Burning The Ground Exclusive
When the Minneapolis sound was in full swing during the mid-80s, a wave of artists connected to Prince and his extended circle began carving out their own identities. One of the more underrated entries from that era came from Ta Mara and the Seen, a group assembled and guided by Jesse Johnson, best known as the guitarist for The Time.
Released in 1985, “Everybody Dance” served as the lead single from the group’s self-titled debut album. Right out of the gate, the track made its intentions clear. This was not a slow burn. It was built for movement, clubs, and radio, with a slick blend of funk grooves, synth hooks, and sharp, dancefloor-ready rhythm.
Jesse Johnson’s production carries the DNA of the Minneapolis sound. Tight drum programming, punchy bass lines, and layered keyboards all sit front and center. There is a polished edge, but it never feels sterile. Instead, it has that live-wire energy that defined so many records coming out of Minneapolis at the time.
Fronting it all is Ta Mara’s vocal. She brings a confident, playful tone that rides the groove effortlessly. The lyrics are simple and direct. This is a call to the dancefloor, nothing more, nothing less. That simplicity works in the song’s favor. It keeps the focus on the rhythm and the feel.
Commercially, the track performed well. “Everybody Dance” climbed to No. 3 on the Billboard R&B chart and crossed over to reach No. 24 on the Billboard Hot 100. That crossover success shows how accessible the track was, balancing funk credibility with pop appeal.
Even with that chart success, Ta Mara and the Seen often get overlooked when people talk about the Minneapolis scene. Acts like The Time, Sheila E., and Janet Jackson tend to dominate the conversation. But “Everybody Dance” proves that the circle ran deeper, with artists who could deliver just as much groove and personality.
Listening back now, the track still holds up. The production feels of its time, but in the best way. It captures a moment when funk, R&B, and pop were colliding in a very specific, very influential way.
For collectors and fans of 80s dance music, this is one that deserves a revisit. It sits comfortably alongside the bigger names, even if it never quite got the same long-term spotlight. Sometimes the deeper cuts tell the fuller story, and “Everybody Dance” is a perfect example of that.
SIDE A:
Everybody Dance 5:43
Written-By – J. Johnson*, Ta Mara
SIDE B:
Lonely Heart 4:45
Written-By – J. Johnson, T. Bradley
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
| Chart | Peak Position | Date |
|---|---|---|
| US Billboard Dance Club Songs | #17 | 1985 |
| US Billboard Hot 100 | #24 | 1985 |
| US Billboard R&B/Hip-Hop Songs | #3 | 1985 |
RELEASE INFORMATION:
Label: A&M Records – SP-12149
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: US
Released: 1985
Genre: Electronic
Style: Electro, Synth-pop
CREDITS:
- Engineer [Engineered By] – Jesse*, Kevin Madeja
- Producer [Produced By] – J. Johnson*
NOTES:
Recorded and Mixed at Jungle Love Studios, Mpls., Minn.
From the A&M album “Ta Mara & The Seen
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
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
Audio Interface: MOTU M4
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
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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Thanks for this one Paul. Has prompted me to give the eponymous album an overdue spin after listening to your single rip.
Thanks, Ian. That’s a great album to revisit. It tends to get overshadowed by the bigger Minneapolis releases, but there’s a lot of solid material on there beyond the single. Glad the rip gave it a nudge back onto your turntable.
Wow, this sounds stellar Paul! I am probably in the minority here but this is totally new to me. Loving the beat. Definitely hear the influence of The Time, but I am also totally getting some Brenda K. Starr vibes… I know Minneapolis and NYC are distinct but it is funny how some sounds are just timeless. The BPM and tempo here just lock you in for such a smooth smooth ride. A ride that you just don’t want to end. The vocals are just perfect too. The B side was totally not what I expected… it’s like the soundtrack… Read more »
JP, that’s one of the best parts of digging into this era, there are still gems hiding in plain sight. You’re right on the money hearing that The Time influence. With Jesse Johnson behind the boards, that groove was always going to be tight and a little slick, but still funky enough to pull you in. Interesting call on Brenda K. Starr too. I get what you mean, that polished mid-80s dance feel crossed a lot of regional lines more than people sometimes realize. That tempo really is the secret weapon here. It just glides. Not too aggressive, not too… Read more »
I can’t believe this reached #3 on the R&B/Hip-Hop charts. I just listened to this as I have it on 45 still (yes). Blindly, I would never thought of this being a R&B/Hip-Hop track. Alas, it is a great song that often goes missed and unplayed.
