Author: DjPaulT

February 25, 2026

Book Of Love – I Touch Roses (US 12″) (1985)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: November 18, 2015

In 1985, American synth-pop quartet Book of Love released what would become their signature song — the luminous and emotionally charged “I Touch Roses.” Issued as the band’s second single, the track solidified their place in the mid-’80s alternative dance scene and helped secure their future with Sire Records.

“I Touch Roses” would later appear on the group’s eponymous debut album, Book of Love, released in 1986. But its initial impact came a year earlier, when the single quietly bloomed in clubs across the country.

From Underground Buzz to Dancefloor Staple

Written by Theodore “Ted” Ottaviano, the song perfectly captured the band’s ethereal aesthetic — romantic, slightly mysterious, and driven by shimmering sequencers. Following the modest success of their debut single “Boy,” “I Touch Roses” followed a similar upward trajectory, but this time the response was stronger.

Although the track did not break into the Billboard Hot 100, it made a significant impact where it mattered most for a synth-driven act in 1985 — the dancefloor. “I Touch Roses” climbed into the Top 10 on the Billboard Hot Dance Club Play chart, peaking at No. 8. In an era dominated by high-energy Hi-NRG and post-disco productions, its dreamy minimalism stood apart.

The single’s B-side, “Lost Souls,” offered fans another glimpse into the band’s atmospheric world. A remixed version of “Lost Souls” would also appear on the debut album, reinforcing the cohesive sonic identity the group was developing. The 7″ version included on the US 12″ is the original version of the song before being remixed by Mark Kamins.

No Grand Plan — Just Momentum

Looking back in 2009, Ted Ottaviano reflected on how organically the song’s success unfolded:

“We didn’t know it at the time, but thankfully, with ‘I Touch Roses’, it was not preordained that Sire was developing us at the time. There was no grand scheme. It was more à la carte. But then people started picking up on ‘Roses,’ and then the album happened.”

That “à la carte” momentum proved pivotal. The growing club response to “I Touch Roses” convinced Sire that Book of Love warranted a full-length album. What began as a promising single became the foundation for a career-defining debut.

The Sound of Vulnerable Synth-Pop

Musically, “I Touch Roses” thrives on restraint. The production is airy and uncluttered — gentle drum programming, cascading keyboard lines, and Susan Ottaviano’s breathy, intimate vocal delivery. There’s a fragility to it that contrasts beautifully with the mechanical precision of the electronics.

It’s that emotional vulnerability that continues to resonate. While many mid-’80s dance tracks chased bombast, “I Touch Roses” created atmosphere. It felt personal, almost secretive — the kind of record discovered late at night on college radio or under mirror balls in alternative clubs.

Four decades later, the song remains a cornerstone of American synth-pop history. It didn’t need a Hot 100 placement to endure. The dancefloor embraced it, and listeners never let it go.

For many of us, when those opening notes begin, “I Touch Roses” still feels like stepping back into a beautifully preserved moment — when underground club culture, romantic minimalism, and pure synth emotion intersected perfectly.

A 2026 Revival

I originally shared this 12″ back in November 2015, but over the years my gear has improved, and my experience in the art of vinyl transferring has grown. Now, in 2026, I’m proud to present this record with a Brand NEW Meticulous Audio Restoration — giving I Touch Roses the attention to detail it truly deserves. Every shimmer, every echo, and every whispered note has been preserved and enhanced, so the track shines like never before.

Whether you’re rediscovering it after all these years or hearing it for the first time, this version captures the ethereal magic of Book of Love in its full glory — just as it should be heard on the dancefloor or through your favorite headphones.

