Masters of Chant — The Platinum Collection 1991: "So Sad" 1991: "Once in a Lifetime" 1999: "Masters of Chant" 2000: "I Still Haven't Found What I'm Looking For" 2000: "Losing My Religion" 2001: "Moment of Peace" 2001: "Voyage Voyage" 2002: "Join Me" 2003: "The Gift" 2003: "Angels" 2004: "Where the Wild Roses Grow" 2010: "O Fortuna" 2001: Masters of Chant in Santiago de Compostela 2001: Moments of Peace in Ireland 2002: Masters of Chant Chapter III 2003: Gold Edition 2005: The Masterpieces 2007: Masters of Chant: Live at Kreuzenstein Castle 2008: Christmas Chants & Visions 2011: Masters of Chant Chapter 8 - Limited Edition 2012: Epic Chants "Dark Side of the Chants Live In Zagreb" - Limited Edition 2013: Epic Chants Tour 2013 "Live In Belgrade" - Deluxe Edition 2016: Masters Of Chant - Final Chapter Tour, Blu-ray Official website and Dansk side
Flash (Stéphanie song)
"Flash" recorded in an English-language version under the title "One Love to Give", is a 1986 song recorded by Princess Stéphanie of Monaco. It was the second single of Besoin. Released at the end of 1986, it was a hit in several countries, including Sweden where it reached number one on the chart. After the success of her debut single "Ouragan" in 1986 spring, Stéphanie decided to continue her musical career releasing an album, which achieved a great success on the French Albums Chart, she followed up "Ouragan" with a second single, "Flash", whose single version was shorter than that of the album. The new single was eagerly anticipated by the public who wanted to see if the princess would be able to reproduce the same success in terms of sales and charting; as for "Ouragan", Romano Musumarra, a famous composer in the 1980s, participated in the writing and the production of the song, helped by Roberto Zanelli and Michel Jouveaux who composed the music, melodious. The song was recorded in English-language in order to be released, about two months after the original version, in the anglophone countries, being re-entitled "One Love to Give".
It was not just a translation: indeed, lyrics are different. Carol Welsman replaced Michel Jouveaux in the composition of the music; the French and English versions are included on the album Besoin as the 14th tracks. The music video begins with the mention: "Les fantômes existent encore, Stéphanie n'y croyait pas, et pourtant..." In it, Stéphanie has an androginous look, performing the song in a castle, along with her friend Gérard Blanc - a French singer who had a great success in 1987 with "Une autre histoire" -, who appears playing the guitar. Kamil Rustam can be seen playing the guitar and, in another scene, kissing Stephanie's hand; as with the video for "Ouragan," the video alternates French lyrics. The song was a hit in France, but achieved a moderate success in comparison of "Ouragan", it went straight to number six on 18 October 1986, reached a peak of number four in its fourth and fifth weeks on the chart. The single stayed for nine weeks in the top ten and 15 weeks in the top 50, it was certified Silver disc by the Franch certifier, for at least 200,000 sales.
According to Infodisc website, "Flash" is the 721st best-selling single of all time in France. The single featured on the Swiss Singles Chart, for only one week, at number 28, on 26 October 1986. In the English version, the song had a success in Sweden, it debuted at number nine on the Swedish Singles Chart on 17 December 1986, climbed to number one, where it stayed for one month. It peaked for one week at number ten in Germany. 7" single"Flash" — 4:20 "Le Sega mauricien" — 4:3012" maxi"Flash" — 7:50 "Le Sega mauricien" — 4:257" single"One Love to Give" — 4:20 "Le Sega mauricien" — 4:2012" maxi"One Love to Give" — 7:29 "Flash — 4:18 "Le Sega mauricien" — 4:22 Guy Battarel - remix Gérard Blanc - arranger, remix Jean-Philippe Bonichon - engineer, remix Thierry Durbet - arranger Frédéric Meylan - photography Romano Musumarra - arranger Yves Roze - producer for Julisa Franck Segarra - assistant engineer, remix Swedish singer Magnus Carlsson released the English & French version on his studioalbum Pop Galaxy in 2010.
"Flash", lyrics "Flash", music video