Ten Ten – When It Rains (Europe 12″) (1986)

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For today’s Closet 80s feature, we shine a light on a band that seemed poised to break through—but ultimately remained one of the decade’s more intriguing “what ifs.” Enter Ten Ten, a Richmond, Virginia-based New Wave outfit whose debut single “When It Rains” arrived in 1986 as a fully-formed statement of mood, melody, and transatlantic ambition.

Formed in 1984, Ten Ten—Mark Lewis (guitar/vocals), Peter Bell (bass), Don Ruzek (keyboards/guitar), and Lee Johnson (drums)—quickly found themselves in an unusual position for an American band. Rather than being compared to their U.S. contemporaries, the American press consistently drew parallels between Ten Ten and British acts. That association would ultimately shape the band’s trajectory.

Leaning into those comparisons, Ten Ten signed with the UK-based Chrysalis Records and focused much of their energy overseas. It was a strategic move that made perfect sense—their sound, driven by shimmering guitars and introspective lyricism, aligned naturally with the UK’s alternative and New Wave scenes of the time.

“When It Rains”, their debut single, encapsulates that aesthetic beautifully. There’s a cool, atmospheric restraint to the track—jangly guitars ripple across a steady rhythm while subtle keyboard textures add depth and mood. Mark Lewis delivers the vocal with a detached, almost wistful tone that enhances the song’s reflective quality. It’s not flashy—it’s immersive.

The single also benefited from a music video that received airplay on MTV in the spring of 1986, giving the band a valuable platform at a time when visual exposure could make or break a new act. While it didn’t catapult them into superstardom, it certainly helped cement their place within the alternative underground of the era.

Ten Ten’s momentum carried them onto some impressive tours. In autumn 1985, they hit the road with The Waterboys, followed by tours in 1986 supporting Simply Red and later Pete Shelley. These associations further reinforced their connection to the UK scene and exposed them to audiences that were already primed for their sound.

Despite these opportunities, Ten Ten never quite achieved the commercial breakthrough their music suggested was possible. Over the course of their career, they released just two singles and two albums, leaving behind a compact but compelling catalog. By 1991, after several years of playing club shows around their hometown of Richmond, the band quietly disbanded.

Listening back to “When It Rains” today, it’s easy to hear why Ten Ten stood out. The song captures a very specific mid-80s atmosphere—thoughtful, slightly melancholic, and deeply melodic—without sounding dated or overproduced. It’s the kind of track that rewards repeat listens, revealing more of its understated charm each time.

For collectors and fans of the era, Ten Ten represents one of those bands that slipped through the cracks—not for lack of talent, but perhaps due to timing, geography, or the unpredictable nature of the music industry.

If “When It Rains” is new to you, give it a spin and let it sink in. It’s a perfect example of why digging into the Closet 80s can be so rewarding—because sometimes the most memorable songs are the ones that never quite made it into the spotlight.

SIDE A:
When It Rains (Extended Version) 5:14

SIDE B:
Walk On (Live Version) 4:09
When It Rains (Edit) 4:17

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Chrysalis – 608 429
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: Europe
Released: 1986
Genre: Electronic
Style: Synth-pop

CREDITS:

Photography By [Cover] – Eric Watson (3)
Photography By [Coverback] – Neil Matthews
Producer – John Williams (3) (tracks: B1), Stephen Street (tracks: A, B2)

NOTES:
Ten Ten are: Mark Lewis (guitar/vocals), Peter Bell (bass), Don Ruzek (keyboards/guitar), and Lee Johnson (drums)

Printed In 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-Jec Tube Box DS2
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
Artwork Scans: 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

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

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

April 22, 2026

Hubert Kah – Angel 07 (Alternate Club Mix) (US 12″) (1985)

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When Hubert Kah set their sights on the U.S. market in 1985, they didn’t just translate one of their songs—they reimagined it. “Angel 07” is the English-language counterpart to “Engel 07,” originally released in 1984 from the album Golden Zeiten, but the American version stands on its own as a sleek, soundtrack-ready slice of mid-’80s synthpop.

From Engel to Angel

The original “Engel 07”—written by Hubert Kemmler (music) with lyrics by Mario Killer—had already established itself in Germany, peaking at No. 30 on the national chart. But for international audiences, the band went back into the studio and crafted “Angel 07,” with new English lyrics by Timothy Touchton.

Rather than feeling like a simple translation, “Angel 07” has a slightly different energy—more direct, a bit more polished, and clearly aimed at radio and club play beyond Europe.

The Sound of 1985

Produced by Michael Cretu and Armand Volker, the track is a perfect example of that crisp, high-gloss electronic production that defined the era. There’s a cool precision to the arrangement—driving sequencers, shimmering synth layers, and a steady, pulsing rhythm that gives the song its forward momentum.

