Tag: US

March 24, 2026

Donna Lee – Do Or Die (US 12″) (1990)

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Made possible by a generous donation to acquire the vinyl for this post—thank you for supporting Burning the Ground.

By 1990, the freestyle movement that had dominated dance floors throughout the latter half of the ’80s was beginning to shift. The raw electro-Latin pulse that fueled classics from the genre’s golden era was gradually giving way to a sleeker, more house-influenced sound. It was in this transitional moment that Donna Lee emerged with her club-driven single “Do Or Die.”

Released on CBS Associated Records, “Do Or Die” fits squarely into that late-period freestyle mold—polished production, extended club arrangements, and a clear focus on DJs rather than radio. The single was produced by Ritchie Jones, whose work has spanned artists such as Taylor Dayne, Jennifer Lopez, Brenda K. Starr, and Paul Lekakis—adding notable pedigree to an otherwise under-the-radar release.

The standout “Clubhouse Mix” leans heavily into the evolving sound of the time, blending freestyle’s emotional vocal delivery with tighter house rhythms and layered synth textures. Meanwhile, the dub mixes strip things down for mixing flexibility—offering percussion-heavy breakdowns, extended intros, and instrumental passages that made records like this essential tools in club sets.

While Donna Lee never achieved the visibility of freestyle heavyweights like Trinere or Denine—artists who managed to break into broader recognition and even release full-length albums—her output represents a different but equally important side of the genre. She appears to have released only a handful of singles, with no known full album, placing her firmly in the category of freestyle’s lost voices—artists whose work lived primarily on vinyl and in the clubs.

That context makes “Do Or Die” all the more compelling. It’s not a crossover hit or a radio staple—it’s a DJ record, built for late-night sets, where extended mixes mattered and the dance floor dictated success. Records like this were often pressed in limited quantities, distributed to DJs and specialty shops, and rarely documented beyond their physical releases.

Freestyle itself was still thriving regionally at the time—especially in cities like New York, Miami, and Los Angeles—though by the early ’90s it would begin to fade from mainstream attention as house and other dance styles took over . That places “Do Or Die” right at the tail end of an era—one foot in freestyle’s emotional core, the other stepping toward the future of club music.

Today, the single stands as a deep-cut artifact of freestyle’s final chapter—the kind of record that never left the underground but continues to resonate with collectors and DJs who appreciate the genre’s evolution.

If you were digging through bins in the early ’90s, this is exactly the kind of record you hoped to find—something unfamiliar, mysterious, and built strictly for the dance floor.

And sometimes, those are the ones that last the longest.

SIDE A:
Do Or Die (Clubhouse Mix) 7:06
Do Or Die (“Do” Dub) 7:44

SIDE B:
Do Or Die (Crossover Mix) 4:42
Do Or Die (“Die” Dub) 5:02

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: CBS Associated Records – 45 73367
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1990
Genre: Electronic
Style: House, Freestyle

CREDITS:

Edited By [Edits By] – Chep Nuñez
Engineer [Engineered By] – Mario “Not Rude” Rodriguez*
Executive-Producer – Dr. Cool (4), Timothy “T.K.” Olphie*
Keyboards, Overdubbed By [Overdubs] – Eric Kupper
Producer – Danny Obadia, John Beltzer
Recorded By – Billy Esses*
Remix [Remix By] – Richie Jones
Written-By – D. Obadia*, J. Beltzer*

NOTES:
Manufactured and Distributed By CBS Records / CBS Inc. / 51 W 52 Street, New York, N.Y.

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.

March 19, 2026

Newton – Sky High (US 12″) (1994)

Burning The Ground Exclusive

In the mid-90s, when Eurodance and pop covers were dominating the charts, an unexpected revival of a 70s classic found its way back onto dance floors—this time with a glossy, Hi-NRG sheen.

British singer and former firefighter William Newton Myers—better known as Newton—stepped into the spotlight in 1994 with his debut single, a remake of Sky High, originally recorded by Jigsaw in 1975.

Produced by the hitmaking team of Mike Stock and Matt Aitken—best known for their work as part of the Stock Aitken Waterman empire—this 90s version of “Sky High” trades the original’s orchestral drama for a bright, synth-driven dance arrangement tailor-made for clubs and radio alike.

