Tag: 12″

June 11, 2026

Army Of Lovers – Ride The Bullet (UK 12″) (1992)

Burning The Ground Exclusive

When it comes to excess, spectacle, and unapologetic camp, few groups embraced it quite as enthusiastically as Sweden’s Army of Lovers. Long before pop culture fully embraced flamboyant self-expression and gender-bending visuals, Army of Lovers were building an entire musical universe around it. Their music combined Eurodisco, Hi-NRG, dance-pop, and theatrical storytelling into something uniquely their own.

Originally appearing on the group’s 1990 debut album Disco Extravaganza, “Ride The Bullet” was written by Alexander Bard, Anders Wollbeck, Jean-Pierre Barda, Emil Hellman, and Camilla Henemark. The track was later remixed for inclusion on the group’s breakthrough second album Massive Luxury Overdose in 1991, helping introduce the song to a wider international audience. The 1992 single release would become one of the group’s biggest European successes, reaching the Top 10 in Austria, Finland, and Greece while also topping the chart in Israel.

Musically, “Ride The Bullet” is classic Army of Lovers. Layers of sweeping strings, pulsating dance beats, dramatic spoken passages, and larger-than-life vocals collide to create a record that feels equal parts nightclub anthem and theatrical production. While many Eurodance acts of the era focused on straightforward club rhythms, Army of Lovers approached dance music with a sense of humor and grandeur, turning every song into a lavish performance piece. Critics at the time praised the track’s infectious disco energy and irresistible groove, noting its combination of Eurodisco sheen and high-energy dance-pop production.

The song also marked an interesting transition period for the group. The original version featured La Camilla, whose commanding presence helped define the band’s early image. Following her departure in 1991, Michaela de la Cour joined the group and appeared on the later remix and accompanying video. As a result, two distinct music videos exist for “Ride The Bullet,” each reflecting a different era of Army of Lovers’ visual evolution.

Of course, visuals were always just as important as the music. Army of Lovers treated every video as a work of pop art, filling them with religious iconography, historical references, outrageous costumes, and enough camp to power an entire Pride celebration. “Ride The Bullet” is no exception, delivering the kind of extravagant imagery that became the group’s trademark and helped cement their reputation as one of Europe’s most unforgettable pop acts.

Today, “Ride The Bullet” remains one of the defining tracks from the Massive Luxury Overdose era, a period that saw Army of Lovers become international dance-floor favorites. More than three decades later, the song still sounds gloriously over-the-top, proving that sometimes pop music is at its best when it refuses to take itself too seriously while still delivering an irresistible groove.

Army of Lovers showed the world that dance music could be glamorous, outrageous, and wildly entertaining all at once. “Ride The Bullet” remains one of the finest examples of that philosophy in action.

SIDE A:
Ride The Bullet (Radio Edit) 3:28
Remix, Producer [Additional Production By] – Nuzak

Ride The Bullet (Tren De Amor Mix) 6:26
Remix, Producer [Additional Production By] – Nuzak

SIDE B:
Ride The Bullet (DNA Groove Approved) 4:56
Other [Assisted By] – Davidge
Remix, Producer [Additional Production By] – DNA

Ride The Bullet (David Ford & The E.G. Orchestra Re-Mix) 5:21
Remix, Producer [Additional Production By] – David Ford & The E.G. Orchestra

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Army Of Lovers: Ride The Bullet (1992)	Peak Position
Australia (ARIA)	191
Austria (Ö3 Austria Top 40)	4
Belgium (Ultratop 50 Flanders)	12
Europe (Eurochart Hot 100)	40
Europe (European Dance Radio)	24
Finland (IFPI)	4
Germany (GfK)	22
Greece (Virgin)	9
Netherlands (Dutch Top 40 Tipparade)	2
Netherlands (Single Top 100)	34
Sweden (Sverigetopplistan)	32
Switzerland (Schweizer Hitparade)	40
UK Singles (OCC)	67
UK Club Chart (Music Week)	79

RELEASE INFORMATION:
Label: China Records – WOKT 2018, Ton Son Ton – WOKT 2018
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: UK
Released: 1992
Genre: Electronic
Style: House, Synth-pop

CREDITS:

Co-producer, Engineer – Per Adebratt
Costume Designer [Costumes Designed By] – Camilla Thulin
Executive-Producer – Ola Håkansson
Film Director [Video Clips Directed By] – Fredrik Boklund, Martin Persson
Lead Vocals – De La Cour*
Photography By – Carl-Johan Paulin
Plated By – M (91)
Producer – Alexander Bard, Anders Wollbeck
Programmed By, Guitar – Anders Wollbeck
Sleeve – Marie Wollbeck*
Vocals [Guest] – Katarina Wilczewski
Vocals, Bass – La Camilla
Vocals, Computer – Alexander Bard
Vocals, Drums – Jean-Pierre Barda
Vocals, Keyboards – De La Cour*
Written-By – Bard*, Wollbeck*, Henemark*, Hellman*, Barda*

NOTES:
Recorded and mixed at Sonet Studios, Stockholm.

