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
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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For some reason I cannot unpack the file – it says its corrupt? Anyone else getting this@
Thank you for this, P. And I thought I’d heard all DM remixes from the album before this.
So cool Dj Paul! Razormaid remixes really are something. They have such a unique sound – which is actually kind of funny in a way since they are able to take such a wide variety of songs and create remixes that are both different yet thematically similar all at the same time. I always feel like there is a bit of an industrial sound to a lot of the Razormaid remixes, it’s not something I can really describe that well. It’s one of those “you know it when you hear it” things, and once you can hear it you say… Read more »
Wow, JP! I loved reading your comment. You can surely put into words, impressions that are so on the money! I adore your writing! Thank you!
Jeff
Aw, that’s so nice of you to say my friend.
It is nice to know my words are being read and enjoyed. Yours are a blast too!
JP — this comment made my morning. You absolutely nailed it about Razormaid. There is a signature to their work, even when they’re tackling completely different artists. It’s that tight, almost mechanical precision — sharp edits, purposeful repetition, those extended intro/outro constructions. And yes… there’s often that subtle industrial undercurrent. Not harsh, but structural. Like the remix was engineered rather than just “extended.” And you’re right — once you hear it, you know. “Yep. That’s Razormaid.” The partnership between Art Maharg and Joseph Watt really was lightning in a bottle. Watt laid down the blueprint, and Maharg evolved it with… Read more »
“Dangerous Suggestions” are my middle name! Thanks for the really nice reply Paul, I enjoyed it so much. I kept thinking about this today… Razormaid truly stand apart, not just as remixers, but as rebuilders like you said. Deconstructing and reconstructing in a way no one else was. Their catalog is so wide and deep, I have to say the ones I enjoy most are the mixes of more well known songs, like the excellent ones you selected here. Some of the tracks they remixed I don’t have a lot of history with which makes it a little harder (but… Read more »
To point out the obvious here, every time you post Depeche, people comment like crazy! Thank you for all you do!
Axel — you’re not wrong! 😊
Any time I post Depeche Mode, the comment section wakes up instantly. There’s just something about them — the loyalty, the history, the emotional connection people have to that catalog. It’s powerful.
And when you pair that with the Razormaid touch on World in My Eyes, it’s like lighting a signal flare for the faithful.
I’m just grateful that so many of you show up, listen closely, and share your thoughts. That energy is what keeps me digging, restoring, designing sleeves, and imagining these “lost” vinyl histories.
Thank you for being part of it.
Oooh, possibly a DM remix I don’t already have so thanks once again for a fine choice to share! My copies of Razormaid mixes are scattered throughout those bootleg CD remix compilations that flourished in the 90’s and are sadly (well for us collectors at least) no more.
Paul — I love hearing that there’s still a Razormaid mix out there that can surprise someone. That’s always the goal. 😊 The beauty of Razormaid is how deep the well goes — so many mixes circulated quietly through DJ pools, cassette mailers, and later those semi-mythical 90s bootleg CD compilations. For a lot of us, that’s exactly how we first encountered extended versions of tracks like World in My Eyes outside the official commercial releases. There was something special about that era — hunting through scattered discs, mismatched track listings, sometimes questionable artwork… but occasionally finding absolute gold. A bit… Read more »
oh the questionable artwork was definitely part of the fun, though it could also be almost official too.
Very much appreciate your crystal clear versions – the bootlegs were such mixed bags quality wise, but as a bit of DM completist I got so many (The Strike series features a lot, also many of the specific album remixed versions which often featured a colour swap of the real album cover).
But collecting was not helped by the not always accurate labelling of the mixes on the CDs!
