Jermaine Jackson & Pia Zadora – When The Rain Begins To Fall (US 12″) (1985)

Burning The Ground Exclusive

There are songs that define a moment, and then there are songs that feel like an entire movie packed into four minutes. “When The Rain Begins To Fall” lands firmly in the second category. Big, dramatic, and completely committed to its sound, it’s one of those tracks that instantly transports you back to the mid-80s.

Released in October 1984, this duet between Jermaine Jackson and Pia Zadora was recorded for the soundtrack to the cult sci-fi musical Voyage of the Rock Aliens. Zadora starred in the film, and the song is featured right at the beginning, doubling as the official music video. It sets the tone immediately, glossy, theatrical, and just a little bit surreal.

The song was written by Peggy March, Michael Bradley, and Steve Wittmack. Musically, it leans into that polished mid-80s pop sound, driven by synths, a strong rhythmic pulse, and a soaring chorus. The contrast between Jermaine’s smooth delivery and Zadora’s more dramatic vocal style gives the track its unique character. It shouldn’t work as well as it does, but that tension is exactly what makes it memorable.

Chart-wise, the single had a split story. In the United States it reached No. 54, and in the UK it peaked at No. 68. But across mainland Europe, it was a major hit. The song went to No. 1 in Belgium, the Netherlands, and France, and reached the Top 10 in Austria, Switzerland, and Italy. It also earned Gold certification in Germany and Platinum in France, making it one of the biggest international successes for both artists.

Because of that momentum, “When The Rain Begins To Fall” was added to later pressings of Jermaine’s 1984 album Jermaine Jackson. In the United States, the album carried that self-titled name, while in the UK and Europe it was released as Dynamite. Including the single helped strengthen the album’s appeal in markets where the song was already a proven hit.

What really makes this track endure is its sense of scale. Everything about it feels larger than life. The arrangement builds with purpose, the chorus hits hard, and the whole production has that cinematic quality that was so popular at the time. It doesn’t hold back, and that’s exactly why it works.

For anyone who remembers it from the charts, the film, or a well-worn 12-inch, “When The Rain Begins To Fall” is a perfect snapshot of 1984. A little bit pop, a little bit movie magic, and completely unforgettable.

SIDE A:
Jermaine Jackson & Pia Zadora – When The Rain Begins To Fall (Vocal Version With Breakdown) 5:24
Producer – Jack White
Remix – Lonnie Simons*
Written-By – Michael Bradley, Peggy March, Steve Wittmack

SIDE B:
Jermaine Jackson – Come To Me (One Way Or Another) 5:15
Executive-Producer – Clive Davis
Written-By – Jermaine Jackson

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Jermaine Jackson & Pia Zadora: When The Rain Begins To Fall (1985) Peak Position
Australia (Kent Music Report) 63
Austria (Ö3 Austria Top 40) 2
Belgium (Ultratop 50 Flanders) 1
Canada Top Singles (RPM) 42
France (SNEP) 1
Netherlands (Single Top 100) 1
New Zealand (Recorded Music NZ) 15
Switzerland (Schweizer Hitparade) 1
UK Singles (OCC) 68
US Billboard Hot 100 54
US Hot R&B/Hip-Hop Songs (Billboard) 61
US Dance Club Songs (Billboard) 22
West Germany (GfK) 1

RELEASE INFORMATION:
Label: Arista – AD1-9317
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 1985
Genre: Electronic
Style: Hi NRG, Synth-pop

NOTES:
Side B: Taken from the album Jermaine Jackson
Pia Zadora appears courtesy of MCA/Curb Records

Printed in USA

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.


Ta Mara & The Seen – Everybody Dance (US 12″) (1985)

Burning The Ground Exclusive

When the Minneapolis sound was in full swing during the mid-80s, a wave of artists connected to Prince and his extended circle began carving out their own identities. One of the more underrated entries from that era came from Ta Mara and the Seen, a group assembled and guided by Jesse Johnson, best known as the guitarist for The Time.

Released in 1985, “Everybody Dance” served as the lead single from the group’s self-titled debut album. Right out of the gate, the track made its intentions clear. This was not a slow burn. It was built for movement, clubs, and radio, with a slick blend of funk grooves, synth hooks, and sharp, dancefloor-ready rhythm.

Jesse Johnson’s production carries the DNA of the Minneapolis sound. Tight drum programming, punchy bass lines, and layered keyboards all sit front and center. There is a polished edge, but it never feels sterile. Instead, it has that live-wire energy that defined so many records coming out of Minneapolis at the time.

Fronting it all is Ta Mara’s vocal. She brings a confident, playful tone that rides the groove effortlessly. The lyrics are simple and direct. This is a call to the dancefloor, nothing more, nothing less. That simplicity works in the song’s favor. It keeps the focus on the rhythm and the feel.

Commercially, the track performed well. “Everybody Dance” climbed to No. 3 on the Billboard R&B chart and crossed over to reach No. 24 on the Billboard Hot 100. That crossover success shows how accessible the track was, balancing funk credibility with pop appeal.

