Tag: 1984

July 14, 2026

Bonnie Tyler – Holding Out For A Hero (UK 12″) (1984)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

I had already planned to begin this new series with Bonnie Tyler before hearing the sad news of her passing. Now, this post carries a meaning I never expected it to have.

Bonnie Tyler passed away on July 8, 2026, at the age of 75. With her unmistakable voice and powerful delivery, she gave us some of the most dramatic and memorable recordings of the 1970s and 1980s. She could turn almost any song into a full-scale event, and “Holding Out For A Hero” remains one of the greatest examples.

Released in 1984 as part of the soundtrack for the motion picture Footloose, “Holding Out For A Hero” was written by Jim Steinman and Dean Pitchford and produced by Steinman. The song was later included on Bonnie’s 1986 studio album Secret Dreams And Forbidden Fire.

From its opening blast of drums, racing piano, blaring horns, and urgent backing vocals, the record never slows down. Everything about it is oversized, breathless, and wonderfully theatrical. Then Bonnie enters with that rough, commanding voice, sounding as though she is not merely waiting for a hero. She is demanding that one arrive immediately.

No one could have sung this song halfway. It required a vocalist who could rise above Jim Steinman’s enormous production without becoming lost inside it. Bonnie did more than rise above it. She owned every second.

The song was originally released in the UK in 1984, reaching only number 96. It was reissued the following year and became a major hit, climbing to number two and remaining there for three weeks. It also reached number one in Ireland and number 34 on the US Billboard Hot 100.

The Footloose soundtrack was packed with hit singles, but “Holding Out For A Hero” brought a different kind of energy to the album. It was louder, stranger, and more dramatic than almost anything surrounding it. Even without the movie, the recording creates its own frantic action sequence inside your head.

For this post, I am using the original UK 12-inch single. The A-side features the extended dance remix by John “Jellybean” Benitez. Jellybean stretches the song to more than six minutes while keeping the force and urgency of Jim Steinman’s original production. The remix gives the arrangement more room to breathe, but it never loses its momentum.

The B-side opens with the instrumental version of “Holding Out For A Hero.” Removing Bonnie’s lead vocal puts more attention on the layers buried within the production, including the dramatic piano, pounding percussion, guitars, synthesizers, and backing vocals. It is a great companion to the extended remix and shows just how much is happening underneath Bonnie’s performance.

The final track is “Faster Than The Speed Of Night,” the title song from Bonnie’s hugely successful 1983 album. Also written and produced by Jim Steinman, it makes this UK 12-inch feel more substantial than the usual soundtrack single. All three tracks capture Bonnie during one of the strongest periods of her career.

I previously posted this record in April 2019. For this new 2026 edition, I returned to the vinyl and created an entirely new transfer from the beginning. This is not a recycled or lightly updated version of the previous post. It is a brand-new transfer with meticulous audio restoration while preserving the power, movement, and excitement of the original recording.

This post also begins my new series, Ladies Of The 80s: Soundtrack Edition. Throughout the series, I will be featuring female artists who released singles connected to motion pictures during the 1980s.

It is bittersweet to begin the series this way, but I cannot think of a stronger song or a more deserving artist. Bonnie Tyler gave the decade a voice that could sound wounded, fearless, romantic, and larger than life, sometimes within the same recording.

Thank you, Bonnie, for the music, the drama, and that unforgettable voice.

SIDE A:
Holding Out For A Hero (Special Extended Remix) 6:22
Written By – J. Steinman/D. Pitchford
Written-By – D. Pitchford, J. Steinman

SIDE B:
Holding Out For A Hero (Instrumental) 5:17
Written By – J. Steinman/D. Pitchford
Written-By – D. Pitchford, J. Steinman

Faster Than The Speed Of Night 4:41
Written-By – J. Steinman*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Bonnie Tyler: Holding Out For A Hero (1984)	Peak Position
Australia (Kent Music Report)	44
Austria (Ö3 Austria Top 40)	19
Canada (Billboard)	17
Europarade Top 40	12
Finland (Suomen virallinen lista)	8
Ireland (IRMA)	1
Japan (Oricon Singles Chart)	38
New Zealand (Recorded Music NZ)	33
South Africa (Springbok Radio)	23
Sweden (Sverigetopplistan)	19
UK Singles Chart (1984 release)	96
UK Singles Chart (1985 reissue)	2
US Billboard Hot 100	34
West Germany (Official German Charts)	19

RELEASE INFORMATION:
Label: CBS – TA 4251
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: UK
Released: 1984
Genre: Electronic
Style: Hi NRG, Synth-pop

CREDITS:

Producer, Directed By – Jim Steinman
Remix – John “Jellybean” Benitez (tracks: A, B1)

NOTES:
From the original soundtrack of the Paramount motion picture “Footloose”.

