King – Won’t You Hold My Hand Now (Heavy Times Mix) (US 12″) (1984)

Burning The Ground Exclusive

Before Love & Pride became a defining pop moment of 1985, King were already refining their bright, brassy brand of new wave soul. One of the key stepping stones in that ascent was “Won’t You Hold My Hand Now,” the third single lifted from their debut LP Steps In Time.

Originally released in 1984, the single failed to ignite immediately, reaching only #112 on the UK Singles Chart. At that point, King were still carving out their identity in a crowded mid-’80s pop landscape. Stylish? Absolutely. Catchy? Undeniably. But they hadn’t yet broken through.

Everything changed with the explosive success of “Love & Pride.” After that breakthrough hit stormed the charts, “Won’t You Hold My Hand Now” was re-released in March 1985 and finally connected with a wider audience, climbing to #24 on the UK Singles Chart. It was proof that sometimes the public just needs a nudge — or a hit — to look back and discover what they missed.

Brass, Bounce, and Romantic Urgency

Musically, the track is quintessential King. Paul King’s distinctive vocal delivery balances urgency and vulnerability, while the band propels the song forward with punchy brass stabs, tight rhythm guitar, and polished keyboard textures. The production straddles late new romantic flair and the emerging sophisti-pop sheen that would define much of 1985’s radio sound.

At its core, the song is simple and relatable — a plea for reassurance, connection, and emotional grounding. Wrapped in vibrant instrumentation, that vulnerability becomes something celebratory rather than desperate.

A Treat for 12″ Collectors

For vinyl enthusiasts, the US 12″ single offers something particularly special. The two remixes featured on the B-side are exclusive to the American 12″ release, making it an essential pickup for serious King collectors. These extended versions stretch the groove beautifully, giving the brass and rhythm section more room to breathe while enhancing the track’s dancefloor appeal — a perfect example of how the 12-inch format could elevate an already strong pop single.

It’s details like these that make collecting so rewarding: alternate mixes, regional exclusives, and subtle production differences that tell their own story.

A Second Chance Well Earned

“Won’t You Hold My Hand Now” may not have exploded out of the gate, but its re-release success solidified King’s brief yet brilliant run in the mid-’80s spotlight. Alongside Love & Pride and the rest of Step In Time, it captures a moment when British pop was colorful, ambitious, and unapologetically stylish.

Sometimes all it takes is one big hit to make the world circle back — and realize what was there all along.

SIDE A:
Won’t You Hold My Hand Now (Heavy Times Mix) 7:49
Producer – Liam Henshall*

SIDE B:
Won’t You Hold My Hand Now (85 Reasons To Hold Hands Mix) 5:07
Producer – Richard James Burgess

Won’t You Hold My Hand Now (Dub Mix) 3:22
Producer – Richard James Burgess

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – King: *Won’t You Hold My Hand Now* (1984)
Chart	Peak Position	Date
UK Singles Chart	#24	1984
Australia (Kent Music Report)	#86	1984
Belgium (ultrapop)	#14	1984

RELEASE INFORMATION:
Label: Epic – 49 05286
Format: Vinyl, 12″, 33 ⅓ RPM, Single, Stereo, Pitman Pressing
Country: US
Released: 1984
Genre: Electronic
Style: New Wave, Synth-pop

CREDITS:

Photography By – Sheila Rock
Written-By – J. Lantsbery*, M. Roberts*, P. King*, T. Wall*

NOTES:
Also available King “Steps In Time” on Epic Records and Cassettes

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 11, 2026

Heaven 17 – Penthouse And Pavement (UK 12″) (1981)

Burning The Ground Exclusive

On October 16, 1981, Heaven 17 released their fifth single, “Penthouse And Pavement,” the title track from their striking debut album of the same name. Though the single entered the UK Singles Chart on November 14, 1981 and reached a modest peak of #57, its transatlantic impact was far more significant in the clubs. In the United States, the track climbed to #19 on the Billboard Dance Chart, proving that Heaven 17’s sleek, politically charged funk resonated deeply on American dance floors.

Heaven 17 emerged from the ashes of The Human League when founding members Martyn Ware and Ian Craig Marsh split from the group in 1980. Determined to pursue a more musically ambitious and politically aware direction, they recruited vocalist Glenn Gregory, whose soulful delivery would become the perfect counterbalance to Ware and Marsh’s icy electronic architecture. The result was a sound that fused cutting-edge synth technology with the groove and sophistication of American R&B.

“Penthouse And Pavement” is perhaps the clearest early blueprint of that vision. Driven by a taut funk bassline and crisp electronic rhythms, the track pulses with confidence and style. The influence of American soul and funk is unmistakable, particularly in the call-and-response chorus featuring powerhouse backing vocalist Josie James — a formula the band would elevate to perfection two years later on their biggest hit, “Temptation.” Rhythm guitarist John Wilson adds a sharp, organic edge, helping bridge the gap between machine precision and human groove.

