Tag: 1982

February 13, 2026

ABC – Valentine’s Day (Japan 7″) (1982)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: February 13, 2014

Few debut albums in pop history have arrived as fully formed and sonically lavish as The Lexicon of Love by ABC. Released in 1982 and produced by Trevor Horn, the album was a masterclass in orchestral pop sophistication. While it spawned major international hits, one of its most intriguing and elusive singles was a Japan-only release: “Valentine’s Day.”

And what better excuse to spotlight this rarity than February 13th or 14th, depending on where you are. Consider this a special Burning the Ground Valentine — a deep cut pulled from the grooves rather than the greeting card aisle. ❤️

A Japanese-Only 7-Inch

Issued exclusively in Japan in 1982 on Mercury Records, “Valentine’s Day” appeared as a 7-inch single backed with “The Look Of Love (Part 3).” The single did not chart, and no music video was produced, making it a comparatively quiet release during an otherwise high-profile campaign for The Lexicon of Love.

But what truly elevates this pressing for collectors is the B-side.

The Dancefloor Connection

“The Look Of Love (Part 3)” is not simply an instrumental reprise — it is a dance-oriented remix by legendary remixer John Luongo. Known in the early ’80s for transforming pop tracks into extended club workouts, Luongo reimagined ABC’s lush pop classic into a more rhythm-driven, floor-friendly mix.

While the original album version of “The Look Of Love” leaned heavily into sweeping orchestration and romantic drama, Luongo’s remix emphasizes groove and propulsion. It strips back some of the ornate grandeur and highlights the rhythm section, making it tailor-made for early ’80s dance floors. For fans of 12-inch culture and remix history — something I know many of us live for — this version represents an important bridge between new wave sophistication and club sensibility.

“Valentine’s Day” — Romance Without Irony

The A-side, meanwhile, showcases a slightly different emotional tone. “Valentine’s Day” feels more earnest than some of the album’s sharper, more sardonic singles. Martin Fry’s theatrical delivery remains front and center, but the track leans into vulnerability rather than clever detachment.

Within the broader narrative arc of The Lexicon of Love, the song plays like a sincere confession amid the stylish heartbreak. It’s polished, dramatic, and impeccably arranged — yet emotionally exposed.

A Hidden Gem for Collectors

Because this single was issued only in Japan and never charted, it remains a fascinating curio in ABC’s discography. No video, no major promotion — just a beautifully pressed 7-inch pairing a heartfelt album cut with a bona fide dance remix by one of the era’s most respected club architects.

For collectors of international variations and remix history, this release captures something special: the moment when glossy British pop met American club culture on the flip side of a Japanese 45.

And sometimes, that’s where the most interesting stories are hiding — not always on the charts, but in the grooves.

SIDE A:
Valentine’s Day 3:41

SIDE B:
The Look Of Love (Part 3) 4:17

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Mercury – 7PP-85
Format: Vinyl, 7″, 45 RPM, Single
Country: Japan
Released: 1982
Genre: Electronic
Style: New Wave, Synth-pop

CREDITS:

Producer – Trevor Horn
Written-By, Performer – ABC

NOTES:
Side B remixed by John Luongo but not credited.
Made in Japan

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
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

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

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

November 21, 2025

Gang Of Four – I Love A Man In Uniform (US 12″) (1982)

Burning The Ground Exclusive

If there’s one thing Gang of Four mastered, it was taking post-punk sharpness and turning it into social critique, wrapped in jagged rhythms and infectious grooves. One song that perfectly exemplifies their mix of angular funk and biting commentary is “I Love A Man In Uniform.” Released in 1982 as part of their album Songs of the Free, this track is both danceable and discomforting—a signature Gang of Four juxtaposition.

At first listen, the song has a compelling groove: a tight, propulsive bassline, staccato guitar riffs, and a drumbeat that pushes the song forward relentlessly. The music feels almost celebratory, inviting listeners to move their feet. But beneath the kinetic rhythm lies the band’s scathing critique of authority and obsession.

The lyrics are pointed and ironic, exploring society’s fetishization of power and control. By framing the fascination with uniforms in a seemingly romantic light, the song exposes the undercurrent of militarism, authoritarianism, and social conformity. Gang of Four had a knack for pairing danceable post-punk music with a sharp-edged political message—and this track is a prime example.

