Author: DjPaulT

December 9, 2025

Breathe – Say A Prayer (US 12″) (1990)

Burning The Ground Exclusive

Today, we’re stepping into the smooth, late-80s/early-90s pop world of Breathe, the English band best known for their soft-focus, heartfelt hits “Hands to Heaven” and “How Can I Fall?” But in 1990, as the group tried to evolve their sound and keep pace with a new decade, they released the underrated “Say a Prayer.”

While not as widely remembered as their earlier chart-toppers, “Say a Prayer” stands out as one of Breathe’s most confident singles—lush, melodic, and built around David Glasper’s unmistakably warm and soulful voice. It was the lead single from their second and final album, Peace of Mind. In the U.S. the track reached #21 on the Billboard Hot 100 and #3 on the Adult Contemporary chart, giving the band one last significant moment on American radio.

The Sound

“Say a Prayer” is classic early-90s adult contemporary pop—smooth keys, soft rhythmic guitar, a steady mid-tempo beat, and that signature late-80s sheen that still had one foot in the previous decade. Glasper’s vocals carry the whole thing: emotionally direct without being over-the-top, and full of that breathy, intimate quality that helped Breathe stand out from their peers.

Lyrically, the song continues the band’s familiar themes—love, hope, longing—but with a slightly more mature tone than their 1988 material. If “Hands to Heaven” was the dream-pop ballad and “How Can I Fall?” was the heartbreak moment, “Say a Prayer” feels like the hopeful resolution.

Why It Matters

“Say a Prayer” didn’t reach the iconic status of Breathe’s earlier hits, but it has aged remarkably well. It’s one of those turn-of-the-decade singles that beautifully captures the transition from 80s pop romanticism into the sleek sound of the early 90s.

For fans of the band—or anyone who loves exquisitely crafted pop with emotional sincerity—“Say a Prayer” is a gem worth revisiting. Its warm production, thoughtful lyrics, and Glasper’s gorgeous vocal delivery make it a perfect reminder of why Breathe’s catalog continues to resonate long after their short time in the spotlight.

If you grew up with their music (or discovered them later), this one hits all the right nostalgic notes.

SIDE A:
Say A Prayer (Save My Soul 12″) 6:32
Say A Prayer (Save My Soul Dub) 5:47
Say A Prayer (LP Version) 3:49

SIDE B:
Say A Prayer (Oh Mercy! House 12″) 6:33
Say A Prayer (Oh Mercy! House Dub) 6:10
Say A Prayer (Oh! Mercy! House 7″) 3:52

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Breathe: *Say A Prayer* (1990)
Chart	Peak Position	Date
US Billboard Hot 100	#21	1990
US Billboard Adult Contemporary	#3	1990
Australia (ARIA Charts)	#97	1990
Canadian Singles (RPM)	#6	1990
UK Singles	#63	1990

RELEASE INFORMATION:
Label: A&M Records – 75021 2337 1
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: 1990
Genre: Electronic
Style: House

CREDITS:

Edited By – Chep Nunez*
Producer – Bob Sargeant, Breathe (3)
Producer [Additional], Remix – Daniel Abraham (tracks: A1, A2)
Programmed By [Keyboard Programming] – Merv DePeyer*
Written-By – David Glasper, Marcus Lillington

NOTES:
Original version appears on the A&M album, cassette & compact disc “Peace Of Mind”

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

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December 1, 2025

World AIDS Day: Remembering the Music, the Voices, and the Lives That Shaped the ’80s and ’90s

BURNING THE GROUND Blog Exclusive

World AIDS Day has always carried a special weight for me. Growing up with the music of the ’80s and ’90s—and later building Burning the Ground around the 12-inch culture of that era—I’ve always felt a deep connection to the artists, remixers, dancers, DJs, and behind-the-scenes creatives whose lives were touched, changed, or cut short by the AIDS epidemic.

So much of the music I share here isn’t just about rare mixes or alternate versions. It’s about preserving a moment in time—one filled with joy, color, innovation, and community, but also marked by profound loss. Many of the voices that shaped the soundtrack of my youth didn’t get the long careers they deserved. Some of the brightest talents behind the records I post never lived to see how influential their work would become.

This music is part of my history, and part of our collective history. World AIDS Day is a reminder to honor it—and the people behind it.

Clubs as Sanctuary and Battleground

The clubs of the ’80s were vibrant escapes—bursting with Hi-NRG, synth-pop, freestyle, and early house. They were places where queer people and outsiders found freedom long before mainstream culture caught up. They were spaces of community, affirmation, and joy.