SIDE A:
I Touch Roses (Long Stemmed Version) 5:43

SIDE B:
I Touch Roses 3:24

Lost Souls (7″ Version) 4:13

VINYL GRADE:
Vinyl: Near Mint
SleeveL Near Mint

Chart Performance – Book Of Love: *I Touch Roses* (1985)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#8	1985

RELEASE INFORMATION:
Label: Sire – 0-20381, I Square Records – 0-20381, Sire – 9 20381-0 A, I Square Records – 9 20381-0 A
Format: Vinyl, 12″, Maxi-Single, 45 RPM
Country: US
Released: 1985
Genre: Electronic
Style: Synth-pop

CREDITS:

Art Direction – Zoë Brotman
Costume Designer [Clothes] – Jeffrey Costello (2)
Cover [Cover Art] – Herbert Lee
Engineer – Steve Peck
Hair, Make-Up – Jill Sunshine
Keyboards – Lauren Roselli, Ted Ottaviano
Lead Vocals – Susan Ottaviano
Management – Steven Mulroney
Mastered By – Herb Powers*
Percussion – Jade Lee
Photography By – David La Chapelle*
Producer – Ivan Ivan
Programmed By, Arranged By, Instruments – Book Of Love
Written-By – Theodore Ottaviano*

NOTES:
Recorded and mixed at Unique Recording, NYC
Mastered at Frankford Wayne, NYC.

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
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
DAC: Alpha Design Labs GT40a USB DAC
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.

February 24, 2026

Erasure/Depeche Mode – World Beyond Blue (US 12″ Promo) (1990)

Burning The Ground Exclusive

WORLD BEYOND BLUE

Razormaid Digital Mixes by Art Maharg
a DjPaulT Custom 12″ Single.

There are moments in synth-pop history where two parallel worlds feel destined to collide.

On one side, you have the romantic sweep and melodic grandeur of Blue Savannah — all widescreen emotion and soaring drama. On the other, the sensual restraint and hypnotic pulse of World in My Eyes — minimalist, shadowed, intimate.

Both were released in 1990.
Both club staples.
Both were transformed in the underground by Razormaid.

This custom 12″ — World Beyond Blue — imagines a promotional DJ pressing that could have existed at the height of remix service culture, when vinyl still ruled the booth and extended mixes were crafted with surgical precision.

The Remixes

Both tracks were remixed by Art Maharg, co-founder of the legendary Razormaid Remix Service.

Maharg’s approach was never about excess — it was about architecture. Precision edits. Clean digital transitions. Rebuilt intros and outros designed for seamless beatmatching. His mixes weren’t just longer — they were engineered for DJs.

The “Digital Mix” designation feels especially appropriate here. In 1990, that word carried weight. It meant modern. It meant crisp. It meant future-facing.

Why These Two Tracks?

Blue Savannah is expansive and emotional — almost celestial in tone.
World In My Eyes is grounded and physical — a whisper in the dark.

Together, they represent two poles of early 90s electronic pop:
light and shadow, devotion and desire, horizon and interior.

World Beyond Blue lives in the space between them.

The Sleeve Concept

I designed this to feel like a minimalist promotional pressing, the sleeve embraces a midnight blue-to-black gradient — a distant glowing horizon fading into darkness. No band photography. No logos. Just typography and atmosphere.

It’s meant to feel discovered. Like something that surfaced from a DJ crate three decades late.

The Era

1990 was a turning point.

Erasure were riding the success of Wild!
Depeche Mode had just released Violator — a record that would redefine their trajectory.

Razormaid, operating quietly in the background, was reshaping how club versions functioned. These weren’t label-sanctioned commercial remixes — they were tools. Functional, extended, and often superior for the dancefloor.

This custom 12″ pays tribute to that craft.

There’s something beautiful about imagining alternate vinyl histories — releases that never officially existed but absolutely should have.

World Beyond Blue is one of those records.

Turn it up.
Dim the lights.
Let the horizon glow.

— Paul

SIDE A:
Erasure – Blue Savannah (Digital Mix) 6:40
Remix [Digital Mix] – Art Maharg
Taken From Razormaid This Is Only A Test!

