Visage – Fade To Grey (Germany 12″) (1980)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: January 24, 2018

As Pride Month continues, it’s impossible to overlook the artists and movements that gave LGBTQ+ people spaces where they could express themselves freely, boldly, and without apology. Few songs embody that spirit of reinvention and self-expression quite like “Fade To Grey” by Visage.

Released on November 14, 1980, as the second single from the band’s self-titled debut album, “Fade To Grey” became one of the defining records of the New Romantic movement. More than just a synth-pop classic, it served as the soundtrack to a cultural shift born from London’s underground club scene, a place where fashion, music, gender expression, and identity blurred in the most exhilarating ways.

At the center of it all was Steve Strange.

Before becoming the face of Visage, Steve Strange was the flamboyant doorman and co-host of London’s legendary Blitz nightclub. Alongside DJ Rusty Egan, Strange helped create a haven for outsiders, artists, and LGBTQ+ people seeking a space where they could be themselves. The Blitz wasn’t simply a club. It was a community. Its regulars included future stars such as Boy George, Marilyn, and members of Spandau Ballet, all embracing creativity and individuality at a time when conformity was often expected.

Visage itself was something of a supergroup. The lineup included Steve Strange, Midge Ure and Billy Currie of Ultravox, Rusty Egan, John McGeoch of Magazine and Siouxsie and the Banshees, and Barry Adamson. Together, they crafted a sound that felt futuristic and sophisticated, helping to usher synth-pop into the mainstream.

Originally developed by Billy Currie and Chris Payne during soundchecks on Gary Numan’s 1979 tour, the song evolved when Midge Ure added lyrics and structure. Steve Strange’s detached vocal delivery, paired with Brigitte Arendt’s spoken French narration, created an atmosphere unlike anything else on the radio.

“One man on a lonely platform,
One case sitting by his side.”

The lyrics evoke isolation, uncertainty, and emotional distance. For many LGBTQ+ people who grew up feeling different or unseen, those themes carried a resonance that extended beyond the dance floor. Yet despite its melancholy, “Fade To Grey” became a club favorite. It offered release through movement, style, and connection.

That duality is part of what makes the song so enduring. It acknowledges loneliness while inviting people together. It transforms vulnerability into beauty.

Commercially, “Fade To Grey” became Visage’s biggest success, reaching No. 8 in the UK and topping the charts in Germany and Switzerland. More importantly, it introduced audiences around the world to a scene that celebrated individuality and challenged traditional ideas about identity and presentation.

The striking video, directed by Kevin Godley and Lol Creme, further cemented its legacy. Steve Strange’s dramatic makeup and androgynous image challenged expectations of masculinity and performance. During a period when LGBTQ+ representation in mainstream media remained limited, simply existing in that space with confidence could be a radical act.

Pride Month is often associated with loud celebrations and joyous anthems, but it is also about honoring the spaces and communities that allowed people to find themselves. The Blitz club was one of those spaces. The New Romantic movement gave countless young people permission to experiment with who they were. And songs like “Fade To Grey” provided the soundtrack.

More than four decades later, its influence can still be heard in modern electronic music, while its message of embracing individuality remains as relevant as ever.

Elegant, mysterious, and utterly timeless, “Fade To Grey” reminds us that Pride isn’t only about being seen. Sometimes it’s about finding the courage to become the person you were always meant to be, even if the rest of the world hasn’t caught up yet.

While “Fade To Grey” may not be considered a traditional Pride anthem, its roots in LGBTQ+ nightlife and the inclusive spirit of the New Romantic scene make it a fitting addition to “The Soundtrack of Pride.” Some songs shout their message from the rooftops. Others whisper it beneath neon lights on a crowded dance floor. This one does both.