Kemmler’s vocal retains that detached, almost enigmatic quality, which only adds to the track’s sense of intrigue. It’s this balance between emotional distance and rhythmic urgency that makes the song so compelling.

Lights, Camera, Synthpop

“Angel 07” found a natural home in the 1985 action-comedy Gotcha!, a film steeped in Cold War paranoia and playful espionage. The song’s cinematic feel—tense, stylish, and slightly mysterious—fits seamlessly into that world.

It’s one of those rare soundtrack pairings where the music and the film actually enhance each other.

The 12″ Experience

If you’re spinning the U.S. 12″, you’re hearing “Angel 07” the way it was meant to be heard. The extended format opens up the track, giving more space to the instrumental passages and allowing the production details to shine.

This is where the craftsmanship of Cretu really comes through—subtle textures, layered synth lines, and a dynamic arrangement that keeps evolving from start to finish. It’s not just a longer version—it’s a deeper one.

Final Spin

While “Engel 07” remains a standout in the band’s German catalog, “Angel 07” is a fascinating alternate vision—one shaped for a different audience but just as effective.

For collectors, especially those who appreciate the intersection of European synthpop and mid-’80s American club culture, the U.S. 12″ is an essential piece. It captures a moment when borders blurred, sounds traveled, and a German synthpop band briefly stepped onto a global stage—with style to spare.

SIDE A:
Angel 07 (Extended Version) 6:10
Angel 07 (Edited Version) 3:54

SIDE B:
Angel 07 (Rock Remix) 4:19
Remix, Engineer – David Leonard

Angel 07 (Alternative Remix) 6:54
Engineer [Remix] – David Storrs
Remix – Victor Flores

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Curb Records – MCA-23551, MCA Records – MCA-23551, Wheatley Records – MCA-23551
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1985
Genre: Electronic
Style: Synth-pop

CREDITS:

Co-producer – Armand Volker
Producer, Arranged By – Michael Cretu
Written-By – H. Kemmler*, T. Touchton*

NOTES:
Special versions of the song from the LP, music from the motion picture soundtrack, “Gotcha!” MCA-5596

Recorded at Data-Alpha Studios, Munich.
Track B1 remixed at Capitol Studios, Los Angeles, CA.
Track B2 remixed at the Record Plant, Los Angeles, CA.

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

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

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

April 21, 2026

Yello – Of Course I’m Lying (UK 12″) (Record 2) (1989)

Burning The Ground Exclusive

In March 1989, Swiss electronic duo Yello returned with a single that perfectly encapsulated their offbeat brilliance. Lifted from their sixth studio album Flag, “Of Course I’m Lying” may not have stormed the charts like “Oh Yeah” or “The Race,” but it stands today as one of the duo’s most fascinating deep cuts — a track that rewards those willing to lean in and listen closely.

From the opening moments, the song unfolds like a scene rather than a traditional pop record. Boris Blank constructs a lush, cinematic soundscape built on exotic samples, hypnotic rhythms, and finely detailed textures. It’s classic Yello, but more restrained — less bombast, more atmosphere. The groove simmers rather than explodes, pulling you into a world that feels equal parts neon-lit cityscape and late-night reverie.

At the center of it all is Dieter Meier, whose vocal delivery blurs the line between narration and performance. He doesn’t so much sing the lyrics as inhabit them, offering a sly, detached monologue that feels like a private joke shared with the listener. The title itself — “Of Course I’m Lying” — is a riddle wrapped in a smirk. Is he confessing, deceiving, or simply playing a role? With Meier, it’s never entirely clear, and that ambiguity is precisely the point.

Adding another layer of intrigue are the backing vocals by Billy MacKenzie of The Associates. His unmistakable presence subtly elevates the track, weaving an emotional undercurrent beneath Meier’s cool detachment. It’s a pairing that works beautifully — theatrical, mysterious, and slightly surreal.

Commercially, the single found modest success, reaching No. 23 on the UK Singles Chart in April 1989 and remaining there for eight weeks. While it didn’t chart in the United States, its impact has proven far more enduring among fans. Over time, Flag has grown into a cult favorite, and “Of Course I’m Lying” remains one of its standout moments — a track that exemplifies Yello’s ability to exist just outside the mainstream while quietly influencing everything around them.

The 12″ release itself is also notable. Issued in the UK and Europe as a two-record set, it offered collectors an expanded listening experience, including the sought-after “Metropolitan Mixdown.” I currently have the second release in hand, but I’ve tracked down the first — which includes Part One of the Metropolitan Mixdown — and will be sharing that as soon as it arrives.

“Of Course I’m Lying” isn’t a song that demands attention. It doesn’t shout or chase trends. Instead, it whispers, lingers, and leaves a trace long after it ends. Nearly four decades on, it still feels singular — a testament to Yello’s unique place in electronic music: always slightly off-center, always ahead of the curve, and always playing with the listener just enough to keep things interesting.

