Year: 2019

Stevie Nicks – Stand Back (US 12″ Promo)

BURNING THE GROUND EXCLUSIVE 1983

Originally posted May 10, 2012

“Stand Back” is a song by Stevie Nicks from her 1983 album The Wild Heart. It was released as the first single for the album on May 19, 1983, and went to number five on the U.S. Billboard Hot 100 and number two on the U.S. Top Rock Tracks chart in August of that year. It was a major success and still receives substantial airplay to this day.

The song has been a staple in Nicks’ live shows since its pre-album debut at the US Festival in May 1983, and it has also been included in Fleetwood Mac tour setlists since 1987.

The main intro of the song features an Oberheim OB-Xa synthesizer. The synth-bass is played on a Roland Jupiter 8. On the Rock A Little tour, the Oberheim is replaced with a Yamaha DX7. There were two mixes prepared for the song; the generally more well known Album Version (4:49) and the edited Single Version (4:20). Differences between the two are somewhat subtle, but the Single Mix tends to have more of a “collapsed” or “mono” sound to it and the electronic drum programs are mixed, rather dry and flattened, especially in the song’s intro bars; whereas the drum tracks on the Album mix are accentuated by a generous amount of reverb effect and harder compression. Acoustic drums were given a more backseat role on Stand Back. There is a further ‘polished’ version of the track, with crisper percussion and louder foreground synth featured on Nicks’ 1991 best of compilation Timespace, remixed by Chris Lord-Alge, and running at 4:59.

Nicks has often told the story of how she wrote the song. She wrote it shortly after she was married to Kim Anderson. The newlyweds were driving up to San Ysidro Ranch in Santa Barbara when Prince’s song “Little Red Corvette” came on the radio. Nicks started humming along to the melody, especially inspired by the lush synthesizers of the song, and “Stand Back” was born. They stopped and got a tape recorder and she recorded the demo in the honeymoon suite that night. Later, when Nicks went into the studio to record the song, she called Prince and told him the story of how she wrote the song to his melody. He came to the studio that night and played synthesizers on it, although his contribution is uncredited on the album. Then, she says, “he just got up and left as if the whole thing happened in a dream.” Prince is occasionally listed as the song’s co-writer, especially on mainland European releases.

“Stand Back” never really received an official extended remix however several remix services did remix the track in 1986. Including Prime Cuts and Discotech. The song was also later remixed and released again as a single on August 28, 2007, to promote the compilation album Crystal Visions – The Very Best of Stevie Nicks.

SIDE A:
Stand Back (Long Version) 4:49

SIDE B:
Stand Back (Short Version) 4:20

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year Single Chart Position
1983 Stand Back U.S. Billboard Hot 100 #5
1983 Stand Back U.S. Billboard Mainstream Rock Tracks #2
1983 Stand Back U.S. Billboard Hot Dance Club Play #12

 

RELEASE INFORMATION:
Label: Modern Records – PR 507
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1983
Genre: Electronic, Rock, Pop
Style: Pop Rock, Synth-pop

CREDITS:
Art Direction, Design, Photography – Herbert Wheeler Worthington III
Engineer – Shelly Yakus
Producer – Jimmy Iovine
Synthesizer [Uncredited] – Prince
Written-By – Stevie Nicks

NOTES:
Note: the sleeve incorrectly lists the A-side as being the “Edited Version” at 4:18 and the B-side as being the “Album Version” at 4:47. The label correctly lists the A-side as the longer of the two and the B-side as shorter, as shown in the tracklisting above.

