Alien Sex Fiend – Dead And Buried (UK 12″) (1984)

Burning The Ground Exclusive

Some records are simply made for Halloween, and today’s Spooky Season Spins selection sounds as though it crawled straight out of a crypt. We’re heading back to 1984 for a delightfully twisted slice of British gothic rock from one of the most outrageous bands to emerge from London’s underground scene. It’s Alien Sex Fiend with “Dead And Buried,” a sinister, hypnotic, and wonderfully deranged record that perfectly captures the darker side of the 1980s.

Formed in London in late 1982, Alien Sex Fiend became closely associated with the legendary Batcave nightclub, one of the most important gathering places for the emerging gothic subculture. Led by the unmistakable Nik Fiend and his wife, Mrs. Fiend, the band developed a sound that combined post-punk, psychedelic rock, primitive electronics, industrial rhythms, and a healthy dose of B-movie horror. Their music was strange, confrontational, and often darkly humorous. While many of their contemporaries approached gothic rock with a sense of seriousness, Alien Sex Fiend seemed perfectly happy to turn the whole thing into a gloriously demented nightmare.

“Dead And Buried” arrived in August 1984 on Anagram Records, a subsidiary of Cherry Red Records, during an especially productive period for the group. Following their 1983 debut album Who’s Been Sleeping In My Brain?, Alien Sex Fiend were quickly establishing themselves as one of the more recognizable names in Britain’s independent music scene. Their unusual appearance, theatrical performances, and unpredictable recordings helped them stand apart from the growing number of bands associated with the gothic movement.

Musically, “Dead And Buried” is a wonderfully unsettling experience. A relentless, mechanical rhythm drives the track forward while distorted guitar, swirling electronics, and eerie effects create an atmosphere that feels somewhere between a haunted carnival and an underground nightclub. Nik Fiend’s distinctive vocals are the real centerpiece. He snarls, howls, mutters, and shrieks his way through the recording with the enthusiasm of a mad scientist who has just discovered how to bring the dead back to life.

What makes the song especially appealing is its danceable quality. Beneath all the noise and theatrical horror is an infectious groove that would have sounded perfectly at home on the dance floor at the Batcave. Alien Sex Fiend understood that gothic music could be both frightening and fun. “Dead And Buried” captures that balance beautifully. It is creepy enough for a Halloween soundtrack but energetic enough to keep the dance floor moving.

The single was produced by Ken Thomas, whose work helped give the recording its thick, atmospheric sound. Interestingly, the single versions of “Dead And Buried” and its companion track “Attack!!!” are entirely different recordings from those that appeared on the band’s second studio album, Acid Bath, later in 1984. The 12-inch editions are also longer than their 7-inch counterparts, allowing the band’s hypnotic rhythms and bizarre sonic experiments additional room to unfold.

The record’s unsettling atmosphere extends to its accompanying material. “Attack!!!” is another extended excursion into the band’s chaotic musical world, while “Ignore The Machine… Dub” revisits one of their earliest underground favorites through a more spacious, dub-influenced arrangement. Produced by Youth, the latter provides an especially interesting contrast with the more aggressive material on the record.

Despite their unconventional sound, Alien Sex Fiend managed to make an impression on the mainstream British charts. “Dead And Buried” entered the UK Singles Chart on August 25, 1984, at No. 92 and climbed to No. 91 the following week. It eventually spent three weeks in the Top 100, a remarkable achievement for a record that sounded so completely unlike the polished pop dominating the airwaves at the time. The single was also a Top 10 hit on the UK Independent Singles Chart.

One of the most memorable aspects of Alien Sex Fiend was their ability to combine horror imagery with a playful sense of the absurd. Their influences stretched from punk rock and psychedelia to electronic experimentation and classic horror films. Unlike bands that relied on gloomy atmospheres alone, Alien Sex Fiend created an entire world of grotesque characters, twisted humor, and musical mayhem. It was a world that could be disturbing one moment and completely ridiculous the next, often within the same song.