SIDE B:
Depeche Mode – World In My Eyes (Digital Mix) 7:40
Remix – Art Maharg
Taken From Razormaid Cycle Two – Sector Three

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Razormaid Records – c2-s3, Razormaid Records – SP-013
Format: Vinyl, 12″, 45 RPM, Promo
Country: US
Released: 1990
Genre: Electronic
Style: Synth-pop

CREDITS:
Custom Sleeve Artwork [Design] – DjPaulT

NOTES:
For Promotional Use Only

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.

February 20, 2026

L.L. Cool J – Going Back To Cali (From Less Than Zero) (US 12″) (1988)

Burning The Ground Exclusive

When LL Cool J declared “I’m going back to Cali,” he immediately undercut it with a sly, second-thought punchline: “I don’t think so.” That tension—swagger colliding with hesitation—became the central hook of one of hip-hop’s most memorable late-’80s singles.

Originally released in 1987 from the soundtrack to Less Than Zero and later included on his third studio album, Walking with a Panther, “Going Back to Cali” stands as a stark, minimalist classic. Co-written and produced by Rick Rubin, the track distilled the emerging East Coast vs. West Coast dynamic into something more psychological than territorial.

Black-and-White Beats and Coastal Doubt

Sonically, “Going Back to Cali” is pure Rubin: skeletal drum programming, cavernous reverb, and a brooding bassline that feels almost industrial. There’s very little ornamentation—just space, rhythm, and LL’s commanding baritone. The restraint gives the track an ominous cool, matching its iconic black-and-white video aesthetic.

The song peaked at No. 31 on the Billboard Hot 100 and climbed to No. 12 on the Hot R&B/Hip-Hop Songs chart—solid crossover numbers that reflected LL’s growing mainstream reach. By this point, he was no longer just the teenage phenom of Radio; he was a fully realized star navigating fame, geography, and identity.

“I’m Going Back to Cali”… Or Am I?

Lyrically, the record plays like a travelogue filtered through anxiety. LL describes landing in Los Angeles, cruising through the city, and meeting women who are glamorous, confident—and, to his New York sensibilities, aggressively forward. Instead of indulging the fantasy, he recoils. The chorus becomes a mantra of ambivalence:

“I’m going back to Cali.”
“I don’t think so.”

It’s humorous, but it’s also revealing. The bravado is undercut by uncertainty. The seduction of California—sunshine, women, opportunity—is matched by discomfort and cultural displacement.

The concept reportedly stemmed from Rubin’s own ambivalence about leaving New York City for Los Angeles. That push-and-pull energy permeates the track. It’s not anti-West Coast; it’s anti-assumption. It questions whether success requires relocation, whether identity shifts with zip codes, and whether glamour is always worth the price.

In hindsight, it’s fascinating to hear this in 1987—years before the East/West rivalry would escalate into something far darker. Here, it’s playful. Curious. Guarded.

Music Video: Noir Cool in the City of Angels

The music video for “Going Back to Cali” elevated the song’s mystique even further. Directed by Ric Menello, the clip was shot entirely in stark black and white, amplifying the record’s minimalist, almost cinematic tension.

Rather than presenting Los Angeles as a sun-drenched paradise, Menello framed it as shadowy and surreal—more film noir than beach party. Much of the video was filmed in the Venice neighborhood and at the iconic Griffith Observatory. These locations weren’t random. They served as visual homages to two of Menello’s favorite films: Touch of Evil and Rebel Without a Cause, respectively.

The result is a hip-hop video that feels steeped in classic Hollywood mythology. The Observatory, forever linked with James Dean’s adolescent angst, mirrors LL’s own ambivalence in the song—caught between desire and doubt. Venice, with its eclectic boardwalk energy, becomes a stylized backdrop for temptation and spectacle.

