Burning The Ground Exclusive
German producer Frank Farian struck gold again in late 1988 with the release of “Baby Don’t Forget My Number,” the second single by pop-dance duo Milli Vanilli. Following the success of “Girl You Know It’s True,” the track helped catapult the group into international superstardom and cemented their place as one of the biggest pop acts of the late 1980s.
Released in December 1988 from the European debut album All Or Nothing, and later included on the U.S. counterpart Girl You Know It’s True (1989), “Baby Don’t Forget My Number” blended infectious dance grooves, catchy hooks, and polished production that dominated radio and dance floors alike. The single became Milli Vanilli’s first U.S. Billboard Hot 100 number one in 1989, beginning a remarkable chart run that would eventually produce three consecutive U.S. chart-toppers.
Produced by Frank Farian, the mastermind behind acts such as Boney M., the song featured the signature late-80s Euro-dance sound that defined the era. Pulsating synths, heavy drum programming, and slick vocal arrangements made the track irresistible to pop audiences worldwide.
In the United States, “Baby Don’t Forget My Number” became a massive commercial success, earning a gold certification from the Recording Industry Association of America. Internationally, the single reached the Top 10 in seven countries and performed exceptionally well in Australia, where it remained on the charts for an impressive 36 weeks and also achieved gold certification.
The 12-inch single remains a favorite among collectors and club music fans, especially for its extended dance mixes that fully embraced the high-energy production style of the period. These longer versions stretched the groove into pure dancefloor bliss, giving DJs plenty of room for seamless club mixing during the peak of the late-80s dance-pop explosion.
Despite the controversy that would later surround Milli Vanilli, there is no denying the impact their music had on pop culture. Songs like “Baby Don’t Forget My Number” captured a specific moment in time when dance-pop ruled the airwaves, MTV was king, and extended 12-inch mixes were essential listening for club kids and radio fans alike.
Today, “Baby Don’t Forget My Number” stands as a nostalgic reminder of an era filled with flashy fashion, massive hooks, and larger-than-life pop production. Whether spinning on vinyl or blasting from a retro playlist, the track still delivers the same infectious energy that made it a worldwide smash nearly four decades ago.
SIDE A:
Baby Don’t Forget My Number (Pennsylvania Six-Five-Thousand Heart Line Mix) 8:56
Written-By – B. Nail, F. Farian
SIDE B:
Too Much Monkey Business 3:23
Written-By – B. Nail, F. Farian, H. Ruloffs, J. Davis
Baby Don’t Forget My Number (Radio Mix) 4:33
Written-By – B. Nail, F. Farian
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
Weekly charts
| Milli Vanilli: Baby Don’t Forget My Number (1988–1989) | Peak position |
|---|---|
| Australia (ARIA) | 17 |
| Belgium (Ultratop 50 Flanders) | 14 |
| Canada Retail Singles (The Record) | 1 |
| Canada Top Singles (RPM) | 3 |
| Canada Dance/Urban (RPM) | 1 |
| Europe (Eurochart Hot 100) | 18 |
| Finland (Suomen virallinen lista) | 3 |
| France (SNEP) | 17 |
| Ireland (IRMA) | 17 |
| Netherlands (Dutch Top 40) | 6 |
| Netherlands (Single Top 100) | 7 |
| New Zealand (Recorded Music NZ) | 9 |
| Norway (VG-lista) | 5 |
| Spain (AFYVE) | 3 |
| Switzerland (Schweizer Hitparade) | 11 |
| UK Singles (OCC) | 16 |
| US Billboard Hot 100 | 1 |
| US Dance Club Songs (Billboard) | 10 |
| US Dance Singles Sales (Billboard) | 12 |
| US Hot R&B/Hip-Hop Songs (Billboard) | 9 |
| US Cash Box Top 100 | 2 |
| West Germany (GfK) | 9 |
RELEASE INFORMATION:
Label: Hansa – 611 841
Format: Vinyl, 12″, 45 RPM, Maxi-Single, Stereo
Country: Europe
Released: 1988
Genre: Electronic, Pop
Style: Breakbeat, Dub, Synth-pop, Pop Rap
CREDITS:
- Design [Cover-Design] – H. Wegner*
- Photography By – Esser & Strauss
- Producer – Frank Farian
- Vocals – Rob + Fab*
NOTES:
Recorded and Mixed at FAR Studios
Produced for FAR Music-Production 11/88
Printed in Germany
Buy the 12″ at DISCOGS
VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND
THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon Concorde Music Black
Phono Pre-amp: Pro-Ject Tube Box DS2
Phono Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
Audio Interface: MOTU M4
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: Epson Workforce WF-7610 Professional Printer/Scanner
SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator
RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi
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My first job in the TV industry was working on the Mickey Mouse Club, and Milli Vanilli were just one of the many musical guests we had every “Music Day.” All of us were a bit confused by their thick German accents, and we really wondered why their singing voices were so different. Our director decided to get sneaky, and actually recorded their live mikes when they were doing a lip-sync rehearsal. (All performers on the Mickey Mouse club lip-synced.) I was in the booth when this happened, and when we all heard how tone deaf both guys were, we… Read more »
Thank You Paul.!!