More than four decades later, “Dead And Buried” remains a wonderful reminder of just how adventurous the independent music scene could be during the early 1980s. It also demonstrates why the original gothic movement was far more varied than its popular image sometimes suggests. Alien Sex Fiend were never particularly interested in following anyone else’s rules, and their willingness to experiment helped give their recordings a character that remains unmistakably their own.

For me, “Dead And Buried” is exactly the sort of record that makes Spooky Season Spins so much fun. It has the atmosphere, the attitude, the strange electronic textures, and just enough campy horror to make it a perfect October selection. There is something irresistible about a record that sounds like the soundtrack to a midnight séance taking place on the dance floor of a particularly disreputable nightclub.

So dim the lights, draw the curtains, and prepare to disturb the neighbors. Alien Sex Fiend are about to wake the dead, and judging by the sound of this record, they have absolutely no intention of letting them rest in peace.

Until the next Spooky Season Spin, keep those turntables spinning and the lights turned down low.

SIDE A:
A1. Dead And Buried (12″ Version) 5:47
Producer – Ken Thomas

SIDE B:
B1. Attack!!! (12″ Version) 8:30
Producer – Ken Thomas

B2. Ignore The Machine… Dub 6:45
Producer – Youth

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Anagram Records – 12 ANA 23
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: UK
Released: Aug 1984
Genre: Electronic, Rock
Style: New Wave, Goth Rock

CREDITS:

Drums – Johnnie Ha. Ha.*
Engineer – Ken Thomas
Guitar – The Yaxi*
Producer [Help With Early Production Work] – Tommy Desmond
Synthesizer [The Organ Grinder] – Mrs Fiend*
Vocals [The Crooner] – Nik Fiend
Written-By – Wade*, James*, Freshwater*, Wade*

NOTES:
Made in France.
Printed in France

Mastered at The Town House, London.

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

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

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

Password: burningtheground

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October 27, 2026

Echo & The Bunnymen – The Cutter (UK 12″) (1983)

Burning The Ground Exclusive

Not every record featured during Spooky Season needs to be about ghosts, monsters, or things that go bump in the night. Sometimes the music itself creates enough tension to send a chill down your spine. For today’s Spooky Season Spins, I’m reaching back to January 1983 for a record that has always carried an unmistakable sense of mystery, Echo & The Bunnymen’s “The Cutter.”

With its strange, swirling strings, driving percussion, and Ian McCulloch’s dramatic vocals, “The Cutter” sounds like a warning from somewhere just beyond the shadows. It’s not a traditional Halloween song, but its dark atmosphere and cryptic lyrics make it a perfect addition to this year’s collection of spooky sounds.

A Sharp Turn Into Darkness

Formed in Liverpool in 1978, Echo & The Bunnymen had already established themselves as one of Britain’s most interesting post-punk bands by the time “The Cutter” arrived on January 14, 1983.

The group’s classic lineup featured Ian McCulloch on vocals and rhythm guitar, Will Sergeant on lead guitar, Les Pattinson on bass, and Pete de Freitas on drums. Together, they created a sound that mixed post-punk energy with psychedelic influences and a healthy dose of mystery.

“The Cutter” was the second single taken from their third studio album, Porcupine, released in February 1983. Produced by Ian Broudie under the name Kingbird, the single became the band’s first UK Top 10 hit, climbing to number eight.

It’s remarkable that a song this unusual managed to reach such a wide audience. At a time when synthesizers and polished pop productions were dominating the British charts, Echo & The Bunnymen delivered something far stranger.

From its opening seconds, “The Cutter” refuses to sound ordinary.

The song begins with an unusual string melody that seems to twist and turn before the rhythm section comes crashing in. Those distinctive strings came courtesy of Indian violinist L. Shankar, whose playing gives the recording an almost otherworldly quality.

