Tag: 1980

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

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

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June 16, 2026

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

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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.

April 3, 2026

The Vapors – Turning Japanese (US 7″) (1980)

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Released in 1980, “Turning Japanese” by The Vapors remains one of the most distinctive and enduring singles of the early New Wave era. Built on a tight, nervy guitar riff and an urgent vocal from David Fenton, the track perfectly captures the anxious energy that defined the shift from punk into more melodic, radio-friendly territory.

Formed in Guildford, England in the late 1970s, The Vapors emerged from the same fertile UK scene that produced bands like The Jam. In fact, the group got an early break when they supported The Jam on tour—an opportunity that helped them gain industry attention and ultimately led to a recording contract. Their sound balanced punk’s raw edge with a cleaner, more structured pop sensibility, placing them squarely in the first wave of British New Wave acts.

Produced by Vic Coppersmith-Heaven and released on the band’s debut album New Clear Days, “Turning Japanese” quickly became an international hit—reaching #3 in the UK and cracking the US Top 40. Its success was driven by its instantly recognizable hook and slightly offbeat character, setting it apart from more conventional pop releases of the time.

Musically, the track thrives on tension. The clipped guitar lines, driving rhythm section, and Fenton’s almost obsessive vocal delivery create a sense of unease that never fully resolves. That tension mirrors the song’s true subject: emotional fixation and the psychological spiral that can follow a failed relationship.

Despite long-standing rumors suggesting a more provocative meaning, Fenton has consistently explained that the song is about obsession and identity loss—the feeling of becoming someone else when consumed by thoughts of another person. That emotional core, paired with a deceptively simple arrangement, gives the track its lasting resonance.

The accompanying video—later picked up by MTV in its early days—helped introduce the band to a wider audience and cemented the single as a defining moment of early ‘80s pop culture. Although The Vapors released a follow-up album (Magnets) in 1981, they were unable to replicate the success of their debut, and the band soon faded from the spotlight.

Of note: the artwork featured here is taken from my personal copy of the U.S. white, rectangular-shaped vinyl edition. Interestingly, there was no standard picture sleeve issued for the regular U.S. 7″ release, making this version a unique and visually distinctive alternative for collectors.

Still, “Turning Japanese” endures. More than four decades on, it remains a sharp, catchy, and emotionally charged snapshot of a time when pop music embraced both vulnerability and eccentricity—hallmarks of the New Wave era at its very best.

SIDE A:
Turning Japanese (Edited) 3:20

SIDE B:
Talk Talk 3:50

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – The Vapors: *Turning Japanese* (1980)
Chart	Peak Position	Date
US Billboard Hot 100	#36	1980
US Billboard Hot Dance Club Play	#34	1980
Australia (Kent Music Report)	#1	1980
Canada Top Singles	#6	1980
Ireland (RMA)	#4	1980
New Zealand	#9	1980
UK Singles	#3	1980

RELEASE INFORMATION:
Label: United Artists Records – UA-X1364-Y
Format: Vinyl, 7″, 45 RPM, Single, Stereo
Country: US
Released: 1980
Genre: Rock
Style: New Wave, Punk

CREDITS:
Producer – Vic Coppersmith-Heaven
Written-By – David Fenton

NOTES:
From the United Artists Records LP “New Clear Days”

Buy the 7″ 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

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.

November 6, 2025

Spandau Ballet – To Cut A Long Story Short (UK 12″) (1980)

Burning The Ground Exclusive

NEW 2025 Transfer
NEW Meticulous Audio Restoration

Original post date: January 22, 2018

“To Cut a Long Story Short” was Spandau Ballet’s debut single, released on November 3, 1980, and it quickly became a defining anthem of the New Romantic movement, reaching No. 5 on the UK Singles Chart.

Origins and Release

Spandau Ballet emerged from London’s avant‑garde club scene—most famously the Blitz nightclub—where art, style, and music collided. The band had a devoted following before signing to Chrysalis. Written by guitarist Gary Kemp and produced by Richard James Burgess, the single was released on October 31, 1980 and later appeared on Journeys to Glory (1981).

The track set a template for their early sound: synth‑pop blended with art‑pop, new wave, and a touch of disco and funk—an aesthetic that matched the Blitz Kids’ future‑modern dressing and theatricality.

Musical Style

The 7″ single runs around 3:20; the 12″ expands the arrangement for club play, emphasizing rhythmic drive and layered textures. Tony Hadley’s baritone sits atop metallic synth lines and clipped percussion, producing a sound that is at once urgent and stylish. Burgess’s production foregrounds electronic timbres and a crisp sheen that became emblematic of the band’s early aesthetic.

Lyrics and Theme

Cryptic and evocative, the lyrics—lines like “War upon war, heat upon heat, to cut a long story short, I lost my mind”—suggest identity, disorientation, and psychological strain. Some readings place this language alongside images of post‑conflict confusion; others see it as a more personal, emotional unraveling. The ambiguity gives the song its haunting edge.

Cover Art

Part of Spandau Ballet’s deal with Chrysalis was that the band would have control over every aspect of how their music was marketed, including artwork, videos, and the selection of singles. They found much of their creative support at the Blitz club. Blitz regular and Camberwell College of Arts graphics student Graham Smith designed the sleeve for their debut single as well as the album Journeys to Glory and its accompanying singles: The Freeze, Muscle Bound, and Glow.

“I wanted to create an overall corporate visual package for Spandau that was cutting edge and reflected their aspirations. It had to have style,” Smith explained. The minimalist cover art for “To Cut A Long Story Short” reflected the lyric “I am beautiful and clean.” There was no photo of the band, which Gary Kemp thought would be “too risky, given the speed at which styles were changing.” Smith later remarked that this decision, seen as uncommercial by Chrysalis, gave the band mystique and reinforced their autonomy: “It added strength to Spandau as they were clearly stating they were not packaged by the record company but doing things on their terms.”

Reception and Legacy

Upon release the single peaked at No. 5 on the UK Singles Chart, and helped position Spandau Ballet as leaders of the New Romantic movement. While later singles — The Freeze, Musclebound, and then the more soulful True — explored different textures, this debut remains the clearest statement of the band’s early vision.

Cultural Impact

Fashion and music were inseparable around this record: sharp tailoring, theatrical staging, and club style were part of the package. The single became a Blitz fixture and helped elevate New Romantic aesthetics from underground to mainstream.

SIDE A:
To Cut A Long Story Short (Mix 1) 6:30

SIDE B:
To Cut A Long Story Short (Version) (Mix 2) 3:58

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Spandau Ballet: *To Cut A Long Story Short* (1980)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#28	1980
UK Singles	#5	1980

RELEASE INFORMATION:
Label: Reformation – CHS 12 2473, Chrysalis – CHS 12 2473
Format: Vinyl, 12″, Single, 45 RPM
Country: UK
Released: Nov 3, 1980
Genre: Electronic
Style: New wave, Synth-pop

CREDITS:

Graphics – Graham Smith (5)
Producer – Richard James Burgess
Written-By – G. Kemp*

NOTES:
Alternate non die-cut embossed sleeve
Utopia Studios ‘lyre symbol’ etched on the runouts.

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

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.