Kim Wilde – Say You Really Want Me (US 12″) (1986)

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For today’s entry in Ladies Of The 80s: Soundtrack Edition, we are heading back to 1986 for a record that brought Kim Wilde together with some of the biggest names working behind the scenes in American pop and R&B.

“Say You Really Want Me” was recorded for the soundtrack of Running Scared, the action-comedy starring Billy Crystal and Gregory Hines as two Chicago police detectives hoping to retire before one last case pulls them back into danger. Directed by Peter Hyams, the movie was released in June 1986 and became a moderate box-office success.

The movie’s soundtrack was a major production in its own right. The nine-track album included Klymaxx’s “Man Size Love,” Michael McDonald’s “Sweet Freedom,” New Edition’s “Once In A Lifetime Groove,” Patti LaBelle’s “I Know What I Want,” and Kim Wilde’s “Say You Really Want Me.” It was released on MCA Records and runs for approximately 44 minutes.

“Say You Really Want Me” was written by Danny Sembello, Dick Rudolph, and Donnell Spencer Jr. Production was handled by Rod Temperton, Dick Rudolph, and legendary engineer Bruce Swedien, with Danny Sembello also playing keyboards.

That is quite a team.

Rod Temperton had written some of the most successful pop and R&B records of the period, including Michael Jackson’s “Rock With You” and “Thriller,” George Benson’s “Give Me The Night,” and several hits for Heatwave. Bruce Swedien was known for his recording and mixing work with Quincy Jones and Michael Jackson. Their involvement gave the song a polished American dance sound that was noticeably different from the records Kim had been making with her brother Ricki Wilde.

Kim later recalled receiving a telephone call from Temperton, who needed a female singer for a song being recorded for the movie. Her American record company suggested her, and she flew to Los Angeles to record it. She considered being selected a major honor, especially since the song could easily have gone to a more established American vocalist.

The result is one of the most unusual singles in Kim Wilde’s catalog.

“Say You Really Want Me” trades much of the cool new wave edge of her earlier records for a warmer mixture of dance-pop, funk, freestyle, and R&B. The rhythm is busy and glossy, the keyboards bounce between the beats, and Kim gives the song a playful vocal that becomes more forceful as the arrangement builds.

The lyric is direct. Kim is tired of waiting for someone to admit how he feels. There is no room for mixed signals or romantic games. Either say you really want her or get out of the way.

Her performance balances confidence with just enough frustration to keep the song from becoming too lightweight. Kim was never known as a big soul singer, but the production pushes her into a different vocal setting, and she sounds as though she is enjoying the challenge.

Ironically, the song has only a small presence in Running Scared. Kim later said that it can be heard briefly from a radio in the film. She was also not especially fond of the movie after finally seeing it, although the soundtrack placement was intended to raise her profile in the United States.

The soundtrack connection gave the song its beginning, but it did not remain confined to the film.

“Say You Really Want Me” was first released as a single in North America during 1986. An edited version was also included on Kim’s fifth studio album, Another Step. After the enormous international success of her cover of “You Keep Me Hangin’ On,” the song was given another chance in 1987, including a UK release with newly created remixes.

The 1987 release reached number 29 in the United Kingdom and remained on the chart for five weeks. It also reached number 44 in the United States, number 48 in Canada, and number 18 in Ireland.

Although those positions were respectable, the single never became one of Kim’s most widely remembered hits. It arrived between two very different stages of her career. The early new wave sound of “Kids In America” was behind her, while the polished international pop of the Close album was still ahead.

“Say You Really Want Me” captures her standing somewhere in the middle.

The record also became something of a puzzle for collectors. At least twelve separate versions have appeared, including different soundtrack and album edits, several radio versions, an instrumental, the David Todd Remix, a nearly ten-minute Video Remix, and new 1987 UK mixes by Ricki Wilde. Some versions differ only slightly, making running times and pressing information very important.