On the surface, “Penthouse And Pavement” feels like a sophisticated party anthem — all gloss, swagger, and late-night decadence. But beneath the polished exterior lies sharp social commentary. The lyrics explore class division and moral compromise, contrasting corporate luxury (“penthouse”) with street-level struggle (“pavement”). The song’s narrator wrestles with ambition and complicity, subtly critiquing the seductive pull of capitalism and the cost of climbing its ladder. This tension between desire and disillusionment would become a recurring theme in Heaven 17’s work, explored even more explicitly in 1983’s biting industrial critique, “Crushed By The Wheels Of Industry.”

What makes “Penthouse And Pavement” endure is that duality. It grooves hard enough to fill a dance floor, yet it demands you think while you move. It’s stylish but subversive. Slick but socially aware. In many ways, it encapsulates what made the Sheffield scene so vital in the early ’80s — electronic music with intelligence, purpose, and undeniable rhythm.

While it may not have been a massive UK chart success at the time, “Penthouse And Pavement” remains a cornerstone of the band’s catalog and a defining moment in early ’80s synth-funk — a track where politics met the dance floor and both walked away sharper for it.

SIDE A:
Penthouse And Pavement 6:58

SIDE B:
Penthouse And Pavement (Instrumental) 7:01

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Heaven 17: *Penthouse And Pavement* (1981)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#19	1981
UK Singles Chart	#59	1981

RELEASE INFORMATION:
Label: Virgin – VS455-12
Format: Vinyl, 12″, 45 RPM, Single, Stereo, Bilbo
Country: UK
Released: 1981
Genre: Electronic
Style: New Wave, Electro, Synth-pop

CREDITS:

Band [Heaven 17 Are], Synthesizer [Synthesisers], Piano – Martyn Ware
Band [Heaven 17 Are], Synthesizer [Synthsisers] – Ian Craig Marsh
Band [Heaven 17 Are], Vocals – Glenn Gregory
Composed By – Gregory*, Marsh*, Ware*
Engineer, Co-producer [Assistant To The Producers] – Peter Walsh
Guest [Guest Artiste], Bass Guitar, Synthesizer [Guitar Synthesisers] – John Wilson (2)
Guest [Guest Artiste], Vocals – Josie James
Lacquer Cut By – BilBo (3)
Producer [Produced By] – British Electric Foundation

NOTES:
B.E.F.
The Company that thinks for itself.

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 10, 2026

Then Jerico – Fault (The New York City Mixes) (UK 12″) (1985)

Burning The Ground Exclusive

Before Then Jerico became synonymous with glossy late-80s sophisti-pop and chart success, there was “Fault.” Released in 1985 as a stand-alone, non-album single, it’s one of those quietly fascinating moments where you can hear a band standing right on the edge of something bigger—but not quite there yet.

“Fault” arrived two years before their 1987 debut album First (The Sound of Music) and, despite impeccable credentials, it slipped through the cracks. The single failed to chart, making it a genuine Closet 80s artifact: overlooked at the time, but far more interesting in hindsight.

What immediately jumps out is the production team. Martin Rushent, fresh from redefining British pop with The Human League, Heaven 17, and Buzzcocks, gives “Fault” a taut, modern sheen. There’s a restrained elegance here—clean synth lines, controlled drama, and a sense of tension that never fully explodes. It’s not chasing the charts; it’s testing the water.

The remix comes courtesy of John Luongo, already establishing himself as a master of extended versions and club-ready polish. His touch adds space and momentum, subtly nudging “Fault” toward the dancefloor without sacrificing its introspective core. It’s less about peak-time payoff and more about atmosphere—very much of its moment.

Vocally, Mark Shaw sounds more guarded here than on later hits like “Big Area” or “Let Her Fall.” There’s a cool detachment in his delivery that suits the song’s emotional ambiguity. Lyrically, “Fault” circles themes of responsibility and fracture—personal accountability hinted at rather than spelled out—another sign that Then Jerico hadn’t yet leaned into the widescreen romanticism that would define their later work.

In retrospect, “Fault” feels like a bridge track: one foot in early-80s synth sophistication, the other stepping toward the polished pop-rock confidence that would finally break them through. It may not have charted, but it matters. Songs like this show how bands evolve—not overnight, but through these small, nearly forgotten releases that quietly shape what comes next.

For fans digging deeper than the hits, “Fault” is a reminder that the 1980s were full of near-misses and slow burns. Sometimes the most revealing tracks are the ones history almost forgot.

SIDE A:
Fault (Club Mix) 6:47
Mixed By – John Luongo

SIDE B:
Fault (7″) 3:34
Mixed By – John Luongo

The Big Sweep (Club Mix) 4:49
Mixed By – Philth Tennant, T.J.