SIDE A:
Fade To Grey (Special Maxi Version) 6:17
Written-By – Currie, Payne, Ure*

SIDE B:
The Steps 3:16
Written-By – Currie, Formula, McGeoch, Ure, Egan, Strange

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Visage: Fade To Grey (1980)
Chart	Peak Position
Australia (Kent Music Report)	#6
Austria	#3
Belgium	#1
France	#3
Germany	#1
Ireland	#10
Italy	#6
Netherlands	#7
New Zealand	#9
Spain	#25
Switzerland	#1
UK Singles Chart	#8

RELEASE INFORMATION:
Label: Polydor – 2141 318
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: Germany
Released: 1980
Genre: Electronic
Style: New Wave, Synth-pop

CREDITS:

Arranged By – Visage
Producer – Midge Ure, Visage

NOTES:
Made in West Germany

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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June 12, 2026

The B-52’s – Wig (UK 12″) (1987)

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Wig! The B-52’s Let Their Hair Down

Some songs tell you to fit in. Then there are songs like “Wig” by The B-52’s that practically dare you to stand out.

Released as a single in the UK in 1987 from the album Bouncing Off the Satellites, “Wig” is one of the most gloriously offbeat entries in The B-52’s remarkable catalog. It may not have achieved the commercial heights of later hits like “Love Shack” or “Roam,” but for longtime fans, “Wig” remains an irresistible celebration of individuality, self-expression, and having the confidence to be exactly who you are.

And really, what could be more fitting for Pride Month than that?

By the time Bouncing Off the Satellites finally arrived in record stores, The B-52’s had endured unimaginable heartbreak. Original guitarist Ricky Wilson had passed away in October 1985 from complications related to AIDS. Devastated by the loss of their friend, bandmate, and creative force, the group chose not to tour in support of the album’s original U.S. release.

Instead, the record became something of a transitional chapter. It captured the final recordings created with Ricky’s unmistakable musical fingerprints while hinting at the resilience that would eventually propel the band into their next era.

“Wig” perfectly embodies the playful absurdity that made The B-52’s unlike anyone else. Built around a buoyant groove and punctuated by Fred Schneider’s unmistakable spoken declarations, the song encourages listeners to throw caution to the wind and embrace transformation.

Need confidence? Put on a wig.

Need an attitude adjustment? Put on a wig.

Need a little extra fabulousness? You know what to do.

Beneath the campy humor lies a surprisingly empowering message. Long before conversations about authenticity and chosen identity became commonplace, The B-52’s understood that fashion, performance, and self-invention could be acts of liberation. Whether it was teased hair, thrift store glamour, vintage dresses, or outrageous accessories, they championed the idea that identity could be joyful, fluid, and entirely your own.

The UK embraced “Wig” enough to send it into the Top 80, peaking at No. 79 on the singles chart. Released to coincide with the delayed British issue of Bouncing Off the Satellites, it allowed the band to reconnect with audiences overseas through television appearances and promotional performances. Although it was a modest chart success, the song developed a devoted following among fans who appreciated its eccentric charm.

Years later, the band rediscovered their affection for the track and began performing it live again, beginning in 2010. A live version would eventually appear on their concert album With The Wild Crowd! Live in Athens, GA, proving that even deep cuts can have a second life when audiences are finally ready to celebrate them.

The B-52’s always occupied a unique space in popular music. Emerging from Athens, Georgia, in the late 1970s, they blended new wave, surf rock, kitsch, dance music, and pure art school weirdness into something entirely their own. Their thrift store aesthetic and joyful embrace of the unconventional made them icons for generations of outsiders.

For LGBTQ+ listeners especially, The B-52’s represented possibility. They invited everyone onto the dance floor. Misfits were welcome. Individuality was encouraged. The stranger you were, the better.

So this Pride Month, if the world feels a little too serious, take a cue from Fred, Kate, Cindy, Keith, and Ricky.

Turn up the volume.

Strike a pose.

Adjust your attitude.

And if all else fails…

Put on a wig.

Whether you remember buying the 7-inch back in 1987 or are discovering this wonderfully weird gem for the first time, “Wig” remains a reminder that self-expression should be celebrated, joy should never be underestimated, and life is simply more fun when you’re not afraid to be a little outrageous.