Many thanks for sharing this gold, i really appreciate. If there’s another gold from my favorite fake singer please share. God bless
By the way, the only time Frank Farian showcased the real singers was in his FAR CORPORATION project, which used the entire backing band of Boney M, but was fronted by TOTO singer Bobby Kimball and Robin McAuley!
Now this is news to me, but not surprising. Frank Farian, like many pop producers going back to the ’60s when The Wrecking Crew in L.A., The Funk Brothers in Detroit, The Salsoul Orchestra / MFSB in Philadelphia played on too many hit records to count used studio musicians and vocalists who never got label acknowledgement. Milli Vanilli were clearly screwed in what is really a fake news event. It took litigation for Martha Wash of The Weather Girls to get credit for singing on C+C Music Factory’s “Gonna Make You Sweat” when the producers used a skinny, lean model… Read more »
I still don’t care about the controversy, Milli Vanilli were a powerhouse of the era, so may great songs that I still play today. It’s a shame the music was overshadowed by everything that happened. The nearly 9 minute mix on this single is a real standout of the era. Not only does it have quite a bit of creative flair throughout it (love the Art of Noise + Tom Jones “Kiss” sample) you have to be a bit gutsy and daring to successfully pull off a mix that long, and it really works. Really enjoyable remix of a classic… Read more »
I think the fake outrage was laughable, even then! Anyone who heard them speak in interviews couldn’t get past the thick German accents.Also, contrary to the comments below about “standards” back then, it was extremely common in the glamorous dance scene to have good-looking people pretend to be the singer. This goes back to the 70s, including Plastic Bertrand and none other than Frank Farian. Before Milli Vanilli, it was already well-known that the members of Boney M were not actually the singers. Additionally, the ITALO-DISCO scene was known for using Italian models (Den Harrow), but the singers were usually… Read more »
Such a massive global phenomenon that essentially created its own genre. I echo what Joey, Fred and ING mentioned below. The “charade” seemed pretty obvious even at the time. Listen to the vocals and they indeed sound like seasoned professional soul singers. And I think once the scandal broke and all those who demanded a refund, hypocrites that they were, only goes to show how our standards were so much higher then! We demanded and expected excellence, because, well, things were excellent then! As Joey mentioned, with today’s autotune, etc., the expectation is gone… there are no standards. Just read… Read more »
Retro Hound, you make a really interesting point about expectations during that era. In the late 80s, audiences still expected pop stars to deliver the complete package, live vocals, stage presence, image, and charisma all at once. MTV may have amplified style and visual presentation, but people still believed there was a “real” performer underneath it all. That is probably why the Milli Vanilli scandal exploded as dramatically as it did. And honestly, I think many listeners suspected something was unusual from the beginning, exactly for the reasons you mentioned. Those vocals sounded mature, soulful, and deeply seasoned. They did… Read more »
Great song!! I enjoyed a few songs off this album, and while the singers should get credit, I remember debating many friends about lip-syncing. specifically how dance focused acts of the time (Janet, Paula, Madonna) could actually sing and do the crazy dance sequences. That never really bothered me, but the actual singers should have been recognized!! Thank you for posting, some great memories tied to this song!
