Book Of Love – Pretty Boys And Pretty Girls (US 12″) (1988)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: January 30, 2013

Today, I’m revisiting a Burning The Ground favorite that was originally posted in 2013. For this Soundtrack Of Pride edition, I’ve created a brand-new 2026 transfer of Book Of Love’s “Pretty Boys And Pretty Girls,” complete with meticulous audio restoration that brings renewed energy and clarity to this iconic dance-floor classic. It’s the perfect opportunity to celebrate a song that remains as powerful and relevant today as it was upon its release in 1988.

When discussing the soundtrack of LGBTQ+ liberation, some songs become anthems through sheer visibility, while others earn their place through something deeper. They capture a moment, a struggle, and a community finding its voice. Book Of Love’s “Pretty Boys And Pretty Girls” is one of those records.

Released in 1988 as the lead single from the band’s second album Lullaby, “Pretty Boys And Pretty Girls” was the fifth single overall from the American synth-pop quartet and remains their most commercially successful release. The song reached No. 90 on the Billboard Hot 100, making it the band’s only crossover pop hit. In the clubs, however, it found its true home, climbing to No. 5 on Billboard’s Hot Dance Club Play chart and spending eleven weeks on the survey.

At first listen, “Pretty Boys And Pretty Girls” sounds like classic late-’80s synth-pop. Bright keyboards, pulsing dance rhythms, and an irresistible chorus made it a natural fit for dance floors across America. Yet beneath its infectious surface lies a message that resonated powerfully within the LGBTQ+ community.

The song’s narrator, voiced by Susan Ottaviano, delivers one of the record’s most poignant lines: “I want to be where the boys are, but I’m not allowed.” What follows is a stark realization of identity: “I’m not a boy.” For many listeners, these lyrics became a meditation on exclusion, self-discovery, and navigating gender identity in a world that often demanded conformity.

The timing of the song’s release was especially significant. Emerging during the height of the AIDS crisis, “Pretty Boys And Pretty Girls” became one of the first pop songs to openly advocate for safe sex. While many mainstream artists avoided addressing the epidemic directly, Book Of Love used their platform to promote awareness, responsibility, and compassion. The band has spoken about how dance clubs, long considered safe havens for the queer community, became places marked by both celebration and unimaginable loss during this period.

That duality is woven throughout the song. It is joyful yet reflective, euphoric yet grounded in the realities facing LGBTQ+ people at the time. The dance floor wasn’t just a place to party. It was a place to find community, support, and survival.

The single’s B-side added another memorable chapter to the band’s history. Book Of Love recorded a synth-pop interpretation of Mike Oldfield’s “Tubular Bells,” the instrumental theme forever associated with the horror classic The Exorcist. For their version, the band sampled Lauren Roselli dramatically crying, “Mother, make it stop!”, a playful nod to Linda Blair’s possessed character Regan from the film.

For the 12-inch release, producers Scott Blackwell and Bob Brockmann took things a step further, seamlessly blending “Pretty Boys And Pretty Girls” and “Tubular Bells” into a fourteen-minute dance-floor epic. The resulting medley became a favorite in clubs and remains one of the most inventive extended mixes of the era.

More than three decades later, “Pretty Boys And Pretty Girls” continues to resonate. While rooted firmly in the club culture of the late 1980s, its message of inclusion, self-acceptance, and solidarity remains as relevant today as it was upon release. The song stands as a reminder that Pride is not only about celebration, but also about visibility, advocacy, and creating space for those who have too often been pushed to the margins.

For many LGBTQ+ listeners, Book Of Love captured that feeling perfectly. Wrapped inside one of the decade’s most infectious synth-pop records is a message that still echoes from dance floors, Pride celebrations, and queer spaces around the world.

“Pretty Boys And Pretty Girls” remains not only a club classic, but an enduring chapter in the Soundtrack Of Pride.

