Spandau Ballet – Fight For Ourselves (Extended Remix) (UK 12″)

Burning The Ground Exclusive 1986

“Fight for Ourselves” is a song by English new wave band Spandau Ballet, released as the lead single from their 1986 album Through the Barricades. In the UK, the track reached number 15 on the Singles Chart, but it was met with largely negative reviews.

Background
While touring to promote their 1983 album True, Spandau Ballet noticed a newfound synergy in their live performances and sought to replicate that energy in their next studio effort. However, their attempt to achieve this with True co-producers Tony Swain and Steve Jolley on 1984’s Parade left the band dissatisfied. Guitarist and songwriter Gary Kemp later admitted, “We were afraid to take a big leap after True. The problem was that Parade didn’t reflect the live energy we had. People were disappointed with the record.” Kemp emphasized, “We’re a rock band now.”

Determined to evolve their sound, the band decided to part ways with Swain and Jolley. They brought in recording engineer Gary Langan, whom they had met while working with Trevor Horn, to co-produce a single track as a test before committing to him for the full album. The chosen song, originally titled “Everybody (We’ve Got to Fight for Ourselves)”, was recorded at Musicland Studios in Munich during the winter of 1986. The experiment proved successful, and Langan co-produced the entire album.

Release and Commercial Performance
“Fight for Ourselves” was released in the UK on July 14, 1986, and peaked at number 15 on the UK Singles Chart, marking the band’s first lead single from an album to miss the top 10. The track fared better internationally, reaching number 5 in Italy, number 7 in Ireland, and number 10 on the European Hot 100. It also charted in other countries, including Spain (11), Australia and the Netherlands (16), Belgium (20), Switzerland (23), West Germany (32), and New Zealand (33).

Despite its moderate success, lead singer Tony Hadley reflected in his 2004 autobiography To Cut a Long Story Short that the single’s performance “hardly squared with our hopes of global success.”

Music Video
The music video for “Fight for Ourselves,” directed by Simon Milne, features a playful storyline in which two young women—one played by Paul Young’s then-girlfriend Stacey Smith—sneak into a Spandau Ballet concert. Using powers of invisibility, they interact with band members during the performance. Chroma key effects were employed for the disappearing and reappearing sequences. The exterior shots of the concert venue were filmed at 43 King Street, Covent Garden, London.

+De-notes vinyl-only

SIDE A:
Fight For Ourselves (Extended Remix) 7:30

SIDE B:
Fight For Ourselves 4:22
Fight … The Heartache+ 4:12

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Reformation – TA7264, Reformation – TA 7264, CBS – TA7264, CBS – TA 7264
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: UK
Released: Jul 1986
Genre: Electronic
Style: Synth-pop

CREDITS:

Design [Packaging By] – Assorted Images, Movat*
Engineer – Gary Langan
Photography By [Group] – Stevie Hughes
Producer – Gary Langan, Spandau Ballet
Written-By – Gary Kemp

NOTES:
Packaging by Movat/ Assorted Images
Made In England

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VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
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THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon 2M Black PnP MkII
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
DAC: Alpha Design Labs GT40a USB DAC
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: 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

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

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November 19, 2024

Arcadia – The Promise (Extended Remix) (UK 12″)

Burning The Ground Exclusive 1986

“The Promise” was the third single released by Arcadia, the Duran Duran offshoot band. Issued by Parlophone in 1986 as their second UK single, it reached number 37 on the UK Singles Chart.

The track features uncredited backing vocals from Sting. During Arcadia’s recording sessions for “So Red the Rose” in Paris, the band attended a Sting concert and decided to invite him to contribute to their album. They were particularly intrigued by the vocal chemistry between Sting and lead singer Simon Le Bon, first heard on Band Aid’s “Do They Know It’s Christmas?” Sting graciously accepted, resulting in a collaboration that became one of the group’s favorite moments on the record. Enhancing the track further, Pink Floyd’s David Gilmour delivered expressive guitar work that added a haunting and ethereal quality, especially in its climactic sections.

The single version of “The Promise” was trimmed significantly from the album’s original 7:28 runtime to a more radio-friendly 4:50. Even the “extended remix,” produced by Alex Sadkin and Ron Saint Germain, ran slightly shorter than the album cut, clocking in at 7:05. The B-side of the single featured an extended mix of the album track “Rose Arcana.”

While “So Red the Rose” didn’t reach the commercial success of Duran Duran’s biggest albums, it earned critical praise and has since developed a devoted fanbase. “The Promise” stands out as a highlight, celebrated for its ambitious artistry and the rare collaboration of such iconic talents. For fans of Duran Duran and 1980s art-rock, the song remains an underrated gem and a testament to the creative freedom Arcadia embraced during this transitional period in their careers.

Although Roger Taylor, the drummer for Arcadia, appeared in only a few promotional photos and the music video for Election Day, his primary focus was on the recording side of the project. Taylor also contributed percussion to The Power Station, another Duran Duran offshoot.

SIDE A:
The Promise (Extended Remix) 7:05
Mixed By – Alex Sadkin, Ron Saint Germain
Performer, Backing Vocals [Uncredited] – Sting
Written-By – Rhodes, Taylor, Le Bon

SIDE B:
Rose Arcana (Extended Mix) 5:35
Mixed By – Alex Sadkin, Larry Alexander
Written-By – Rhodes, Le Bon

The Promise (7″ Mix) 4:50
Mixed By – Alex Sadkin, Ron Saint Germain
Performer, Backing Vocals [Uncredited] – Sting
Written-By – Rhodes, Taylor, Le Bon

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Parlophone Odeon Series – 12 NSR 2
Format: Vinyl, 12″, 45 RPM, Single, Gold Sleeve
Country: UK
Released: Jan 1986
Genre: Electronic, Pop
Style: Synth-pop

CREDITS:

Photography By – Norman Parkinson
Producer – Alex Sadkin, Arcadia (3)
Sleeve [Produced By] – Assorted Images

NOTES:
The version of “Rose Arcana” on this single is much longer than the album version (So Red The Rose), but it does not have a unique title.