The video also features several notable appearances. Producer Rick Rubin pops up, reinforcing his creative imprint on the project. Models Ele Keats and Ally Downs add to the glamorous, slightly surreal atmosphere. And in a wonderfully late-’80s touch, MTV veejay Martha Quinn makes an appearance—cementing the track’s crossover appeal at a time when MTV exposure was cultural currency.

Visually, the monochrome palette strips away California’s expected warmth and replaces it with mood. Shadows dominate. Architecture looms. LL stands centered, confident but contemplative. The aesthetic perfectly mirrors the lyrical refrain: attraction followed by hesitation.

In hindsight, the “Going Back to Cali” video remains one of the most stylish and forward-thinking hip-hop visuals of its era—bridging rap, classic cinema, and MTV-era iconography into one unforgettable black-and-white statement.

The B-Side: “Jack The Ripper”

Flip the single over and the tone sharpens considerably.

“Jack The Ripper” is LL in battle mode—a pointed diss aimed at Kool Moe Dee in response to Moe Dee’s “How Ya Like Me Now.” Where “Going Back to Cali” is restrained and cinematic, “Jack The Ripper” is aggressive and confrontational, reinforcing LL’s position as one of hip-hop’s fiercest competitors.

The track became one of the era’s defining diss records, proving that LL could pivot effortlessly from introspective cool to lyrical combat. It also solidified his reputation as an MC who could defend his crown in the ring.

A Cultural Snapshot

Together, these two tracks capture LL Cool J at a pivotal moment:

A New York rapper contemplating the West Coast’s allure.
A mainstream star balancing pop accessibility with street credibility.
A young icon working with a producer whose minimalist instincts reshaped hip-hop’s sonic landscape.

“Going Back to Cali” endures because it isn’t just about geography. It’s about identity under pressure. It’s about temptation versus loyalty. And it’s about the humor that comes from recognizing your own contradictions.

Nearly four decades later, that simple back-and-forth refrain still lands perfectly.

“I’m going back to Cali.”

“I don’t think so.”

SIDE A:
Going Back To Cali (From Less Than Zero) 4:10

SIDE B:
Jack The Ripper 4:50

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – LL Cool J: *Going Back To Cali* (1988)
Chart	Peak Position	Date
US Billboard Hot 100	#31	1988
US Billboard R&B/Hip-Hop Songs	#12	1988
US Billboard Hot Dance Singles Sales	#19	1988

RELEASE INFORMATION:
Label: Def Jam Recordings – 44 07563, Columbia – 44 07563
Format: Vinyl, 12″, 33 ⅓ RPM, Single, Stereo
Country: US
Released: 1988
Genre: Hip Hop, Stage & Screen
Style: Pop Rap, Soundtrack

CREDITS:

Lacquer Cut By – HW*
Producer – Rick Rubin
Written-By – J. T. Smith*, R. Rubin*

NOTES:

“Jack The Ripper” Previously Unreleased Brand New Def Jam from L.L. Cool J

Special version from the Original Motion Picture Soundtrack of the Twentieth Century Fox Film “Less Than Zero” on Def Jam / CBS Records, Cassettes and Compact Discs

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.

February 19, 2026

The Contours- Do You Love Me? (Special 12″ Version) (US 12″) (1988)

Burning The Ground Exclusive

In the summer of 1988, Motown Records reached back into its vaults and reignited one of its most electrifying classics—“Do You Love Me?” by The Contours—with a brand-new remix aimed squarely at a new generation of dance floor devotees. The occasion? The unstoppable cultural wave that was Dirty Dancing.

From Detroit to the Dance Floor

Originally released in 1962, “Do You Love Me?” was written and produced by Berry Gordy and became one of Motown’s earliest breakout hits. Built around a pounding beat, brassy horns, and the raw, exuberant lead vocal of Billy Gordon, the record shot to No. 3 on the Billboard Hot 100 and No. 1 on the R&B chart.

It was a perfect example of early Motown magic—tight, urgent, and irresistibly danceable. The song’s call-and-response energy and its now-iconic lyrical checklist of dance crazes (“Do you love me now that I can dance? / Watch me now!”) made it a party staple almost instantly.