This reminds me of the early 90’s, there was a store called “Underground Records” in downtown San Jose. Lots of promo DJ wax, Razormaid, This is Only A Test, Art Of Mix, DJ Promos, imports, colored vinyl, and all for loads of $$$$. The version of Killer by Seal I heard one afternoon while digging through records in there is still the best one I’ve ever heard…. Some of these remix/re-edits are truly amazing. These two are excellent, they really encapsulate the sound of the time, the re-edits, Art Maharg really built on the promo only “Out Of The Blue… Read more »
oh man, so true! I used to pay a lot of money for Ultimix, Razormaid, etc.Usually at least $30. But somehow that was still cheaper than buying each single by itself. I was so happy when CD Mixers became available because I could buy dance compilations and save a ton of money … lol
Axel,
I’m with you here. I did the same thing back in the day! Too awesome!
Jeff
Joey — this comment is pure time travel. “Underground Records” in downtown San Jose sounds exactly like the kind of place that separated the casual buyers from the lifers. Crates of DJ-only wax, Razormaid, This Is Only A Test, Art Of Mix, imports behind the counter… and those prices that made your wallet nervous but your heart race. And hearing that version of Killer while digging? That’s the kind of moment that brands itself into your memory forever. Some mixes just hit differently in a record store environment — half discovery, half revelation. You nailed it about the re-edit culture… Read more »
I’ve had that Depeche mix for decades and never knew it was a Razormaid mix, but of course it was, otherwise they wouldn’t have been able to sample Snap and Kraftwerk as liberally as they did. Thank you for helping me close that loop, as it were. 🙂
David — I love when one of those long-standing “mystery mix” questions finally clicks into place. That totally makes sense. For years a lot of us just had these versions floating around on tapes or CDs without clear provenance. And then you hear the structure, the edits, the bold sampling choices and think… ahhh, of course — Razormaid. You’re absolutely right — that kind of liberal nod to Kraftwerk and the rhythmic punch associated with Snap! wasn’t something you’d typically get on an official commercial 12″. That freedom was part of what made the Razormaid universe so exciting. They weren’t… Read more »
Wow. Wow. Wow. These are AMAZING. I don’t know which one I like more. They go so well together. You are a master, Paul. So thoughtful in how you put this together. And, the art is amazing. Nicely done. A+++!
MusicMan3 — wow… thank you. That truly means a lot. I’m so glad the pairing works for you. That was exactly the intention — to make Blue Savannah and World in My Eyes feel less like two random great remixes and more like two halves of the same late-night story. Both coming from the Razormaid universe, both shaped by Art Maharg, they share that precision and propulsion — but emotionally they live in different shades of the same spectrum. That contrast is what makes them click together for me. And I’m especially happy you connected with the artwork. I wanted… Read more »
Both tracks sound amazing, I know I have these vinyl rips somewhere on a hard drive, but they can’t compare with this (they feel like they were ripped from a Mute vinyl import). Art Maharg was an amazing remixer – Thanks Paul.
A H — thank you! I know exactly what you mean about those old vinyl rips. A lot of us grabbed whatever copies we could find back in the day — sometimes sourced from import pressings that already had a bit of wear baked in. They served their purpose, but it’s amazing what a clean, careful transfer can reveal in the details. That’s especially true with Razormaid material. The edits and transitions in mixes like Blue Savannah and World in My Eyes are so precise that when the source is muddy, some of that architecture gets lost. And you’re absolutely… Read more »
Depeche Mode AND Erasure? Yes please! Thanks so much!
You’re sooo welcome, Mikey 🙂
Beyond (the blue) excited for this! Totally recall this era like yesterday. Both albums, singles, remixes, b-sides were HUGE in my life at the time..was even the first time saw Depeche in concert…at red Rocks no less! 2 fave tracks from their parent albums as well. Excellent cover art! I was working at a record store at this time and received a pre-release promotional T-Shirt for Violator worldwide release. Simple white t with the month of March in numerous different languages and a huge “19” in the background for the release day. The bottom bar/box as used on Violator art… Read more »
ING — this comment is a treasure trove of memories — thank you for sharing! I love hearing how deeply this era is etched into your life. Blue Savannah and World in My Eyes really do capture that early 90s magic, and pairing them on World Beyond Blue felt like a perfect way to relive it. And Red Rocks! Seeing Depeche live there must have been transcendent — what a setting for that sound. That story about the Violator promo T-shirt is amazing. Those little promo items — simple, clever, iconic — really stick with you, and it’s awesome your… Read more »
😃 those 2 albums were played to … life. Not death, can’t overplay those!