Interestingly, the opening melody has an unexpected connection to Cat Stevens. In a 1985 interview, McCulloch recalled that Broudie had encouraged Shankar to play something resembling Stevens’ 1967 hit “Matthew & Son.” The result became one of the most recognizable elements of “The Cutter.”

Beneath those strings, Les Pattinson’s bass provides a steady pulse while Pete de Freitas drives the song forward with forceful percussion. Will Sergeant’s sharp guitar work adds another layer of tension.

Then there’s Ian McCulloch.

His commanding vocals move between restraint and desperation, eventually erupting into the repeated plea, “Spare us the cutter!”

What exactly is he trying to escape? That’s part of the song’s appeal. The lyrics never provide an easy explanation, leaving the listener to imagine what might be lurking beneath the surface.

The result is a recording that feels threatening, restless, and strangely beautiful all at once.

The Original 1983 UK 12-Inch

For today’s spin, I’ve pulled out my original UK 12-inch pressing on Korova Records, complete with its picture sleeve and limited-edition foldout poster.

One of the things I’ve always enjoyed about collecting 12-inch singles is discovering what record companies included beyond the main track. Sometimes it was an extended remix. Other times, it was an unusual B-side, a live recording, or an extra piece of artwork.

“The Cutter” offers a little of the latter two.

Unlike many 12-inch releases from this period, the A-side does not feature an extended remix. Instead, the additional playing space is devoted to two B-side selections, including a remarkable live performance.

Exploring the B-Side

Turning the record over reveals two tracks that make this release especially interesting.

“Way Out And Up We Go” continues the band’s early post-punk approach. It’s a lesser-known recording that deserves attention beyond its position on the flip side of a hit single.

But the real surprise comes with “Zimbo.”

Originally known as “All My Colours,” the song first appeared on the band’s 1981 album Heaven Up Here. For this 12-inch, however, Korova included a live version recorded at the inaugural WOMAD Festival in July 1982.

This extraordinary performance features Echo & The Bunnymen alongside the Royal Burundi Drummers.

The addition of the drummers gives “Zimbo” a powerful, hypnotic quality. The steady percussion builds beneath McCulloch’s haunting vocals, creating an atmosphere that feels almost ceremonial.

It’s a striking performance, and one that demonstrates how far the Bunnymen were willing to stretch the boundaries of their sound.

In fact, for a Spooky Season playlist, I’d argue that this live recording is every bit as effective as “The Cutter” itself.

There is something mesmerizing about its repeated rhythms and brooding atmosphere. It’s the kind of recording that seems to grow more mysterious the longer you listen.

The historic WOMAD performance later received renewed attention when it was included on Live at WOMAD 1982, an archival collection released in 2022 to celebrate the festival’s 40th anniversary.

An Icy Image From Iceland

Another reason I particularly enjoy this pressing is the original foldout poster, which is still included with my copy.

The black-and-white poster features the band during their visit to Iceland, where they filmed the promotional video for “The Cutter.”

The video was shot in late 1982, with much of the footage filmed around Gullfoss, one of Iceland’s most famous waterfalls. Surrounded by snow, ice, and a bleak winter landscape, the band looks almost stranded at the edge of the world.

The icy scenery provides a perfect visual match for the music.

There’s nothing warm or inviting about the setting. Instead, the frozen landscape reflects the same cold, uneasy atmosphere running through the song.

Photographs from the Iceland trip were also used for the artwork of Porcupine, helping establish the band’s striking visual identity during this period.

The poster is a wonderful reminder of when buying a record could mean getting something extra to unfold, examine, and occasionally hang on your bedroom wall.

More than forty years later, it’s especially satisfying to find an original pressing that still has its promotional extras intact.

A Perfect Cut for Spooky Season

So, what makes “The Cutter” such a good choice for Spooky Season Spins?

For me, it’s the atmosphere.

