A Split Second – Mambo Witch (US 12″) (1988)

Burning The Ground Exclusive

Some Halloween records rely on creepy sound effects, ghostly voices, or familiar horror movie themes to set the mood. Others take a darker route, using pounding rhythms, sinister vocals, and an atmosphere that feels downright threatening. Today’s Spooky Season Spins selection falls squarely into that second category.

Turn down the lights, turn up the volume, and prepare to meet the “Mambo Witch.”

Released in 1988, “Mambo Witch” is a dark, hypnotic slice of electronic body music (EBM) from Belgian industrial pioneers A Split-Second. The track appeared on the group’s second full-length album, …From The Inside, and became one of their best-known club recordings.

A Split-Second emerged from Belgium’s underground electronic music scene in 1985. Founded by vocalist Marc Ickx (Marc Heyndrickx), the project developed into a partnership with producer and musician Chrismar Chayell (Peter Bonne). Together, they helped shape the sound of European EBM, combining relentless electronic rhythms, distorted guitars, and commanding vocals into something that was both aggressive and remarkably danceable.

Their 1986 single “Flesh” is often credited with helping spark Belgium’s new beat movement after club DJs began playing the record at a slower speed. By the time “Mambo Witch” arrived two years later, A Split-Second had established themselves as a formidable presence on alternative dance floors.

And what a wonderfully sinister record this one turned out to be!

“Mambo Witch” opens up a world of pounding electronic percussion, menacing synthesizers, and gritty guitar textures. Marc Ickx delivers his vocals with a cold, almost confrontational intensity, perfectly suited to the song’s unsettling atmosphere. There is something strangely hypnotic about the arrangement. The rhythm pulls you in, while the music creates a growing sense of unease.

The lyrics only add to the tension, with disturbing images of curses, venom, knives, and supernatural forces. This is certainly not a playful Halloween novelty record. There is a darker psychological edge at work, giving the song an almost ritualistic quality.

Of course, what makes “Mambo Witch” particularly interesting for this blog is its 12-inch presentation.

The Extended Version stretches the track to nearly six minutes, giving those relentless rhythms more room to work their magic. The result is a dance-floor workout that feels both mechanical and strangely hypnotic. This is the kind of record that would have sounded right at home in a darkened alternative club, surrounded by flashing lights and a thick cloud of artificial fog.

The flip side offers the Experimental Version, which takes the music in a less conventional direction. It reflects the group’s willingness to experiment beyond the straightforward club mix. Also included is the short but appropriately titled “Voodoo Witch,” a companion piece that makes this already unusual 12-inch even more appealing.

The original single was released in Belgium on Antler Records, while Chicago’s legendary Wax Trax! Records handled the American release. For those who remember the industrial and alternative club scene of the late 1980s, the Wax Trax! name alone should bring back some wonderful memories.

Despite its uncompromising sound, “Mambo Witch” managed to make an impression on American dance floors, reaching No. 29 on Billboard’s Hot Dance Club Play chart in 1989. Not bad for a record that sounds as though it crawled out of the shadows rather than a mainstream recording studio!

The single also helped introduce A Split-Second to a wider American audience. The group followed their growing success with a North American tour in 1989, bringing their hard-edged Belgian sound directly to the clubs that had embraced their records.

Nearly four decades later, “Mambo Witch” still sounds wonderfully menacing. Its cold electronic production, muscular rhythms, and unsettling imagery capture a side of the 1980s that existed far away from the polished pop dominating commercial radio.

For me, that is part of what makes revisiting these records so much fun. The 1980s dance scene had plenty of dark corners, and sometimes the most interesting music was hiding in them.

With Halloween just around the corner, “Mambo Witch” feels like the perfect record to summon from the vaults. It may not be a traditional Halloween song, but its combination of witchcraft imagery, industrial rhythms, and sinister atmosphere makes it a natural fit for Spooky Season Spins.

After all, who says a Halloween party has to be filled with novelty records when you can have a little Belgian industrial darkness instead?

Happy Spooky Season, everyone!

SIDE A:
A1. Mambo Witch (Extended Version) – 5:37

SIDE B:
B1. Mambo Witch (Experimental Version) – 5:50
B2. Voodoo Witch – 2:07

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Wax Trax! Records – WAX 061
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 1988
Genre: Electronic
Style: EBM, New Beat

CREDITS:

Producer – A Split – Second
Written By [All Songs By] – Ickx-Chayell
Written-By, Arranged By, Producer – Chayell*, Ickx*

NOTES:
Producer credits are for Ickx-Chayell on the jacket and A Split – Second on the label.