DMoody, I get exactly what you mean. On first listen it doesn’t scream traditional R&B, especially if you’re thinking of what else was on that chart in 1985. It leans more toward that polished Minneapolis dance-funk lane than straight soul or funk. But that’s kind of what makes that era so interesting. The R&B chart at the time was pretty wide open stylistically. You had everything from synth-driven crossover tracks like this sitting alongside much more traditional sounds. With Jesse Johnson producing and that The Time DNA running through it, the industry still filed it under R&B even if it… Read more »
This was a dance floor banger!! You’re absolutely right, it has that unmistakable Minneapolis sound. Produced and cowritten by Jesse Johnson, he knew that Prince sound inside and out. Even though this often gets overlooked, it is a worthy addition to Prince’s circle. Thank you Paul for putting the spotlight back on this!
Retro Hound, you nailed it. When Jesse Johnson stepped out from The Time, he really proved he could carry that Minneapolis sound on his own terms. You can hear that DNA all over this track, but it never feels like a copy, more like an extension of the same groove. It really was a floor-filler too. That beat just hits right and keeps things moving without letting up. Records like this did a lot of work in clubs even if they didn’t always get the long-term spotlight they deserved. Totally agree, it fits comfortably within the wider orbit of Prince… Read more »
Nice! Thank you for revisiting this. Prince’s influence spread far and wide then (and now), even to songs he didn’t write, lol! Jesse Johnson and Ta Mara surely took some tricks from Prince’s bag when they wrote this. Fun song!!
Grant, that’s so true. Back then it felt like the Minneapolis sound had its own fingerprint, even on records Prince had nothing to do with directly. With Jesse Johnson at the helm, it makes sense. Coming out of The Time, he had already been immersed in that style, so a lot of those rhythmic tricks and textures naturally carried over. Tight drum machines, funky guitar stabs, those glossy synth layers, it’s all part of the same toolkit. And Ta Mara really sells it. She gives the track that extra personality so it doesn’t feel like just another offshoot. It ends… Read more »
Thanks for this rip! I absolutely ate this up upon release buying the vinyl album immediately! The follow up, Blueberry Gossip, might be even better!!! Poor “Ta Mara” tho. She recorded a ton of demos with Prince, some which have been erroneously attributed to Jill Jones. At one point for a solo album under her name, Margie Cox, and at another point for an album under the moniker MC Flash. None of it ever came to be released, but the bootlegs were quite promising. One track, Standing At The Altar, made its way onto the 1-800-NEW-FUNK compilation. It’s fantastic. She… Read more »
ING, you’re bringing some deep cuts here, love it. You’re absolutely right about Blueberry Gossip. That album feels a bit more confident, like they really settled into their sound after the debut. It’s a shame it didn’t get the same push, because there’s a lot to like on that one. And yeah, Ta Mara’s story is one of those “what could have been” situations. Margie Cox had the voice and the presence, no question. Those sessions tied to Prince have been floating around for years in collector circles, and you can hear how much potential was there. The confusion with… Read more »
Maxi-Single Details (12″) The 12-inch version is particularly valued for its extended mix, which allows the instrumental elements to “breathe.” Side A: Everybody Dance 5:43 This version is a masterclass in synthesizer arrangements. The instrumental bridges and rhythmic breaks are specifically designed to keep the dance floor moving, highlighting the funky groove. The B-side of Ta Mara & The Seen’s 12″ single, featuring the track “Lonely Heart,” is the perfect counterpoint to the explosive energy of side A. While “Everybody Dance” is all about movement, this track delves into a much more emotional and nocturnal atmosphere. Dance Floor Impact Although… Read more »
Actually, the 12″ version is identical to the album version. The track was edited down for its 7″ release. To the best of my knowledge, the album has never been released on CD.