Interestingly, what began as a one-off studio project had deeper ties to the original than most covers. The track actually features vocals by Des Dyer, the original voice behind the 1975 hit. He even appears in the music video, bridging the gap between eras. Following the single’s success, Myers himself was brought forward as the face—and voice—of the project, giving it a consistent identity moving forward.

And success it was. “Sky High” climbed to No. 8 in Australia in April 1995, earning a gold certification and proving that a well-produced cover could still capture the public’s imagination nearly two decades after the original’s release.

Newton would go on to build a career largely centered around reimagining familiar songs for a new generation, finding particular success in markets like Australia, the UK, and Brazil. His polished vocal style and accessible dance productions made him a reliable presence in 90s pop.

In 1998, he released his debut album, Sweetest Secret, further cementing his place in the era’s pop landscape.

While purists may always favor the original, Newton’s “Sky High” stands as a perfect example of 90s nostalgia done right—respectful of its source, yet updated with enough energy and style to feel fresh all over again. For many club-goers of the time, this was their version—and it still soars.

SIDE A:
Sky High (Radio Edit) 3:58
Engineer [Mix Engineer] – Peter Day
Mixed By – Seth & Jess Thethub
Written-By – C. Scott, D. Dyer

Sky High (Hiza Kite Mix) 6:48
Mixed By – Mobius Loop
Written-By – C. Scott, D. Dyer

SIDE B:
Sky High (Kaiser Height Mix) 6:28
Mixed By – The Red Baron
Written-By – C. Scott, D. Dyer

Up, Down Round & Round 3:51
Mixed By – Neon (15)
Written-By – J. Gingell, M. Stock, M. Aitken

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Newton: *Sky High* (1994)
Chart	Peak Position	Date
Australia (Kent Report)	#8	1994
UK Singles	#56	1994

RELEASE INFORMATION:
Label: Critique – 01624 15536-1
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1994
Genre: Electronic
Style: Euro House

CREDITS:

Engineer – Peter Day
Engineer [Assisted By] – Dean Murphy
Musician – J. Gingell*, M. Stock, M. Aitken*
Producer [Uncredited] – Stock/Aitken

NOTES:
The label mistakenly credits Peter Day as the producer, but the correct producer and Peter Day’s actual role are listed above.

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.

March 18, 2026

U2 – Discothèque (US 12″ Promo) (1997)

Burning The Ground Exclusive

When U2 returned in 1997 with “Discothèque,” it felt like a shock to the system—in the best possible way.

Released as the lead single from their ambitious album Pop, “Discothèque” saw the band diving headfirst into electronic dance music, club culture, and the glossy excess of the late ‘90s. Produced by Flood, Howie B, and Steve Osborne, the track fused U2’s signature anthemic sound with pulsing beats, distorted grooves, and a heavy dose of irony.

From the opening filtered guitar riff by The Edge, it’s clear this isn’t the same band that gave us The Joshua Tree. Instead, “Discothèque” leans into a sleazy, neon-lit atmosphere—more underground club than stadium rock. Bono delivers lyrics that flirt with decadence and spiritual longing, blurring the line between indulgence and introspection: “You can reach, but you can’t grab it…”

The single was a commercial success, hitting #1 in the UK and topping charts across Europe, while also making a strong showing on the Billboard Hot 100. In the U.S., it also became a major club hit, proving that U2 could successfully reinvent themselves yet again—this time for the dancefloor.

Of course, no discussion of “Discothèque” would be complete without its unforgettable video. Directed by Stéphane Sednaoui, the clip features the band dressed in outrageous costumes—most notably their appearance inside a giant mirrorball—poking fun at both themselves and club culture excess. It perfectly captured the era’s playful, anything-goes aesthetic while reinforcing the band’s willingness to take risks.

For longtime fans, “Discothèque” was initially divisive. Those expecting another With or Without You or One were instead met with a bold stylistic pivot. But in hindsight, that’s exactly what makes it so compelling. Much like their earlier reinvention during the Achtung Baby era, this track showed that U2 refused to stand still.

On the 12-inch and CD single formats, “Discothèque” truly came alive. Various remixes expanded the track’s club appeal, stretching its hypnotic groove into extended dancefloor workouts that fit perfectly alongside the late ‘90s electronic scene. The US 12″ promo that I am featuring today is especially noteworthy, as it includes the “Discothèque (DM Tec Club Mix),” which, as far as I know, remains exclusive to this particular release—making it a must-have for collectors and completists.