“I Love A Man In Uniform” is also notable for its production and arrangement. The interplay between Andy Gill’s cutting guitar work and Sara Lee’s driving bass creates a sense of tension that mirrors the song’s thematic warning: there’s an allure to authority, but it’s one that’s dangerous to embrace blindly. Vocals by Jon King cut through with sardonic precision, emphasizing the irony in every line.

Cultural Impact

Though never a mainstream hit, “I Love A Man In Uniform” has left a lasting mark on alternative and post-punk music. Its critique of societal obsession with authority resonates even decades later, giving it a timeless quality. The song has influenced a generation of artists who blend political commentary with danceable post-punk energy—from industrial acts to indie rock bands that flirt with funk-infused riffs.

The track has also appeared on several compilations and retrospective collections, cementing its place in Gang of Four’s legacy. For listeners discovering post-punk today, it remains a striking example of how music can entertain while questioning societal norms.

Chart Performance

Commercially, the song was something of a breakthrough for Gang of Four in the U.S., gaining airplay on college radio and more adventurous R&B–oriented stations. The song also reached #27 on the Billboard Dance Club Play chart. In the UK “O Live A Man In Uniform” reached #65 on the official singles chart remaining there for two weeks.

Live Performances

Gang of Four were renowned for their live intensity, and “I Love A Man In Uniform” became a highlight of their sets. The band’s performance style—minimalist yet visceral—turned the song’s biting critique into a shared, almost confrontational experience for audiences. Jon King’s sardonic delivery and Andy Gill’s razor-sharp guitar lines created a sense of urgency in the live setting, making the song feel like both a dance anthem and a political statement simultaneously.

Over the years, different incarnations of Gang of Four have continued to perform the song, keeping its sharp social commentary alive for new generations. Its inclusion in live sets demonstrates how some music never loses relevance, and how the tension between rhythm and message can be electrifying on stage.

Music Video and Visual Style

The music video for “I Love A Man In Uniform” captures the song’s ironic tension perfectly. Shot in stark, high-contrast visuals, it combines minimalism with surreal touches—mirroring the band’s angular, jagged musical style. Scenes of regimented movement, repeated gestures, and uniformed figures underscore the song’s critique of obsession with authority.

The video’s aesthetic is a snapshot of early 80s post-punk: black-and-white textures, sharp geometric framing, and a detached performance style that emphasizes the music’s cerebral, confrontational energy. It’s the kind of visual approach that rewards repeated viewing, revealing layers of irony and commentary that complement the song itself.

For anyone exploring the post-punk era, “I Love A Man In Uniform” is an essential listen. It encapsulates everything that made Gang of Four so compelling: jagged funk, political wit, striking visuals, and a willingness to confront uncomfortable truths—all while keeping your body moving.

SIDE A:
I Love A Man In A Uniform (Remix) 5:37
Engineer – Randy Burns
Remix – Steve Sinclair (2)

SIDE B:
Producer 2:34

I Love A Man In A Uniform (Dub Version) 4:48
Engineer – Randy Burns
Remix – Steve Sinclair (2)

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Gang Of Four: *I Love A Man in Uniform* (1982)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#27	1982
UK Singles Chart	#65	1982

RELEASE INFORMATION:
Label: Warner Bros. Records – 0-29907
Format: Vinyl, 12″, 45 RPM, Single, Promo
Country: US
Released: 1982
Genre: Electronic, Rock
Style: New Wave

CREDITS:

Executive-Producer – David Rostamo
Producer – Andrew Gill*, Jon King, Mike Howlett
Written-By – Gill*, King*

NOTES:
Tracks A, B2 remixed from the original LP version on the Warner Bros. album “Songs Of The Free”

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

**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 20, 2025

Wall Of Voodoo – Two Songs By wall Of Voodoo (US 12″) (1982)

Burning The Ground Exclusive

A Strange and Brilliant 12-Inch Experiment From L.A.’s Most Eccentric New Wavers

Before Wall of Voodoo became synonymous with their cult breakthrough “Mexican Radio,” the L.A. art-punk outfit had already built a reputation for creating quirky, cinematic, and sharply experimental new wave. Their 1982 12-inch “Two Songs By Wall of Voodoo” captures the band at a fascinating moment—caught between underground obscurity and the sudden visibility that MTV would soon bring them. More than just a maxi-single, this release plays like a compact sonic experiment.