SIDE A:
Pretty Boys And Pretty Girls (Extended Mix) 7:22
Engineer [Remix Engineer] – Bob Brockmann*
Keyboards, Producer [Additional Production], Remix – Bob Brockmann, Scott Blackwell
Written-By – Theodore Ottaviano

Tubular Bells (7″ Mix) 4:27
Mixed By – Alan Meyerson
Written-By – Mike Oldfield

Pretty Boys And Pretty Girls (7″ Mix) 4:50
Mixed By – Alan Meyerson
Written-By – Theodore Ottaviano*

SIDE B:
Tubular Bells / Pretty Boys And Pretty Girls (Regan’s House Medley) 14:28
Engineer [Remix] – Bob Brockmann, Hugo Dwyer
Keyboards, Producer [Additional Production], Remix – Bob Brockmann, Scott Blackwell
Written-By – Mike Oldfield, Theodore Ottaviano*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Book Of Love: Pretty Boys And Pretty Girls/Tubular Bells (1988)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#5	1988
US Billboard Hot 100	#90	1988

RELEASE INFORMATION:
Label: Sire ‎– 0-20963, Sire ‎– 9 20963-0, I Square Records ‎– 0-20963, I Square Records ‎– 9 20963-0
Format: Vinyl, 12″, Maxi-Single, 33 RPM
Country: US
Released: 1988
Genre: Electronic, Pop
Style: House, Synth-pop

CREDITS:

Design – Jade Lee
Mastered By – José Rodriguez
Photography By – David La Chappelle*
Producer – Flood, Ted Ottaviano
Vocals [Uncredited] – Susan Ottaviano

NOTES:
Cover says “Specially Priced Maxi-Single”.
Front cover photo of the group says “MCMLXXXVIII” next to it, vertically, which corresponds to the date of release, 1988.

Tracks A1 and B: Remix, additional production and keyboards for Broadbeard Productions.

Original versions from the Sire Album “Lullaby.” Available on LP, Cassette and Compact Disc (1/4/2-25700)

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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**24-bit FLAC Only Available For SIX Days!

Password: burningtheground

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June 23, 2026

Sheryl Lee Ralph – In The Evening (Germany 12″) (1984)

Burning The Ground Exclusive

As Pride Month continues, “The Soundtrack of Pride” shines a spotlight on a dance floor classic that perfectly captures the spirit of self-expression, freedom, and community. While it may not have achieved the mainstream recognition of some of its contemporaries, Sheryl Lee Ralph’s 1984 debut single “In The Evening” became a beloved anthem in clubs and remains an enduring favorite within LGBTQ+ culture.

Many know Sheryl Lee Ralph as the original Deena Jones in the Broadway production of Dreamgirls, or from her acclaimed television and film career. Long before earning awards and critical acclaim on screen, Ralph stepped onto the dance floor with a record that would leave a lasting mark on club culture.

Produced by Trevor Lawrence, “In The Evening” combined infectious post-disco grooves, soulful vocals, and polished production into one of the most irresistible dance records of the decade. The single reached No. 6 on Billboard’s Dance chart and became a favorite in clubs around the world.

What truly cemented the song’s place in LGBTQ+ history, however, was its message.

The song’s unforgettable lyric, “In the evening, the real me comes alive,” resonated deeply with many queer people during the 1980s. At a time when countless LGBTQ+ individuals still faced discrimination, rejection, and pressure to hide their authentic selves, the nightlife offered something precious, a place where they could finally be free. Dance clubs became sanctuaries, and songs like “In The Evening” became their soundtrack.

For many, those lyrics were more than words. They reflected a lived experience. During the day, some were forced to conceal who they were. At night, surrounded by community on crowded dance floors, they could embrace their true identity. Ralph’s powerful vocal performance gave voice to those feelings of liberation and self-discovery.

The record quickly became a staple in gay clubs and discotheques upon its release. Decades later, it continues to fill dance floors and remains a cherished classic in LGBTQ+ spaces. Few songs from the era so perfectly capture the joy, resilience, and sense of belonging that club culture provided.

Sheryl Lee Ralph herself has fully embraced the song’s legacy. In recent years she has frequently referred to “In The Evening” as a “big gay anthem” and has credited much of its enduring popularity within the LGBTQ+ community to her friendship with the late disco icon Sylvester, one of the most important and influential openly gay artists in dance music history.

Ralph’s connection to the LGBTQ+ community extends far beyond this single. Throughout her career she has been a passionate advocate and ally. In 2024 she was recognized for her tireless support of LGBTQ+ causes, being named Advocate of the Year by Out Magazine and honored by GLAAD for her ongoing activism and commitment to equality.

More than forty years after its release, “In The Evening” remains a shining example of how music can provide comfort, empowerment, and connection. It reminds us of the importance of safe spaces, chosen families, and the freedom to live authentically.

As we celebrate Pride Month and the songs that helped shape LGBTQ+ culture, “In The Evening” stands tall as more than just a dance record. It is an anthem of self-acceptance, a celebration of authenticity, and a testament to the power of finding your community.

