Tag: 1980

August 14, 2026

Linda Clifford / Irene Cara – Red Light / Hot Lunch Jam (UK 12″) (1980)

Burning The Ground Exclusive

Yesterday we rocked hard with Suzi Quatro.

Today, lunch is served.

Hot lunch, to be exact.

For today’s Ladies Of The 80s: Soundtrack Edition, we return to 1980 for a terrific UK 12-inch pairing from the original motion picture soundtrack to Fame.

On one side we have Linda Clifford with “Red Light.”

Flip it over and Irene Cara is waiting with “Hot Lunch Jam.”

Two ladies.

Two songs.

One soundtrack.

Not a bad way to spend twelve inches of vinyl.

Directed by Alan Parker, Fame follows a group of students through their years at New York City’s High School of Performing Arts, from auditions through graduation. Irene Cara stars as Coco Hernandez, alongside Gene Anthony Ray, Lee Curreri, Paul McCrane, Barry Miller, Maureen Teefy, and others. The film received its national US release on June 20, 1980.

Of course, the music became almost as important as the movie.

The soundtrack gave us Irene Cara’s “Fame” and “Out Here On My Own,” along with “I Sing The Body Electric,” “Dogs In The Yard,” “Never Alone,” and the two tracks featured on today’s 12-inch. The album itself reached No. 7 on the Billboard 200.

First up is Linda Clifford.

“Red Light” was written by Michael Gore and Dean Pitchford and produced by Michael Gore and Gil Askey. Linda was already well established in the disco world thanks to records such as “If My Friends Could See Me Now,” “Runaway Love,” and her dramatic disco remake of “Bridge Over Troubled Water.”

“Red Light” gave her another substantial hit.

The single reached No. 41 on the Billboard Hot 100 and No. 40 on the Hot Soul Singles chart.

But the dance floor liked it even more.

Billboard’s Disco chart grouped “Red Light” with Irene Cara’s “Fame” and “Hot Lunch Jam,” and the three tracks reached No. 1 together.

Now that is one crowded dance floor.

The version on this UK 12-inch is the full-length “Extended Version,” running considerably longer than the edited single version. It is essentially the version that lets Linda stretch out and do what Linda Clifford does best.

Sing big.

Dance big.

And apparently ignore the red light completely.

Then we turn the record over.

Lunch time.

“Hot Lunch Jam” is performed by Irene Cara and was written by Michael Gore, Lesley Gore, and producer Robert F. Colesberry. Michael Gore produced the recording.

The history behind the song is particularly interesting.

According to Alan Parker, “Hot Lunch Jam” grew out of an all-day session in which the young performers contributed ideas as the number took shape. In other words, the loose, spontaneous energy we hear in the finished recording was not entirely an illusion. The song really did evolve as something of a jam.

And it sounds like one.

Piano.

Percussion.

Horns.

Handclaps.

Voices flying everywhere.

Irene right in the middle of it all.

It feels less like a carefully assembled soundtrack recording and more like somebody opened the cafeteria doors and an entire performing arts school broke into music.

Which, come to think of it, is basically Fame.

The UK 12-inch labels Irene’s side “Hot Lunch Jam (Vocal And Melody Arrangement),” while other listings describe it as the Full Length Version. Unlike some of the records we have featured during this series, there is no newly constructed club remix hiding here. The appeal is having these two full-length soundtrack performances together on one 45 RPM 12-inch.

And what a pairing.

Linda Clifford brings the polished disco fire.

Irene Cara brings the spontaneous school-cafeteria chaos.

Somehow, it works.

Fame went on to become much more than another 1980 musical. Michael Gore won the Academy Award for Original Score, while “Fame,” written by Gore and Dean Pitchford, won Best Original Song. “Out Here On My Own” was nominated in the same category. The film was later selected for preservation in the National Film Registry in 2023.

But today we are moving away from the title song and digging a little deeper into the soundtrack.

That is what this series is all about.

Sometimes the real fun is hiding one or two tracks away from the obvious hit.

So when the red light comes on…

ignore it.

Lunch is ready.

And apparently…

it’s a jam.

