Baby Go Boom – Life Can Be A Hurtful Thing (Canada 12″) (1986)

Burning The Ground Exclusive

NEW 2026 Transfer
New Meticulous Audio Restoration

Originally posted on August 25, 2014, this obscure synth-pop gem returns to Burning The Ground with a brand new 2026 transfer. It’s another entry in my “Closet 80’s” series, where we dust off those forgotten records that deserve another listen.

Baby Go Boom was a short-lived British new wave/synth-pop project that released just one single, “Life Can Be A Hurtful Thing.” Originally issued in the UK in May 1984 on Innervision Records, the song combined catchy melodies with a dance-oriented sound that fit comfortably alongside the synth-pop and electronic dance records of the period.

Despite its commercial potential, the single struggled to find an audience. The original 1984 release reached No. 104 on the extended UK singles chart, narrowly missing the Top 100. However, the story didn’t end there.

In 1986, Island Records gave “Life Can Be A Hurtful Thing” a second chance, reissuing the single in the UK, Canada, and Australia with updated mixes. American remixer John Luongo, whose work helped shape the sound of countless dance records during the late 1970s and 1980s, provided a fresh six-minute U.S. Remix. Dennis Weinreich also contributed a shorter remix, giving the song another opportunity to connect with radio listeners.

The John Luongo remix is the main attraction here. Its extended arrangement gives the track more room to breathe on the dance floor while retaining the melodic charm of the original recording. It’s a fine example of how a good remix could give an overlooked single a new lease on life.

Unfortunately, even with Island Records behind the reissue, Baby Go Boom never achieved the commercial success that might have led to a full-length album. The group disappeared, leaving “Life Can Be A Hurtful Thing” as its only single and a curious footnote in British synth-pop history.

For collectors and fans of lesser-known 1980s music, records like this are exactly what make digging through old 12-inch singles so rewarding. Not everything worth hearing made the charts or received heavy radio airplay. Sometimes the best discoveries are the ones that slipped through the cracks.

I first shared this Canadian 12-inch on August 25, 2014. More than twelve years later, I’ve returned to the record for a completely new 2026 transfer. Whether you’re rediscovering this one or hearing Baby Go Boom for the very first time, I hope you enjoy another forgotten slice of 1980s synth-pop.

And that, after all, is what “Closet 80’s” is all about!

SIDE A:
A. Life Can Be A Hurtful Thing (U.S. Remix) 6:04
Remix – John Luongo

SIDE B:
B1. Life Can Be A Hurtful Thing 2:44
Remix – Dennis Weinreich

B2. Perfect Thing 3:07

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Island Records – IS 1092
Format: Vinyl, 12″, 45 RPM
Country: Canada
Released: 1986
Genre: Electronic
Style: Synth-pop

CREDITS:

Design – Island Art
Photography – Mike Prior
Producer – Liam Henshall
Written-By – Gerrish*, Klevatt*, Sanderson*

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 9, 2026

Eve Electro – Take A Bite (Germany 12″) (1984)

Burning The Ground Exclusive

Spooky Season Spins continues with a little-known 1984 electro gem that has just the right amount of darkness, mystery, and electronic weirdness for Halloween. “Take A Bite” by Eve Electro is one of those records that may have slipped past mainstream audiences but found a welcome home in underground dance clubs on both sides of the Atlantic.

Released in 1984, “Take A Bite” was the work of a New York-based electro project featuring vocalist Deborah Pell North, also known as Deb North, alongside producers Ian North and Craig Bevan. Gary Pini served as executive producer. The single originally appeared in the United States on the independent Black Suit Records label before receiving a German release through Bellaphon Records.

One of the more interesting names behind the project is Ian North, an American musician whose career stretched across several different musical styles. During the 1970s, North was a founding member of the cult power-pop band Milk ‘N’ Cookies, which became associated with New York’s emerging punk and new wave scene. After relocating to England, he formed the band Neo before returning to New York, where he became increasingly interested in synthesizers and electronic recording. His involvement with Eve Electro represented another unexpected turn in an already varied musical career.

Musically, “Take A Bite” is a fascinating example of the early 1980s electro sound. Built around a steady, mechanical dance beat, rubbery electronic basslines, quirky synthesizer melodies, and processed vocals, the track sits somewhere between electro-funk, synth-pop, and the more experimental side of new wave. There’s an offbeat quality to the production that gives the record an almost futuristic, slightly unsettling atmosphere.

