Erasure – Drama! (US 12″) (1989)

Burning The Ground Exclusive

For today’s entry in my “Soundtrack Of Pride” series, I wanted to feature one of synth-pop’s most beloved duos, Erasure.

Released in 1989, “Drama!” was the first single taken from the English duo’s fourth studio album, Wild!. Written by Vince Clarke and Andy Bell, the single became another major hit for Erasure, reaching #4 on the UK Singles Chart and #10 on the U.S. Billboard Dance Chart.

By this point, Erasure had already built a colorful world of electronic pop, one where heartache, humor, camp, and pure dance floor release could all live in the same song. “Drama!” is a perfect example of that magic. It is theatrical, sharp, and joyfully over the top, but beneath all the sparkle there is something much more serious going on.

The song takes aim at judgment, gossip, shame, and the way people love to point fingers from a safe distance. Throughout the track, the shouted “Guilty!” gives the record one of its most memorable hooks. That uncredited exclamation was provided by Scottish band The Jesus and Mary Chain, who were recording in the studio next door. It is one of those wonderfully odd pop music moments that sounds almost too good to be true.

That “Guilty!” also gives the song an extra bite. It turns the record into a kind of courtroom drama on the dance floor, with Andy Bell refusing to stand quietly while the world passes judgment.

That is where “Drama!” fits so beautifully into Pride.

Andy Bell’s voice has always carried a special kind of strength. He can sound wounded, funny, romantic, and defiant all at once. On “Drama!” he does not sound like someone begging to be accepted. He sounds like someone calling out the absurdity of being judged in the first place.

The line “We all have the ability, our freedom is fragile” lands especially hard. For LGBTQ+ people, freedom has never been something to take for granted. It has been fought for, danced for, marched for, and sometimes protected in the dark safety of a club while the outside world kept shouting its own accusations.

Erasure understood that pop music could be more than catchy. It could be a lifeline. Their records gave queer listeners joy without apology. They made emotions feel huge, colorful, and worth celebrating. In a time when LGBTQ+ lives were still too often framed by fear, silence, or scandal, Erasure gave us songs that were loud, proud, and full of feeling.

“Drama!” is not just a great pop single. It is also a reminder that the people who scream “guilty” the loudest are often the ones who should take a closer look at themselves.

The 12-inch versions gave the song even more room to strut, with “Drama! (Act 2)” and the “Krucial Mix” stretching the track into full club territory. The B-sides, “Sweet, Sweet Baby” and “Paradise,” added even more value to an already essential Erasure single.

For me, “Drama!” remains one of those records that could only come from Erasure. It is clever, camp, emotional, and completely danceable. It turns judgment into theater and shame into release.

And really, what is Pride without a little drama?

SIDE A:
Drama! (Krucial Mix) 7:07
Mixed By – Bob Kraushaar

Sweet, Sweet Baby (Medi-Mix) 4:22
Engineer – Mike Spencer
Mixed By – Dave Randall

Paradise (Lost & Found Mix) 5:48
Remix – George Holt

SIDE B:
Drama! (Act 2) 5:38
Mixed By – Mark Saunders

Sweet, Sweet Baby (The Moo-Moo Mix) 5:13
Mixed By – Mark Saunders

Paradise 4:10
Mixed By – Mark Saunders

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Erasure: Drama! (1989)	Peak position
Australia (ARIA)	157
Austria (Hitradio Ö3)	13
Denmark (IFPI)	3
Europe (Eurochart Hot 100)	12
Finland (Suomen virallinen lista)	15
Ireland (IRMA)	5
New Zealand (Recorded Music NZ)	35
Spain (AFYVE)	18
Switzerland (Schweizer Hitparade)	15
UK Singles (OCC)	4
US Alternative Airplay (Billboard)	11
US Dance Club Songs (Billboard) with “Sweet, Sweet Baby”	10
US Dance Singles Sales (Billboard) with “Sweet, Sweet Baby”	13
West Germany (GfK)	12

RELEASE INFORMATION:
Label: Sire – 0-21356, Reprise Records – 0-21356, Sire – 9 21356-0, Reprise Records – 9 21356-0, Mute – 0-21356, Mute – 9 21356-0
Format: Vinyl, 12″, 33 ⅓ RPM, Maxi-Single
Country: US
Released: 1989
Genre: Electronic
Style: Synth-pop