Track B1 is called ‘Ride The Bullet (DNA Groove Approved Mix)’ on the label

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-Ject Tube Box DS2
Phono 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
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: 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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal.

I appreciate your help.

June 10, 2026

Pet Shop Boys – NYC Boy (Re-mixes) (US 12″)

Burning The Ground Exclusive

Pride Month is a time to celebrate community, self-expression, and the places that have helped generations of LGBTQ+ people find acceptance and belonging. Few songs capture that feeling as perfectly as “New York City Boy” by Pet Shop Boys.

Released on September 27, 1999, as the second single from the album Nightlife, “New York City Boy” is one of the most joyous recordings in the Pet Shop Boys catalog. At a time when electronic music was on the cusp of a new millennium, Neil Tennant and Chris Lowe looked back to the golden age of disco, creating a song that celebrates both New York City and the liberating power of the dance floor.

The track was recorded at Quad Studios in New York City and co-written and produced by acclaimed DJ and producer David Morales, who had previously collaborated with the duo on remixes of their 1990 single, “So Hard.” According to Chris Lowe, Morales suggested creating a song in the style of the Village People, an idea that would become the foundation for one of the Pet Shop Boys’ most exuberant singles.

While Lowe and Morales crafted the music, Neil Tennant wrote lyrics telling the story of a young person leaving the suburbs behind and arriving in New York City, a place filled with possibility, excitement, and the freedom to be yourself. For many listeners, especially within the LGBTQ+ community, the song’s narrative reflects a familiar journey. New York has long been seen as a destination where people could escape small-town limitations and discover a welcoming community.

Musically, “New York City Boy” is steeped in disco history. The song features lush string and horn arrangements by Vincent Montana Jr., often referred to as “The Godfather of Disco.” Montana’s contributions give the track its authentic late-1970s feel while connecting it directly to the sound that dominated dance floors during disco’s peak years. The string arrangements interpolate “It’s Good for the Soul” by the Salsoul Orchestra, while the production also incorporates elements of Donna Summer’s classic recording of “MacArthur Park.”

The result is a dazzling celebration of disco that feels both nostalgic and contemporary. It’s impossible to hear the soaring strings, infectious groove, and uplifting chorus without wanting to move.

In the United States, the song became a major club hit, reaching No. 1 on Billboard’s Hot Dance Club Play chart. It also reached No. 53 on the Billboard Hot Singles Sales chart. Around the world, the single further demonstrated the enduring popularity of Pet Shop Boys and their unique ability to blend intelligent songwriting with irresistible dance music.

The accompanying music video, directed by Howard Greenhalgh, expands on the song’s celebration of New York culture and nightlife. The story follows a teenage boy who leaves the confines of his bedroom and ventures into New York City, where he experiences different eras of the city’s social and cultural history.

Throughout the video, viewers are taken on a journey through time. Sailor costumes recall the post-war 1940s, energetic dance sequences pay homage to the 1950s and West Side Story, a dazzling disco segment celebrates the 1970s, and breakdancers represent the vibrant street culture of the 1980s. The legendary Studio 54 serves as a key visual touchstone, symbolizing an era when disco clubs became places of freedom, expression, and community.

Although Tennant and Lowe appear throughout the video, their scenes were actually filmed in London. Greenhalgh later combined that footage with scenes shot in New York to create the finished production. The ambitious project came with a hefty price tag, leading Tennant to later describe it as “the most expensive video we have ever done.”

More than twenty-five years after its release, “New York City Boy” remains a standout in the Pet Shop Boys catalog. It is a love letter to New York City, a tribute to disco music, and a celebration of the idea that somewhere there is a place where you can truly belong.

As we begin Pride Month, “New York City Boy” reminds us why music and dance have always played such an important role in LGBTQ+ culture. They bring people together, create community, and offer a space where everyone is free to be exactly who they are.

Turn it up, hit the dance floor, and Happy Pride Month from Burning The Ground.