SIDE A:
Wig 4:30
Producer – Tony Mansfield
Written-By – The B-52’s

Summer Of Love (Remix) 4:00
Producer – Tony Mansfield
Remix [Re-Mix], Producer [Additional Production] – Shep Pettibone
Written-By – C. Wilson, K. Pierson, K. Strickland, R. Wilson

SIDE B:
Song For A Future Generation 3:59
Producer – Steven Stanley
Written-By – The B-52’s

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — The B-52’s: Wig (1987)
Chart	Peak Position	Date
UK Singles Chart	#79	1987

RELEASE INFORMATION:
Label:Island Records – 12 BFT 2
Format: Vinyl, 12″, 45 RPM, Single
Country: UK
Released: Jun 1987
Genre: Rock
Style: Pop Rock

CREDITS:

Design – Island Art
Photography By – Mike Prior (2)
Stylist [Styling] – Sue Venning

NOTES:
Track A2 Produced For – Mastermix Productions

But 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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June 11, 2026

Army Of Lovers – Ride The Bullet (UK 12″) (1992)

Burning The Ground Exclusive

When it comes to excess, spectacle, and unapologetic camp, few groups embraced it quite as enthusiastically as Sweden’s Army of Lovers. Long before pop culture fully embraced flamboyant self-expression and gender-bending visuals, Army of Lovers were building an entire musical universe around it. Their music combined Eurodisco, Hi-NRG, dance-pop, and theatrical storytelling into something uniquely their own.

Originally appearing on the group’s 1990 debut album Disco Extravaganza, “Ride The Bullet” was written by Alexander Bard, Anders Wollbeck, Jean-Pierre Barda, Emil Hellman, and Camilla Henemark. The track was later remixed for inclusion on the group’s breakthrough second album Massive Luxury Overdose in 1991, helping introduce the song to a wider international audience. The 1992 single release would become one of the group’s biggest European successes, reaching the Top 10 in Austria, Finland, and Greece while also topping the chart in Israel.

Musically, “Ride The Bullet” is classic Army of Lovers. Layers of sweeping strings, pulsating dance beats, dramatic spoken passages, and larger-than-life vocals collide to create a record that feels equal parts nightclub anthem and theatrical production. While many Eurodance acts of the era focused on straightforward club rhythms, Army of Lovers approached dance music with a sense of humor and grandeur, turning every song into a lavish performance piece. Critics at the time praised the track’s infectious disco energy and irresistible groove, noting its combination of Eurodisco sheen and high-energy dance-pop production.

The song also marked an interesting transition period for the group. The original version featured La Camilla, whose commanding presence helped define the band’s early image. Following her departure in 1991, Michaela de la Cour joined the group and appeared on the later remix and accompanying video. As a result, two distinct music videos exist for “Ride The Bullet,” each reflecting a different era of Army of Lovers’ visual evolution.

Of course, visuals were always just as important as the music. Army of Lovers treated every video as a work of pop art, filling them with religious iconography, historical references, outrageous costumes, and enough camp to power an entire Pride celebration. “Ride The Bullet” is no exception, delivering the kind of extravagant imagery that became the group’s trademark and helped cement their reputation as one of Europe’s most unforgettable pop acts.

Today, “Ride The Bullet” remains one of the defining tracks from the Massive Luxury Overdose era, a period that saw Army of Lovers become international dance-floor favorites. More than three decades later, the song still sounds gloriously over-the-top, proving that sometimes pop music is at its best when it refuses to take itself too seriously while still delivering an irresistible groove.

Army of Lovers showed the world that dance music could be glamorous, outrageous, and wildly entertaining all at once. “Ride The Bullet” remains one of the finest examples of that philosophy in action.