SIDE A:
Linda Clifford – Red Light (Extended Version) 6:10
Producer – Gil Askey
Written-By – D. Pitchford*

SIDE B:
Irene Cara – Hot Lunch Jam (Full Length Version) (Vocal & Melody Arrangement) 4:11
Written-By – L. Gore, R.F.Colesberry

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Single	Chart	Peak Position
Linda Clifford – “Red Light”	US Billboard Hot 100	41
Linda Clifford – “Red Light”	US Billboard Hot Soul Singles	40
Linda Clifford / Irene Cara – “Red Light” / “Hot Lunch Jam”*	US Billboard Disco	1

* Billboard’s Disco chart combined “Fame,” “Red Light,” and “Hot Lunch Jam” as a single chart entry.

RELEASE INFORMATION:
Label: RSO – RSOX 64
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1980
Genre: Funk / Soul
Style: Disco

CREDITS:

Producer – Michael Gore
Written-By – M. Gore*

NOTES:
From The Original Soundtrack Of The Motion Picture “Fame” – 2479 253

Made In England

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.

August 13, 2026

Suzi Quatro – Rock Hard (US 12″ Promo) (1980)

Burning The Ground Exclusive

Yesterday we were playing with some very weird science.

Today we are going back to where the streets were dirty, the music was loud, and Times Square actually looked like Times Square.

For our next Ladies Of The 80s: Soundtrack Edition selection, we travel all the way back to 1980 for Suzi Quatro and “Rock Hard,” from the original motion picture soundtrack to Times Square.

Directed by Allan Moyle, Times Square stars Trini Alvarado and Robin Johnson as two teenage girls from very different backgrounds who run away together and find their own form of rebellion on the streets of New York City. Tim Curry co-stars as radio DJ Johnny LaGuardia. The film opened in October 1980 and was shot on location around New York, including the wonderfully grimy Times Square that existed long before the neighborhood was cleaned up and transformed.

And then there is that soundtrack.

What a soundtrack.

The double LP reads like somebody raided one of the coolest record stores in 1980. The Pretenders, Roxy Music, Gary Numan, Talking Heads, Joe Jackson, XTC, the Ramones, The Cure, Lou Reed, Patti Smith, Garland Jeffreys, and more all appear alongside music recorded specifically for the film.

And right there at the beginning of Side One is Suzi Quatro.

“Rock Hard.”

In fact, “Rock Hard” is identified in the film as a favorite record of Nicky and Pamela, which makes it more than just another song dropped onto the soundtrack. It actually belongs to their world.

Written by Mike Chapman and Nicky Chinn, “Rock Hard” was also the title track from Suzi’s 1980 studio album of the same name.

The song marked a return to the tough, guitar-driven sound that had made Suzi such a distinctive presence during the 1970s.

And she sounds fantastic.

The guitars grind.

The drums pound.

Suzi attacks the vocal like she has something to prove.

This is not background music.

This is Suzi Quatro reminding everybody why she was one of rock’s original tough ladies.

Mike Chapman produced the track, continuing a partnership that had already produced some of Suzi’s biggest records. The backing-vocal lineup is interesting too, with Michael Des Barres among the singers adding muscle behind Suzi’s lead.

Yes, that Michael Des Barres.

Actor, singer, later frontman for The Power Station, and apparently available in 1980 when somebody needed a little extra shouting behind Suzi Quatro.

I love these credits.

“Rock Hard” did considerably better in some countries than it did in Suzi’s native United States. The single reached No. 5 in South Africa, No. 9 in Australia, No. 19 in Zimbabwe, No. 26 in West Germany, No. 46 in the Netherlands, and No. 68 on the UK Singles Chart.

In the United States, however, Dreamland Records took a different approach.

And that brings us to the record I am featuring today.

My copy is the US promotional 12-inch labeled:

AOR SPECIAL

For anyone who remembers FM rock radio, those three letters tell the story.

AOR stood for Album-Oriented Rock, and this 12-inch was sent to American rock radio programmers in an attempt to get “Rock Hard” into rotation. Contemporary trade coverage shows the song receiving AOR airplay and being added by stations including KBPI, WABX, KLOL, WBAB, KZEL, and WSHE.

But if you are waiting for me to tell you about the Extended Version…

There isn’t one.

The Special Dance Mix?

Nope.

The Dub?

Keep dreaming.

This promo contains “Rock Hard” on one side.

Then you flip the record over…

and you get “Rock Hard” again.

That is dedication.

No remix. No alternate vocal. No bonus beats. No seven-minute breakdown designed for a club at two in the morning.

Just Suzi.

Rocking hard.

Twice.

And honestly, I love records like this.

The 12-inch single was not always about remixes. Sometimes it existed because a record company wanted radio stations to have a promotional copy of one particular track, and an AOR 12-inch like this is a little snapshot of how rock records were promoted in 1980.