SIDE A:
New York City Boy (Superchumbo Uptown Mix) 9:44
Remix, Producer [Additional Production] – Superchumbo

New York City Boy (The Almighty Definitive Mix) 6:30
Remix, Producer [Additional Production] – Almighty

SIDE B:
New York City Boy (The Thunderpuss 2000 Club Mix) 10:55
Remix – Thunderpuss

New York City Boy (The Lange Mix) 7:06
Remix – Lange

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Pet Shop Boys: New York City Boy (1999)
Chart (1999–2000)	Peak Position
Australia (ARIA)	174
Austria (Ö3 Austria Top 40)	40
Belgium (Ultratop 50 Flanders)	20
Belgium (Ultratop 50 Wallonia)	23
Denmark (Tracklisten)	6
Europe (Eurochart Hot 100 Singles)	22
Finland (Suomen virallinen lista)	4
France (SNEP)	47
Germany (GfK)	16
Greece (IFPI)	8
Hungary (MAHASZ)	4
Iceland (Íslenski Listinn Topp 40)	26
Italy (FIMI)	20
Italy Airplay (Music & Media)	9
Netherlands (Dutch Top 40)	34
Netherlands (Single Top 100)	40
Scotland Singles (OCC)	15
Spain (Promusicae)	3
Sweden (Sverigetopplistan)	9
Switzerland (Schweizer Hitparade)	20
UK Singles (OCC)	14
US Dance Club Songs (Billboard)	1
US Dance Singles Sales (Billboard)	4
US Hot Singles Sales (Billboard)	53

RELEASE INFORMATION:
Label: Sire – 35014-0, Parlophone – 35014-0
Format: Vinyl, 12″, 33 ⅓ RPM, Maxi-Single
Country: US
Released: Nov 9, 1999
Genre: Electronic
Style: Trance, Deep House, Euro House

CREDITS:

Producer [Original Track Produced By] – David Morales, Pet Shop Boys
Written-By – Morales*, Tennant / Lowe
Produced For – Def Mix Productions

NOTES:
From the PSB album “Nightlife.”

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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal.

I appreciate your help.

May 22, 2026

L’Trimm – Cars With The Boom (US 12″) (1988)

Burning The Ground Exclusive

As Memorial Day weekend arrives in the US, marking the unofficial start of Summer, I thought it would be fun to showcase one of the ultimate late-80s Summer anthems, “Cars With The Boom” by L’Trimm. Few songs capture the feeling of cruising around with friends, windows down, and giant speakers rattling the neighborhood quite like this Miami bass classic.

Released in 1988, “Cars With The Boom” by American hip hop duo L’Trimm became one of the defining records of the Miami bass explosion. Issued on Atlantic Records and Time-X Records as the third single from the duo’s debut album Grab It!, the track was a playful, bass-heavy anthem that perfectly captured late-80s car audio culture and street party energy. Produced by David Stone Klein, the single became L’Trimm’s biggest commercial success, peaking at #54 on the Billboard Hot 100 and #39 on the Billboard Hot R&B/Hip-Hop Songs chart.

Consisting of Bunny D and Lady Tigra, L’Trimm emerged from Miami, Florida during a period when the city’s booming bass scene was starting to gain national attention. Their music combined 808-driven beats, playful rhymes, dancefloor hooks, and enough low-end to rattle car trunks for blocks. “Cars With The Boom” leaned fully into that culture, celebrating loud stereos, customized rides, and neighborhood cruising with an infectious sense of humor.

The track’s minimalist production is pure Miami bass. Heavy Roland 808 drums, simple synth stabs, and repetitive chants created a hypnotic groove that worked as well in clubs as it did blasting from car speakers. Unlike many hip hop records of the era that focused on lyrical complexity, L’Trimm delivered something intentionally fun and carefree. That approach helped the single stand out on radio and in clubs nationwide.

What made “Cars With The Boom” especially memorable was its personality. Bunny D and Lady Tigra traded playful verses and chants that felt spontaneous and unpolished in the best possible way. The chemistry between the two gave the song an authenticity that connected with listeners immediately. Even decades later, the hook remains instantly recognizable.

The music video became equally iconic. Filled with neon colors, customized cars, oversized fashions, and exaggerated humor, it perfectly reflected late-80s street culture and MTV aesthetics. Over time, the video became a cult favorite online and introduced the duo to a new generation of listeners.

The success of “Cars With The Boom” also helped push Miami bass further into the mainstream. At the time, the genre was still largely regional, thriving in Florida clubs and car culture scenes. Songs like this helped pave the way for later bass artists and Southern hip hop acts that would dominate throughout the 1990s and beyond.

The single appeared on the album Grab It!, originally released by Time-X Records before being licensed to Atlantic Records. The album itself reached the Billboard 200 and became a solid representation of the late-80s Miami bass sound.