The song doesn’t rely on horror references or supernatural imagery. Instead, it creates a feeling of unease through its unusual instrumentation, mysterious lyrics, and dramatic performance.

Even the title suggests something unpleasant. There’s an implied threat hanging over the recording, although we’re never quite sure what that threat might be.

That’s what makes it so effective.

And when you add the equally haunting live performance of “Zimbo” on the B-side, the entire record takes on an even darker character.

Echo & The Bunnymen would go on to explore similar territory with songs such as “The Killing Moon,” but “The Cutter” has an urgency and nervous energy all its own.

It’s sharp, strange, and just a little unsettling.

Exactly what I’m looking for when the Halloween season rolls around.

So, as the October nights grow longer and the shadows begin to creep across the walls, I’m placing this original 1983 UK 12-inch on the turntable, turning up the volume, and letting Echo & The Bunnymen provide tonight’s soundtrack.

After all, who needs a horror movie when a record can make you feel this uneasy?

Until the next Spooky Season Spin, keep those turntables spinning and the lights turned down low.

SIDEA:
A1. The Cutter 3:54
Producer – Kingbird

SIDE B:
B1. Way Out And Up We Go 4:00
Producer – Kingbird

B2. Zimbo (Recorded Live) 4:58
Producer – Robbie McGrath
With The Royal Burundi Drummers

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
Poster: Mint

RELEASE INFORMATION:
Label: Korova – KOW 26 (T), Korova – KOW 26T, Korova – 249 918-0
Format: Vinyl, 12″, Single, 45 RPM, White Labels, Poster
Country: UK
Released: Jan 14, 1983
Genre: Rock
Style: New Wave, Indie Rock

CREDITS:

Written-By – McCulloch*, Pattinson*, de Freitas*, Sergeant*

NOTES:
White centre labels with orange ‘Korova Records’ logos
Embossed Warner “W” stamp to back cover , upper right corner.

Initial copies included a free poster.

‘Zimbo’ recorded live at the W.O.M.A.D. Festival, July 1982.

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.

October 23, 2026

Stevie Wonder – Skeletons (US 12″) (1987)

Burning The Ground Exclusive

Happy Friday, everyone!

Yesterday, we brightened things up with the infectious synth-pop sounds of El DeBarge’s “Who’s Johnny.” But before we head into the weekend, I thought we might open a few closet doors and see what’s hiding inside! Today, we’re staying in the Motown family with Stevie Wonder’s funky 1987 hit “Skeletons.” It might not be your typical Halloween record, but with its dark electronic groove, mysterious atmosphere, and lyrics about secrets waiting to be exposed, I think it’s a perfect way to bring a little funk back into our Spooky Season Spins!

Released in September 1987 as the lead single from Stevie Wonder’s album Characters, “Skeletons” found the legendary singer, songwriter, and musician exploring a harder-edged electronic funk sound while delivering some pointed social commentary.

At first glance, the title might suggest something supernatural, but these aren’t the kind of skeletons that rattle their bones in a haunted house. Stevie is talking about the skeletons people keep hidden in their closets. Those embarrassing secrets, lies, and questionable activities that eventually come back to haunt them.

When the song appeared in 1987, the United States was dealing with a wave of political scandals, public controversies, and revelations about prominent figures. Stevie took that atmosphere of suspicion and deception and turned it into one of the funkiest records of the year. Beneath its irresistible groove was a serious message about dishonesty, hypocrisy, and the consequences of trying to keep the truth buried.

Musically, “Skeletons” is a real treat for fans of eighties electronic funk. The song is built around a thick, rubbery synthesizer bass line, crisp electronic percussion, and layers of keyboards that give it a slightly sinister edge. Stevie’s unmistakable vocals move effortlessly between playful, sarcastic, and downright confrontational. It’s a fascinating combination of social commentary and dance-floor energy that only an artist like Stevie Wonder could pull off.