CREDITS:

Design [Designed By] – Me Company
Photography By – Pierre Et Gilles
Producer – Erasure, Gareth Jones (tracks: A1, A3, B1, B3), Mark Saunders
Written-By – Clarke/Bell

NOTES:
Specially-Priced Maxi-Single

“Drama” and “Paradise” recorded at The Church/Swing Studios.
“Sweet, Sweet Baby” recorded at Swing Studios.
A1 mixed at Sarm Studios.
A2 mixed at Arcantide Studios.
A3 remixed at Konk Studios.
B1, B2, B3 mixed at Konk Studios.

Original version of “Drama!” available on the Sire/Reprise album “Wild!“.

Made In U.S.A.

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

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

I appreciate your help.

June 25, 2026

Anything Box – Jubilation (This Thing Called Life) (US 12″) (1990)

Burning The Ground Exclusive

As Pride Month continues, I wanted to shine a light on a song filled with hope, reflection, and the kind of emotional release that feels right at home on the dance floor. Released in 1990, “Jubilation (This Thing Called Life)” by Anything Box captures the feeling of moving through pain, rising above judgment, and choosing joy anyway.

Anything Box is an electronic/synth-pop group originally from Paterson, New Jersey, and now based in Long Beach, California. Led by Claude S., the group arrived at the start of the 1990s with a sound that carried the spirit of synth-pop into a new decade. Their music paired bright electronic melodies with lyrics that often reached for something more personal.

“Jubilation (This Thing Called Life)” was released as the second single from the band’s debut album Peace. The single became a club favorite, reaching #16 on the U.S. Dance chart.

While the song was not written as an explicitly LGBTQ+ anthem, its message fits beautifully within the spirit of Pride. The lyrics speak to memory, regret, survival, and the difficult process of moving forward. In the opening lines, the narrator closes their eyes and hides behind “blackened lies” that follow them through history. It is a striking image of someone carrying the weight of the past, yet still trying to find a way toward happiness.

That feeling is something many LGBTQ+ listeners can understand. Coming out and living openly often means facing old fears, old wounds, and the judgment of others. It can mean leaving behind parts of life that once felt safe, even when they no longer allowed you to be fully yourself.

One of the most powerful moments in the song comes with the repeated reminder, “When you feel stranded, don’t take for granted this thing called life.” It is simple, but it lands with force. The line feels like a call to hold on, even when the world feels cold or uncertain. For Pride Month, that message feels especially meaningful. Pride is not only about celebration. It is also about survival, self-acceptance, and finding the courage to keep going.

The lyric “Moving on was hard to do, to leave the things that I once knew” also carries a deep emotional pull. It speaks to the loss that can come with growth. Childhood, innocence, and familiar places do not always come back to us. For many, finding your true self means stepping into the unknown and trusting that there is joy waiting on the other side.

Then comes one of the song’s most personal lines: “My name is all I have for an offering.” That lyric feels especially tied to identity. A name can be history, selfhood, and declaration all at once. In the context of Pride, it becomes a reminder that living truthfully is an offering in itself. To stand in your name, your truth, and your life is a beautiful act of defiance.

Musically, “Jubilation (This Thing Called Life)” is pure early 1990s synth-pop bliss. Its bright keyboards, pulsing rhythm, and soaring melody create the kind of uplifting energy that has filled LGBTQ+ clubs for decades. It is danceable, but never empty. Beneath the beat is a song about pain, release, and choosing happiness even after the hard parts.

Over the years, “Jubilation (This Thing Called Life)” has remained a favorite in underground LGBTQ+ clubs, retro dance nights, and synth-pop sets. It brings people together through positivity and shared emotion, reminding us that the dance floor has long been a place of release, connection, and chosen family.

For many fans, Anything Box represents one of those treasured acts whose music found a devoted audience through club play, word of mouth, and emotional connection. “Jubilation” continues to stand as one of their most beloved songs because it speaks to something simple but powerful: life can be hard, but joy is still worth fighting for.

More than three decades later, “Jubilation (This Thing Called Life)” still feels like a celebration of self, community, and the courage to live out loud. That makes it a perfect addition to The Soundtrack Of Pride.