Promtional Copy Not For Sale

Find the 12″ at DISCOGS

VINYL RESTORATION BY:
-DjPaulT
burningtheground.net

EQUIPMENT USED:
Turntable: Pro-Ject Debut Carbon (DC)
Cartridge: Ortofon 2M
Stylus: Ortofon 2M Bronze
Isolation: Auralex Acoustics ISO-Tone Turntable Isolation Platform
Platter: Pro-Ject Acryl-It platter
Stabilizer: Pro-Ject Record Puck 
Phono Pre-amp:
Schiit Mani
Soundcard:
ESI Juli@ XTe Audio Interface
Monitiring:
Novation Audiohub 2×4 Audio Interface
Record Cleaning:
VPI HW 16.5 Record Cleaning Machine
Artwork Scans:
Epson Workforce WF-7610 Professional Printer/Scanner

SOFTWARE USED:
Recording/Editing: Adobe Audition 3.0 (Recording)
Down Sampling: iZotope RX Advanced 2, ocenaudio
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)
MP3 (320kbps)
Artwork scanned at 600dpi

Username: btg
Password: burningtheground

You can help show your support for this blog by making a donation using PayPal. Thank you for your help.

Whitney Houston – Someone For Me (Remix) (UK 12″)

BURNING THE GROUND EXCLUSIVE 1985

“Someone For Me” is a 1985 single by American singer and actress Whitney Houston. “Someone For Me” was produced by Jermaine Jackson and released on January 1, 1985, as Houston’s debut single in the UK from her eponymous debut album. In the US “You Give Good Love” was released as the first single. “Someone For Me” was only released in Europe and failed to chart.

SIDE A:
Someone For Me (Remix) 7:24
Mixed By – Billy Botterell*, Michael O’Reilly
Producer –Jermaine Jackson
Remix – Alan ‘The Judge’ Coulthard*

SIDE B:
The Greatest Love Of All 4:56
Mixed By – Bill Schnee
Producer – Michael Masser
Producer [Executive] – Clive Davis

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Arista ‎– ARIST 12614
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1985
Genre: Electronic, Pop
Style: Synth-pop, Ballad

NOTES:
Cover design: Torchlight, London
Taken from Whitney Houston’s forthcoming debut album “WHITNEY HOUSTON”

Find the 12″ at DISCOGS

VINYL RESTORATION BY:
-DjPaulT
burningtheground.net

EQUIPMENT USED:
Turntable: Pro-Ject Debut Carbon (DC)
Cartridge: Ortofon 2M
Stylus: Ortofon 2M Bronze
Isolation: Auralex Acoustics ISO-Tone Turntable Isolation Platform
Platter: Pro-Ject Acryl-It platter
Stabilizer: Pro-Ject Record Puck 
Phono Pre-amp:
Schiit Mani
Soundcard:
ESI Juli@ XTe Audio Interface
Monitiring:
Novation Audiohub 2×4 Audio Interface
Record Cleaning:
VPI HW 16.5 Record Cleaning Machine
Artwork Scans:
Epson Workforce WF-7610 Professional Printer/Scanner

SOFTWARE USED:
Recording/Editing: Adobe Audition 3.0 (Recording)
Down Sampling: iZotope RX Advanced 2, ocenaudio
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)
MP3 (320kbps)
Artwork scanned at 600dpi

Username: btg
Password: burningtheground

You can help show your support for this blog by making a donation using PayPal. Thank you for your help.

Wham! Featuring George Michael – Careless Whisper (Japan 12″)

BURNING THE GROUND EXCLUSIVE 1984

35 years ago today July 24, 1984, George Michael released ‘Careless Whisper’. The song went on to be a defining moment in his career.

“Careless Whisper” is a pop ballad written by George Michael and Andrew Ridgeley of Wham!. It was released on 24 July 1984 on the Wham! album Make It Big.

The song features a prominent saxophone riff, and has been covered by a number of artists since its first release. It was released as a single and became a huge commercial success around the world. It reached number one in nearly 25 countries, selling about 6 million copies worldwide—2 million of them in the United States.

The song went through at least two rounds of production. The first was during a trip Michael made to Muscle Shoals, Alabama, where he went to work with producer Jerry Wexler at Muscle Shoals Sound Studio. Michael was unhappy with the original version produced by Wexler, and decided to re-record and produce the song himself; the second version was the one ultimately released as a single.