When the sun goes down, and the music begins, the message still rings true:

“In the evening, the real me comes alive.”

SIDE A:
In The Evening (Special Extended Dance Mix) 6:18

SIDE B:
In The Evening (Instrumental) 6:18

VINYL GRADE:
Vinyl: Naer Mint
Sleeve: Near Mint

Chart Performance — Sheryl Lee Ralph: *In The Evening* (1984)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#6	1984
Belgium (Ultrapop Flanders)	#16	1984
Netherlands (Dutch Singles Top 100)	#18	1984
UK Singles Chart	#64	1984

RELEASE INFORMATION:
Label: TELDEC – 6.20379
Format: Vinyl, 12″, Green Fluorescent
Country: Germany
Released: 1984
Genre: Electronic, Funk / Soul
Style: Synth-po

CREDITS:

Composed By – Frank Musker
Cover [Concept] – Joe Bernstein*, Sheryl Lee*
Mixed By, Engineer – Ben Wisch
Photography By [Cover Photo] – Marc Raboy
Producer, Arranged By, Composed By – Trevor Lawrence

NOTES:
Pressed on Green Fluorescent Vinyl

Licensed by – The New York Music Company

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.

June 19, 2026

Limahl – Too Much Trouble (Lovers Heartbeat Mix) (UK 12″) (1984)

Burning The Ground Exclusive

Before the massive international success of “The NeverEnding Story,” Limahl found himself navigating uncertain waters.

Fresh from his very public split with Kajagoogoo in 1983, Christopher Hamill, better known to the world as Limahl, suddenly had something to prove. As the instantly recognizable voice behind hits like “Too Shy,” many questioned whether his success had been tied to the band, or if he could stand on his own. Rather than retreat, Limahl embraced the challenge and launched a solo career that allowed him greater creative control and a chance to define himself beyond the image that had made him an early MTV favorite.

As Pride Month continues here at Burning The Ground, it’s fitting to spotlight another LGBTQ+ artist who helped shape the sound and style of the 1980s. Long before artists felt comfortable discussing their sexuality publicly, Limahl’s distinctive look, theatrical presence, and refusal to conform made him an important figure for many fans who saw something of themselves reflected in pop music’s outsiders and individualists.

Released on May 21, 1984, “Too Much Trouble” served as the second single from Limahl’s debut solo album, Don’t Suppose. Written by Limahl himself and produced by Tim Palmer and Dave Harris, the track showcased a darker, more introspective side of the singer than audiences may have expected after the bright optimism of his debut solo hit “Only for Love.”

Built around icy synthesizers, dramatic percussion, and Limahl’s unmistakable vocal delivery, “Too Much Trouble” captures the emotional exhaustion that comes from a relationship trapped in a cycle of conflict and uncertainty. There is a tension running through the song, balancing polished pop craftsmanship with a restless undercurrent that mirrors the turbulence described in the lyrics.

Commercially, the single wasn’t the breakthrough EMI had hoped for. In the UK, “Too Much Trouble” peaked at No. 64 on the Official Singles Chart, spending three weeks in the Top 75. It found a warmer reception elsewhere in Europe, reaching No. 26 in Germany and No. 23 in Finland.

History, however, has a funny way of rewriting narratives.

Overshadowed at the time by what came next, “Too Much Trouble” has gradually become something of a hidden gem among Limahl fans. Just a few months later, he would achieve worldwide success with Giorgio Moroder’s unforgettable theme from The NeverEnding Story, a song that would forever define his solo career. In retrospect, “Too Much Trouble” feels like an intriguing snapshot of an artist in transition. Determined to establish his own identity, experimenting with mood and texture, and refusing to simply recreate the formula that had already made him famous.

Listening today, the record stands as a reminder that some of the most interesting moments in an artist’s career aren’t always the biggest hits. Sometimes they’re the risks taken between the chart successes, when the path forward isn’t clear and reinvention is still taking shape.

For those willing to dig a little deeper into Limahl’s catalog, “Too Much Trouble” rewards repeated listens. It is sophisticated synth-pop with an edge of melancholy, delivered by one of the decade’s most distinctive voices.

Not every chapter of an artist’s story becomes a headline. Some become cult favorites.

And sometimes, that’s even more rewarding.