Manufactured in the UK by EMI Records Limited.

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
burningtheground.net

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal. I appreciate your help.

November 15, 2024

Machine – There but for the Grace of God Go I (US 12″)

Burning The Ground Exclusive 1979

“There but for the Grace of God Go I” by Machine is a classic Disco track, known for its socially conscious lyrics and powerful beat. Released in 1979, the song was written by August Darnell, also known for his work with Kid Creole & The Coconuts, and his brother Stony Browder Jr. Its story addresses themes of societal pressures, racism, and the desire for a better life.

The song follows a Latino couple, Carlos and Carmen Vidal, who move from the South Bronx to try to raise their daughter in a safer, more affluent environment. However, in their attempt to distance her from the influences they consider harmful, they isolate her and ultimately face the irony of trying to shield her from the very world they were once part of. The line “Too much love and protection can lead to your child’s rejection” captures this tragic twist perfectly.

Musically, “There but for the Grace of God Go I” combines funky basslines, driving percussion, and a memorable horn section, encapsulating the disco sound with a touch of Latin influence. Machine’s vocals are intense and commanding, matching the urgency of the lyrics. The song was both popular on the dance floor and impactful in its message, resonating with audiences who appreciated its unique blend of a danceable beat and socially aware storytelling.

The song became a cult classic, especially in the dance and disco scenes, and its influence has endured, with various artists and DJs sampling or covering it. It remains a staple for those looking to explore disco music with a deeper message, showcasing how the genre could offer not just infectious rhythms but also poignant reflections on society.

“There but for the Grace of God Go I” enjoyed notable success, especially within the dance and disco communities. The song quickly became a club favorite, thanks to its infectious groove and powerful social message. In the United States, it achieved significant success on the Billboard charts, peaking at #77 on the Billboard Hot 100 but making a much bigger impact on the dance floors. It reached the Top 10 on the Billboard Disco Top 100 chart, a reflection of its popularity in nightclubs and discos across the country.

The song resonated in New York’s vibrant disco scene and quickly spread internationally, particularly in Europe. It became a hit in Belgium, the Netherlands, and France, where its socially conscious lyrics and energetic beat struck a chord with fans of both disco and funk. “There but for the Grace of God Go I” helped establish Machine as one of the bands that pushed disco into a slightly edgier, message-driven direction, paving the way for future dance hits with more substantive themes.

SIDE A:
There But For The Grace Of God Go I 4:59
Written-By – August Darnell, Kevin Nance

SIDE B:
Get Your Body Ready 4:07
Vocals [Uncredited] – Jocelyn Brown
Written-By – Kevin Nance

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year	Single	Chart	Position
1979	There but for the Grace of God Go I	U.S. Billboard Hot 100	#77
1979	There but for the Grace of God Go I	U.S. Billboard Black Singles	#91
1979	There but for the Grace of God Go I	U.S. Billboard Hot Dance / Disco songs	#8

RELEASE INFORMATION:
Label: RCA Victor – PD-11457, Hologram Records (3) – PD-11457
Format: Vinyl, 12″, 33 ⅓ RPM, Single, Stereo
Country: US
Released: 1979
Genre: Funk / Soul
Style: Disco

CREDITS:

Mastered By – RSE*
Producer – August Darnell

NOTES:
Produced for ITC Corp. Productions

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
burningtheground.net

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal. I appreciate your help.

November 13, 2024

Quincy Jones Featuring Patti Austin – Razzamatazz (US 12″)

Burning The Ground Exclusive 1981

“Razzamatazz” is a lively, jazz-infused track by Quincy Jones, featuring the soulful vocals of Patti Austin. It’s from Jones’ 1981 album “The Dude”, a groundbreaking release that showcases his incredible versatility as a producer, composer, and arranger. The album itself is a genre-blending masterpiece, merging elements of jazz, R&B, funk, and pop, and “Razzamatazz” stands out as a prime example of this fusion.

The song’s upbeat tempo, vibrant brass section, and lively rhythm embody the playful energy of its title. Austin’s vocals add an infectious spark, perfectly complementing the lush instrumentation. “Razzamatazz” became one of the album’s hits, especially popular in the UK, where it reached the Top 20 on the singles chart, giving Quincy Jones a significant presence in pop and R&B.

“The Dude” was highly acclaimed, earning several Grammy Awards and becoming a commercial success. “Razzamatazz” helped to reinforce Jones’ reputation not just as a jazz musician but as a crossover artist capable of appealing to pop audiences worldwide. The song remains a classic example of early 80s jazz-pop, with its dynamic rhythm and colorful production still resonating with listeners.

+De-notes vinyl-only

SIDE A:
Razzamatazz (Special Extended Version)+ 4:55
Written-By – Rod Temperton

SIDE B:
Betcha’ Wouldn’t Hurt Me (Special Extended Version)+ 5:22
Written-By – Stephanie Andrews, Stevie Wonder

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: A&M Records – SP-12040
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: Jun 6, 1981
Genre: Electronic, Funk / Soul, Pop
Style: Jazz, Soul

CREDITS:

Producer – Quincy Jones
Vocals, Featuring – Patti Austin

NOTES:
Both tracks are special extended versions from the A&M album “The Dude”.
Patti Austin appears courtesy of Qwest Records.

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
burningtheground.net

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal. I appreciate your help.