That unusual combination makes it an especially fun selection for Spooky Season Spins. While “Take A Bite” wasn’t necessarily intended as a Halloween record, its suggestive title, robotic vocal effects, and strange electronic textures certainly make it feel right at home during October.

Despite its underground character, the record managed to attract attention from American club DJs. “Take A Bite” reached No. 35 on Billboard’s Hot Dance/Disco chart in 1984, an impressive showing for a relatively obscure independent release. The single also found an audience in European clubs, particularly in Germany, where electro, synth-pop, and Italo-disco were becoming increasingly popular.

In fact, “Take A Bite” can be found on a surviving Christmas 1984 DJ tape from Frankfurt’s legendary Dorian Gray nightclub, where it appeared alongside records by Dominatrix, Newcleus, Ministry, and other electronic dance acts of the period. It’s an interesting reminder that the record was part of the actual club scene rather than simply an obscure collector’s curiosity.

The track has continued to attract attention from electro enthusiasts over the years. It was later included on the compilation Welcome To The Robots, Volume One: The Electro Pioneers, alongside influential electronic recordings by artists such as Koto, Yello, Hashim, and Alexander Robotnick.

For today’s post, we have the original 1984 German 12″ maxi-single released on Bellaphon Records. The A-side features “Take A Bite,” while the flip contains the longer companion track “Bite,” giving listeners another helping of the record’s unusual electronic sound.

Sometimes the most interesting discoveries are the records that never became household names. “Take A Bite” is a perfect example of the creativity and experimentation taking place in the early 1980s underground dance scene, when synthesizers, drum machines, and a little imagination could produce something wonderfully strange.

So, as we head into another October weekend, here’s something a little different for your Halloween playlist. Turn down the lights, turn up the volume, and let Eve Electro take a bite!

SIDE A:
A. Take A Bite 4:05

SIDE B:
B. Bite 5:06

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Bellaphon – 120·07·131
Format: Vinyl, 12″, 45 RPM, Maxi-Single, Stereo
Country: Germany
Released: 1984
Genre: Electronic
Style: Electro

CREDITS:

Lacquer Cut By – SST (8)
Producer – Craig Bevan, Gary Pini, Ian North
Written-By – C. Bevan*, I. North*

NOTES:
Licensed by Black Suit Records

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 8, 2026

Technotronic Feat Felly – Pump Up The Jam (US 12″) (1989)

Burning The Ground Exclusive

Before the 1980s ended, a Belgian dance act called Technotronic unleashed one of the decade’s biggest club anthems. With its pounding bassline, infectious rhythm, and instantly recognizable rap vocals, “Pump Up The Jam” helped bring European house music into the American mainstream and became one of the defining dance records of 1989.

Technotronic was the creation of Belgian producer Jo Bogaert, who worked under the name Thomas De Quincey. Combining elements of house, hip-hop, and Belgium’s emerging new beat scene, Bogaert created a sound that was tailor-made for dance floors. However, one of the most interesting stories surrounding “Pump Up The Jam” involves the woman credited on the record.

Although the single was released as Technotronic Featuring Felly, the unmistakable vocals actually belonged to Belgian-Congolese rapper Manuela Kamosi, better known as Ya Kid K. Felly Kilingi was a model who appeared on the record sleeve and in the music video, lip-syncing to Ya Kid K’s performance. The arrangement was intended to give the group a recognizable public image, but the truth eventually emerged as Technotronic’s popularity grew. Ya Kid K would later receive the recognition she deserved as the group’s actual vocalist.

Released in August 1989, “Pump Up The Jam” quickly became an international sensation. In the United States, the single reached No. 2 on the Billboard Hot 100, No. 1 on the Dance Club Songs chart, and No. 10 on the Hot R&B/Hip-Hop Songs chart. Across the Atlantic, it climbed to No. 2 on the UK Singles Chart and topped the charts in several European countries.

CHART HISTORY (1989–1990)

Country	Chart	Peak Position
US	Billboard Hot 100	2
US	Billboard Hot Dance Club Play	1
US	Billboard Hot Black Singles	10
UK	Official Singles Chart	2

The single’s success was especially significant because it introduced millions of mainstream listeners to a style of dance music that had previously been associated largely with underground clubs. Its combination of a hard-driving house beat, electronic bassline, and rap vocals helped establish hip-house as a commercially successful sound.