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: London Records – LONX 63, London Records – 882 047-1
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1985
Genre: Rock
Style: Pop Rock

CREDITS:

Engineer – Neil O’Connor (2), Timm Baldwin
Keyboards – Ben Angwin
Lyrics By – Shaw*
Performer [Then Jerico] – Stainthorpe*, Shaw*, Taylor*, Wren*
Photography By – Roger Eaton
Producer – Martin Rushent
Sleeve – Shaw*
Written-By – Then Jerico

NOTES:
“The New York City Mixes”
Summer ’85

First pressing with an inner sleeve with lyrics and photo of the band.

“Fault” Mixed at Sigma Sound, N.Y.
Produced & Engineered at Genetic Sound, U.K.

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 5, 2026

The Human League – Heart Like A Wheel (US 12″) (1990)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Previously posted March 13, 2015

Heart Like a Wheel — The Human League’s Synth-Pop Statement Gets a New 2026 Transfer

In the landscape of British synth-pop history, few acts cast a shadow as long as The Human League. Best known to casual listeners for flagship hits like “Don’t You Want Me” or “Human,” the band’s 1990 single Heart Like a Wheel remains a fascinating, sometimes overlooked chapter in their catalogue — now brought into fresh focus with a new 2026 meticulous audio restoration transfer that rediscovered its sonic heft for modern ears.

A Minor Hit with Major Intent

Originally released on 6 August 1990 as the lead single from the album Romantic?, Heart Like a Wheel marked a bold if moderate commercial return for The Human League entering the new decade. Against a backdrop of fading chart momentum for 80s synth icons, the track managed respectable placements across several territories. In the United Kingdom it peaked at No. 29 on the Official Singles Chart, logging several weeks on the listings. In the United States it reached No. 32 on the Billboard Hot 100, while Australia saw it hit No. 64 on the ARIA charts.

Lyrics as Social Commentary

Far from a simple pop confection, Heart Like a Wheel channels political and existential undercurrents that were increasingly rare in mainstream synth-pop of the era. The lyrics evoke a world becoming mechanised and emotionally detached, where individuals feel both propelled and alienated by forces beyond their control. The refrain — “Heart like a wheel, turning away from anything that’s real” — captures this sense of emotional rotation and disconnection, a heart spinning yet somehow moving away from authenticity.

Other lines — referencing “selling your soul to a holy war” or the futility of using weapons like an M16 to solve problems — underline a critique of violence, propaganda, and the erosion of meaningful engagement with reality. The imagery suggests a world where the “wheel” of society keeps turning on cold, unfeeling steel rather than warmth and human connection.

Production and Performance

Written by former band member Jo Callis and Eugene Reynolds, the track features the signature blend of synthesizers, layered vocals, and anthemic choruses that typify The Human League’s style. Produced by Martin Rushent, whose earlier work with the group helped define their sound in the early 80s, Heart Like a Wheel brought the band’s classic sensibilities into a post-New Wave context — balancing polished pop craft with introspective edge.

The 2026 Meticulous Audio Restoration Transfer

The 2026 transfer of Heart Like a Wheel is more than a simple needle-drop: it’s a meticulous audio restoration aimed at unveiling layers of detail that were buried or subdued in my previous transfer. This new transfer brings greater clarity to the synth textures, a defined presence to the vocal interplay between Philip Oakey, Joanne Catherall, and Susan Ann Sulley, and a wider dynamic range that honours both the emotional and rhythmic dimensions of the original recording. For longtime fans and newcomers alike, this version offers a chance to hear the song with fresh ears — as a statement piece of synth-pop social reflection that resonates even decades after its debut.

Legacy

While Heart Like a Wheel was not a defining chart topper, it has endured in live sets and fan circles for its energy and message, proving that not all influence is measured by chart peaks alone. With the 2026 restoration bringing new life to a classic synth-pop single, listeners have an ideal moment to revisit a track that blends pop accessibility with thoughtful, questioning lyricism — reminding us why The Human League’s catalogue still matters in the pop canon.

SIDE A:
Heart Like A Wheel (Extended Mix) 6:50
Remix – Mark Saunders

SIDE B:
Heart Like A Wheel (LP Version) 4:28

Heart Like A Wheel (7″ Remix) 4:28
Remix – William Orbit

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – The Human League: *Heart Like A Wheel* (1990)
Chart	Peak Position	Date
US Billboard Billboard Hot 100	#32	1990
US Billboard Alternative Songs	#17	1990
UK Singles Chart	#29	1990
Australia Singles Chart (ARIA)	#64	1990
West Germany	#36	1990

RELEASE INFORMATION:
Label: A&M Records – 75021 2336 1
Format: Vinyl, 12″, 33 ⅓ RPM, Single, Stereo
Country: US
Released: 1990
Genre: Electronic
Style: Synth-pop

CREDITS:

Producer, Mixed By – Martin Rushent
Written-By – Eugene Reynolds, Jo Callis

NOTES:
From the LP Romantic?

Recorded at Genetic Sound

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.