After the backing track and George’s vocal had been recorded, Wexler had booked the top saxophone player from Los Angeles to fly in and do the solo. “He arrived at eleven and should have been gone by twelve”, recalled Wham! manager Simon Napier-Bell. “Instead, after two hours, he was still there while everyone in the studio shuddered with embarrassment. He just couldn’t play the opening riff the way George wanted it, the way it had been on the demo. But that had been made two years earlier by a friend of George’s who lived round the corner and played sax for fun in the pub.”

While the saxophonist appeared to be playing the part perfectly, Michael told him, “No, it’s still not right, you see …” and he would lower his head to the talkback microphone and patiently hum the part to him yet again. “It has to twitch upwards a little just there! See …? And not too much.”

Napier-Bell consulted with Wexler over Michael’s dispute with the sax sound. “Is there really something George wants that’s different from what the sax player is playing?” Napier-Bell asked.

“Definitely!” replied Wexler.

The version Wexler produced was released later in the year, as a B-side “Special Version” on 12″ in the UK and Japan.

The record label Innervision were going to put out the Wexler version of “Careless Whisper” after the Club Fantastic Megamix as far back as 1983. Song publisher Dick Leahy said that while he could not stop the release of the Club Fantastic Megamix, he could stop the release of this single on the basis that as a publisher they “have the right to grant the first license of the recording of a tune of which he controls the copyright”. He was unable to do anything about the Club Fantastic Megamix because it was already released material. He said: “We knew how big that song could be, so it was necessary to upset a few people to stop it.”

Michael later went back to London’s Sarm West’s Studio 2 to rework the track. According to English jazz musician Dan Forshaw, saxophonist Steve Gregory had received a call to re-record the song’s distinctive solo; he was the eleventh saxophone player to record the solo, for Michael was determined to get the sound he wanted. “Session musicians do not have much idea what they are going to be recording until they arrive, and this was the case for Steve and another saxophonist who was ahead of him in the (queue)”, Forshaw recalled.

The officially released single was issued in August 1984, entering the UK Singles Chart at number 12. Within two weeks it was at number one, ending a nine-week run at the top for “Two Tribes” by Frankie Goes to Hollywood. It stayed at number one for three weeks, going on to become the fifth best-selling single of 1984 in the United Kingdom; outsold only by the two Frankie Goes to Hollywood tracks, “Two Tribes” and “Relax”, Stevie Wonder with “I Just Called to Say I Love You”, and Band Aid’s “Do They Know It’s Christmas?”. The song also topped the charts in 25 other countries, including the Billboard Hot 100 in the United States in February 1985 under the credit “Wham! featuring George Michael”, Spending three weeks at the top in America, the song was later named Billboard’s number-one song of 1985.

Despite the success, Michael was never fond of the song. He said in 1991 that it “was not an integral part of my emotional development … it disappoints me that you can write a lyric very flippantly—and not a particularly good lyric—and it can mean so much to so many people. That’s disillusioning for a writer.”

SIDE A:
Careless Whisper (Extended Mix) 6:29
Arranged By, Producer – George Michael
Written-By – Andrew Ridgeley , George Michael

SIDE B:
Careless Whisper (Special Version) 4:42
Producer – Jerry Wexler
Written-By – Andrew Ridgeley , George Michael

Careless Whisper (Instrumental) 5:04
Arranged By, Producer – George Michael

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year Single Chart Position
1985 Careless Whisper U.S. Billboard Hot 100 #1
1985 Careless Whisper U.S. Billboard Hot Black Singles #8
1985 Careless Whisper U.S. Billboard Hot Adult Contemporary Tracks #1

 

RELEASE INFORMATION:
Label: Epic ‎– 12・3P-570
Format: Vinyl, 12″, 45 RPM
Country: Japan
Released: 1984
Genre: Electronic, Pop
Style: Ballad, Synth-pop