But as HIV/AIDS spread, those same spaces became battlegrounds of loss.

DJs, dancers, remixers, producers, fashion designers, nightlife promoters—entire creative ecosystems—were devastated. Yet even in grief, the music kept playing. Dancing became its own form of resistance, an assertion of joy and identity in the face of fear.

Artists and Voices Silenced Too Soon

The list of musicians lost to AIDS is heartbreakingly long. Many of them shaped the sound of the ’80s and early ’90s in ways that still echo today:

Sylvester – The trailblazing Hi-NRG vocalist whose voice defined queer disco and influenced generations of electronic artists.
Patrick Cowley – A visionary synthesist and producer whose work with Sylvester and his own groundbreaking albums helped invent electronic dance music as we know it.
Freddie Mercury – One of the most extraordinary frontmen in rock history; his death brought global visibility to a crisis many had ignored.
Ofra Haza – The Israeli singer whose fusion of Yemenite traditions and modern electronic production reshaped world music and European dance.
Dan Hartman – A gifted songwriter, singer, and producer whose work bridged disco, pop, rock, and dance; from “Relight My Fire” to “I Can Dream About You,” his influence was everywhere.
Paul Jabara – A theatrical powerhouse behind “Last Dance” and “It’s Raining Men,” weaving queer joy directly into the fabric of pop and disco.
Jermaine Stewart – Known for “We Don’t Have to Take Our Clothes Off,” his blend of R&B and dance-pop carried a distinctive, uplifting style.
Klaus Nomi – An otherworldly avant-garde performer whose operatic new-wave hybrid sound remains unlike anything before or since.
Arthur Russell – A genre-blurring composer and innovator whose experimental disco and ambient work directly influenced modern electronic music.
Ricky Wilson of The B-52s – His innovative guitar style helped shape new wave; his loss nearly ended the band, who later soared again in his memory.

Their absences aren’t just felt in the biographies of bands—they altered the very evolution of pop, rock, and dance. Think of the remixes never made, the albums never released, the genres that might have unfolded differently.

When Music Became a Mirror of Crisis

As the epidemic deepened, music began reflecting the emotional landscape—fear, grief, love, and defiance. Some artists confronted the crisis openly; others filtered the experience through metaphor, mood, or theme.

Songs like:

“That’s What Friends Are For”
Elton John’s early AIDS activism anthems
Janet Jackson’s “Together Again”
Madonna’s outspoken advocacy throughout the era

helped bring awareness into mainstream pop culture.

But some of the most powerful statements weren’t lyrical—they were the beats we clung to in the clubs. House music’s messages of unity and transcendence became a spiritual refuge. The 12-inch remix itself became a kind of salvation: an extended moment where you didn’t have to leave the dance floor, or reality.

The Remix Culture and the Epidemic

The ’80s and ’90s were the golden age of the remix. Producers stretched songs into euphoric journeys, crafting extended versions that kept people dancing long into the night. Many of those remix architects—brilliant, often unsung heroes—were lost far too early.

Their deaths changed the arc of electronic music.
Their absence shaped what club culture became.
And yet, their work remains immortal on vinyl.

The Legacy Lives in the Music We Preserve

For collectors, DJs, historians, and fans, the music of this era carries more than nostalgia. Every 12-inch single, every extended mix, every club anthem is a piece of living memory—evidence of joy, rebellion, heartbreak, and community.

On World AIDS Day, we honor the people behind these records.
We remember the vibrant lives cut short.
We celebrate the ones who survived.
And we keep their legacy alive every time a needle drops, a remix plays, and a long-forgotten extended mix finds new ears.

-DjPaulT

November 24, 2025

Happy Thanksgiving

As we head into the Thanksgiving holiday, I wanted to take a moment to let everyone know that I’ll be taking a short break from posting.

This time of year always reminds me how important it is to pause, breathe, and spend time with the people who matter most. I’m looking forward to enjoying the long weekend with family and friends—good food, good conversation, and a little time to reset before December arrives.

Burning The Ground has always been a labor of love, and I’m grateful every day for the community that gathers here. Whether you’ve been with me since the early years or discovered the site more recently, thank you for your support, your messages, and your shared enthusiasm for the music we celebrate.

I’ll return with new posts sometime during the first week (or so) of December. There’s plenty lined up that I’m excited to share once I’m back.

