It’s that time again — the Burning the Ground Spring Fundraiser is officially underway!
Burning the Ground is a labor of love dedicated to preserving and sharing rare 12″ remixes, extended versions, and hard-to-find vinyl gems from the ’80s and ’90s. Whether you’re here to relive a favorite dancefloor memory or discover something new, I’m truly grateful to have you as part of this community.
Twice a year, in April and October, I hold a fundraiser to help keep the site running smoothly and to continue bringing you the music you love. The goal for this Spring fundraiser is $1,500. The fundraiser will run through April 13.
Your generous support goes directly toward:
🔒 Website hosting, security, monitoring, and protection
💿 Purchasing vinyl for future posts and requests
🛠️ Equipment maintenance and upgrades
If you’d like to support Burning the Ground, you can make a secure donation via PayPal using the Donation Page or by clicking any of the yellow Donate buttons throughout the site.
If you’re not able to contribute at this time, please don’t worry—just being here, listening, and sharing your memories means just as much.
Thank you for your continued support, your kind comments, and for helping keep this music alive for fans and collectors around the world. I truly couldn’t do this without you.
Released in 1980, “Turning Japanese” by The Vapors remains one of the most distinctive and enduring singles of the early New Wave era. Built on a tight, nervy guitar riff and an urgent vocal from David Fenton, the track perfectly captures the anxious energy that defined the shift from punk into more melodic, radio-friendly territory.
Formed in Guildford, England in the late 1970s, The Vapors emerged from the same fertile UK scene that produced bands like The Jam. In fact, the group got an early break when they supported The Jam on tour—an opportunity that helped them gain industry attention and ultimately led to a recording contract. Their sound balanced punk’s raw edge with a cleaner, more structured pop sensibility, placing them squarely in the first wave of British New Wave acts.
Produced by Vic Coppersmith-Heaven and released on the band’s debut album New Clear Days, “Turning Japanese” quickly became an international hit—reaching #3 in the UK and cracking the US Top 40. Its success was driven by its instantly recognizable hook and slightly offbeat character, setting it apart from more conventional pop releases of the time.
Musically, the track thrives on tension. The clipped guitar lines, driving rhythm section, and Fenton’s almost obsessive vocal delivery create a sense of unease that never fully resolves. That tension mirrors the song’s true subject: emotional fixation and the psychological spiral that can follow a failed relationship.
Despite long-standing rumors suggesting a more provocative meaning, Fenton has consistently explained that the song is about obsession and identity loss—the feeling of becoming someone else when consumed by thoughts of another person. That emotional core, paired with a deceptively simple arrangement, gives the track its lasting resonance.
The accompanying video—later picked up by MTV in its early days—helped introduce the band to a wider audience and cemented the single as a defining moment of early ‘80s pop culture. Although The Vapors released a follow-up album (Magnets) in 1981, they were unable to replicate the success of their debut, and the band soon faded from the spotlight.
Of note: the artwork featured here is taken from my personal copy of the U.S. white, rectangular-shaped vinyl edition. Interestingly, there was no standard picture sleeve issued for the regular U.S. 7″ release, making this version a unique and visually distinctive alternative for collectors.
Still, “Turning Japanese” endures. More than four decades on, it remains a sharp, catchy, and emotionally charged snapshot of a time when pop music embraced both vulnerability and eccentricity—hallmarks of the New Wave era at its very best.
SIDE A: Turning Japanese (Edited) 3:20
SIDE B: Talk Talk 3:50
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
Chart Performance – The Vapors: Turning Japanese (1980)
Chart
Peak Position
Date
US Billboard Hot 100
#36
1980
US Billboard Hot Dance Club Play
#34
1980
Australia (Kent Music Report)
#1
1980
Canada Top Singles
#6
1980
Ireland (RMA)
#4
1980
New Zealand
#9
1980
UK Singles
#3
1980
RELEASE INFORMATION:
Label: United Artists Records – UA-X1364-Y
Format: Vinyl, 7″, 45 RPM, Single, Stereo
Country: US
Released: 1980
Genre: Rock
Style: New Wave, Punk
CREDITS: Producer – Vic Coppersmith-Heaven Written-By – David Fenton
NOTES:
From the United Artists Records LP “New Clear Days”
Hot on the heels of their breakthrough hit “Love & Pride,” King returned with “Soul On My Boots,” released in 1984 as the follow-up single from their debut album Steps In Time.