Even with that chart success, Ta Mara and the Seen often get overlooked when people talk about the Minneapolis scene. Acts like The Time, Sheila E., and Janet Jackson tend to dominate the conversation. But “Everybody Dance” proves that the circle ran deeper, with artists who could deliver just as much groove and personality.

Listening back now, the track still holds up. The production feels of its time, but in the best way. It captures a moment when funk, R&B, and pop were colliding in a very specific, very influential way.

For collectors and fans of 80s dance music, this is one that deserves a revisit. It sits comfortably alongside the bigger names, even if it never quite got the same long-term spotlight. Sometimes the deeper cuts tell the fuller story, and “Everybody Dance” is a perfect example of that.

SIDE A:
Everybody Dance 5:43
Written-By – J. Johnson*, Ta Mara

SIDE B:
Lonely Heart 4:45
Written-By – J. Johnson, T. Bradley

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Ta Mara & The Seen: Everybody Dance (1985)
Chart Peak Position Date
US Billboard Dance Club Songs #17 1985
US Billboard Hot 100 #24 1985
US Billboard R&B/Hip-Hop Songs #3 1985

RELEASE INFORMATION:
Label: A&M Records – SP-12149
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: US
Released: 1985
Genre: Electronic
Style: Electro, Synth-pop

CREDITS:

NOTES:
Recorded and Mixed at Jungle Love Studios, Mpls., Minn.

From the A&M album “Ta Mara & The Seen

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.


Michael Jackson – Bad (US 12″) (1987)

Burning The Ground Exclusive

In 1987, Michael Jackson faced what seemed like an impossible task, following the biggest-selling album of all time, Thriller. Most artists would have played it safe. Jackson did the opposite. He came back louder, tougher, and with something to prove. The result was “Bad,” a song that wasn’t just a hit single, it was a statement.

Released on September 7, 1987, as the second single from the album of the same name, “Bad” introduced a sharper and more aggressive side of Jackson. Gone was some of the wide-eyed wonder of Off the Wall and Thriller. In its place was confidence, attitude, and swagger. Written by Jackson himself and co-produced with Quincy Jones, “Bad” was built to make an impact. It reached No. 1 on the Billboard Hot 100 on October 24, 1987, where it stayed for two consecutive weeks, becoming Jackson’s eighth U.S. No. 1 single.

Musically, “Bad” is driven by a punchy bassline, sharp percussion, and one of Jackson’s most commanding vocal performances. He spits out the lyrics with urgency and bravado, delivering lines that feel more like challenges than pop hooks. It was Jackson stepping into a harder streetwise image, even if he was still unmistakably Michael.

The inspiration for the song reportedly came from a real-life story Jackson had read about a student from a private school who was killed after returning to his old neighborhood and trying to prove he still belonged there. Jackson took that idea and transformed it into a song about identity, respect, and survival. It became less about being “bad” in the criminal sense and more about strength and self-definition.

Of course, no discussion of “Bad” is complete without the short film. Directed by Martin Scorsese, the full 18-minute video was far more ambitious than the average music promo of the era. Set in New York and filmed in black and white, it starred a young Wesley Snipes in one of his earliest screen appearances. The film gave the song a cinematic edge and helped cement the visual identity of the entire Bad era.

The choreography also became iconic. Jackson once again turned movement into part of the song’s DNA. The snapping, the sharp footwork, the aggressive stance, it all made “Bad” instantly recognizable. It was one of those performances that people tried to imitate the minute they saw it.

The larger Bad album went on to make history, becoming the first album ever to produce five Billboard Hot 100 No. 1 singles, with “Bad” serving as one of its defining moments. It proved Jackson could survive the shadow of Thriller, even if critics at the time insisted on comparing the two.

Looking back now, “Bad” stands as one of the essential Michael Jackson singles. It was bold, stylish, and fearless. It showed that he wasn’t interested in repeating himself. He wanted to push forward, even under enormous pressure.

Nearly four decades later, “Bad” still sounds like an artist refusing to stand still.

Because sometimes the best response to impossible expectations is simple:

You ask, “Who’s bad?”

And Michael answers it himself.

SIDE A:
Bad (Dance Extended Mix Includes ‘False Fade’ ) 8:24
Remix – Bruce Swedien