Jacket made in Canada

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

PLEASE READ

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October 20, 2026

Spooky Season Spins: When the 80s Dance Floor Went Dark

Happy Tuesday, everyone!

I’m taking a little break from my regular posting schedule today to take care of a few personal things. However, I didn’t want to leave you empty-handed, especially with Spooky Season in full swing!

Instead of spotlighting a particular 12″ single, I thought it might be fun to explore something that has always fascinated me. The connection between Halloween, 80s music, and those glorious extended remixes that we all know and love.

When we think of Halloween music, the usual suspects tend to come to mind. Michael Jackson’s “Thriller,” Ray Parker Jr.’s “Ghostbusters,” and Rockwell’s paranoid classic “Somebody’s Watching Me.” All three helped give the decade its unmistakable Halloween soundtrack.

But venture a little deeper into the 80s musical landscape, particularly the world of New Wave, Synth-pop, Gothic Rock, and Industrial dance music, and you’ll discover an entirely different kind of darkness.

This was music that didn’t necessarily need Halloween to sound spooky.

Haunting synthesizers, icy electronic rhythms, mysterious vocals, and lyrics exploring everything from obsession and isolation to fear and the supernatural were already part of the musical landscape.

And what better way to experience those sounds than on a 12″ single?

During the 1980s, the 12″ single became more than just an extended version of a popular song. It offered producers, remixers, and DJs the freedom to experiment. Songs could be stretched, rearranged, stripped down, or transformed into something almost unrecognizable.

For music with a darker edge, those extra minutes could make all the difference.

A haunting introduction could slowly build into a hypnotic rhythm. Strange electronic effects could creep into the mix. Echoing vocals and pounding drum machines could turn an ordinary dance record into something that sounded like it belonged in a horror film.

Just listen to Ministry’s “(Every Day Is) Halloween,” Dead or Alive’s “Something in My House,” or The Cure’s “Lullaby.” Each approaches darkness differently, yet all demonstrate how wonderfully the sounds of the 80s could lend themselves to the season.

And then there were the record sleeves, the artwork, the mysterious B-sides, and those extended mixes that occasionally took the music into even stranger territory.

That’s one of the things I’ve always loved about collecting 12″ singles. You never quite knew what you might discover when you flipped a record over or explored a remix that wasn’t available anywhere else.

Of course, not every song needed ghosts, vampires, or things that go bump in the night to fit the Halloween mood. Sometimes all it took was a sinister bassline, a chilling synthesizer, or a particularly unsettling vocal performance.

The 80s had plenty of those!

That’s part of what makes putting together my Spooky Season Spins selections so enjoyable. There is an enormous amount of music from that decade that fits the atmosphere, even when Halloween wasn’t necessarily what the artist had in mind.

So while I’m away from the turntables today, I thought I’d leave you with a little food for thought.

What 80s song or 12″ remix immediately puts you in the Halloween spirit?

It doesn’t have to be an obvious Halloween record. In fact, the more unusual your choice, the better!

I’d love to hear what spooky treasures are hiding in your record collections.

Thanks, as always, for stopping by, sharing your memories, and keeping the music alive.

I’ll be back with more Spooky Season Spins soon!

Until then, keep those turntables spinning and watch out for things that go bump in the night! 

October 16, 2026

Tim Curry – I Do The Rock (Specially Edited Selections From “Fearless”) (US 12″ Promo) (1979)

Burning The Ground Exclusive

I thought I would throw everyone another curveball today! We have lost so many great artists this year, and there are still quite a few I haven’t had the opportunity to pay tribute to here at Burning the Ground. Today, I want to shine the spotlight on one of the most unforgettable entertainers of our time, the legendary Tim Curry, who passed away on August 25, 2026, at the age of 80.

CHART PERFORMANCE (1979–1980)

Chart	Peak Position	Weeks
Austria (Ö3 Top 40)	#9	6
West Germany (Official Singles Chart)	#26	14
US Cash Box Top 100	#85	3
US Billboard Hot 100	#91	3

For many of us, Tim Curry will forever be remembered as the outrageous Dr. Frank-N-Furter in the 1975 cult classic “The Rocky Horror Picture Show.” Others may remember his memorable performances in “Annie” (1982), “Clue” (1985), “Legend” (1985), or his terrifying portrayal of Pennywise the Clown in the 1990 television adaptation of Stephen King’s “It.” But beyond his remarkable acting career, Curry was also a gifted singer with a powerful voice, a wicked sense of humor, and a theatrical style that made him unlike anyone else.

