As the year winds down, I want to take a moment to thank each and every one of you for being here. Whether you’ve been following Burning the Ground for years or have just recently discovered the site, your enthusiasm, comments, memories, and shared love of music mean more to me than I can ever properly express.
This season looks and feels different for everyone. However you choose to celebrate — Christmas, another holiday, or simply a quiet pause at the end of the year — I hope this time brings you comfort, peace, and a few moments of joy. Music has a way of connecting us, no matter our backgrounds or traditions, and I’m grateful that we get to share that connection together.
I’ll be taking a short break over the holidays, but don’t worry — new posts will return the first week or so of January 2026. I’ve already got plenty of great records lined up, and I can’t wait to kick off the new year with you.
Thank you for your continued support, kindness, and love for these songs that continue to mean so much to all of us. Wishing you warmth, light, and good vibes — now and always. “Make It Wonderful”
NEW 2025 Transfer NEW Meticulous Audio Restoration
Original post date: December 13, 2013
“Dear Santa (Bring Me A Man This Christmas)” is a holiday song recorded by The Weather Girls for their 1983 album Success. Paul Jabara and Paul Shaffer wrote the song. It mixes a Christmas theme with a disco-driven sound that fits the group’s early 1980s dance output.
The track had a quiet release. It was issued in the US and the UK as a promotional single and did not chart. This was the case even though a music video was filmed. As a result, the song remained hard to find and easy to miss during its original run.
The Weather Girls began as Two Tons o’ Fun and featured Izora Armstead and Martha Wash. Both singers brought gospel power and strong presence to the dance floor. The duo scored several dance hits, with their biggest success coming in 1982.
That peak arrived with “It’s Raining Men,” a song that became a defining moment in dance music. “Dear Santa (Bring Me A Man This Christmas)” followed soon after and shows the same mix of humor and confidence, set against a festive backdrop.
For this holiday season, I have given this disco banger a meticulous new audio transfer. It brings new clarity to a track that has long deserved a closer listen.
SIDE A: Dear Santa (Bring Me A Man This Christmas) (Vocal) 6:30
SIDE B: Dear Santa (Bring Me A Man This Christmas) (Instrumental) 6:14
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
RELEASE INFORMATION:
Label: Columbia – AS 1790
Format: Vinyl, 12″, Promo, 33 ⅓ RPM
Country: US
Released: 1983
Genre: Electronic, Funk / Soul
Style: Hi NRG, Disco
When Bobby Brown released Don’t Be Cruel in 1988, he didn’t just dominate radio—he owned the dance floor. Even years after its initial release, the album continued to generate club interest, and one of the more intriguing artifacts from that era is the promo-only single “Every Little Hit (Megamix)”, issued in the United States as a promo single sent out to radio stations, and DJ record pools.
Unlike a standard commercial release, Every Little Hit (Megamix) was created strictly as a DJ tool, servicing clubs and radio mix shows that were hungry for nonstop Bobby Brown energy. Rather than focusing on a single track, the megamix stitches together highlights from Don’t Be Cruel, effectively functioning as a rapid-fire celebration of the album’s biggest moments. It’s Bobby at full throttle—hooks stacked on hooks, beats barely given time to breathe, and an overall sense that this was designed to keep dance floors moving without interruption.
Megamixes like this were a staple of the late ’80s and early ’90s club scene. They served multiple purposes: a sampler for casual listeners, a transition-friendly weapon for DJs, and a reminder of just how many hits an artist had accumulated in a short period of time. In Bobby Brown’s case, the format made perfect sense. Don’t Be Cruel was packed with chart-toppers and club favorites, and hearing them collide in one continuous mix only reinforced how dominant his run truly was.
Because it was promo-only, Every Little Hit (Megamix) never received the kind of widespread recognition that his commercial singles did. It was not found in record store bins, and many fans never knew it existed unless they were plugged into club culture or radio at the time. That scarcity has helped turn it into a bit of a cult item today—especially among collectors who appreciate the unique role promo 12″s played in shaping how dance music was heard and experienced.
Every Little Hit (Megamix) stands as a snapshot of an era when remix culture was booming, DJs were tastemakers, and record labels understood the power of the club. It may not be the most talked-about Bobby Brown release, but it’s a fascinating reminder that sometimes the most exciting records were the ones never meant for the general public—only for the booth, the floor, and those lucky enough to hear them in the moment.
SIDE A: “Every Little Hit” Mega Mix (Club Version) 8:58
A.1 Every Little Step
A.2 On Our Own
A.3 Don’t Be Cruel
A.4 My Prerogative
SIDE B: “Every Little Hit” Mega Mix (Radio Edit) 6:11
B.1 Every Little Step
B.2 On Our Own
B.3 Don’t Be Cruel
B.4 My Prerogative
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
RELEASE INFORMATION:
Label: MCA Records – L33-18116
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1989
Genre: Hip Hop
Style: RnB/Swing
NOTES:
Includes special edits of “Every Little Step”, “On Our Own”, “Don’t Be Cruel” and “My Prerogative”. Inspired by Bobby’s mega hit “Dance… Ya Know It!” and “Don’t Be Cruel” albums.
When Will To Power’s “Say It’s Gonna Rain” began gaining serious traction in U.S. dance clubs, Epic Records did what the best labels of the era often did: they went back to the multitracks and gave DJs something new to work with.
The result was a second U.S. 12″ single, titled “New Remixes”, released specifically to capitalize on the song’s growing club momentum. Rather than reusing earlier versions, Epic enlisted Justin Strauss and Murray Elias working together, a collaboration that brought a distinctly New York club sensibility to the project.
Together, Strauss and Elias reshaped the track with a clear understanding of dance-floor dynamics. Their remix emphasizes groove and atmosphere, allowing the song to breathe while subtly reinforcing its rhythmic drive. Alyson Williams’ vocal remains the emotional anchor, floating over a more streamlined, club-focused arrangement that feels tailor-made for late-night sets.
What makes this second 12″ particularly notable is its timing. It wasn’t issued as part of the song’s initial release campaign; instead, Epic responded directly to the record’s success in U.S. dance clubs. This kind of reactive release strategy—issuing fresh remixes after a song had already proven itself—was a hallmark of late-’80s club culture.
Today, the “New Remixes” 12″ stands as a snapshot of that moment when labels, remixers, and DJs were in close conversation. It’s not just a follow-up pressing, but a deliberate extension of the song’s life on the dance floor—and a reminder of how collaborative remix work could give a hit single renewed energy and relevance.
SIDE A: Say It’s Gonna Rain (Popstand Remix) 8:37 Say It’s Gonna Rain (Acid Rain Dub) 6:39
SIDE B: Say It’s Gonna Rain (Popstand Nueva York Remix) 7:27 Say It’s Gonna Rain (Orange Sunshine Dub) 6:33