The music video gave the song another life in 1987. Directed by Greg Masuak, it presented a more sensual and adult Kim Wilde than audiences had seen in her earlier clips. Both regular and extended versions of the video were produced, with the longer cut using the nearly ten-minute remix.

Looking back, “Say You Really Want Me” feels like a fascinating experiment. It placed a British pop singer inside a slick Los Angeles production created by people closely connected to some of the biggest American records of the decade.

It should have been a much larger hit.

Instead, it became one of those soundtrack singles that dedicated fans remember, collectors chase across several pressings, and casual listeners are often surprised to rediscover.

Running Scared may have introduced the song, but Kim Wilde gave it a life well beyond the few seconds heard in the movie.

So, do not keep it to yourself.

Say you really want Kim.

SIDE A:
Say You Really Want Me (Extended Mix) 9:47
Remix – Louil Silas, Jr.*

SIDE B:
Say You Really Want Me 5:44
Remix – David Todd

Say You Really Want Me (Radio Edit) 5:08
Remix – Louil Silas, Jr.*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Kim Wilde: Say You Really Want Me (1986-87)	Peak Position
Canada Top Singles (RPM)	48
Ireland (IRMA)	18
UK Singles Chart	29
US Billboard Hot 100	44
US Billboard Hot Dance/Disco Club Play	32
US Cash Box Top 100 Singles	56

RELEASE INFORMATION:
Label: MCA Records – MCA-23678
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1986
Genre: Electronic
Style: Synth-pop

CREDITS:

Arranged By – Danny Sembello
Engineer [Remix] – Taavi Mõte*
Producer – Bruce Swedien, Dick Rudolph*, Rod Temperton
Recorded By, Mixed By – Bruce Swedien
Written-By – Danny Sembello, Donnell Spencer, Jr.*, Dick Rudolph*

NOTES:
From the Motion Picture Soundtrack, “Running Scared”, MCA-6169.
Remixed at Larrabee Sound, Hollywood, CA.

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

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July 21, 2026

Nona Hendryx – Moving Violations (US 12″) (1985)

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For today’s entry in Ladies Of The 80s: Soundtrack Edition, we are pulling over for a title track that has spent far too many years hidden in the slow lane.

“Moving Violations” was recorded by Nona Hendryx for the 1985 comedy of the same name. The film was directed by Neal Israel, who also co-wrote the screenplay with Pat Proft. Released on April 19, 1985, it starred John Murray, Jennifer Tilly, James Keach, Brian Backer, Wendie Jo Sperber, Fred Willard, and Sally Kellerman.

The movie follows a group of unlucky motorists who are sentenced to traffic school. What they do not know is that the school is part of a crooked plan to fail the students and sell their impounded cars. Naturally, the students do not quietly accept the situation, and the result is a very silly collection of car chases, sight gags, crashes, and the sort of broad comedy that filled movie theaters during the mid-1980s.

The film may not be remembered as one of the decade’s major comedies, but its title song deserves another listen.

“Moving Violations” was written by Bruce Roberts and produced by Bernard Edwards, the bass player, songwriter, and producer best known as one-half of the team behind Chic. Edwards and Nile Rodgers created classics such as “Le Freak,” “Good Times,” “I Want Your Love,” and “Everybody Dance,” while also writing and producing hits for Sister Sledge and other artists.

That connection becomes clear as soon as “Moving Violations” gets underway.

Edwards gives the track a tight, fast-moving dance groove that feels built for both a movie chase and a crowded dance floor. The rhythm never lets up, and Nona Hendryx attacks the song with the power, humor, and confidence needed to keep up with it.

A lesser singer might have disappeared inside such a busy production. Nona sounds completely at home.

She growls, shouts, and pushes the title phrase as though she is personally daring the police to catch her. Her performance brings a little danger to what could have been a simple novelty theme. The movie is a comedy, but Nona sings as though every traffic ticket has become a personal challenge.