The accompanying music video took the concept even further. Set in a seemingly ordinary suburban neighborhood, it featured Stevie sitting on his front porch while the hidden lives of his neighbors were gradually revealed. Behind those friendly smiles and picture-perfect appearances were secrets that nobody wanted exposed. The video’s message was simple. You never really know what someone might be hiding behind closed doors!

Despite its darker subject matter, “Skeletons” was a commercial success. The single reached #1 on Billboard’s Hot Black Singles chart, #19 on the Billboard Hot 100, and #20 on the Hot Dance Club Play chart. It also reached #59 on the UK Singles Chart, proving that Stevie still knew how to deliver a hit nearly three decades into his remarkable recording career.

Year	Chart	Peak
1987	U.S. Billboard Hot 100	#19
1987	U.S. Billboard Hot Black Singles	#1
1987	U.S. Billboard Hot Dance/Club Play	#20
1987	Australia Kent Music Report	#38
1987	Belgium Ultratop 50 (Flanders)	#36
1987	Canada RPM Top 100 Singles	#43
1987	Netherlands Single Top 100	#72
1987	New Zealand Singles Chart	#39
1987	UK Official Singles Chart	#59

For today’s post, I’m featuring the original U.S. Motown 12″ single, catalog number 4593MG, released in 1987.

Side A contains the 6:43 extended version, which gives Stevie’s funky arrangement considerably more room to stretch out. The longer mix also incorporates spoken excerpts associated with the political controversies of the day, adding another layer to the song’s message. It’s an interesting reminder of just how closely the record reflected the headlines of 1987.

Side B features the equally lengthy instrumental version. This is where the production really gets a chance to shine. Without the lead vocals, you can fully appreciate the intricate synthesizer arrangements, electronic percussion, and relentless bass groove that drive the track. For anyone who loves the sound of eighties drum machines and synthesizers, the instrumental is worth the price of admission alone!

And while “Skeletons” might not have been written with Halloween in mind, I’ve always felt that songs about secrets, deception, and things lurking beneath the surface can be just as unsettling as those about ghosts and monsters. After all, isn’t the thought of someone’s darkest secrets suddenly coming to light a little frightening?

So, as we wrap up another week here at Burning The Ground, let’s turn up the funk and let Stevie Wonder remind us that sometimes the scariest things aren’t hiding under the bed. They’re hiding in the closet!

Enjoy this fresh vinyl transfer, and have a fantastic weekend, everyone!

SIDE A:
A1. Skeletons (Extended Version) 6:43

SIDE B:
B1. Skeletons (Instrumental) 6:43

RELEASE INFORMATION:
Label: Motown – 4593MG
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1987
Genre: Electronic, Funk / Soul
Style: Synth-funk, Contemporary R&B, Dance-Pop

CREDITS:

Backing Vocals – Alexis England, Darryl Phinnessee, Dorian Holley, Keith John, Kevin Dorsey, Lynne Fiddmont, Melody McCully, Shirley Brewer
Co-producer, Engineer, Mixed By – Gary Olazabal
Engineer [Additional], Other [Mastering Coordinator] – R.R. Harlan
Guitar [Sample] – Gary Myrick
Mastered By – Stephen Marcussen
Programmed By [Computer, Synthesizer] – Robert Arbittier

NOTES:
Edited version in Album, Cassette and Compact Disc, “Characters”
Recorded at Wonderland Studios, Los Angeles, California
Mastered at Precision Lacquer

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 22, 2026

El DeBarge – Who’s Johnny (US 12″ Promo) (1986)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

After yesterday’s dark, mysterious “Mambo Witch,” I thought we could use a little sunshine! Today, we’re trading the shadows for the bright synthesizers, infectious rhythms, and unmistakable voice of El DeBarge. We’re heading back to the summer of 1986 with “Who’s Johnny,” a feel-good slice of synth-pop that still sounds as irresistible as it did forty years ago.