The A-Side: Mexican Radio – From Underground Curiosity to MTV Staple

The 12″ opens with the familiar 3:56 version of “Mexican Radio,” later released as a single from Call of the West in early 1983. Even in this earlier context, the track stands out: Stan Ridgway’s wry, deadpan vocals, Marc Moreland’s spaghetti-western guitar twang, and the band’s fascination with shortwave transmissions all combine into something both catchy and wonderfully eccentric.

Although “Mexican Radio” wasn’t a massive chart hit, it made a notable impact. It broke into the Billboard Hot 100, performed particularly well in Canada and New Zealand, and even in countries where it didn’t chart—like the UK—it quickly became a cult favorite. Much of that success came from its surreal, low-budget music video, a quirky, dusty fever dream that became an early MTV staple. The video’s DIY charm and oddball imagery ensured Wall of Voodoo stood out in the rapidly expanding landscape of ’80s music television.

The B-Side: A Continuous Sound Collage

The creative heart of this 12″ lives on the B-side.

“There’s Nothing on This Side” begins as an atmospheric instrumental built on echoing percussion, pulsing synth lines, and disembodied bursts of radio chatter. It unfolds slowly, like a transmission drifting in from another world—moody, immersive, and distinctly Wall of Voodoo.

What makes this side particularly compelling is the seamless transition that follows. Without a break, the piece gradually bends and reshapes itself until it emerges as the unlisted “Mexican Radio (Limited Edition Special Dub Mix).”

This mix isn’t a standard dance-floor dub. Instead, it deconstructs the original track into:

warped and echo-soaked vocal fragments
sparse drum-machine rhythms
swirling pockets of reverb and space
manipulated bits of the A-side stitched into new patterns

Because the segue is continuous, the B-side plays as a single extended sound collage—a compact nearly 11-minute suite that highlights the band’s experimental instincts and studio playfulness. It’s a fascinating contrast to the more structured A-side and a reminder of how adventurous the early lineup truly was.

Why This 12″ Still Matters

This release captures Wall of Voodoo standing at the crossroads of cult experimentation and unexpected mainstream attention. The unlisted dub mix, the conceptual flow of the B-side, and the presence of what would become their signature song all make this 12″ a standout in the band’s catalog. For collectors and fans of early ’80s new wave, it remains one of the most intriguing—and rewarding—artifacts from the era.

Music Video

The music video for “Mexican Radio” became a regular fixture on MTV shortly after the single’s release, giving Wall of Voodoo a level of visibility they’d never had before. It was the first music video directed by filmmaker Frank Delia—formerly the frontman of the Bruthers and a longtime friend of the band. His work on the clip made an immediate impression; the Ramones were so taken with it that they hired Delia to direct several of their videos soon after.

The video itself is packed with strange, memorable imagery: Stan Ridgway’s face rising out of a bowl of beans, disorienting close-ups, and sun-baked desert scenes. Some of the footage was filmed on location in Tijuana, including sequences shot at the bullfights. Actor Carel Struycken even makes a brief appearance, playing the role of the video’s director amid the organized chaos.

Final Thoughts

Two Songs By Wall of Voodoo is much more than a simple promotional single. It’s a compact statement of the band’s idiosyncratic vision: part new wave, part soundtrack, part art-punk collage. While “Mexican Radio” would soon carry them into the MTV spotlight, this 12″ shows the deeper, stranger ideas bubbling underneath.

For fans, collectors, and anyone fascinated by the left-of-center edges of early MTV-era new wave, this release is absolutely worth revisiting.