Update: Claude S. of Anything Box kindly shared some additional background about the song’s music video history. Although no official video was ultimately filmed for “Jubilation (This Thing Called Life),” plans had been made to create one. Sadly, the director who had worked with the band on their first video for “Living In Oblivion” passed away from AIDS-related complications around 1990-1991. At the time, the band felt there was no one else they wanted to work with, so the video was never made.

SIDE A:
Jubilation (This Thing Called Life) (K.C.’s Camp Pendleton Mix) 6:33
Remix – Keith “K.C.” Cohen*

Jubilation (This Thing Called Life) (The F Neosubtomic Mix) 5:59
Remix – Keith “K.C.” Cohen*

SIDE B:
Jubilation (This Thing Called Life) (Upstairs At Claudes) 4:38
Producer [Additional] – Michael Eckart
Remix – Jon St. James

Jubilation (This Thing Called Life) (The Face Mix) 5:00
Producer [Additional] – Michael Eckart
Remix – Jon St. James

Jubilation (This Thing Called Life) (Petite Filet Of Percapella) 4:21
Remix – Keith “K.C.” Cohen*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Anything Box: *Jubilation (This Thing Called Life)* (1990)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#16	1990

RELEASE INFORMATION:
Label: Epic – 49 73357
Format: Vinyl, 12″, Maxi-Single, 33 ⅓ RPM
Country: US
Released: 1990
Genre: Electronic
Style: Synth-pop

CREDITS:

Edited By [Special] – Steve Beltran (tracks: A1, A2, B3)
Engineer [Assistant] – Andy Batwinas (tracks: A1, A2, B3)
Executive Producer – Chris Lawmaster
Keyboards [Additional] – David Frank (tracks: A1, A2, B3)
Mastered By – Brian Gardner
Other [Management] – Formula 1 Music Group
Other [Personality] – Dania Morales
Other [Vision] – Paul Rjinders
Performer [Machinery], Written-By – Claude S., Dania Morales, Paul Rijnders*
Producer – Jon St. James
Producer [Additional] – Keith “K.C.” Cohen* (tracks: A1, A2, B3)
Vocals, Artwork By [Illustration] – Claude S.

NOTES:
Produced for Formula 1 Music Group.
Recorded at Formula 1 Studios, La Habra, California.
Mastered at Bernie Grundman Mastering, Hollywood, California.
Tracks A1, A2 & B3 remixed at Larrabee Sound Studios, West Hollywood, California.
Tracks B1 & B2 remixed for Formula 1 Music Group.

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.

June 24, 2026

Book Of Love – Pretty Boys And Pretty Girls (US 12″) (1988)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: January 30, 2013

Today, I’m revisiting a Burning The Ground favorite that was originally posted in 2013. For this Soundtrack Of Pride edition, I’ve created a brand-new 2026 transfer of Book Of Love’s “Pretty Boys And Pretty Girls,” complete with meticulous audio restoration that brings renewed energy and clarity to this iconic dance-floor classic. It’s the perfect opportunity to celebrate a song that remains as powerful and relevant today as it was upon its release in 1988.

When discussing the soundtrack of LGBTQ+ liberation, some songs become anthems through sheer visibility, while others earn their place through something deeper. They capture a moment, a struggle, and a community finding its voice. Book Of Love’s “Pretty Boys And Pretty Girls” is one of those records.

Released in 1988 as the lead single from the band’s second album Lullaby, “Pretty Boys And Pretty Girls” was the fifth single overall from the American synth-pop quartet and remains their most commercially successful release. The song reached No. 90 on the Billboard Hot 100, making it the band’s only crossover pop hit. In the clubs, however, it found its true home, climbing to No. 5 on Billboard’s Hot Dance Club Play chart and spending eleven weeks on the survey.

At first listen, “Pretty Boys And Pretty Girls” sounds like classic late-’80s synth-pop. Bright keyboards, pulsing dance rhythms, and an irresistible chorus made it a natural fit for dance floors across America. Yet beneath its infectious surface lies a message that resonated powerfully within the LGBTQ+ community.