Bad (7″ Single Mix) 4:08

SIDE B:
Bad (Dance Remix Radio Edit) 4:55
Remix – Bruce Swedien

Bad (Dub Version) 4:07
Bad (A Cappella) 3:49

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Michael Jackson: Bad (1987)
Chart (1987) Peak position
Australia (Australian Music Report) 4
Austria (Ö3 Austria Top 40) 9
Belgium (Ultratop 50 Flanders) 1
Canada Retail Singles (The Record) 1
Canada Top Singles (RPM) 5
Canada Adult Contemporary (RPM) 1
Denmark (IFPI) 1
Europe (European Hot 100 Singles) 1
Finland (Suomen virallinen singlelista) 6
France (SNEP) 4
Hungary (MAHASZ) 6
Ireland (IRMA) 1
Italy (Musica e Dischi) 1
Italy Airplay (Music & Media) 6
Netherlands (Dutch Top 40) 1
Netherlands (Single Top 100) 1
New Zealand (Recorded Music NZ) 2
Norway (VG-lista) 2
South Africa (EMA) 4
Spain (AFYVE) 3
Sweden (Sverigetopplistan) 4
Switzerland (Schweizer Hitparade) 3
UK Singles (OCC) 3
US Billboard Hot 100 1
US Adult Contemporary (Billboard) 33
US Dance Club Songs (Billboard), Remix 1
US Dance Singles Sales (Billboard), Remix 1
US Hot Black Singles (Billboard) 1
US Hot Crossover (Billboard) 1
US Cash Box Top 100 1
US CHR/Pop Airplay (Radio & Records) 1
West Germany (GfK) 4

RELEASE INFORMATION:
Label: Epic – 49 07462
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: 1987
Genre: Electronic
Style: Dance-pop

CREDITS:

NOTES:
Also Available: Michael Jackson’s LP “Bad” on Epic Records, Cassettes and Compact Disc.

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.


Yello – Of Course I’m Lying (UK 12″) (Record 1) (1989)

Burning The Ground Exclusive

As promised, Record 1 of the two-record set for Yello’s 1989 single “Of Course I’m Lying” has finally arrived — and it was absolutely worth the wait.

This first 12″ completes the set and includes Part 1 of The Yello Metropolitan Mixdown 1989, an ambitious megamix that pulls together the duo’s unique sonic world into one sprawling, seamless experience. For longtime fans, it’s a fascinating listen — less a straightforward dance medley and more a cinematic collage of rhythm, atmosphere, and signature Yello eccentricity. It’s the kind of mix that feels like flipping through radio stations in some futuristic late-night city, where every channel is tuned to a different dimension.

Also included is the Dance Mix of Oh Yeah, arguably the track most recognized by U.S. audiences. Thanks to its unforgettable appearance in films like Ferris Bueller’s Day Off and The Secret of My Success, “Oh Yeah” became Yello’s calling card in America — instantly recognizable from those opening vocal grunts alone. The Dance Mix stretches the groove further, giving the track even more room to breathe while keeping all of its playful swagger intact.

Rounding out the release is the edited version of “Of Course I’m Lying,” offering a more concise take on one of the duo’s most elegant and atmospheric recordings. While the full-length version unfolds like a smoky late-night conversation, the edit trims it down without losing its seductive tension. It remains one of the most sophisticated tracks in the Yello catalog — understated, mysterious, and endlessly replayable.

Together with Record 2 — which featured Part 2 of The Yello Metropolitan Mixdown, “Bostich,” and the full version of “Of Course I’m Lying” — this set feels like a perfect snapshot of where Yello stood in 1989: refined, adventurous, and completely in their own lane.

I always enjoy when a long-sought record finally lands, especially when it completes a release like this. There’s something satisfying about hearing both halves of a project the way it was originally intended. And as many of you mentioned in the comments, having both parts of the Metropolitan Mixdown in top quality makes the experience even better.

For me, this is another reminder of why I still love collecting physical media. Holding the record, seeing how the release was structured, and hearing these mixes as they were originally presented on vinyl adds something that digital files just can’t fully replicate.

So now, the full two-record story of “Of Course I’m Lying” is here — and it sounds just as stylish, strange, and sophisticated as Yello intended.

Of note: Track A2 would be better described as ‘Oh Yeah (Dance Mix Edit)’ as it only runs for approximately 5 minutes and 13 seconds, so as not to exceed the 20-minute limit that existed at the time. The full Oh Yeah (Dance Mix), running at 6.24, is found on the 12” version of The Race (The Pits Mix).

SIDE A:
Of Course I’m Lying (Edit) 3:52
Backing Vocals – Billy MacKenzie
Percussion – Beat Ash

Oh Yeah (Dance Mix) 5:13

SIDE B:
The Yello Metropolitan Mixdown 1989 Part I 11:02
DJ Mix [Megamix], Remix – Paul Dakeyne*

B.1 Dakeyne Intro
B.2 The Race
B.3 Bostich
B.4 Call It Love (Trego Snare)
B.5 Santiago
B.6 Tied Up
B.7 Vicious Games
B.8 I Love You
B.9 Oh Yeah

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Mercury – YELLO 312, Mercury – 872 945-1
Format: Vinyl, 12″, 45 RPM, 1/2
Country: UK & Europe
Released: Mar 23, 1989
Genre: Electronic
Style: Synth-pop

CREDITS:

NOTES:
Release titled “Record I” on its gatefold sleeve, designed to add the second 12″ sold separately and called “Record II”

With sticker on gatefold front cover:
‘YELLO The ultimate collectors edtion
Contains record 1 of a 2 record set
Record 2 to be released Soon
YELLO 312’

Track B remixed for DMC.
Mastered at Townhouse Studios, 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-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.