SIDE A:
Too Much Trouble (Lovers Heartbeat Mix) 6:18

SIDE B:
Too Much Trouble (7″ Version) 3:32
You’ve Been Gone For A Little While (Too Much Trouble – Reprise) 2:04

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Limahl: Too Much Trouble (1984)	Peak Position
Finland (Suomen virallinen lista)	23
West Germany (GfK)	26
UK Singles (OCC)	64

RELEASE INFORMATION:
Label: EMI – 12LML 2
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1984
Genre: Electronic
Style: Synth-pop

CREDITS:

Cover – T + CP*
Engineer – Tim Palmer
Hair – Michael John (12)
Make-Up [Make Up] – Sue Mann
Management – Gaff Management
Photography By – Brian Aris
Producer – De Harris, Tim Palmer
Words By, Music By – Limahl

NOTES:
Manufactured in the UK by EMI Records Limited

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.

June 18, 2026

The Associates – Club Country (UK 12″) (1982)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: September 2, 2015

Pride is often celebrated through the obvious anthems, the songs that become rallying cries on dance floors and parade routes. But some songs belong to Pride for different reasons. They represent individuality, self-expression, and the courage to exist outside the lines others draw for us. The Associates’ 1982 single “Club Country” is one of those songs.

Released on May 8, 1982, “Club Country” arrived during one of the most exciting periods in The Associates’ career. Following the success of “Party Fears Two,” Scottish duo Billy Mackenzie and Alan Rankine suddenly found themselves on the verge of mainstream success. The single climbed to No. 13 on the UK Singles Chart and helped pave the way for their acclaimed album Sulk, released just a few weeks later.

At first listen, “Club Country” is irresistible pop. Sweeping piano lines, dramatic flourishes, infectious rhythms, and a chorus that practically begs to be shouted back at the speakers. But like so much of The Associates’ music, there was more happening beneath the surface.

Billy Mackenzie was one of the most extraordinary vocalists of his generation. His voice could shift effortlessly from warm intimacy to soaring falsetto, often within the same line. There was theatricality, vulnerability, humor, and longing in every performance. He didn’t sound like anyone else because he wasn’t trying to be anyone else.

For many LGBTQ+ listeners, that authenticity mattered.

Mackenzie rarely discussed his private life publicly, preferring to let the music speak for itself. At a time when many artists were pressured to fit into neat categories, he embraced ambiguity and individuality. He dressed how he pleased, performed with fearless intensity, and refused to compromise the qualities that made him unique. Simply existing on his own terms became a quiet act of defiance.

The title “Club Country” evokes images of nightlife and belonging. Clubs have long been sanctuaries for LGBTQ+ communities, places where people could dance freely, build connections, and discover versions of themselves that the outside world often rejected. Whether or not Mackenzie intended the song to carry that meaning, it resonates deeply through that lens today.

There is also joy here.

Pride is not only protest and remembrance. It is celebration. It is finding your people under flashing lights and losing yourself in music for a few precious minutes. “Club Country” captures that exhilaration perfectly. It feels glamorous and strange, sophisticated and playful. It invites everyone onto the dance floor while reminding us that the most interesting people are often those who never quite fit in.

The Associates would never fully capitalize on their commercial breakthrough. Tensions between Mackenzie and Rankine eventually brought their partnership to an end, making this period frustratingly brief. Yet the music they created together remains timeless.

More than four decades later, “Club Country” still sparkles with originality. It stands as a reminder that Pride’s soundtrack isn’t built solely from obvious anthems. Sometimes it comes from artists who challenged expectations simply by being unapologetically themselves.

Billy Mackenzie gave the world permission to embrace eccentricity, sensitivity, glamour, and contradiction. He showed that individuality could be its own kind of strength.

For this year’s Soundtrack of Pride, “Club Country” deserves its place on the playlist.

Turn it up, step onto the dance floor, and celebrate everything that makes you beautifully impossible to define.

SIDE A:
Club Country (Extended Version) 6:58

SIDE B:
A.G. It’s You Again 3:06
Ulcragyceptemol 4:25

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — The Associates: Club Country (1982)
Chart	Peak Position	Date
UK Singles Chart	#13	1982
Ireland Irish Singles Chart	#22	1982

RELEASE INFORMATION:
Label: Associates – asc2t
Format: Vinyl, 12″, 45 RPM, Single
Country: UK
Released: Apr 29, 1982
Genre: Electronic, Rock
Style: Post-Punk, New Wave, Synth-pop

CREDITS:

Composed By – Rankine*, McKenzie*
Producer – Hedges*, Associates*
Sleeve, Photography By – Alan Macdonald (2)

NOTES:
Track A is an uncredited extended version.
Track B1 is an early version of “Arrogance Gave Him Up”.

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.