While his acting career often overshadowed his musical endeavors, Curry released three solo albums for A&M Records: “Read My Lips” (1978), “Fearless” (1979), and “Simplicity” (1981). Each album gave him an opportunity to explore a different side of his musical personality, blending rock, pop, and theatrical flair with his unmistakable vocal delivery.

In 1979, Curry released his second album, “Fearless,” produced by Dick Wagner and Michael Kamen. The album became his most commercially successful, reaching No. 53 on the Billboard 200. Its standout single, “I Do The Rock,” became his biggest U.S. chart hit, peaking at No. 91 on the Billboard Hot 100.

Co-written by Curry and Michael Kamen, “I Do The Rock” is a wonderfully eccentric slice of late-’70s rock filled with sharp humor, clever wordplay, and a dizzying collection of pop culture references. From John Travolta and Farrah Fawcett to Albert Einstein and Friedrich Nietzsche, Curry name-drops his way through the song with the kind of sarcastic wit and theatrical delivery that only he could pull off. Backed by a driving rock arrangement, the song is equal parts satire, attitude, and pure Tim Curry.

Although “I Do The Rock” barely cracked the Billboard Hot 100, reaching No. 91, and fared only slightly better on the Cash Box Top 100 at No. 85, the record found a much more enthusiastic audience overseas. In 1980, the single climbed all the way to No. 9 in Austria, spending six weeks on the chart. It also reached No. 26 in West Germany, where it enjoyed an impressive 14-week chart run. Not bad for a record that received relatively little attention on American radio!

It’s interesting that European audiences seemed to connect with Curry’s unusual brand of rock more than listeners here in the States. Perhaps his theatrical personality and offbeat sense of humor were simply better appreciated across the Atlantic. Whatever the reason, “I Do The Rock” remains one of those wonderfully strange records that could only have come from an artist like Tim Curry.

For today’s post, I am featuring the 1979 U.S. promotional 12″ single released by A&M Records (SP-17093), titled “Specially Edited Selections From Fearless.” In addition to “I Do The Rock,” the record includes “Paradise Garage (Edited Remix)” and “Charge It (Edit).” This promotional pressing is an interesting piece of Curry’s recording history and a nice collectible for fans who appreciate the more obscure corners of his discography.

While “I Do The Rock” may not have set the American charts on fire, it certainly demonstrated that Curry’s talents extended far beyond the stage and screen. His recordings captured the same fearless personality that made his acting performances so memorable. Whether he was playing a flamboyant mad scientist, a sinister clown, or delivering a tongue-in-cheek rock song, Curry always knew how to command an audience.

With Halloween just around the corner, it also seems especially fitting to remember the man who gave us not one, but two of pop culture’s most unforgettable characters, Dr. Frank-N-Furter and Pennywise. Few performers could make us laugh, sing along, and scare the daylights out of us quite like Tim Curry.

His passing is another heartbreaking loss in a year that has already taken far too many beloved entertainers. Thankfully, he leaves behind an incredible collection of films, television appearances, stage performances, and recordings that will continue entertaining generations to come.

Rest in peace, Tim Curry (1946–2026). Thank you for the music, the movies, the laughter, and all those wonderfully strange characters that made you one of a kind. You will be greatly missed.

I hope everyone enjoys today’s unexpected selection. If you’ve only known Tim Curry from his acting career, give this one a spin. You might just discover another side of this remarkable entertainer!

SIDE A:
A1. I Do The Rock 4:45
Written-By – Michael Kamen

SIDE B:
B1. Paradise Garage (Edited Remix) 4:00
Written-By – Bob Babbitt, Charles Collins, Dick Wagner

B2. Charge It (Edit) 3:58
Written-By – Dick Wagner

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: A&M Records – SP-17093
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1979
Genre: Rock
Style: Classic Rock

CREDITS:

Mastered By – RL*
Producer – Dick Wagner, Michael Kamen
Written-By – Tim Curry
Mastered At – Masterdisk
Pressed By – Columbia Records Pressing Plant, Santa Maria

NOTES:

Promotion Not For Sale

From the A&M Album “FEARLESS”

buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND

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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

Password: burningtheground

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

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October 15, 2026

Eighth Wonder – Cross My Heart (US 12″) (1988)

Burning The Ground Exclusive

By 1988, British pop group Eighth Wonder, fronted by actress and singer Patsy Kensit, was finally enjoying the commercial success that had eluded them during their earlier years.