Nona Hendryx first gained fame as a member of Labelle alongside Patti LaBelle and Sarah Dash. She was also one of the group’s main songwriters and helped move their music beyond traditional soul into funk, rock, glam, and more experimental territory. Her solo career continued that refusal to remain in one musical lane.

By the middle of the 1980s, Hendryx had developed a sound that mixed rock, funk, electronic music, R&B, and dance music. She could be soulful one moment and sound like the leader of a futuristic rock band the next.

That made her a perfect choice for a soundtrack title that needed personality.

“Moving Violations” arrived during a busy soundtrack period for Nona. She also recorded “I Sweat (Going Through The Motions)” for the Jamie Lee Curtis film Perfect, another 1985 release. Both songs placed her commanding voice over polished dance-rock productions made for the movies.

The music used in Moving Violations reflected the anything-goes nature of the decade. Alongside Nona’s title song, the film featured Sammy Hagar’s “I Can’t Drive 55,” Julie Brown’s “Every Boy’s Got One,” a version of James Brown’s “I Got You (I Feel Good),” and Peaches & Herb’s “Reunited.” It is an odd combination on paper, but that was often part of the fun of an 80s movie soundtrack.

However, Moving Violations never received an official standalone soundtrack album on either vinyl or CD. The songs remained scattered across individual releases and the artists’ own catalogs, making it impossible for fans to purchase the complete soundtrack in one place.

Nona Hendryx’s title song was only issued in the United States on 7-inch and 12-inch vinyl. There was no commercial release in other major territories, and no music video was produced to help promote the single.

Those missing pieces may help explain why the song became so difficult to remember and rediscover. Without a soundtrack album, a widely distributed international release, or a video receiving airplay on MTV, “Moving Violations” had very little chance to develop a life beyond the movie itself.

The title song still gives the film its own musical identity.

The regular single version runs just over four minutes, while the 12-inch version expands the track to nearly seven. The longer version gives Bernard Edwards’ production more space, letting the groove run longer while Nona’s vocal phrases move in and out of the arrangement. The extended version was later added to an expanded edition of Hendryx’s 1985 album The Heat.

“Moving Violations” does not carry the name recognition of “Lady Marmalade,” “Transformation,” or “Why Should I Cry?” It was also not attached to a blockbuster movie like Footloose.

That is exactly what makes it such a fun choice for this series.

Not every great soundtrack single became a major hit. Some records appeared, did their job inside the movie, and then slowly vanished from view. Years later, they are waiting in old record bins for someone to pull them out and give them another spin.

“Moving Violations” is one of those records.

It has a great vocalist, a respected songwriter, one of the finest bass players and producers of the era behind the controls, and enough energy to earn several tickets for reckless driving.

Buckle up.

Nona Hendryx is behind the wheel.

SIDE A:
Moving Violations (Extended Version) 6:56
Producer – Bernard Edwards
Written-By – B. Roberts*

SIDE B:
Soft Targets 4:24
Producer – Material, Nona Hendryx
Written-By – Nona Hendryx

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: RCA – PD-14057
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: 1985
Genre: Electronic, Funk / Soul
Style: Rhythm & Blues

NOTES:
Side A: From the Movie “MOVING VIOLATIONS”

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.

July 17, 2026

Eurythmics – Sexcrime (Nineteen Eighty·Four) (1984)

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NEW 2026 Transfer
NEW Meticulous Audio Restoration

For the next entry in Ladies Of The 80s: Soundtrack Edition, we are leaving behind the bright pop of “Whole Wide World” and entering a much colder, darker, and more unsettling world.

“Sexcrime (Nineteen Eighty-Four)” was released in 1984 as the first single from Eurythmics’ soundtrack album 1984 (For The Love Of Big Brother), created for Michael Radford’s film adaptation of George Orwell’s Nineteen Eighty-Four. The movie starred John Hurt as Winston Smith, Suzanna Hamilton as Julia, and Richard Burton in his final film role as O’Brien.