Greg, that was a huge conversation at the time, especially once people started comparing heavily choreographed pop acts on MTV. A lot of fans wondered how performers could maintain perfect studio-quality vocals while doing nonstop dance routines under hot lights night after night. In reality, many artists were already relying on backing tracks, guide vocals, layered harmonies, or partial lip-syncing for television appearances. The difference with Milli Vanilli was that the actual studio vocalists were completely hidden from the public. And I agree with you completely, the real singers absolutely deserved recognition. Voices like Brad Howell and the other session… Read more »
Musically, “Baby Don’t Forget My Number” is a masterpiece of its era. Farian built a devastating rhythmic foundation by blending two worlds: the sophistication of European pop and the streetwise energy of American New Jack Swing. The Rhythm: The song is built on a strong, syncopated, danceable beat, driven by drum machines and a synth bassline that grabs you from the very first second. The Samples: A fascinating detail for production enthusiasts is its use of samples. The song incorporates elements from “Ma Baker” (by Boney M., another Farian creation) and, very subtly, the drums and vibe of the iconic… Read more »
Rubén, this is a fantastic breakdown, and you articulated exactly why these productions were so effective. Frank Farian really did understand how to merge European precision with American urban dance trends in a way that felt massive commercially but still worked in clubs. That combination gave Milli Vanilli records a unique identity compared to a lot of other late-80s pop acts. Your point about the rhythm is spot on. The groove on “Baby Don’t Forget My Number” is relentless without feeling overcrowded. The syncopation, drum machine programming, and that pulsing synth bass create immediate momentum. From the opening seconds, the… Read more »
Hey Paul I Didn’t Care If They Were Not The Original Singers. That Sound Is What changed Radio For 1 Year I Think. I do Have The Real Milli Vanilli On CD Thanks For This Jamm!!
I agree, I loved the change this sound brought to music of the time!
Mark, I totally get what you mean. For a brief moment, that Milli Vanilli sound really was everywhere. Radio, MTV, clubs, shopping malls, roller rinks, you could not escape it in 1989. The production style had this huge crossover appeal where pop, dance, R&B, and hip-hop elements all blended together perfectly for that era. And honestly, most people connected with the music first. The hooks, beats, and energy were what pulled listeners in long before anyone cared about who sang what in the studio. Those records were incredibly catchy and very well produced, which is why they dominated the charts… Read more »
When I first saw them, it was MTV. I laughed at who I deemed the “Terence-Trent D’Arby Twins” but it was only a matter of time before the music drilled into everyone’s brain and the purchase took over! It was dumb people wanted their money back. Like did you like the music or not? Did you just buy it because you liked these guys looks? Well that’s on you. The songs are still the same. Enjoy. I thought it was obvious they were lip syncing, especially on tour and live TV. It was well documented in the press as well.… Read more »
ING, your “Terence Trent D’Arby Twins” comment made me laugh because I remember a lot of people having that exact reaction when Milli Vanilli first exploded on MTV. The image was so stylized and larger-than-life that it almost felt manufactured from the start, yet somehow the songs were so catchy that resistance became impossible. Once those hooks got into your head, it was over. I also agree that the public reaction became strangely extreme. At the end of the day, the records people bought and loved did not suddenly change overnight. The songs, grooves, melodies, and productions were still exactly… Read more »
Bad remasters, like the Milli Vanilli Girl You Know It’s True: The Best Of (2013 18 track compilation) I picked up in a bargain bin, literally shred your eardrums. Sad and unnecessary and unforgivable! Why turn music into an unlistenable experience? Makes no sense. Martha Wash’s post lawsuit album on RCA is fantastic. As are the remixes across the 3 companion singles I have. Girl can sing the phone book. Rob & Fab were quite bold to press to sing for real on the next album. Perhaps Frank should’ve taken the opportunity to mix them low in the mix with… Read more »
Big fan! I love the US version of their album (it has the best mix/edits) — at least the CD I have. There are so many different mixes & edits of “Baby, Don’t Forget My Number” — my favourite is like the edit here, but cuts to the sequencers with no [original] jangly piano (0:19-0:28), removes the ‘crazy’ lyric line in the first verse, and cuts down on the special effects sounds throughout (makes it less cartoonish) — it is 4:17 in length. Sensible alterations, I say! There are so many different mixes, minor edits, and ‘radio versions’ of the… Read more »
Richard, this is exactly the kind of detail only serious mix collectors notice, and I love it. Milli Vanilli releases were surprisingly complicated once you started digging into all the regional edits, album substitutions, promo versions, and subtle remix variations. On the surface, casual listeners probably assumed there was just “the song,” but collectors know there were countless tiny differences between releases. The 4:17 version you described actually sounds far more refined to me based on those edits alone. Removing some of the exaggerated sound effects and trimming certain vocal lines probably helped the track feel more mature and streamlined.… Read more »