It also makes an interesting addition to this series because Times Square itself was so closely tied to music.

The soundtrack was heavily promoted as a showcase for contemporary rock, punk, and new wave, and it eventually reached number 37 on the Billboard album chart.

The film may never have become the blockbuster its producers hoped for, but the soundtrack developed a life of its own.

And more than four decades later, that collection of records still captures a moment when punk, new wave, hard rock, and mainstream pop were all crashing into one another.

Suzi Quatro belonged right in the middle of it.

So no extended mix today.

No dub.

Not even a bonus beat.

Sometimes you do not need any of that.

Sometimes you just need to…

Rock Hard.

SIDE A:
Rock Hard (Intro: :17) 3:21

SIDE B:
Rock Hard (Intro: :17) 3:21

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart (1980)	Peak Position
Australia (Kent Music Report)	9
Germany	26
Netherlands	46
South Africa	5
UK Singles Chart	68
Zimbabwe	19

RELEASE INFORMATION:
Label: Dreamland Records, Inc. – DPR – 1204, Dreamland Records, Inc. – DPR – 1204 AS
Format: Vinyl, 12″, Single, 33 ⅓ RPM, Promo
Country: US
Released: 1980
Genre: Rock
Style: Hard Rock

CREDITS:

Producer – Mike Chapman
Written-By – M. Chapman – N. Chinn*

NOTES:
Came in die-cut sleeve with hype sticker:
From the original motion picture
soundtrack “Times Square”
Labels read: Suzi Quatro AOR Special
Promotion Copy – Not For Sale

Manufactured By – RSO Records, Inc.
Marketed By – RSO Records, Inc.

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.

July 10, 2026

Barbra Streisand – Promises (US 12″ Promo) (1980)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: June 26, 2015

Released in May 1981, “Promises” was the fourth and final single taken from Barbra Streisand’s hugely successful album Guilty.

Written by Barry Gibb and Robin Gibb, the song carries the polished pop sound that defined much of the album. Barry and Robin also appear on backing vocals, adding those unmistakable Gibb harmonies behind Streisand’s commanding lead.

While “Promises” narrowly missed the Top 40 on the US Billboard Hot 100, peaking at number 48, it found greater success with adult contemporary listeners. The single reached number 8 on the US Adult Contemporary chart and climbed to number 5 in Canada.

A commercial 12″ single was released in both the United States and Europe, featuring a 5:55 “Special Version.” To my knowledge, this extended version has never appeared on CD or through digital services and remains exclusive to vinyl.

“Promises” also marked an interesting point in Streisand’s singles history. It was her first commercially released 12″ single as a solo artist. It followed her 1979 duet with Donna Summer, “No More Tears (Enough Is Enough),” along with promotional 12″ releases for “Shake Me, Wake Me (When It’s Over)” in 1975 and “The Main Event/Fight” in 1979.

The “Special Version” does not radically remake the song. Instead, it gives the arrangement more room to breathe, extending the smooth production and allowing the backing vocals, rhythm section, and instrumental details to stand out. It is a subtle extension, but one that works beautifully with the sleek sound of the Guilty era.

This post features a brand-new 2026 meticulous audio transfer and restoration taken from the US 12″ promotional pressing. The record contains the same 5:55 version on both sides.

For Streisand collectors, Gibb fans, and anyone who appreciates the refined sound of early 1980s pop, this vinyl-only version of “Promises” is a lovely addition to the collection.

SIDE A:
Promises (Special Version) 5:55

SIDE B:
Promises (Special Version) 5:55

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Barbra Streisand: Promises (1981)	Peak Position
Canada RPM Adult Contemporary	#5
U.S. Billboard Hot 100	#48
U.S. Billboard Adult Contemporary	#8
U.S. Cash Box Top 100	#48

RELEASE INFORMATION:
Label: Columbia – 43 02089
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1980
Genre: Pop
Style: Vocal, Disco

CREDITS:

Executive-Producer – Charles Koppelman
Producer – Albhy Galuten, Barry Gibb, Karl Richardson
Written-By – B. Gibb*, R. Gibb*

NOTES:
DEMONSTRATION
NOT FOR SALE
Special Version Of The Columbia Lp: “GUILTY” FC 36750
Taken from The Columbia Lp: “GUILTY” FC 36750
Same track both sides.

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.

