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BetacommandBot 11:03, 27 October 2007 (UTC) reply

I'm genuinely curious as to which part of the record Mike Oldfield objected to, because it is very different in style to Tubular Bells. I assume Oldfield argued that the tinkly main melody was too similar to the "grand piano... and tubular bells" section at the end of side one Bells, but is there a proper reference to attest this? - Ashley Pomeroy ( talk) 22:55, 13 August 2008 (UTC) reply

• As a long-term Oldfield fan, I have often heard this claimed (it does indeed relate to the main melody's relationship to the "announcing of the instruments" section). In fact some version claim that it was an unauthorised sample which is clearly not true. However, in all this time I have never once seen any official claim to confirm it. In fact, the record for the recording at the Performing Right Society (who would ensure the correct division in royalties) lists the writers as Paul Hardcastle, William D Couturie and Jonas McCord. To clarify the accuracy of this, it lists the writers of Whatever (Oasis song) as Noel Thomas Gallagher and Neil James Innes, after he famously managed to get added to the rights, although on official releases the song is still credited just to Gallagher. In short - I am of the opinion that this is enough to convincingly prove this to be a long standing rumour with no actual truth to it. As such I'm going to take it out of the article. Speednik ( talk) 20:32, 24 September 2008 (UTC) reply

• • The American Society of Composers, Authors and Publishers includes Michael Gordon Oldfield in its list of recipients of composition royalties for Paul Hardcastle's song entitled "Nineteen", as you can see here. It seems that there is substance to the claims — Labalius ( talk) 01:58, 4 January 2010 (UTC) reply

• • • As a casual reader I was a little confused as to why Mike Oldfield suddenly appeared in the credits and assumed he had some sort of production role. A note in the main article would make things a bit clearer. 86.131.223.106 ( talk) 01:13, 2 January 2014 (UTC) reply

The average age at death is not the same as the average age of a combat soldier. Also what was the average conscription age of the Vietnamese soldiers and average age of death? —Preceding unsigned comment added by 118.100.41.139 ( talk) 08:33, 14 November 2009 (UTC) reply

I'm not sure of the relevance of your comment. The words are:

In World War II the average age of the combat soldier was twenty-six

In Vietnam he was nineteen

My inkling is that it means the average age of soldiers on the battlefield at any given time. But it doesn't seem to me that either the current version or the version of the article from the time of your comment confused the average age of a soldier with the average age at death, so it isn't clear what point you're making.... — Smjg ( talk) 19:44, 9 October 2016 (UTC) reply

Apparently mixed in:

1. Documentary commentary by Peter Thomas
2. "I wasn't really sure what was going on" - from an unknown source (possibly an interview with a soldier from the documentary) -
3. News commentary - from an unknown source (possibly recycled the documentary, and in turn from a news source)

1 is covered well, 2 is cited as "The song incorporated bits of interviews from soldiers as well" despite being only one sentence fragment. The source also makes the same mistake, making it not a very RS in this context. 3 isn't mentioned at all.

This needs improving. I will fix up the plurality issue, but the rest needs some careful research.

Rich  Farmbrough, 21:08, 12 June 2011 (UTC). reply

The track was also notable at the time for the "scratching" effect, similar to that of Max Headroom a few years later. However I don't have cites for this, merely my fallible memory. Rich  Farmbrough, 21:08, 12 June 2011 (UTC). reply

Surely it needs mentioning that this was the first hiphop (as in the whole scene, b-boy tracks, breakbeats, electro, grafitti rather than just rappin) number one in the pop charts.After all it was hiphop fans who initially put it in the charts after hearing for weeks on the London pirates. — Preceding unsigned comment added by 194.176.105.141 ( talk) 13:50, 30 November 2011 (UTC) I did not know that it was a hip-hop song. Vorbee ( talk) 16:57, 28 May 2018 (UTC) reply

Does anyone know for certain what instrument(s) were used to perform the sampling? Fairlight CMI would have been a possibility; I don't know for sure what else was on the market at the time. — Preceding unsigned comment added by 99.157.54.144 ( talk) 02:51, 10 April 2012 (UTC) reply

According to this: https://www.theguardian.com/music/2012/sep/24/19-paul-hardcastle-ken-grunbaum it is an EMU Emulator. 80.6.99.67 ( talk) 11:00, 29 August 2017 (UTC) reply

I've removed the following from the article for being unsourced for a lengthy period of time:

• Hardcastle was later unsuccessfully sued by ABC for his unauthorized use of samples from the documentary. ^{citation needed}

• The song inspired the video game 19 Part One: Boot Camp. ^{citation needed}

Happy editing, Hiding T 07:21, 25 September 2012 (UTC) reply

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The female voice is from ...?