NOTES:
Manufactured by Epic/Sony Inc., Tokyo, Japan
From the LP “MAKE IT BIG”

Find the 12″ at DISCOGS

VINYL RESTORATION BY:
-DjPaulT
burningtheground.net

EQUIPMENT USED:
Turntable: Pro-Ject Debut Carbon (DC)
Cartridge: Ortofon 2M
Stylus: Ortofon 2M Bronze
Isolation: Auralex Acoustics ISO-Tone Turntable Isolation Platform
Platter: Pro-Ject Acryl-It platter
Stabilizer: Pro-Ject Record Puck 
Phono Pre-amp:
Schiit Mani
Soundcard:
ESI Juli@ XTe Audio Interface
Monitiring:
Novation Audiohub 2×4 Audio Interface
Record Cleaning:
VPI HW 16.5 Record Cleaning Machine
Artwork Scans:
Epson Workforce WF-7610 Professional Printer/Scanner

SOFTWARE USED:
Recording/Editing: Adobe Audition 3.0 (Recording)
Down Sampling: iZotope RX Advanced 2, ocenaudio
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)
MP3 (320kbps)
Artwork scanned at 600dpi

Username: btg
Password: burningtheground

You can help show your support for this blog by making a donation using PayPal. Thank you for your help.

Jane Child – Welcome To The Real World (US 12″)

BURNING THE GROUND EXCLUSIVE 1990

“Welcome To The Real World” is the debut single by Canadian singer Jane Child taken from her 1989 eponymous album on the Warner Bros. label. The song was also featured on the soundtrack for the film “Married To The Mob”.  “Welcome To The Real World” peaked at #59 on the Canadian Pop singles chart and #49 on the U.S. Billboard Hot 100.

This is the second U.S. 12″ release which features the more obscure François Kevorkian, Goh Hotoda remixes.

SIDE A:
Welcome To The Real World (12″ Remix) 8:05
Welcome To The Real World (7″ Remix/Edit) 4:19

SIDE B:
Welcome To The Real World (The Illusion Dub) 7:44
World Lullabye (LP Version) 3:00

VINYL GRADE:
Vinyl: Near mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year Single Chart Position
1990 Welcome To The Real World U.S. Billboard Hot 100 #49

 

RELEASE INFORMATION:
Label: Warner Bros. Records ‎– 9 21346-0
Format: Vinyl, 12″, 33 ⅓ RPM, Maxi-Single
Country: US
Released: 1990
Genre: Electronic
Style: Downtempo, Synth-pop

CREDITS:
Producer – François Kevorkian
Producer, Written-By –Jane Child
Remix – François Kevorkian, Goh Hotoda

NOTES:
Original versions available on the Warner Bros. album “Jane Child”, available on LP, cassette and compact disc.

Find the 12″ at DISCOGS

VINYL RESTORATION BY:
-DjPaulT
burningtheground.net

EQUIPMENT USED:
Turntable: Pro-Ject Debut Carbon (DC)
Cartridge: Ortofon 2M
Stylus: Ortofon 2M Bronze
Isolation: Auralex Acoustics ISO-Tone Turntable Isolation Platform
Platter: Pro-Ject Acryl-It platter
Stabilizer: Pro-Ject Record Puck 
Phono Pre-amp:
Schiit Mani
Soundcard:
ESI Juli@ XTe Audio Interface
Monitiring:
Novation Audiohub 2×4 Audio Interface
Record Cleaning:
VPI HW 16.5 Record Cleaning Machine
Artwork Scans:
Epson Workforce WF-7610 Professional Printer/Scanner

SOFTWARE USED:
Recording/Editing: Adobe Audition 3.0 (Recording)
Down Sampling: iZotope RX Advanced 2, ocenaudio
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)
MP3 (320kbps)
Artwork scanned at 600dpi

Username: btg
Password: burningtheground

You can help show your support for this blog by making a donation using PayPal. Thank you for your help.