One of the song’s most powerful moments comes when Susan Ottaviano sings, “But sex is dangerous. I don’t take my chances.” Released during the height of the AIDS crisis, the lyric was remarkably direct for a pop record in 1988. At a time when many artists and radio programmers shied away from addressing the epidemic, Book Of Love confronted it head-on, promoting safe sex and acknowledging the fears that had become part of everyday life for the LGBTQ+ community. Rather than diminishing the song’s celebratory spirit, the message reinforced the importance of protecting one another while continuing to find joy, connection, and solidarity on the dance floor.

The timing of the song’s release was especially significant. Emerging during the height of the AIDS crisis, “Pretty Boys And Pretty Girls” became one of the first pop songs to openly advocate for safe sex. While many mainstream artists avoided addressing the epidemic directly, Book Of Love used their platform to promote awareness, responsibility, and compassion. The band has spoken about how dance clubs, long considered safe havens for the queer community, became places marked by both celebration and unimaginable loss during this period.

That duality is woven throughout the song. It is joyful yet reflective, euphoric yet grounded in the realities facing LGBTQ+ people at the time. The dance floor wasn’t just a place to party. It was a place to find community, support, and survival.

The single’s B-side added another memorable chapter to the band’s history. Book Of Love recorded a synth-pop interpretation of Mike Oldfield’s “Tubular Bells,” the instrumental theme forever associated with the horror classic The Exorcist. For their version, the band sampled Lauren Roselli dramatically crying, “Mother, make it stop!”, a playful nod to Linda Blair’s possessed character Regan from the film.

For the 12-inch release, producers Scott Blackwell and Bob Brockmann took things a step further, seamlessly blending “Pretty Boys And Pretty Girls” and “Tubular Bells” into a fourteen-minute dance-floor epic. The resulting medley became a favorite in clubs and remains one of the most inventive extended mixes of the era.

More than three decades later, “Pretty Boys And Pretty Girls” continues to resonate. While rooted firmly in the club culture of the late 1980s, its message of inclusion, self-acceptance, and solidarity remains as relevant today as it was upon release. The song stands as a reminder that Pride is not only about celebration, but also about visibility, advocacy, and creating space for those who have too often been pushed to the margins.

For many LGBTQ+ listeners, Book Of Love captured that feeling perfectly. Wrapped inside one of the decade’s most infectious synth-pop records is a message that still echoes from dance floors, Pride celebrations, and queer spaces around the world.

“Pretty Boys And Pretty Girls” remains not only a club classic, but an enduring chapter in the Soundtrack Of Pride.

SIDE A:
Pretty Boys And Pretty Girls (Extended Mix) 7:22
Engineer [Remix Engineer] – Bob Brockmann*
Keyboards, Producer [Additional Production], Remix – Bob Brockmann, Scott Blackwell
Written-By – Theodore Ottaviano

Tubular Bells (7″ Mix) 4:27
Mixed By – Alan Meyerson
Written-By – Mike Oldfield

Pretty Boys And Pretty Girls (7″ Mix) 4:50
Mixed By – Alan Meyerson
Written-By – Theodore Ottaviano*

SIDE B:
Tubular Bells / Pretty Boys And Pretty Girls (Regan’s House Medley) 14:28
Engineer [Remix] – Bob Brockmann, Hugo Dwyer
Keyboards, Producer [Additional Production], Remix – Bob Brockmann, Scott Blackwell
Written-By – Mike Oldfield, Theodore Ottaviano*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Book Of Love: Pretty Boys And Pretty Girls/Tubular Bells (1988)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#5	1988
US Billboard Hot 100	#90	1988

RELEASE INFORMATION:
Label: Sire ‎– 0-20963, Sire ‎– 9 20963-0, I Square Records ‎– 0-20963, I Square Records ‎– 9 20963-0
Format: Vinyl, 12″, Maxi-Single, 33 RPM
Country: US
Released: 1988
Genre: Electronic, Pop
Style: House, Synth-pop

CREDITS:

Design – Jade Lee
Mastered By – José Rodriguez
Photography By – David La Chappelle*
Producer – Flood, Ted Ottaviano
Vocals [Uncredited] – Susan Ottaviano

NOTES:
Cover says “Specially Priced Maxi-Single”.
Front cover photo of the group says “MCMLXXXVIII” next to it, vertically, which corresponds to the date of release, 1988.

Tracks A1 and B: Remix, additional production and keyboards for Broadbeard Productions.