The Dirty Dancing Revival

Fast-forward 25 years. In 1987, “Do You Love Me?” found a prominent home in Dirty Dancing, the surprise smash starring Patrick Swayze and Jennifer Grey. Featured during one of the film’s most joyful and high-energy ensemble dance scenes, the track helped underscore the movie’s nostalgic 1960s setting while delivering pure, kinetic fun.

The soundtrack became a phenomenon, topping charts around the world and reintroducing a host of classic tracks to younger audiences. Sensing the moment, Motown issued a 1988 remixed version of “Do You Love Me?”—giving the song a contemporary sonic polish tailored for late-’80s radio and club play.

The 1988 Remix: A Classic Recharged

The 1988 remix doesn’t tamper with the heart of the original—it would be sacrilege to smooth out that gritty vocal or those punchy horn stabs—but it does enhance the low end and rhythm track for a fuller, more modern sound. The drums hit a bit harder, the mix feels wider, and there’s a crispness designed to sit comfortably alongside late-’80s pop productions.

It’s a fascinating example of how classic Motown material was repackaged during the remix era. While many ’60s hits were simply reissued, this version embraced the decade’s appetite for updated mixes, extended play, and dancefloor-ready sound. For those of us who grew up in the 12-inch era, it’s always intriguing to hear how vintage soul records were adapted to contemporary tastes without losing their DNA.

Commercially, the revival paid off. Thanks to Dirty Dancing, “Do You Love Me?” re-entered the Billboard Hot 100 in 1988, climbing back into the Top 20—an extraordinary second act for a song already considered a classic.

Why It Still Works

At its core, “Do You Love Me?” is about confidence—earned confidence. The narrator isn’t just asking for affection; he’s proving he deserves it. The transformation from awkward wallflower to dance floor dynamo is universal, and that’s part of why the song resonated so strongly in Dirty Dancing. It mirrors the film’s central theme of personal growth and self-discovery through music and movement.

More than six decades after its original release, the song remains a staple at weddings, parties, and retro nights. Few tracks capture the pure joy of dancing quite like this one.

With this 1988 remix, we get a time capsule within a time capsule: a 1962 Motown stormer reborn in the glossy glow of the late ’80s, powered by the cinematic afterglow of Dirty Dancing. It’s proof that a great groove never really goes out of style—it just finds a new generation to love it.

So… do you love it now that it can dance again?

SIDE A:
Do You Love Me? (Special 12″ Version) 6:36
Engineer [Assistant] – Steve Jamerson
Engineer [Remix] – Russ Terrana
Remix [Additional Overdubs] – Brian Tankersley
Remix, Producer [Additional] – Brian Tankersley, Iris Gordy

SIDE B:
Do You Love Me? (Edited Version) 2:40
Engineer [Assistant] – Steve Jamerson
Engineer [Remix] – Russ Terrana
Remix [Additional Overdubs] – Brian Tankersley
Remix, Producer [Additional] – Brian Tankersley, Iris Gordy

Do You Love Me? (Original Version) 2:53

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – The Countours: *Do You Love Me?* (1988)
Chart	Peak Position	Date
US Billboard Hot 100	#11	1988
US Billboard Adult Contemporary	24	1988
UK Singles	#76	1988
Canada Top Singles	#16	1988
Netherlands (Dutch Top 40)	#10	1988

RELEASE INFORMATION:
Label: Motown – 4611MG
Format: Vinyl, 12″, 33 ⅓ RPM, Maxi-Single
Country: US
Released: 1988
Genre: Funk / Soul
Style: Soul

CREDITS:

Written-By, Producer – Berry Gordy

NOTES:
From the Vestron Motion Picture “Dirty Dancing”.
Track B2 available on the RCA Soundtrack Album “More Dirty Dancing”.

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.