SIDE A:
Mexican Radio 3:56

SIDE B:
There’s Nothing On This Side /
Mexican Radio (Limited Edition Special Dub Mix) 10:46

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Wall Of Voodoo: *Mexican Radio* (1982)
Chart	Peak Position	Date
US Billboard Hot 100	#58	1982
UK Singles (OCC)	#64	1982
Canada Top Singles (RPM)	#16	1982
Australia (ARIA)	#33	1982
New Zealand (Recorded Music)	#21	1982

RELEASE INFORMATION:
Label: I.R.S. Records – SP 70407
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1982
Genre: Rock
Style: New Wave, Experimental

CREDITS:

Design – Carl Grasso
Engineer – Jess Sutcliffe, Robert Battaglia
Guitar – Marc Moreland
Keyboards, Bass – Chas T. Gray
Lacquer Cut By [Runout Etching ⚇] – Frank DeLuna
Percussion – Joe Nanini
Photography By [Back] – Scott Lindgren
Photography By [Front] – Jules Bates
Producer – Richard Mazda
Vocals, Keyboards – Stannard Ridgway*
Written-By – WOV*

NOTES:
Pressed at Columbia Records Pressing Plant, Terre Haute as indicated by 1T etched in both runouts.

Lacquer cut by Frank DeLuna as indicated by ⚇ symbol etched in runouts.

Side B is only credited as one song, “There’s Nothing On This Side,” at a duration of 10:08, but there is a split between B1 and B2; the tracks segue into each other.

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

**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.

October 31, 2025

Elvira And The Vi-Tones – 3-D TV (US 12″) (1982)

Burning The Ground Exclusive

As October draws to a close and the cobwebs grow thick across the turntable, it’s only fitting to summon one of the most iconic ghouls of the small screen — Elvira, Mistress of the Dark. This week’s Spooky Season Spin dusts off a wonderfully campy slice of early ’80s novelty pop: “3D TV” by Elvira and The Vi-Tones, released in 1982 on Rhino Records.

Rhino was still a young indie label back then, known for its tongue-in-cheek humor and love of retro kitsch — making it the perfect home for Elvira’s vinyl debut. Riding the wave of her rising fame as the hostess of Elvira’s Movie Macabre, Cassandra Peterson brought her character’s darkly comic charisma straight into the groove, complete with her trademark double entendres and ghoulish giggles.

“3D TV” is a bouncy new wave novelty track with plenty of synthesizer fizz and surf-rock guitar twang — think B-52’s meets The Munsters. Elvira hams it up with perfect B-movie flair, warning of a world where everything’s jumping off the screen in eye-popping, brain-melting 3D. It’s goofy, camp, and irresistibly fun — the kind of track that would have fit right in at a midnight Halloween party in 1982, surrounded by fog machines and neon lights.

Flip the record over, and you get the equally fabulous “Elvira’s Theme,” a vampy instrumental drenched in eerie organ riffs and haunted-house sound effects. It’s short, sweet, and pure Elvira — part horror, part humor, and 100% cult queen.

The 12″ single has become a bit of a collector’s curiosity today — a perfect snapshot of when MTV, horror hosts, and new wave collided in glorious low-budget excess. Whether you’re spinning it at your own haunted dancefloor or just admiring that deliciously kitsch picture sleeve, “3D TV” is the kind of relic that reminds us Halloween was made for vinyl.

So dim the lights, pour yourself a goblet of something red, and let Elvira take control of your screen and your speakers — in all her gory glory.

🕸️ Happy Halloween from Burning the Ground! 🕸️
Where spooky grooves rise from the grave, one 12″ at a time.

SIDE A:
3-D TV (Three Dimensional) 2:29

SIDE B:
Elvira’s Theme 1:24

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Rhino Records (2) – RNTI 401
Format: Vinyl, 12″, 33 ⅓ RPM, Mini-Single
Country: US
Released: 1982
Genre: Rock, Stage & Screen
Style: Pop Rock, Horror Rock

CREDITS:

Art Direction, Design – Mark Matsuno
Cover [Back Cover Concept] – Alan Adler
Mastered By – Stephen Marcussen
Photography By [Photos] – Robert Strauss (2)
Producer – Mark Pierson
Written-By – Gary Poirot (tracks: A), John Paragon (tracks: A), Mark Pierson, Robert Williams (27) (tracks: A)

NOTES:
Comes with a pair of paper 3-D glasses

Special Thanks To: Ray Colcord, John Hanlon, Dawna Kaufman, John Paragon, Gary Poirot, Larry Thomas, Robert Williams, Cassandra Petterson

Guy 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

**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.