Nearly three decades later, “Discothèque” stands as one of the most daring singles in U2’s catalog. It’s a time capsule of late ‘90s experimentation, excess, and transformation—and a reminder that even the biggest bands can still surprise you when they’re willing to take risks.

SIDE A:
Discothèque (DM Deep Club Mix) 6:59

SIDE B:
Discothèque (DM Tec Club Mix) 7:20

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – U2: *Discothèque* (1997)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#1	1997
US Billboard Hot 100	#10	1997
US Billboard Mainstream Rock	#6	1997
UK Singles	#1	1997
Scottland Singles	#1	1997
Norway	#1	1997
New Zealand	#1	1997
Ireland	#1	1997
Italy	#1	1997
Finland	#1	1997
Canada Top Singles (RPM)	#2	1997
Canada Dance/Urban	#1	1997
Canada Rock/Alternative	#1	1997
Australia	#3	1997

RELEASE INFORMATION:
Label: Island Records – PR12 7398-1
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1997
Genres: Electronic, Pop
Styles: House

CREDITS:

Decks [Original], Loops [Original], Recorded By [Original] – Howie B.
Mastered By [Original] – Howie Weinberg
Mixed By [Original] – Conal Markey
Mixed By [Original], Recorded By [Original] – Mark “Spike” Stent*
Producer [Original] – Flood
Recorded By [Original] – Femio Hernandez, Rob Kirwan
Remix – David Morales, Satoshi Tomiie

NOTES:
For Promotional Use Only – Not For Sale

“Discothèque” contains samples from “Fane” by Freeform. Courtesy of Skam Records.

Mastered at Masterdisk – New York

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.

March 12, 2026

Alexander O’Neal – Innocent (US 12″) (1985)

Burning The Ground Exclusive

When Alexander O’Neal emerged in the mid-1980s, his commanding baritone and emotionally charged delivery quickly set him apart in the evolving R&B landscape. One of the standout tracks from his debut album was the sleek and synth-driven single “Innocent.”

Released in 1985 from the self-titled debut Alexander O’Neal (1985 album), “Innocent” showcased the polished Minneapolis sound crafted by legendary production duo Jimmy Jam and Terry Lewis. Built around crisp drum machine programming, pulsing bass, and shimmering synthesizers, the track perfectly captures the sophisticated R&B style that Jam and Lewis were refining during the decade.

O’Neal delivers a powerful vocal performance on the track, balancing intensity with smooth restraint. Adding to the song’s distinctive character are the backing vocals performed by fellow Minneapolis artist Cherrelle. Her unmistakable harmonies weave throughout the track, giving the chorus an extra layer of energy and providing a subtle preview of the musical chemistry that the two artists would later display on their famous duet “Saturday Love.”

“Innocent” quickly found success in the United States, climbing to #11 on the Billboard Hot R&B/Hip-Hop Songs chart in 1985 and helping introduce Alexander O’Neal to a wider audience. Interestingly, while many of his later singles would become major hits in the UK, “Innocent” remains the only single from the album not to chart there.

Before his solo breakthrough, O’Neal had already been closely tied to the Minneapolis music scene. In fact, he was originally slated to front an early version of The Time before being replaced by Morris Day. His eventual partnership with Jam and Lewis proved to be a turning point, producing a series of stylish R&B recordings that would define much of his career.

More than four decades later, “Innocent” remains a standout from O’Neal’s debut era—an irresistible blend of electronic funk, soulful vocals, and the unmistakable studio craftsmanship of Jam and Lewis. For fans of the Minneapolis sound, it’s a track that still feels as fresh and sophisticated as it did when it first arrived in 1985.

SIDE A:
Innocent (Special 12” Extended Dance Remix) 10:34

SIDE B:
Innocent (Instrumental) 9:54

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Alexander O’Neal: *Innocent* (1985)
Chart	Peak Position	Date
US Billboard Hot R&B / Hip-Hop Songs	#11	1985

RELEASE INFORMATION:
Label:Tabu Records – 4Z9 05140
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1985
Genre: Electronic, Funk / Soul
Style: Funk, Soul

CREDITS:

Art Direction, Photography By – Stafford (2)
Lacquer Cut By [Runout Etching ❀] – Brian Gardner
Producer, Written-By – Jimmy Jam And Terry Lewis*

NOTES:
Special 12″ extended dance remix
Special version from the Tabu LP: “Alexander O’Neal.”

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.