SIDE A:
Ride The Bullet (Radio Edit) 3:28
Remix, Producer [Additional Production By] – Nuzak

Ride The Bullet (Tren De Amor Mix) 6:26
Remix, Producer [Additional Production By] – Nuzak

SIDE B:
Ride The Bullet (DNA Groove Approved) 4:56
Other [Assisted By] – Davidge
Remix, Producer [Additional Production By] – DNA

Ride The Bullet (David Ford & The E.G. Orchestra Re-Mix) 5:21
Remix, Producer [Additional Production By] – David Ford & The E.G. Orchestra

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Army Of Lovers: Ride The Bullet (1992)	Peak Position
Australia (ARIA)	191
Austria (Ö3 Austria Top 40)	4
Belgium (Ultratop 50 Flanders)	12
Europe (Eurochart Hot 100)	40
Europe (European Dance Radio)	24
Finland (IFPI)	4
Germany (GfK)	22
Greece (Virgin)	9
Netherlands (Dutch Top 40 Tipparade)	2
Netherlands (Single Top 100)	34
Sweden (Sverigetopplistan)	32
Switzerland (Schweizer Hitparade)	40
UK Singles (OCC)	67
UK Club Chart (Music Week)	79

RELEASE INFORMATION:
Label: China Records – WOKT 2018, Ton Son Ton – WOKT 2018
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: UK
Released: 1992
Genre: Electronic
Style: House, Synth-pop

CREDITS:

Co-producer, Engineer – Per Adebratt
Costume Designer [Costumes Designed By] – Camilla Thulin
Executive-Producer – Ola Håkansson
Film Director [Video Clips Directed By] – Fredrik Boklund, Martin Persson
Lead Vocals – De La Cour*
Photography By – Carl-Johan Paulin
Plated By – M (91)
Producer – Alexander Bard, Anders Wollbeck
Programmed By, Guitar – Anders Wollbeck
Sleeve – Marie Wollbeck*
Vocals [Guest] – Katarina Wilczewski
Vocals, Bass – La Camilla
Vocals, Computer – Alexander Bard
Vocals, Drums – Jean-Pierre Barda
Vocals, Keyboards – De La Cour*
Written-By – Bard*, Wollbeck*, Henemark*, Hellman*, Barda*

NOTES:
Recorded and mixed at Sonet Studios, Stockholm.

Track B1 is called ‘Ride The Bullet (DNA Groove Approved Mix)’ on the label

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

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June 10, 2026

Pet Shop Boys – NYC Boy (Re-mixes) (US 12″)

Burning The Ground Exclusive

Pride Month is a time to celebrate community, self-expression, and the places that have helped generations of LGBTQ+ people find acceptance and belonging. Few songs capture that feeling as perfectly as “New York City Boy” by Pet Shop Boys.

Released on September 27, 1999, as the second single from the album Nightlife, “New York City Boy” is one of the most joyous recordings in the Pet Shop Boys catalog. At a time when electronic music was on the cusp of a new millennium, Neil Tennant and Chris Lowe looked back to the golden age of disco, creating a song that celebrates both New York City and the liberating power of the dance floor.

The track was recorded at Quad Studios in New York City and co-written and produced by acclaimed DJ and producer David Morales, who had previously collaborated with the duo on remixes of their 1990 single, “So Hard.” According to Chris Lowe, Morales suggested creating a song in the style of the Village People, an idea that would become the foundation for one of the Pet Shop Boys’ most exuberant singles.

While Lowe and Morales crafted the music, Neil Tennant wrote lyrics telling the story of a young person leaving the suburbs behind and arriving in New York City, a place filled with possibility, excitement, and the freedom to be yourself. For many listeners, especially within the LGBTQ+ community, the song’s narrative reflects a familiar journey. New York has long been seen as a destination where people could escape small-town limitations and discover a welcoming community.

Musically, “New York City Boy” is steeped in disco history. The song features lush string and horn arrangements by Vincent Montana Jr., often referred to as “The Godfather of Disco.” Montana’s contributions give the track its authentic late-1970s feel while connecting it directly to the sound that dominated dance floors during disco’s peak years. The string arrangements interpolate “It’s Good for the Soul” by the Salsoul Orchestra, while the production also incorporates elements of Donna Summer’s classic recording of “MacArthur Park.”