I originally posted this U.S. promotional 12″ single on June 5, 2012, during the early days of Burning The Ground. Fourteen years later, I felt it was time to pull this record from the archives and give it a brand-new transfer for 2026. Whether you downloaded it back then or are discovering it here for the first time, I hope you’ll enjoy revisiting this little piece of eighties pop history.

Released in 1986 on Motown’s Gordy label, “Who’s Johnny” marked a major turning point for El DeBarge. After finding success as the lead singer of the family group DeBarge, El stepped into the spotlight as a solo artist. His first solo single became a smash hit, reaching #3 on the Billboard Hot 100 and spending one week at #1 on the Billboard Hot Black Singles chart. The record also climbed to #10 on the Billboard Hot Dance Club Play chart.

Year	Chart	Peak
1986	U.S. Billboard Hot 100	#3
1986	U.S. Billboard Hot Black Singles	#1
1986	U.S. Billboard Hot Dance/Club Play	#10
1986	U.S. Billboard Adult Contemporary	#18
1986	Canada RPM Top 100 Singles	#1
1986	Canada RPM Adult Contemporary	#7
1986	Netherlands Dutch Top 40	#3
1986	Netherlands Single Top 100	#7
1986	Belgium Singles Chart	#4
1986	Australia Kent Music Report	#33
1986	New Zealand Singles Chart	#27
1986	UK Official Singles Chart	#60

Written by Peter and Ina Wolf and produced by Peter Wolf, “Who’s Johnny” was recorded as the theme for the 1986 science-fiction comedy Short Circuit, starring Ally Sheedy, Steve Guttenberg, and Fisher Stevens. The film introduced audiences to the lovable robot Number 5, later known as Johnny 5, who develops a personality of his own after being struck by lightning. The song’s playful title fit the movie perfectly, while its upbeat production helped it become a hit far beyond the silver screen.

The accompanying music video was just as memorable. Set inside a courtroom, it featured El DeBarge performing while Johnny 5 found himself on trial. It was the kind of wonderfully silly MTV moment that could only have come from the eighties!

For me, much of the song’s charm comes from its production. Those sparkling synthesizers, punchy electronic drums, and funky bass lines create a sound that sits comfortably between R&B, dance-pop, and the polished synth-driven music that dominated the mid-eighties. Add El’s smooth vocals and soaring falsetto, and you have a record that’s nearly impossible to resist.

Today’s U.S. promotional 12″, catalog number PR 183, features the 6:26 extended version on Side A, remixed by Barney Perkins. The longer running time gives the arrangement a little more room to breathe while keeping the song’s irresistible hooks firmly in place. Side B contains the 4:43 instrumental version, which is a real treat for anyone who appreciates the production work behind these eighties recordings. Without the lead vocal, all those wonderful electronic textures and rhythmic details get their chance to shine.

And here’s a little extra eighties trivia. “Weird Al” Yankovic even recorded a parody called “Here’s Johnny” for his 1986 album Polka Party!, turning the song into a tribute to Ed McMahon and his famous introduction of Johnny Carson.

It’s hard to believe that both “Who’s Johnny” and Short Circuit are celebrating their 40th anniversaries in 2026. Where did the time go?

So, let’s brighten up this October morning with a little El DeBarge. Dust off those memories, turn up the volume, and enjoy this fresh 2026 transfer of a genuine eighties favorite!

SIDE A:
A1. Who’s Johnny (12″ Version) 6:26

SIDE B:
B1. Who’s Johnny (12″ Instrumental) 4:43

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Gordy – PR 183
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1986
Genre: Electronic, Funk / Soul, Pop
Style: Synth-pop, Rhythm & Blues

CREDITS:

Executive-Producer – Tony Jones (15)
Producer – Peter Wolf (3)
Remix – Barney Perkins

NOTES:
For Promotional Use Only/Not For sale
Album version inEl DeBarge, 6181GL

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.