By the time “Soul On My Boots” arrived, the band had already made a bold statement with “Love & Pride,” a track that perfectly captured their blend of pop, soul, and new wave. Expectations were high, and while the follow-up didn’t achieve the same commercial success—peaking at #158 on the UK Singles Chart—it offers a fascinating glimpse into the band’s developing identity.
Frontman Paul King is, as always, the focal point. His distinctive vocal style—equal parts smooth and urgent—rides effortlessly over the track’s tight rhythm section. There’s a confidence here that suggests a band riding the momentum of a hit, even if the song itself takes a slightly different path.
“Soul On My Boots” leans more into groove and attitude than outright pop immediacy. The horns add a punchy, soulful edge, while the bass and percussion lock into a rhythm that feels both danceable and grounded. It’s less glossy than “Love & Pride,” but perhaps more indicative of the band’s roots and influences.
What makes this single particularly interesting is how it contrasts with its predecessor. Where “Love & Pride” was bright, infectious, and instantly accessible, “Soul On My Boots” feels a bit more nuanced—less concerned with chart dominance and more focused on musical texture and vibe.
Although it didn’t replicate the success of their debut hit, the single still plays an important role in the King catalog. It shows a band willing to explore different shades of their sound rather than simply repeat a winning formula.
Looking back, “Soul On My Boots” stands as a reminder that not every follow-up single needs to be a blockbuster to be worthwhile. Sometimes, it’s these slightly overlooked tracks that give us the clearest picture of an artist’s depth and direction.
For fans of King and collectors of early-to-mid 80s new wave, this track is an essential listen—full of style, groove, and that unmistakable Paul King charisma.
SIDE A: Soul On My Boots (Rub-A-Dub Mix) 6:29
Engineer – Phill Brown
SIDE B: Ain’t No Doubt 2:39
Engineer – Andy Todd (2)
Some songs define a moment—and then some songs feel like they arrived from an entirely different planet. “Lucky Number” by Lene Lovich is very much the latter.
Released in 1979 on the legendary Stiff Records, “Lucky Number” was Lovich’s breakthrough single and an early beacon of what would soon be labeled new wave. At a time when punk was beginning to splinter into more experimental forms, Lovich burst through with something theatrical, eccentric, and irresistibly catchy.
From the very first seconds, “Lucky Number” grabs hold with its hypnotic riff and off-kilter rhythm. But it’s Lovich’s voice—elastic, playful, and utterly unpredictable—that makes the track unforgettable. She yelps, coos, and leaps across octaves with a sense of controlled chaos, turning the song into a performance as much as a piece of music.
Co-written with Les Chappell, the track strikes a balance between its quirky sensibilities and a strong pop foundation. Beneath the art-school oddities lies a tight structure and undeniable hook—one that helped propel the single to No. 3 on the UK charts and introduced Lovich to a wider international audience.
What made “Lucky Number” so striking in 1979—and still today—is its refusal to conform. Lovich, with her wide-eyed stare and distinctive fashion (often described as a blend of cabaret and surrealist dream), stood apart from her contemporaries. While many artists were chasing either punk aggression or disco polish, she carved out a space that felt uniquely her own.
The song also became a staple of early music television, its quirky video perfectly matching Lovich’s persona. Long before MTV would dominate the landscape, artists like Lovich were already exploring how visual identity could amplify their sound.
For fans of 12-inch culture and extended mixes, “Lucky Number” is an interesting case. While it didn’t receive the same club-focused remix treatment that would dominate the early-to-mid ’80s, its punchy, concise arrangement is part of its charm. Every second feels intentional—there’s no excess, just pure, kinetic energy.
🔊 Special Note About This 12″ Release
This particular 12″ is the 1987 US reissue and features the “Slavic Dance Version” of “Lucky Number”—though interestingly, this mix is not indicated anywhere on the sleeve or label.
Even more exciting, this post features a brand new 2026 audio restoration and transfer, bringing fresh life and clarity to this unique version.
Longtime readers may remember that I originally posted this 12″ back on May 12, 2012—making this updated version a welcome revisit and upgrade for collectors and fans alike.
More than four decades later, “Lucky Number” still sounds fresh, strange, and exhilarating. It’s a reminder of a time when pop music was fearless, when individuality wasn’t just encouraged—it was the entire point.
For those digging through the roots of new wave, or simply looking for something delightfully different, “Lucky Number” remains exactly what its title promises: a rare and wonderful find.
SIDE A:
Lucky Number (Slavic Dance Version) 4:36
Written-By – Lovich, Chappell
RELEASE INFORMATION:
Label: CBS Special Products – P 20135
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1987
Genre: Electronic, Rock
Style: New Wave, Synth-pop