For collectors, the original 7-inch and 12-inch singles remain sought-after pieces of late-80s hip hop history. The U.S. 7-inch, and 12-inch single featured “Don’t Come To My House” on the B-side.

So as Summer unofficially kicks off this Memorial Day weekend, crank up the volume, roll the windows down, and enjoy one of the most fun and unforgettable bass records of the 1980s. “Cars With The Boom” still sounds like sunshine, hot pavement, and giant speakers shaking the neighborhood.

SIDE A:
Cars With The Boom (Hot Summer Boom Remix) 3:54

SIDE B:
Don’t Come To My House (Cool Summer Remix) 4:27

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — L’Trimm: The Cars With Boom (1988)
Chart	Peak Position	Date
US Billboard Hot 100	#54	1988
US Billboard Hot R&B / Hip-Hop	#39	1988

RELEASE INFORMATION:
Label: Atlantic – 0-86506
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1988
Genre: Electronic, Hip Hop
Style: Bass Music, Electro

CREDITS:

Engineer [Remix] – B. Greenspan*
Producer – Davis Stone Klein*
Recorded By – C. Barwick*
Remix – The Fly Boys
Written-By – E. Cager*, J. Stone* (tracks: A), L. Julian*, P. Klein* (tracks: A), R. DeRougemont*

NOTES:
Remixed from the Atlantic LP 81925 “Grab It!”.
Produced for Hot Productions, Inc.

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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal.

I appreciate your help.

May 21, 2026

Meli’sa Morgan – If You Can Do It: I Can Too!! (US 12″) (1987)

Burning The Ground Exclusive

In 1987, American R&B vocalist Meli’sa Morgan returned with one of the sassiest and most confident singles of her career, “If You Can Do It: I Can Too!!” Taken from her second studio album, Good Love, the track showcased Morgan’s fiery personality and commanding vocal style, continuing her successful run on the R&B charts.

Following the massive success of her breakthrough hit “Do Me Baby,” Morgan quickly established herself as one of the premier female voices in contemporary R&B during the mid-to-late 1980s. “If You Can Do It: I Can Too!!” carried that momentum forward with a bold message of independence and equality wrapped inside a slick funk-driven production.

Produced and written by Paul Laurence Jones, the single blended hard-hitting drum programming, punchy synth bass, and layered backing vocals into an irresistible club-friendly groove. Morgan delivers the lyrics with attitude and confidence, responding to a nightlife-loving partner with a clear statement that she can play the same game just as well. The song’s assertive theme fit perfectly within the era’s growing wave of empowered female R&B anthems. The Los Angeles Times described the track as a “funky bill of rights” aimed at her wandering mate.

“If You Can Do It: I Can Too!!” became one of Morgan’s biggest hits. The single climbed to #2 on the US Billboard R&B chart in 1987, while also crossing over onto the Billboard Dance Chart, where it reached #27. Internationally, the song found success in the UK, peaking at #86 on the UK Singles Chart.

The parent album Good Love further solidified Morgan’s place in late 80s R&B. Released on, the album reached #11 on the US Billboard R&B Albums chart and also included the hit duet “Love Changes,” with Kashif.

Today, “If You Can Do It: I Can Too!!” remains a favorite among fans of classic 80s R&B and dance music. Its infectious groove, sharp production, and Morgan’s powerhouse vocal performance capture everything that made urban contemporary music during this period so exciting. More than three decades later, the song still sounds fresh, fearless, and unmistakably 1987.

SIDE A:
If You Can Do It: I Can Too!! (Extended) 4:50
If You Can Do It: I Can Too!! (Radio Edit) 3:54

SIDE B:
If You Can Do It: I Can Too!! (Club House Mix) 5:02
If You Can Do It: I Can Too!! (Dub Version) 4:25

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Meli’sa Morgan: If You Can Do It I Can Too!! (1987)
Chart	Peak Position	Date
US Billboard Hot R&B / Hip-Hop	#2	1987
US Billboard Hot Dance Music / Club Play	#27	1987
UK Singles Chart	#86	1987

RELEASE INFORMATION:
Label: Capitol Records – V-15345
Format: Vinyl, 12″, 45 RPM, Single
Country: US
Released: 1987
Genre: Electronic, Funk / Soul
Style: Contemporary R&B

CREDITS:

Artwork [Logo], Design – Phillis Cuington
Executive-Producer – Beau Huggins
Producer – Paul Laurence
Remix – Ron Banks (2), Zack Vaz
Written-By – Paul Laurence Jones*

NOTES:
From the Melissa Morgan LP “Good Love”

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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal.

I appreciate your help.