Side A – Mix name on front cover is “Extended Remixed Version”.
Side A – Also known as “Dance Version-Jellybean Remix”.

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 8, 2026

Peabo Bryson – D.C. Cab (US 12″) (1984)

Burning The Ground Exclusive

Remembering the late Peabo Bryson today with a bit of an overlooked soundtrack cut from 1983.

“D.C. Cab” was the title track from the Motion Picture Soundtrack D.C. Cab, the cult comedy directed by Joel Schumacher and starring Mr. T, Adam Baldwin, Gary Busey, and Marsha Warfield. The soundtrack was a very 1983 affair, packed with R&B, pop, and dance names including Irene Cara, Shalamar, DeBarge, Stephanie Mills, Karen Kamon, and Giorgio Moroder.

Peabo Bryson’s contribution sits in a fun little corner of his catalog. Most listeners know him for those smooth, romantic ballads and his later Disney classics, but “D.C. Cab” gives us a different side of Peabo. This one has more street-level sparkle, more movie-theme energy, and a bright early ’80s R&B bounce that fits the film’s scrappy, oddball charm.

As the title track, “D.C. Cab” had the job of selling the attitude of the movie. It is not trying to be a grand ballad. It is not trying to pull tears from the balcony. Instead, it rolls along with that soundtrack polish, a little bit of grit, and Peabo’s unmistakable voice giving the whole thing more class than a film about a wild taxi company probably deserved.

Released as the fourth and final single from the soundtrack, “D.C. Cab” spent nine weeks on the Billboard Black Singles chart. In the February 11, 1984 issue of Billboard, the single reached its peak at #53.

It may not be one of Peabo Bryson’s best-known singles, but that is part of the fun. Soundtracks from this era often tucked away these little surprises, songs that lived between radio formats, movie marketing, and the clubs. “D.C. Cab” is one of those records. It captures a moment when movie soundtracks could be wonderfully strange, tossing together big voices, rising acts, disco veterans, and studio pros to create something that could only have happened in the early ’80s.

A music video was not released for this single.

Peabo Bryson left behind a huge legacy, from quiet storm favorites to pop duets that became part of music history. “D.C. Cab” may be a smaller stop on that ride, but it is still worth pulling over for.

SIDE A:
D. C. Cab (Remixed Version) 5:38

SIDE B:
D. C. Cab (Dub Version) 5:04

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: MCA Records – MCA-13988
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1984
Genre: Electronic, Funk / Soul, Pop, Rock
Style: Hi NRG, Synth-pop

CREDITS:

Executive Producer – Ronny Vance
Producer, Written-By – Larry John McNally, Richard Feldman, Rick Kelly

NOTES:
From the original Motion Picture Soundtrack “D.C. Cab”
An RKO-Universal Picture
“Peabo Bryson appears courtesy of Elektra / Asylum Records

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 30, 2026

Bronski Beat – Why? (Remix) (UK 12″ Limited Edition) (1984)

Burning The Ground Exclusive

As Pride Month comes to a close, I can’t think of a better record to finish my “Soundtrack Of Pride” series than Bronski Beat’s “Why?”

Released in 1984, “Why?” followed the band’s stunning debut single “Smalltown Boy,” and together the two songs form one of the most powerful one-two punches in LGBTQ+ pop history. Where “Smalltown Boy” tells the painful story of leaving home to survive, “Why?” turns that pain outward. It asks the question directly. Why the hate? Why the fear? Why should anyone have to hide who they are or who they love?

Jimmy Somerville’s voice is one of the great voices of the 1980s. Fragile one moment, fierce the next, he could turn a dance record into a protest song without losing the beat. “Why?” is pure Hi-NRG fire, but it is also angry, wounded, and unafraid. The record moves with urgency, driven by sharp synths, pounding percussion, and that unmistakable cry in Somerville’s vocal. It is a song built for the dance floor, but it refuses to be background music.

The charts also showed just how far Bronski Beat’s message traveled. “Why?” reached No. 6 on the UK Singles Chart and topped the UK Airplay chart, while also finding success across Europe, Australia, and the U.S. dance charts. “Smalltown Boy” had already made an even bigger impact, reaching No. 3 in the UK and No. 1 on the U.S. Billboard Hot Dance Club Play chart. For music this direct, this emotional, and this openly queer to travel that far in 1984 still feels remarkable.