SIDE A:
Of Course I’m Lying 5:59
Written-By –B. Blank, D. Meier

Bostich 3:34
Written-By – B. Blank, D. Meier

SIDE B:
The Yello Metropolitan Mixdown 1989 Part II 10:14
Remix – Paul Dakeyne*
Written-By – B. Blank, D. Meier

B.1 Dakeyne Intro
B.2 The Rhythm Divine
B.3 Goldrush
B.4 Desire
B.5 La Habanera
B.6 Blazing Saddles
B.7 Domingo
B.8 Live At The Roxy
B.9 Pin Ball Cha Cha
B.10 Swing

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Yello: *Of Course I’m Lying* (1989)
Chart	Peak Position	Date
Switzerland	#30	1989
Australia (Kent Music Report)	#123	1989
Germany	#48	1989
U.K. Singles Chart	#23	1989

RELEASE INFORMATION:
Label: Mercury – YELLO 322, Mercury – 872 947-1
Format: Vinyl, 12″, 45 RPM, 2/2
Country: UK & Europe
Released: 1989
Genre: Electronic
Style: Synth-pop

CREDITS:

Backing Vocals [Backing Chorus] – Billy MacKenzie (tracks: A1)
Composed By [Music], Arranged By – Boris Blank
Cover – Ernst Gamper
DJ Mix [Megamix, Uncredited] – Paul Dakeyne* (tracks: B)
Lyrics By, Vocals – Dieter Meier
Percussion – Beat Ash (tracks: A1)
Producer, Engineer – Yello
Remix – Paul Dakeyne* (tracks: B)

NOTES:
This is “Record II” of a 2-record set. “Record I” (sold separately) was housed in gatefold packaging with space for this

Track B remixed for DMC.

From the album YELLO FLAG

Made in England

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

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

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

April 17, 2026

Two Girls – Another Boy In Town (Canada 12″) (1986)

Burning The Ground Exclusive

When it comes to obscure Hi-NRG gems of the mid-80s, few records capture that elusive blend of European flair and North American dancefloor ambition quite like “Another Boy In Town” by Two Girls. Released in 1986 on Popular Records in both the U.S. and Canada, this single stands as a one-off project under this name—but like many Italian productions of the era, the story behind it runs much deeper.

Two Girls was less a traditional group and more a studio creation, part of the rotating network of Italo-disco talent that thrived during the decade. The artists behind the project were also known under several aliases, including Caren Monique, Chip Chip, Clip Club, and Cristina Montanari—a common practice in the European dance scene where producers and vocalists moved fluidly between projects, leaving behind a trail of interconnected releases.

Musically, “Another Boy In Town” is pure mid-80s Hi-NRG bliss. Pulsating synth basslines, tight electronic drums, and a catchy, emotionally charged vocal drive the track forward with relentless energy. It’s polished, dramatic, and tailor-made for the club—exactly the kind of record DJs relied on to keep the floor moving.

What makes this release especially interesting—and highly collectible—is its remix history. Multiple versions of “Another Boy In Town” were issued internationally, each with subtle (and sometimes not-so-subtle) differences. The North American pressings in particular offer something unique.

My copy is the Canadian 12″ on Popular Records, and to the best of my knowledge, the remix featured on Side A is exclusive to this release. That kind of regional variation was fairly common at the time, with labels commissioning or selecting alternate mixes to better suit local club tastes. For collectors and DJs alike, these differences are part of the thrill—tracking down the version that hits just a little harder or takes the track in a slightly different direction.

It also speaks to how strong the Hi-NRG scene was in North America during this period. By 1985, there was a real appetite for European imports, and labels ensured these records were optimized for the booming club culture on both sides of the border.

Despite never becoming a major crossover hit, “Another Boy In Town” has all the ingredients of a classic—memorable hooks, driving rhythm, and that unmistakable Italo-meets-Hi-NRG production style. It remains a cult favorite, especially among collectors who appreciate the nuances between different pressings.

And while Two Girls may have only released this single under this name, their broader body of work—spread across multiple aliases—helped shape the sound of an era.

For me, this Canadian pressing is a standout—not just for the track itself, but for that exclusive Side A remix that makes it feel like a truly special find.

💿 Sometimes it’s the regional variations that make collecting so rewarding—one record, many stories, and a dancefloor legacy that still resonates today.

SIDE A:
Another Boy In Town (Special Underwater Remix) 6:50
Remix – Casey Jones

SIDE B:
Another Boy In Town 5:24

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Popular Records – KXD 001
Format: Vinyl, 12″, 45 RPM
Country: Canada
Released: 1986
Genre: Electronic
Style: Synth-pop, Hi-NRG, Italo Disco

CREDITS:

Drum Programming – Matt Noble
Producer – Anthony Monn
Written-By – Monn*, Dempsey*

NOTES:
Mixed at Northcott Studios, NYC
Remixed for Volume Productions
Produced for Transparent 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

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

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