Although Eurythmics was a duo, there was no leaving Annie Lennox out of this series. Her voice, image, and commanding presence helped make Eurythmics one of the most recognizable acts of the decade. On “Sexcrime,” she sounds fierce, nervous, controlled, and ready to explode, often within the same few seconds.

The song was written by Annie Lennox and Dave Stewart and produced by Stewart. Its title comes directly from Orwell’s fictional language of Newspeak. In the world of Nineteen Eighty-Four, even private desire can become an offense against the state. Romance, sex, and personal loyalty are dangerous because they create bonds that exist outside the control of Big Brother.

Eurythmics turned that idea into one of their hardest and most mechanical singles.

“Sexcrime” is built around pounding electronic percussion, stabbing synthesizers, sampled fragments of Annie’s voice, and Dave Stewart’s processed repetition of “nineteen eighty-four.” Annie’s vocals are cut into small pieces and fired through the track like another rhythm instrument. The effect is tense, hypnotic, and slightly disturbing.

It sounds like a pop song created inside the Ministry of Truth.

There is also a physical urgency to the record. Beneath all the cold machinery, Annie sings like someone trying to protect the final pieces of her private life. When she reaches the line about pulling down the bricks one by one and leaving a hole in the wall, the song briefly turns from fear toward resistance.

That was one of Eurythmics’ greatest strengths during this period. They could make electronic music sound cold and deeply human at the same time.

The song’s video carried the Orwellian mood even further. Filmed at London’s Battersea Power Station, it placed Annie Lennox and Dave Stewart inside a bleak industrial setting filled with harsh lighting, smoke, rain, surveillance imagery, and scenes from the movie. The location could hardly have been more appropriate for the song’s oppressive atmosphere.

The story behind the soundtrack was nearly as tense as the music.

Virgin Films commissioned Eurythmics to create music for the movie, while director Michael Radford had already been working with composer Dominic Muldowney on a traditional orchestral score. Radford objected when much of Muldowney’s work was replaced with Eurythmics’ electronic music. The Eurythmics later stated that they had accepted the assignment in good faith and were unaware of the disagreement between the director and the film company. Different releases of the movie have since appeared with different combinations of the two scores.

The controversy may have complicated the movie’s release, but 1984 (For The Love Of Big Brother) remains a fascinating Eurythmics album. Much of it is instrumental, experimental, and far removed from the direct pop sound of hits such as “Sweet Dreams (Are Made Of This)” and “Here Comes The Rain Again.”

“Sexcrime” was the album’s most obvious single, although there was nothing particularly safe about it.

In the UK, the record became Eurythmics’ sixth consecutive Top 10 single, reaching number four and spending fifteen weeks on the chart. The album reached number 23 on the UK Albums Chart.

The reception in the United States was very different. Many American radio programmers and video outlets reacted to the title without understanding its meaning within Orwell’s novel. The single stalled at number 81 on the Billboard Hot 100, but club audiences were far more welcoming. It reached number two on Billboard’s dance chart.

Once again, the clubs were ahead of the radio.

For this post, I am returning to the US 12-inch promotional release. The record opens with the nearly eight-minute Extended Mix, followed on the B-side by the Single Version and “I Did It Just The Same.”

The Extended Mix gives the mechanical rhythm more room to build. Annie’s sampled vocals move in and out of the arrangement while the percussion, synthesizers, and processed voices create a sense that the listener is being watched from every direction. It is not a traditional extended mix filled with new melodies or a warm dance-floor groove. Instead, it takes the song’s nervous tension and stretches it into something even more severe.

The B-side, “I Did It Just The Same,” also draws its title and subject matter from Orwell’s novel. It is another dark electronic piece that fits naturally beside “Sexcrime” and helps make the 12-inch feel like a small extension of the soundtrack album rather than a standard pop single. The US promotional pressing contains the Extended Mix, Single Version, and “I Did It Just The Same.”

I previously posted this record in January 2018. That transfer was itself an update of an even earlier Burning The Ground post, but eight years have passed, and my equipment and restoration work have changed considerably since then.