Hey Paul It Was Released On CD In Japan Only. I Have A copy. It Cost Me $18.00 Back In 86 Now They Sale For $500 Dollars.
Hey Paul This Jamm Is In My Top 5 For Sure!! This Song Sounds Like Innocent By Alexander O’Neal. These Jamms!! Here In The 80’s Is What I Live For!! Thanks Paul For This Slam!!
Mark, I can hear that connection too. That groove and the way the synths are layered definitely sit in the same lane as Alexander O’Neal’s “Innocent.” That whole mid-80s Minneapolis sound had a certain swing to it that just locks in.
No surprise this is in your top 5. It’s one of those tracks that hits instantly and never really lets go. Between Jesse Johnson’s production and Ta Mara’s delivery, it’s built to move.
Totally with you, this era had a feel that’s hard to replicate. These jams still do the job decades later.
I had entirely forgotten about this song. What a cool blast from the past though! Hearing it now is just wonderful. Sure, it is the “Minneapolis Sound” however it’s delivered in a way that’s quite interesting. I love songs like this one for their production, energy, and flavor! Ooh, I love that guitar solo! Thank you, Paul, for cultivating these “still-fresh” jams for our listening and dancing pleasure. This made my day!!
Jeff
Jeff, that’s exactly the magic of this one. It carries all the hallmarks of that Minneapolis sound, but there’s just enough of a twist in how it’s put together that it stands on its own. And yes, that guitar solo. That’s Jesse Johnson all over it. Coming out of The Time, he had such a distinct way of cutting through a track without overpowering it. It adds that extra punch right when the groove is already locked in. Glad this one hit the right note for you. These are the kinds of tracks that might slip out of memory, but… Read more »
Funny, I just bought this on a compilation in January! I had forgotten about the song, heard it on a medley, and went shopping. I remember the song pretty well but haven’t heard it since very likely 1985! Thanks for the flashback, Paul, and yes this is very very similar sounding to The Time. And don’t get me started how Bruno Mars blatantly copies many classic 80s sounds and NOBODY has a clue!
Funny how that happens, right? You hear a snippet somewhere, it sticks, and next thing you know, you’re tracking it down again like it never left. Totally with you on the Time comparison. With Jesse Johnson steering the ship, that sound is baked in. It’s got that same tight funk, sharp guitar accents, and synth bounce that defined a lot of those mid-80s releases. And yeah, artists like Bruno Mars have definitely tapped into that era. I wouldn’t call it copying as much as wearing the influences right on the sleeve. That whole 80s funk and R&B style has aged… Read more »
Thank you Paul. And another missing track jumps into my collection.It’s kind of crazy that you can clearly hear parallels to Prince and The Time. The intro and the drums alone immediately reminded me of Jungle Love.Great song, I’d completely forgotten about it.
Toxicaudio, that’s a great catch. That intro and drum pattern really do echo the feel of Jungle Love. It’s that same punchy Linn-style rhythm and stripped-down funk groove that pulls you in right away. With Jesse Johnson coming straight out of The Time, it’s no surprise those similarities pop up. He knew exactly how to build that kind of tension and release, especially in the intro, before everything opens up. Glad this one found its way back into your collection. These are the tracks that tend to slip through the cracks, but once you hear them again, it’s like they… Read more »
I always wondered what a collaboration between Madonna and Prince would sound like—and you just gave us the answer! Thank you so much for always highlighting the overlooked gems of the 80s!
Axel, that’s a fun way to look at it, and honestly not that far off. You’ve got that slick, pop-forward edge you’d associate with Madonna, but it’s wrapped in that unmistakable Minneapolis groove tied to Prince. With Jesse Johnson behind the track, it kind of bridges those worlds. Catchy enough for pop radio, but still rooted in funk and rhythm. It’s easy to imagine something like this sitting right between both camps in the mid-80s. And yeah, these are the kinds of records that deserve a second look. They might not have had the same spotlight, but they absolutely hold… Read more »