The group’s big breakthrough came with “I’m Not Scared,” written and produced by the Pet Shop Boys. The single reached number 7 on the UK Singles Chart and became a major hit across Europe. With their profile on the rise, Eighth Wonder followed it with another infectious slice of dance-pop, “Cross My Heart.”

Released in June 1988, “Cross My Heart” was the second single from the band’s album Fearless. Written by American songwriter Michael Jay and produced by Pete Hammond, the song combined bright synthesizers, an irresistible chorus, and Kensit’s distinctive vocals. It was exactly the kind of polished pop record that seemed made for the summer of 1988.

Interestingly, Eighth Wonder wasn’t the first act to record the song. Tracie Spencer had already included “Cross My Heart” on her self-titled debut album earlier that year. Martika also recorded a version for her 1988 debut album. Three different female pop artists recorded the same song in one year. Apparently, Michael Jay had a pretty good feeling about this one!

Eighth Wonder’s version became a hit across Europe, reaching number 13 in the UK, number 6 in Switzerland and Norway, and number 2 in Spain. In the United States, the single peaked at number 56 on the Billboard Hot 100, making it the group’s only Top 75 hit on that chart. However, the song found an even more receptive audience in American dance clubs, reaching number 10 on Billboard’s Hot Dance Club Play chart.

CHART PERFORMANCE (1988–1989)

Chart	Peak Position
Australia (ARIA)	116
Finland (Finnish Singles Chart)	3
France (SNEP)	13
Ireland (IRMA)	16
Italy (Musica e dischi)	10
Italy Airplay (Music & Media)	16
Norway (VG-lista)	6
Spain (AFYVE)	2
Switzerland (Swiss Singles Chart)	6
UK Singles Chart (OCC)	13
US Billboard Hot 100	56
US Billboard Hot Dance Club Play	10
US Billboard Hot Dance Music/Maxi-Singles Sales	15
West Germany (GfK)	17

And that brings us to today’s record.

For the American market, WTG Records enlisted New York DJ and producer “Little” Louie Vega to give “Cross My Heart” a serious dance-floor makeover.

Long before becoming one half of the legendary house production duo Masters At Work, Vega was already developing his sound on the New York club scene. His remixes of “Cross My Heart” take the polished British pop production and give it a distinctly American club flavor, with a stronger rhythmic foundation and a healthy dose of late-1980s house music.

The remix sessions took place at Right Track Recording in New York City, with Hugo Dwyer handling remix engineering, Jeff Abikzer assisting, additional keyboards by Mac Quayle, and edits by the late Chep Nuñez.

The commercial US 12-inch, released on WTG Records (41 07894), features three versions of the song. The 6:50 Club Mix takes up the entire A-side, while the flip contains the 7:29 House Mix and a 6:00 Dub Mix.

Unlike the European 12-inch, which featured the original Dance Mix and the B-side “Let Me In,” the American pressing concentrates entirely on Vega’s club treatments. A separate US promotional 12-inch also included an edited version and a Bonus Beats track, making that pressing another interesting variation for collectors.

What I especially enjoy about records like this is hearing the meeting of two different dance music worlds. The original recording has that unmistakable late-1980s British pop sound, while the American remixes reflect the growing influence of New York house music. It is a combination that worked particularly well during this period.

Eighth Wonder’s time in the spotlight was relatively short. The group disbanded in 1989, and Patsy Kensit returned her attention to acting. Still, songs like “I’m Not Scared” and “Cross My Heart” remain wonderful reminders of a time when European synth-pop and American club music were finding plenty of common ground.

For today’s post, we’re spinning the original US commercial 12-inch, complete with all three of Louie Vega’s mixes.

Patsy Kensit, a catchy pop chorus, and a little New York house magic.

What’s not to love?

SIDE A:
A. Cross My Heart (Club Mix) 6:54

SIDE B:
B1. Cross My Heart (House Mix) 7:34
B2. Cross My Heart (Dub Mix) 6:04

RELEASE INFORMATION:
Label: WTG Records – 41 07894
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1988
Genre: Electronic, Pop
Style: House, Synth-pop

CREDITS:

Edited By – Chep Nunez*
Engineer [Assistant] – Jeff Abikzer
Engineer [Remix] – Hugo Dwyer
Keyboards [Additional] – Mac Quayle
Producer, Mixed By – Pete Hammond
Remix – “Little” Louie Vega*
Written-By – M. Jay*

NOTES:
Remixed at Right Track Recording, New York City.

Additional production and remix for Small Wonders Productions, Inc.

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND

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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

Password: burningtheground

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

I appreciate your help.