Even though Thanksgiving is traditionally a U.S. holiday, I want to send warm wishes to all of you around the world. No matter where you are or what you celebrate, I hope the coming days bring you peace, joy, and moments of gratitude.

Have a safe and happy Thanksgiving!

—Paul

November 21, 2025

Gang Of Four – I Love A Man In Uniform (US 12″) (1982)

Burning The Ground Exclusive

If there’s one thing Gang of Four mastered, it was taking post-punk sharpness and turning it into social critique, wrapped in jagged rhythms and infectious grooves. One song that perfectly exemplifies their mix of angular funk and biting commentary is “I Love A Man In Uniform.” Released in 1982 as part of their album Songs of the Free, this track is both danceable and discomforting—a signature Gang of Four juxtaposition.

At first listen, the song has a compelling groove: a tight, propulsive bassline, staccato guitar riffs, and a drumbeat that pushes the song forward relentlessly. The music feels almost celebratory, inviting listeners to move their feet. But beneath the kinetic rhythm lies the band’s scathing critique of authority and obsession.

The lyrics are pointed and ironic, exploring society’s fetishization of power and control. By framing the fascination with uniforms in a seemingly romantic light, the song exposes the undercurrent of militarism, authoritarianism, and social conformity. Gang of Four had a knack for pairing danceable post-punk music with a sharp-edged political message—and this track is a prime example.

“I Love A Man In Uniform” is also notable for its production and arrangement. The interplay between Andy Gill’s cutting guitar work and Sara Lee’s driving bass creates a sense of tension that mirrors the song’s thematic warning: there’s an allure to authority, but it’s one that’s dangerous to embrace blindly. Vocals by Jon King cut through with sardonic precision, emphasizing the irony in every line.

Cultural Impact

Though never a mainstream hit, “I Love A Man In Uniform” has left a lasting mark on alternative and post-punk music. Its critique of societal obsession with authority resonates even decades later, giving it a timeless quality. The song has influenced a generation of artists who blend political commentary with danceable post-punk energy—from industrial acts to indie rock bands that flirt with funk-infused riffs.

The track has also appeared on several compilations and retrospective collections, cementing its place in Gang of Four’s legacy. For listeners discovering post-punk today, it remains a striking example of how music can entertain while questioning societal norms.

Chart Performance

Commercially, the song was something of a breakthrough for Gang of Four in the U.S., gaining airplay on college radio and more adventurous R&B–oriented stations. The song also reached #27 on the Billboard Dance Club Play chart. In the UK “O Live A Man In Uniform” reached #65 on the official singles chart remaining there for two weeks.

Live Performances

Gang of Four were renowned for their live intensity, and “I Love A Man In Uniform” became a highlight of their sets. The band’s performance style—minimalist yet visceral—turned the song’s biting critique into a shared, almost confrontational experience for audiences. Jon King’s sardonic delivery and Andy Gill’s razor-sharp guitar lines created a sense of urgency in the live setting, making the song feel like both a dance anthem and a political statement simultaneously.

Over the years, different incarnations of Gang of Four have continued to perform the song, keeping its sharp social commentary alive for new generations. Its inclusion in live sets demonstrates how some music never loses relevance, and how the tension between rhythm and message can be electrifying on stage.

Music Video and Visual Style

The music video for “I Love A Man In Uniform” captures the song’s ironic tension perfectly. Shot in stark, high-contrast visuals, it combines minimalism with surreal touches—mirroring the band’s angular, jagged musical style. Scenes of regimented movement, repeated gestures, and uniformed figures underscore the song’s critique of obsession with authority.

The video’s aesthetic is a snapshot of early 80s post-punk: black-and-white textures, sharp geometric framing, and a detached performance style that emphasizes the music’s cerebral, confrontational energy. It’s the kind of visual approach that rewards repeated viewing, revealing layers of irony and commentary that complement the song itself.

For anyone exploring the post-punk era, “I Love A Man In Uniform” is an essential listen. It encapsulates everything that made Gang of Four so compelling: jagged funk, political wit, striking visuals, and a willingness to confront uncomfortable truths—all while keeping your body moving.

SIDE A:
I Love A Man In A Uniform (Remix) 5:37
Engineer – Randy Burns
Remix – Steve Sinclair (2)

SIDE B:
Producer 2:34

I Love A Man In A Uniform (Dub Version) 4:48
Engineer – Randy Burns
Remix – Steve Sinclair (2)