The scandal surrounding Milli Vanilli is almost laughable now, from “more innocent” times when it was expected that the singers could hold a tune and the sounds were expected to naturally come from artists alone… That would never happen today, autotune vocals, and simply having their voices blended with the backup singers would be “enough” to pull off the illusion, now they might even brag about it once caught… It seemed pretty suspicious to me back in the day, first hearing them, the gravelly, soulful voice, sounded like a seasoned veteran soul singer in his 40’s/50’s yet the “singers” were… Read more »
Joey, that is actually a very sharp observation, and honestly, a lot of people felt the same thing even back then. When you heard those records for the first time, there really was a disconnect between the voices coming out of the speakers and the image MTV was presenting on screen. Those vocals sounded experienced, gritty, soulful, and deeply rooted in American R&B traditions, while Rob and Fab looked like fashion models straight out of a European dance magazine. In hindsight, it does almost feel surreal. What makes the whole story fascinating now is how much the music industry has… Read more »
Richard, I can definitely understand that point of view. The song itself had enormous potential for a truly explosive extended club treatment, especially considering how strong the core groove and vocal hooks already were. In some ways, the 12-inch versions feel a bit restrained compared to what was happening in club remix culture at the time. There were so many remixers in the late 80s taking tracks completely apart and rebuilding them into dramatic dancefloor journeys, and “Baby Don’t Forget My Number” never quite reached that level creatively. I think that is why the radio version often hits harder for… Read more »
Thank you Paul.I share Fred and Jeff’s opinion. Well, Frank Farian—that little rascal (in the best possible sense). No matter what anyone says, he influenced the music world, and Milli Vanilli songs are still floor-fillers; I still play them to this day. Many people have no idea just how many productions there are—or were—that featured “fake” singers (Den Harrow, Baltimora, Technotronic, and many more… just to name a few). Fun fact: I live near the FAR Studios, and many years ago, I met Brad Howell at a party; he is an absolutely funny, nice guy.
Toxicaudio, you make an excellent point, and it really adds important context to the whole Milli Vanilli story. Frank Farian had already walked that line years earlier with Boney M., where studio vocalists and image performers were not always the same people audiences assumed they were. By the late 70s and 80s, this kind of thing was far more common in dance music than most listeners realized. The examples you mentioned, Den Harrow, Baltimora, and Technotronic, are perfect cases. Image, marketing, choreography, studio musicians, session vocalists, and producers were often all separate pieces of the puzzle. Milli Vanilli simply became… Read more »
OUTSTANDING!! I echo what Fred said below! I didn’t care about the Milli Vanilli controversy very much because I judged them on what I kept hearing: High quality mixes, great beats, and terrific samples on a well-performed record! Because of my love of dance music, most of what I listen to is made by studio geniuses, producers, mixers, and editors. I concentrate on the finished product, and this is what gives me joy! I was sad for Rob and Fab, but this is what they were hired for. It’s just too bad that they were canceled the way they were.… Read more »
Jeff, beautifully said. I think you really nailed why so many dance music fans still connect with these records despite everything that happened afterward. For listeners like us, the focus has always been on the sound coming out of the speakers, the energy, the arrangement, the mix construction, and the emotional reaction the music creates on the dance floor. Late-80s remix culture was such a creative period because producers and editors were pushing boundaries constantly. Sampling was still somewhat of a wild frontier, and people were building these dense musical collages from bits of funk, hip-hop, film dialogue, orchestral hits,… Read more »
“Despite the controversy that would later surround Milli Vanilli, there is no denying the impact their music had on pop culture.” I have been preaching this for decades and sadly since the minute MV was exposed, they were cancelled and nobody would admit the smashing success of their music. Nobody would play their music. ever. again. Whoever created/invented the beats and samples on the mixes to this song and Girl You Know It’s True is a master in my book. The one song that comes extremely close to this style is Eric B. And Rakim – Paid In Full (Seven… Read more »
Fred, I completely understand where you are coming from. Once the scandal broke, the conversation immediately shifted away from the music itself, and a lot of people refused to separate the records from the controversy. Unfortunately, that meant some genuinely inventive late-80s dance production got thrown into the fire along with everything else. Those early Milli Vanilli singles were expertly constructed club records. The beats, sampling, editing, layering, and pacing on tracks like “Baby Don’t Forget My Number” and “Girl You Know It’s True” were absolutely designed with DJs in mind. They had that slick European dance-pop polish mixed with… Read more »