Original versions from the Sire Album “Lullaby.” Available on LP, Cassette and Compact Disc (1/4/2-25700)

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.

June 23, 2026

Sheryl Lee Ralph – In The Evening (Germany 12″) (1984)

Burning The Ground Exclusive

As Pride Month continues, “The Soundtrack of Pride” shines a spotlight on a dance floor classic that perfectly captures the spirit of self-expression, freedom, and community. While it may not have achieved the mainstream recognition of some of its contemporaries, Sheryl Lee Ralph’s 1984 debut single “In The Evening” became a beloved anthem in clubs and remains an enduring favorite within LGBTQ+ culture.

Many know Sheryl Lee Ralph as the original Deena Jones in the Broadway production of Dreamgirls, or from her acclaimed television and film career. Long before earning awards and critical acclaim on screen, Ralph stepped onto the dance floor with a record that would leave a lasting mark on club culture.

Produced by Trevor Lawrence, “In The Evening” combined infectious post-disco grooves, soulful vocals, and polished production into one of the most irresistible dance records of the decade. The single reached No. 6 on Billboard’s Dance chart and became a favorite in clubs around the world.

What truly cemented the song’s place in LGBTQ+ history, however, was its message.

The song’s unforgettable lyric, “In the evening, the real me comes alive,” resonated deeply with many queer people during the 1980s. At a time when countless LGBTQ+ individuals still faced discrimination, rejection, and pressure to hide their authentic selves, the nightlife offered something precious, a place where they could finally be free. Dance clubs became sanctuaries, and songs like “In The Evening” became their soundtrack.

For many, those lyrics were more than words. They reflected a lived experience. During the day, some were forced to conceal who they were. At night, surrounded by community on crowded dance floors, they could embrace their true identity. Ralph’s powerful vocal performance gave voice to those feelings of liberation and self-discovery.

The record quickly became a staple in gay clubs and discotheques upon its release. Decades later, it continues to fill dance floors and remains a cherished classic in LGBTQ+ spaces. Few songs from the era so perfectly capture the joy, resilience, and sense of belonging that club culture provided.

Sheryl Lee Ralph herself has fully embraced the song’s legacy. In recent years she has frequently referred to “In The Evening” as a “big gay anthem” and has credited much of its enduring popularity within the LGBTQ+ community to her friendship with the late disco icon Sylvester, one of the most important and influential openly gay artists in dance music history.

Ralph’s connection to the LGBTQ+ community extends far beyond this single. Throughout her career she has been a passionate advocate and ally. In 2024 she was recognized for her tireless support of LGBTQ+ causes, being named Advocate of the Year by Out Magazine and honored by GLAAD for her ongoing activism and commitment to equality.

More than forty years after its release, “In The Evening” remains a shining example of how music can provide comfort, empowerment, and connection. It reminds us of the importance of safe spaces, chosen families, and the freedom to live authentically.

As we celebrate Pride Month and the songs that helped shape LGBTQ+ culture, “In The Evening” stands tall as more than just a dance record. It is an anthem of self-acceptance, a celebration of authenticity, and a testament to the power of finding your community.

When the sun goes down, and the music begins, the message still rings true:

“In the evening, the real me comes alive.”

SIDE A:
In The Evening (Special Extended Dance Mix) 6:18

SIDE B:
In The Evening (Instrumental) 6:18

VINYL GRADE:
Vinyl: Naer Mint
Sleeve: Near Mint

Chart Performance — Sheryl Lee Ralph: *In The Evening* (1984)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#6	1984
Belgium (Ultrapop Flanders)	#16	1984
Netherlands (Dutch Singles Top 100)	#18	1984
UK Singles Chart	#64	1984

RELEASE INFORMATION:
Label: TELDEC – 6.20379
Format: Vinyl, 12″, Green Fluorescent
Country: Germany
Released: 1984
Genre: Electronic, Funk / Soul
Style: Synth-po

CREDITS:

Composed By – Frank Musker
Cover [Concept] – Joe Bernstein*, Sheryl Lee*
Mixed By, Engineer – Ben Wisch
Photography By [Cover Photo] – Marc Raboy
Producer, Arranged By, Composed By – Trevor Lawrence

NOTES:
Pressed on Green Fluorescent Vinyl

Licensed by – The New York Music Company

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.