Something new and exciting has landed in the Burning the Ground setup – my brand-new Concorde Music Black cartridge has arrived!
I’m currently in the early stages of breaking it in, which means I’ve been spinning record after record (not exactly a hardship). I’m giving it a proper workout across a variety of pressings and genres to let it really settle into its groove.
Let me tell you—it’s not often I swap out a cartridge and immediately hear such a dramatic difference. But this time? Night and day. The clarity, the depth, the punch… it’s all there. Everything feels more alive, more present, more musical. It’s one of those rare upgrades that makes you want to go back and rediscover your entire vinyl collection.
Needless to say, I’m already looking forward to transferring some vinyl with this beauty. Can’t wait to hear how it handles some of my favorite 12″ mixes and rare cuts.
More updates to come once the break-in period is complete, but for now—I’m impressed.
Just a quick heads-up — there won’t be a post today because I’m waiting on a new piece of gear that should arrive tomorrow: the Ortofon Concorde Music Black stylus and cartridge.
This new cartridge is replacing my four-year-old Ortofon 2M Black Plug & Play MkII, which has been my go-to since April 2021. It’s served me faithfully for thousands of rips, but it’s time to give it a well-earned retirement. Rather than just replace the stylus, I decided to go with the full Concorde Music Black cartridge — and here’s why:
Even though it looks different, the Concorde Music Black is essentially identical to the 2M Black in terms of sound and performance:
Both use the Nude Shibata stylus for ultra-precise tracking and top-tier detail.
They share the same moving magnet generator system and specs, offering that signature rich, dynamic Ortofon sound.
Frequency response, channel balance, and output levels are all nearly identical.
The biggest difference is the design. The Concorde version features an integrated headshell that plugs directly into my Technics SL-1200MK7 — no screws, no cartridge alignment, no hassle. Just plug in, set the tracking force (1.8g), and drop the needle.
I also want to take a moment to thank everyone who has donated to Burning the Ground. This cartridge upgrade was made possible because of your support. Your donations directly fund the gear I use to preserve and share these amazing 12″ mixes — from cartridges and styli to software and equipment upkeep. I can’t tell you how much I appreciate it.
Once the new cartridge arrives and I’ve had a chance to break it in, I’ll be back with more music magic. Thanks again for sticking with me — and for being part of this music-loving community.
NEW 2025 Transfer! NEW Meticulous Audio Restoration!
Original post date: December 22, 2016
In late 1984, Duran Duran unleashed “The Wild Boys,” a pounding, futuristic anthem that marked a darker turn for the band and became one of their most iconic singles of the era. The track was conceived as part of a proposed film project based on the William S. Burroughs novel The Wild Boys: A Book of the Dead, with the idea pushed by director Russell Mulcahy (who had helmed many of the band’s most lavish videos). While the film never came to fruition, the song and its accompanying video pushed boundaries—and budgets—at the time.
Produced by the legendary Nile Rodgers, “Wild Boys” was the only studio track on the band’s live album Arena and perfectly fused the band’s pop sensibility with Rodgers’ cutting-edge production and dancefloor sensibilities. The result was a sonic assault of heavy synths, aggressive guitar stabs, tribal drums, and Simon Le Bon’s defiant vocal delivery.
The Extended Mix takes the drama up several notches, building the tension with a long, cinematic intro that recalls the dystopian atmosphere of the video. The breakdowns and effects-laden passages give the song more room to breathe and further highlight Rodgers’ intricate production.
Chart-wise, “Wild Boys” was a smash. It reached #2 in both the US and UK, blocked from the top in the US by Hall & Oates’ “Out of Touch.” It also gave Duran Duran their first #1 in Germany and South Africa, proving the band’s international staying power as they transitioned from New Romantic heartthrobs into global pop powerhouses.
Fun fact: Simon Le Bon nearly drowned during the filming of the video, which featured the band tied to a windmill and submerged in a water tank. It’s a miracle the band made it out intact—both literally and figuratively.
The B-side, “(I’m Looking For) Cracks In The Pavement (Live),” was recorded during the band’s 5 March 1984 show at Maple Leaf Gardens in Toronto. This is the same concert where the video for “The Reflex” was filmed—capturing the band at the height of their early-’80s hysteria with screaming fans and high-voltage energy. The live track offers a grittier, rawer take on the Seven and the Ragged Tiger album cut, giving fans a peek into the band’s powerful live presence during their Sing Blue Silver tour.
“Wild Boys” remains a touchstone of mid-80s maximalism: all attitude, danger, and style. It’s the sound of a band pushing their limits—and taking us along for the ride.
SIDE A: The Wild Boys (Wilder Than Wild Boys) (Extended Mix) 8:00
Producer – Nile Rodgers
SIDE B: The Wild Boys (45) 4:18
Producer – Nile Rodgers
(I’m Looking For) Cracks In The Pavement (1984) 4:10
Engineer [Live Recording] – George Tutko
Engineer, Mixed By – Jason Corsaro
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
OBI Strip: Near Mint
Insert: Near Mint
U.S. CHART HISTORY:
Year
Single
Chart
Position
1984
The Wild Boys
U.S. Billboard Hot 100
#2
1984
The Wild Boys
U.S. Billboard Hot Dance Music / Club Play
#27
RELEASE INFORMATION:
Label: EMI – S14-102
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: Japan
Released: Nov 21, 1984
Genre: Electronic, Pop
Style: Synth-pop
I’m taking a short break from my Shep Pettibone run to fill a few requests. The first is another rare gem to add to my “Closet 80s” series—a track that never got its due but still shines in all the right ways.
“Sleeping Dogs Lie” by the short-lived duo Double Entente. Released in 1984, this atmospheric track was crafted by Chuck Fuller and Elyse Schiller, a synth-pop pairing that only released two singles before fading into obscurity.
The record was produced by none other than Randy “King” Jackson, the Grammy-winning musician and producer—long before his days as a judge on American Idol. Jackson’s touch is evident in the track’s sleek, polished sound: brooding synth layers, a pulsing electronic beat, and a cool, detached vocal performance that creates a haunting sense of emotional distance.
While Double Entente didn’t stay together long enough to release a full album, “Sleeping Dogs Lie” remains a standout—a moody, intelligent slice of early electronic pop that wouldn’t feel out of place alongside the likes of Yazoo, The The, or early Berlin.
SIDE A: Sleeping Dogs Lie (Long Version) 6:16
SIDE B: Sleeping Dogs Lie (Short Version) 4:46
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
U.S. CHART HISTORY:
Year
Single
Chart
Position
1984
Sleeping Dogs Lie
U.S. Billboard Hot Dance Music / Club Play
#4
RELEASE INFORMATION:
Label: Columbia – 44-05113
Format: Vinyl, 12″, 33 ⅓ RPM, Single, Stereo
Country: US
Released: 1984
Genre: Electronic, Funk / Soul
Style: Synth-pop, Electro, Soul
I’m taking a short break from my Shep Pettibone run to fill a few requests. The first is another rare gem to add to my “Closet 80s” series—a track that never got its due but still shines in all the right ways.