The result is a dazzling celebration of disco that feels both nostalgic and contemporary. It’s impossible to hear the soaring strings, infectious groove, and uplifting chorus without wanting to move.

In the United States, the song became a major club hit, reaching No. 1 on Billboard’s Hot Dance Club Play chart. It also reached No. 53 on the Billboard Hot Singles Sales chart. Around the world, the single further demonstrated the enduring popularity of Pet Shop Boys and their unique ability to blend intelligent songwriting with irresistible dance music.

The accompanying music video, directed by Howard Greenhalgh, expands on the song’s celebration of New York culture and nightlife. The story follows a teenage boy who leaves the confines of his bedroom and ventures into New York City, where he experiences different eras of the city’s social and cultural history.

Throughout the video, viewers are taken on a journey through time. Sailor costumes recall the post-war 1940s, energetic dance sequences pay homage to the 1950s and West Side Story, a dazzling disco segment celebrates the 1970s, and breakdancers represent the vibrant street culture of the 1980s. The legendary Studio 54 serves as a key visual touchstone, symbolizing an era when disco clubs became places of freedom, expression, and community.

Although Tennant and Lowe appear throughout the video, their scenes were actually filmed in London. Greenhalgh later combined that footage with scenes shot in New York to create the finished production. The ambitious project came with a hefty price tag, leading Tennant to later describe it as “the most expensive video we have ever done.”

More than twenty-five years after its release, “New York City Boy” remains a standout in the Pet Shop Boys catalog. It is a love letter to New York City, a tribute to disco music, and a celebration of the idea that somewhere there is a place where you can truly belong.

As we begin Pride Month, “New York City Boy” reminds us why music and dance have always played such an important role in LGBTQ+ culture. They bring people together, create community, and offer a space where everyone is free to be exactly who they are.

Turn it up, hit the dance floor, and Happy Pride Month from Burning The Ground.

SIDE A:
New York City Boy (Superchumbo Uptown Mix) 9:44
Remix, Producer [Additional Production] – Superchumbo

New York City Boy (The Almighty Definitive Mix) 6:30
Remix, Producer [Additional Production] – Almighty

SIDE B:
New York City Boy (The Thunderpuss 2000 Club Mix) 10:55
Remix – Thunderpuss

New York City Boy (The Lange Mix) 7:06
Remix – Lange

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Pet Shop Boys: New York City Boy (1999)
Chart (1999–2000)	Peak Position
Australia (ARIA)	174
Austria (Ö3 Austria Top 40)	40
Belgium (Ultratop 50 Flanders)	20
Belgium (Ultratop 50 Wallonia)	23
Denmark (Tracklisten)	6
Europe (Eurochart Hot 100 Singles)	22
Finland (Suomen virallinen lista)	4
France (SNEP)	47
Germany (GfK)	16
Greece (IFPI)	8
Hungary (MAHASZ)	4
Iceland (Íslenski Listinn Topp 40)	26
Italy (FIMI)	20
Italy Airplay (Music & Media)	9
Netherlands (Dutch Top 40)	34
Netherlands (Single Top 100)	40
Scotland Singles (OCC)	15
Spain (Promusicae)	3
Sweden (Sverigetopplistan)	9
Switzerland (Schweizer Hitparade)	20
UK Singles (OCC)	14
US Dance Club Songs (Billboard)	1
US Dance Singles Sales (Billboard)	4
US Hot Singles Sales (Billboard)	53

RELEASE INFORMATION:
Label: Sire – 35014-0, Parlophone – 35014-0
Format: Vinyl, 12″, 33 ⅓ RPM, Maxi-Single
Country: US
Released: Nov 9, 1999
Genre: Electronic
Style: Trance, Deep House, Euro House

CREDITS:

Producer [Original Track Produced By] – David Morales, Pet Shop Boys
Written-By – Morales*, Tennant / Lowe
Produced For – Def Mix Productions

NOTES:
From the PSB album “Nightlife.”

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.