June 16, 2026

Visage – Fade To Grey (Germany 12″) (1980)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: January 24, 2018

As Pride Month continues, it’s impossible to overlook the artists and movements that gave LGBTQ+ people spaces where they could express themselves freely, boldly, and without apology. Few songs embody that spirit of reinvention and self-expression quite like “Fade To Grey” by Visage.

Released on November 14, 1980, as the second single from the band’s self-titled debut album, “Fade To Grey” became one of the defining records of the New Romantic movement. More than just a synth-pop classic, it served as the soundtrack to a cultural shift born from London’s underground club scene, a place where fashion, music, gender expression, and identity blurred in the most exhilarating ways.

At the center of it all was Steve Strange.

Before becoming the face of Visage, Steve Strange was the flamboyant doorman and co-host of London’s legendary Blitz nightclub. Alongside DJ Rusty Egan, Strange helped create a haven for outsiders, artists, and LGBTQ+ people seeking a space where they could be themselves. The Blitz wasn’t simply a club. It was a community. Its regulars included future stars such as Boy George, Marilyn, and members of Spandau Ballet, all embracing creativity and individuality at a time when conformity was often expected.

Visage itself was something of a supergroup. The lineup included Steve Strange, Midge Ure and Billy Currie of Ultravox, Rusty Egan, John McGeoch of Magazine and Siouxsie and the Banshees, and Barry Adamson. Together, they crafted a sound that felt futuristic and sophisticated, helping to usher synth-pop into the mainstream.

Originally developed by Billy Currie and Chris Payne during soundchecks on Gary Numan’s 1979 tour, the song evolved when Midge Ure added lyrics and structure. Steve Strange’s detached vocal delivery, paired with Brigitte Arendt’s spoken French narration, created an atmosphere unlike anything else on the radio.

“One man on a lonely platform,
One case sitting by his side.”

The lyrics evoke isolation, uncertainty, and emotional distance. For many LGBTQ+ people who grew up feeling different or unseen, those themes carried a resonance that extended beyond the dance floor. Yet despite its melancholy, “Fade To Grey” became a club favorite. It offered release through movement, style, and connection.

That duality is part of what makes the song so enduring. It acknowledges loneliness while inviting people together. It transforms vulnerability into beauty.

Commercially, “Fade To Grey” became Visage’s biggest success, reaching No. 8 in the UK and topping the charts in Germany and Switzerland. More importantly, it introduced audiences around the world to a scene that celebrated individuality and challenged traditional ideas about identity and presentation.

The striking video, directed by Kevin Godley and Lol Creme, further cemented its legacy. Steve Strange’s dramatic makeup and androgynous image challenged expectations of masculinity and performance. During a period when LGBTQ+ representation in mainstream media remained limited, simply existing in that space with confidence could be a radical act.

Pride Month is often associated with loud celebrations and joyous anthems, but it is also about honoring the spaces and communities that allowed people to find themselves. The Blitz club was one of those spaces. The New Romantic movement gave countless young people permission to experiment with who they were. And songs like “Fade To Grey” provided the soundtrack.

More than four decades later, its influence can still be heard in modern electronic music, while its message of embracing individuality remains as relevant as ever.

Elegant, mysterious, and utterly timeless, “Fade To Grey” reminds us that Pride isn’t only about being seen. Sometimes it’s about finding the courage to become the person you were always meant to be, even if the rest of the world hasn’t caught up yet.

While “Fade To Grey” may not be considered a traditional Pride anthem, its roots in LGBTQ+ nightlife and the inclusive spirit of the New Romantic scene make it a fitting addition to “The Soundtrack of Pride.” Some songs shout their message from the rooftops. Others whisper it beneath neon lights on a crowded dance floor. This one does both.

SIDE A:
Fade To Grey (Special Maxi Version) 6:17
Written-By – Currie, Payne, Ure*

SIDE B:
The Steps 3:16
Written-By – Currie, Formula, McGeoch, Ure, Egan, Strange

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Visage: Fade To Grey (1980)
Chart	Peak Position
Australia (Kent Music Report)	#6
Austria	#3
Belgium	#1
France	#3
Germany	#1
Ireland	#10
Italy	#6
Netherlands	#7
New Zealand	#9
Spain	#25
Switzerland	#1
UK Singles Chart	#8

RELEASE INFORMATION:
Label: Polydor – 2141 318
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: Germany
Released: 1980
Genre: Electronic
Style: New Wave, Synth-pop

CREDITS:

Arranged By – Visage
Producer – Midge Ure, Visage

NOTES:
Made in West Germany

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.