That was the power of Bronski Beat. They were not hiding behind suggestion or coded language. Steve Bronski, Larry Steinbachek, and Jimmy Somerville made music that spoke openly about gay life at a time when that was still a radical act in pop music. Their debut album, The Age Of Consent, carried its message right in the title, referring to the unequal age of consent laws in the United Kingdom at the time. This was pop music with a purpose.

My limited edition UK 12” single makes this release even more special because the flip side contains the 12″ version of “Smalltown Boy.” Having “Why?” and “Smalltown Boy” together on one 12” feels almost too perfect. One song is the escape. The other is the confrontation. One is the heartbreak of being pushed away. The other is the demand to be seen, heard, and respected.

“Smalltown Boy” remains one of the most moving LGBTQ+ anthems ever recorded. Its story of rejection, loneliness, and the search for a place to belong has touched generations of listeners. Even now, four decades later, it still feels deeply personal. It is not just a song about leaving. It is a song about surviving.

“Why?” is just as important. It reminds us that Pride is not only a celebration. It is also a protest. It is history. It is memory. It is the sound of people refusing to disappear.

For the final entry in this year’s “Soundtrack Of Pride,” Bronski Beat feels essential. These songs are not just dance classics. They are documents of their time, and they still speak loudly today. They remind us why the dance floor mattered, why visibility mattered, and why music could become a lifeline.

Pride has always had a soundtrack. Sometimes it is joyful. Sometimes it is defiant. Sometimes it hurts. Bronski Beat gave us all of that, wrapped in synths, rhythm, and one of the most unforgettable voices pop music has ever known.

Happy Pride, and as always, thank you for listening.

SIDE A:
Why? (Remix) 5:11
Engineer [Mixing Engineer] – Julian Mendelsohn
Mixed By [Uncredited] – Laz, Steve

SIDE B:
Smalltown Boy (12″ Version) 9:02

Cadillac Car 3:52
Engineer [Mixing Engineer] – Harvey Goldberg
Guitar – Steve*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Weekly chart performance for Bronski Beat’s “Why?” and “Smalltown Boy”
Chart	“Why?” Peak Position	“Smalltown Boy” Peak Position
Australia (Kent Music Report)	10	8
Austria (Ö3 Austria Top 40)	N/A	2
Belgium (Ultratop 50 Flanders)	3	1
Canada Top Singles (RPM)	31	9
Europe (Airplay Top 50)	4	N/A
Europe (Europarade Top 40)	4	3
Europe (Eurochart Hot 100)	5	15
France (SNEP)	8	8
Germany Airplay Top 15	10	N/A
Ireland (IRMA)	6	4
Italy (Musica e dischi)	5	1
Italy (Discografia Internazionale)	N/A	2
Netherlands (Dutch Top 40)	2	1
Netherlands (Single Top 100)	6	1
New Zealand (Recorded Music NZ)	11	5
South Africa (Springbok Radio)	7	N/A
Spain Airplay	2	N/A
Spain (AFYVE)	10	N/A
Switzerland (Schweizer Hitparade)	7	2
UK Airplay Top 20	1	N/A
UK Singles (OCC)	6	3
US Billboard Hot 100	N/A	48
US Hot Dance Club Play (Billboard)	27	1
US Hot Dance Music/Maxi-Singles Sales (Billboard)	20	4
US Cash Box Top 100	N/A	32
West Germany (GfK)	5	3

RELEASE INFORMATION:
Label: Forbidden Fruit – BITEX 2, Forbidden Fruit – 882 014-1
Format: Vinyl, 12″, 45 RPM, Single, Limited Edition
Country: UK
Released: 1984
Genre: Electronic
Style: Synth-pop

CREDITS:

Design [Sleeve Design] – Robert McAulay
Engineer [Recording Engineer] – Dominick Maita
Keyboards – Laz*, Steve*
Mastered By – Aaron Chakraverty*
Music By – Bronski Beat
Producer – Mike Thorne
Programmed By – Laz*
Vocals – Jimmy*
Words By – Jimmy*
Written-By – Somerville*, Steinbachek*, Bronski*

NOTES:
Why?: Dedicated To The Memory Of Drew Griffiths.

“SPECIAL LIMITED EDITION WHY? REMIX WITH BONUS TRACK SMALLTOWN BOY”

Recorded at R.P.M. Studios, New York
Why?: Mixed at The Town House, London
Cadillac Car: Mixed at Right Track Recording, New York
Mastered at The Master Room, London

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 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.