Treasure trove of b-sides too!
Come to think of it, I still have an unused promo sticker of that Violator rose!!!
1989/1990 was such an awesome time for music.
I really enjoyed your story here, ING. Such great souvenirs from your time working at a record store! I also loved your comment about “played to…life. Not death, can’t overplay those!” You’re absolutely brilliant in this observation. I envy you too for seeing them play at Red Rock! Great T-shirt and sticker also!
Have a very nice day, ING!
Jeff
You too!!!
I still haven’t come down yet from my euphoria over this extremely special DjPaulT Burning The Ground special 12-inch! These two mixes are perfect together. They’re like this yin and yang, light and dark musical entity. Art Maharg worked magic on these two mixes! I especially love how his digital mix of “World In My Eyes” goes from a syncopated beat to morphing flawlessly into a four on the floor drum pattern. He smoothly blends versions together seamlessly and adding samples tastefully. And the Erasure song is absolute fire here, Paul! It’s my ultimate favorite version of “Blue Savannah”!! You… Read more »
Jeff, You absolutely nailed what I was hoping people would feel with this pairing. Blue Savannah and World in My Eyes really do exist as a kind of yin and yang — light and dark, romantic sweep versus nocturnal tension — but both driven by that razor-sharp Razormaid precision. And yes! That moment in the World In My Eyes digital mix where the syncopated rhythm locks into a straight four-on-the-floor pattern? Pure club alchemy. Art Maharg had such an instinct for architecture — he didn’t just extend a track, he rebuilt it for the floor. The way he stitched versions… Read more »
Simply amazing! THANK YOU SO MUCH!!! I absolutely love the custom cover art as well as the pairing of those two fantastic Razormaid remixes! You have outdone yourself again!
Axel — thank you so much! That truly means a lot. I’m really glad the pairing resonated with you. There’s something special about putting Blue Savannah and World in My Eyes side by side — two completely different emotional temperatures from 1990, yet both transformed so beautifully by Art Maharg for Razormaid. Designing the sleeve was half the fun. I wanted it to feel like something that could’ve arrived in a plain white DJ mailer back in the day — understated, a little mysterious, and meant purely for the dancefloor. Your enthusiasm is what keeps Burning the Ground burning. Truly… Read more »
Fantastic! Looking forward to it!
i read the email before finishing my first cup of coffee this morning, and i legit reacted with, “well, this is going to be the weirdest mash up EVER.”
the takeaway here is to never read your music-related emails without at least 1 cup of coffee in you, kids.
I love that your pre-caffeine brain went straight to “weirdest mash-up EVER.” 😀 To be fair, on paper, pairing Blue Savannah with World in My Eyes does sound like I woke up and chose chaos. But once the coffee kicks in — and especially once you remember they’re both Razormaid Digital Mixes by Art Maharg for Razormaid — it starts to make a little more architectural sense. Same era. Same club ecosystem. Same precision remix philosophy. So yes… let this be a public service announcement: 1: Coffee. Step 2: Burning the Ground email. Step 3: Judge the madness. Appreciate you… Read more »
outstanding pairing! and I never saw this before! I will admit I favor the gritty noir of “World In My Eyes” – thanks!!!
Raymond — thank you! I had a feeling World In My Eyes might pull a few people over to the darker side. There’s something irresistible about the noir pulse of World in My Eyes — especially in the Razormaid Digital Mix by Art Maharg. He really leans into that tension and space, letting the groove breathe while sharpening the edges for the floor. That said, I love how it plays against the widescreen emotion of Blue Savannah. Light and shadow on the same slab of vinyl — that contrast is what makes World Beyond Blue work for me. And the… Read more »