For today’s post, we have the original 1989 US 12″ single released on SBK Records. This pressing features four versions of the track, including the extended “Vocal Attack,” the “Jam Edit Mix,” the “Original Mix,” and the familiar 7″ Version.

The “Vocal Attack” gives DJs an extended take on the song’s relentless groove, while the “Jam Edit Mix” offers another variation on the arrangement. The “Original Mix” delivers the classic club sound that made the record a worldwide sensation. Together, these versions capture the excitement of a time when 12″ singles were an essential part of dance music culture.

More than three decades later, “Pump Up The Jam” remains an instantly recognizable party anthem. Its influence can still be heard in dance music today, and that opening beat is often all it takes to get people moving.

So turn up the volume, clear some space, and get ready to pump up the jam!

SIDE A:
A1. Pump Up The Jam (Vocal Attack) 5:23
A2. Pump Up The Jam (Jam Edit Mix) 4:57

SIDE B:
B1. Pump Up The Jam (Original Mix) 5:03
B2. Pump Up The Jam (7″ Version) 3:36

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: SBK Records – V-19701
Format: Vinyl, 12″, 33 ⅓ RPM, Single, Stereo
Country: US
Released: 1989
Genre: Electronic
Style: Hip-House, Euro House

CREDITS:

Cover, Design – Grafiek • Patrick
Featuring – Felly
Mastered By – MJS*
Photography By – Michel Poels
Producer – Thomas De Quincey
Vocals [Uncredited] – Ya Kid K
Written-By – Manuella Kamosi*, Thomas De Quincey

NOTES:
Printed in the U.S.A.

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 7, 2026

Bigod 20 / TGT (The Genetic Terrorists) – Industrial Assault (US 12″ Promo) (1989)

Burning The Ground Exclusive

Razormaid Digital Mixes by Art Maharg and Joseph Watt
A DJPaulT Custom 12″ Single.

Spooky Season Spins kicks off today with something a little different.

October does not always have to mean ghosts, vampires, and horror movie themes. Sometimes the right atmosphere comes from something colder, harsher, and far more mechanical. For this installment, we are heading straight into the factory with a custom 12″ that I have titled Industrial Assault.

This two-track single brings together Bigod 20 and TGT (The Genetic Terrorists), with both selections originally appearing on Razormaid Chapter R-25.

Opening Side A is Bigod 20 with “America,” re-edited by Razormaid co-founder Art Maharg.

Bigod 20 was part of the German Electronic Body Music and Industrial scene, and “America” has exactly the kind of atmosphere I wanted for an October post. It is dark, repetitive, confrontational, and driven by electronics that feel more like machinery than traditional instrumentation.

Maharg’s Razormaid treatment pushes that feeling even further. The track moves with a relentless pulse, using repetition and carefully placed edits to make the whole thing feel increasingly tense.

There may not be a monster hiding in the shadows here, but the track still feels threatening.

For Spooky Season Spins, that counts.

Flip the record over, and things become even more brutal.
“Machine Gun” by TGT, or The Genetic Terrorists, was re-edited for Razormaid by Joseph Watt.

The title gives you a pretty good indication of what is coming. Hard electronic percussion, samples, repetition, and a cold mechanical rhythm dominate the track.

Watt’s edit has that classic Razormaid DJ sensibility. Rather than simply stretching the original recording, the arrangement uses its strongest rhythmic elements to keep the track moving. It is sparse in places, aggressive in others, and never particularly interested in making the listener comfortable.

That is exactly why it works here.

Both “America” and “Machine Gun” were taken from Razormaid Chapter R-25, which also gives this custom single a nice connection. Side A represents Art Maharg, while Side B represents Joseph Watt, bringing both Razormaid co-founders together on one very Industrial piece of vinyl.
So for this edition of Spooky Season Spins, forget the haunted houses and graveyards for a moment.

Welcome to the factory.

Cold steel. Concrete. Smoke stacks. Machines running somewhere in the darkness.

SIDE A:
Bigod 20 – America 6:31
Edited By [Re-edited] – Art Maharg

SIDE B:
Genetic Terrorists* – Machine Gun 5:14
Edited By [Re-edited] – Joseph Watt

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Razormaid Records – RM-LP-r25
Format: Vinyl, 12″, 45 RPM, Promo
Country: US
Released: 1989
Genre: Electronic
Style: EBM, Industrial

CREDITS:
Custom Sleeve Artwork [Design] – DjPaulT

NOTES:
For Promotional Use Only

Both tracks taken from: Razormaid Chapter r-25

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.