For the new 2026 edition, I returned to the vinyl and created an entirely new transfer from the beginning. This is not a remaster of the 2018 files. It is a fresh recording followed by meticulous audio restoration, with special attention given to preserving the sharp electronic attack, deep percussion, vocal samples, and cold atmosphere of the original production.

“Sexcrime (Nineteen Eighty-Four)” is not the easiest or most comforting Eurythmics single. It is harsh, strange, repetitive, and confrontational.

That is exactly why it remains so exciting.

More than four decades later, the song still sounds like a warning being transmitted from somewhere just beyond the telescreen.

Big Brother is watching.

Annie Lennox is fighting back.

SIDE A:
Sexcrime (Nineteen Eighty•Four) (Extended Version) 7:59

SIDE B:
Sexcrime (Nineteen Eighty•Four) (Single Version) 3:58
I Did It Just The Same 3:27

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Eurythmics: Sexcrime (Nineteen Eighty Four) (1984–1985)	Peak Position
Australia (Kent Music Report)	5
Belgium (Ultratop 50 Flanders)	3
Canada Top Singles (RPM)	18
Europe (European Top 100 Singles)	7
France (SNEP)	7
Ireland (IRMA)	4
Italy (Musica e dischi)	19
Netherlands (Dutch Top 40)	10
Netherlands (Single Top 100)	12
New Zealand (Recorded Music NZ)	8
Norway (VG-lista)	9
Sweden (Sverigetopplistan)	3
Switzerland (Schweizer Hitparade)	6
UK Singles Chart	4
US Billboard Hot 100	81
US Billboard Dance Club Songs	2
West Germany (GfK)	3

RELEASE INFORMATION:
Label: RCA – JW-13957, RCA – PW-13957
Format: Vinyl, 12″, 33 ⅓ RPM, Promo, Stereo
Country: US
Released: 1984
Genre: Electronic, Pop
Style: Synth-pop

CREDITS:

Composed By [Composer] – Lennox*, Stewart*
Lacquer Cut By – JA*
Mixed By – David A. Stewart, Eric Thorngren
Producer [Produced By] – David A. Stewart

NOTES:
Mix names on the sleeve are “Extended Mix” and “Single Mix” and on the labels are “Extended Version” and “Single Version”.

Taken from the motion picture soundtrack album: 1984

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.

July 16, 2026

A’mé Lorain – Whole Wide World (US 12″) (1989)

Burning The Ground Exclusive

After spending the first two entries of Ladies Of The 80s: Soundtrack Edition with the blockbuster Footloose soundtrack, I thought it was time to move toward something a little less obvious.

“Whole Wide World” by A’mé Lorain may not be tied to a movie as famous as Footloose, but the record became a major hit on its own and remains one of the most infectious pop singles released during the closing months of the 1980s.

The song appeared on the soundtrack to True Love, a 1989 independent comedy directed by Nancy Savoca and starring Annabella Sciorra and Ron Eldard. Set within an Italian-American neighborhood in the Bronx, the film follows an engaged couple as wedding plans, family expectations, and second thoughts begin to test their relationship. True Love opened in October 1989 and won the Grand Jury Prize at the Sundance Film Festival.

“Whole Wide World” was written by Arnie Roman and Elliot Wolff, with Wolff also handling the production. Wolff was on quite a roll at the time, having recently written and produced Paula Abdul’s “Straight Up” and “Cold Hearted.” You can hear some of that same late-80s pop precision here, with tightly programmed rhythms, bright keyboards, and a chorus built to stay in your head.

From its opening seconds, “Whole Wide World” has an energy that sits right on the border between the 1980s and 1990s. The synthesizers and polished pop production are firmly rooted in the late 80s, while the beat points toward the New Jack Swing sound that was quickly taking over radio and dance floors.

A’mé Lorain’s vocal is playful, confident, and full of personality. She delivers the song with the excitement of someone who has fallen so completely in love that keeping it quiet is no longer an option. She wants everyone to know, and by the time the chorus arrives, she has probably convinced the listener to help spread the news.

It is pure pop, and it works.

A’mé Lorain was born Amy Trujillo and performed with The Family Affair, which included her brother Freddy Trujillo on bass and her then-husband Victor Indrizzo on guitar and drums. The group released the wonderfully titled album Starring In…Standing In A Monkey Sea on RCA Records in 1989. “Whole Wide World” appeared on both that album and the True Love soundtrack.

Although the record was released in 1989, its greatest chart success came during the spring of 1990. “Whole Wide World” climbed to number nine on the US Billboard Hot 100, giving A’mé Lorain her first and only Top 10 pop hit. It also reached number nine on Billboard’s dance chart and finished at number 95 on the magazine’s year-end Hot 100 listing for 1990.

That chart run makes “Whole Wide World” an interesting choice for an 80s series. The single belongs to the decade by release date, but its success arrived just as the calendar turned. It captures that brief period when the sound and style of the late 80s continued moving forward before the new decade developed an identity of its own.

The film itself has become more of a cult favorite than a widely remembered box-office hit. The song followed a different path. Many listeners who have never seen True Love still remember “Whole Wide World” from radio, MTV, clubs, or a long-forgotten cassette recorded from the weekly countdown.

That is one of the great things about soundtrack singles from this period. A song did not always need the movie to become a hit. Sometimes the soundtrack gave a new artist an opening, radio took over from there, and the record developed a life entirely separate from the film.

“Whole Wide World” also brings a different type of artist into this series. Bonnie Tyler and Deniece Williams were already established stars when their Footloose singles were released. A’mé Lorain was a new face with a debut hit, suddenly competing on the charts alongside some of the biggest names in pop.

Her follow-up single, “Follow My Heartbeat,” reached number 72 on the Hot 100, but the success of “Whole Wide World” was never repeated. That has left the song frozen in a particular moment, colorful, catchy, slightly quirky, and unmistakably connected to the period when the 1980s were making their final exit.

It may not be the first title people think of when discussing great 80s soundtrack singles, but that is exactly why it belongs here.

Sometimes the most enjoyable selections are the ones that make you stop and say, “I had forgotten all about this.”

The whole wide world may not remember A’mé Lorain, but those who heard this record the first time around certainly have not forgotten the song.

SIDE A:
A’me Lorain – Whole Wide World (Elliot Wolff 12″) 5:37
A’me Lorain – Whole Wide World (Radio Mix) 3:51

SIDE B:
A’me Lorain – Whole Wide World (Wingate 12″ House Remix) 7:21
A’me Lorain – Whole Wide World (Wingate House Dub Remix) 6:09
Barrence Whitfield And The Savagess – Stop Twistin’ My Arm 2:52

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart (1990)	Peak Position
UK Singles Chart	90
US Billboard Hot 100	9
US Billboard Hot Dance Music/Club Play	9
US Billboard Hot Dance Music/Maxi-Singles Sales	37
US Cash Box Top 100	13

RELEASE INFORMATION:
Label: RCA – 9099-1-RD
Format: Vinyl, 12″, 33 ⅓ RPM, Alternate cover
Country: US
Released: 1989
Genre: Electronic, Rock, Funk / Soul
Style: House, Rock & Roll, Rhythm & Blues, New Jack Swing

CREDITS:

Edited By – Tuta Aquino (tracks: B1, B2)
Mixed By, Remix – Mick Guzawski*
Producer – Mike Costello (tracks: B3), Milton Reder (tracks: B3)
Producer [Additional], Remix [Additional] – Trevor Bernard (tracks: B1, B2), Wingate (tracks: B1, B2)
Producer, Arranged By, Remix – Elliot Wolff

NOTES:
Original versions on the Original Motion Picture Soundtrack album, “True Love,” 9819-1-R

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.