Tag: 1983

September 10, 2025

Classix Nouveaux – Forever And A Day (UK 12″) (1983)

Burning The Ground Exclusive

By the early 1980s, Classix Nouveaux had firmly carved out their place in the New Wave and post-punk landscape. Formed in London in 1979 from the ashes of X-Ray Spex, the band — fronted by the charismatic Sal Solo — quickly became known for their striking visual style, theatrical performances, and polished, synth-driven sound.

One of the gems in their catalog is “Forever and a Day,” a single released in 1983 from their third studio album Secret. By this point, Classix Nouveaux had refined their sound, moving away from the rawer edges of their early work toward a sleeker, more atmospheric approach.

A Shift in Sound

“Forever and a Day” captures the essence of this evolution. Built on shimmering synth textures, driving bass lines, and Sal Solo’s dramatic, soaring vocals, the track balances melancholy with romantic optimism. The production feels cinematic, reflecting the broader trend in early-to-mid ’80s New Wave toward lush, layered arrangements.

While the band never quite broke through on the same scale as contemporaries like Ultravox or Duran Duran, tracks like “Forever and a Day” show they had all the right ingredients — powerful hooks, emotional depth, and undeniable style.

Release & Reception

Issued as a single in 1983, “Forever and a Day” wasn’t a major chart hit, but it cemented Classix Nouveaux’s reputation as cult favorites in the New Wave scene. In some territories — particularly across Europe and in markets like Poland, where the band enjoyed a surprising level of popularity — the song gained significant airplay.

The single was accompanied by a 12″ release, which offered an extended version remixed ny Phil Thornalley (Johnny Hates Jazz, The Cure) aimed at dancefloors and club DJs. This longer version gave the band’s synth arrangements more room to breathe, making “Forever and a Day” a perfect fit for the era’s club culture.

Legacy

Though Classix Nouveaux disbanded shortly after the release of Secret, songs like “Forever and a Day” have stood the test of time, rediscovered by collectors and fans of the 12″ remix format. The track remains a shining example of how New Wave blended electronic experimentation with pop sensibility — dramatic, stylish, and achingly heartfelt.

For many fans, “Forever and a Day” is more than just a single — it’s a reminder of the fleeting brilliance of a band that deserved a bigger spotlight.

SIDE A:
Forever And A Day (Extended Version) 6:46
Mixed By – Phil Thornalley
Strings – Ann Dudley
Written-By – Mik Sweeny, Sal Solo

SIDE B:
Switch (Full Length Version) 6:41
Written-By – B.P. Hurding, Mik Sweeny*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Liberty – 12BP 419
Format: Vinyl, 12″, 45 RPM, Single
Country: UK
Released: 1983
Genre: Electronic, Rock
Style: New Wave

CREDITS:

Producer – Alex Sadkin
Sleeve – Edward Bell

NOTES:
Rear sleeve: Lyrics reproduced by kind permission of Chappell Music Ltd.

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for burningtheground.net

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.

August 5, 2025

SSQ – Big Electronic Beat (US 12″) (1983)

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NEW 2025 TRANSFER
NEW Meticulous Audio Restoration

Original post date May 25, 2011

“Jimmy go down to Music Town… Buys a synthesizer… He can speak computer language now!”

SSQ brings the machines to life in this high-voltage synth-pop gem from 1983.

“Big Electronic Beat” was the second single released from SSQ’s debut album Playback, issued on Enigma Records in 1983. Following the underground success of “Synthicide,” this follow-up dialed deeper into electro-funk territory with pounding analog drums, a relentless sequencer groove, and Stacey Swain’s futuristic vocals.

The track also made its way onto the soundtrack of the raunchy 1984 teen comedy Hardbodies, further cementing its status as a time-capsule classic of the early synth-pop scene.

🔊 The Sound
The Extended Version featured on this 12″ runs 4:16, pushing the tempo and the tech to the forefront. From the moment the synth line kicks in, it’s clear this is dancefloor fuel—complete with machine-gun drum fills, synthetic claps, and catchy, robotic refrains of “Big electronic, big electronic, beat!”

The lyrics are peak ‘80s cyber-fantasy: a kid named Jimmy buys a synthesizer and suddenly becomes fluent in “computer language.” It’s part satire, part celebration, and entirely a product of the era’s growing fascination with personal tech and electronic expression.

🧠 SSQ: The Band Behind the Beat
SSQ was the brainchild of producer/guitarist Jon St. James, who assembled a team of synthesists including Karl Moet, Rich West, John Van Tongeren, and Skip Hahn—with rising frontwoman Stacey Swain delivering lead vocals.

Playback, their only album as SSQ, remains a cult favorite in synth-pop circles. While “Synthicide” got the most attention, “Big Electronic Beat” was arguably the group’s most club-ready offering. Despite not charting, its inclusion on Hardbodies gave it a second life among VHS-era fans and ‘80s soundtrack collectors.

SIDE A:
Big Electronic Beat (Extended) 4:16

SIDE B:
Big Electronic Beat (Sans Instruments) 1:03
Big Electronic Beat (Sans Vocal) 3:39

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Enigma (4) – ENIGMA 8
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 1983
Genre: Electronic
Style: New Wave, Synth-pop

CREDITS:

Art Direction – Henry Marquez
Illustration – Douglas Bevins
Producer – Jon St. James
Vocals [Uncredited] – Stacey Swain
Written-By – John Van Tongeren, Jon St. James

NOTES:
From the LP and Cassette “PLAYBACK”

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for burningtheground.net

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.

July 18, 2025

The Flirtations – Earthquake (US 12″) (1983)

Burning The Ground Exclusive

For this week’s Disco Friday, we’re turning up the volume on “Earthquake” by The Flirtations—a sizzling 1983 dancefloor anthem that shook the scene and still packs a punch today.

Originally famous for their soulful 60s hits like “Nothing But a Heartache,” The Flirtations evolved with the times, diving into the disco and Hi-NRG wave of the early ’80s. “Earthquake” stands out as a vibrant fusion of their signature harmonies with thunderous beats and synth-driven energy.

Produced by Ian Anthony Stephenson and released on D&D Records in the US, the track stormed dancefloors with relentless momentum. Its infectious groove and commanding vocals propelled it to #26 on the Billboard Dance Chart and even cracked the UK market, reaching #99 on the UK Singles Chart—a testament to its cross-Atlantic appeal.

From the opening beats to the climactic chorus, “Earthquake” delivers a powerful surge of energy that makes it impossible not to move. It’s a classic example of how disco and early Hi-NRG fused to create timeless club magic.

Whether rediscovering it on vinyl or streaming it in your playlists, The Flirtations’ “Earthquake” remains a dancefloor classic, reminding us all why disco’s heartbeat still resonates.

So crank up the volume, feel the rumble, and let the aftershocks take over.

SIDE A:
Earthquake 8:51
Remix – Will Crocker

SIDE B:
Earthquake (Original Version) 6:57
Earthquake (Instrumental Version) 6:57

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year	Single	Chart	Position
1983	Earthquake	U.S. Billboard Hot Dance Music / Club Play	#26

RELEASE INFORMATION:
Label: D&D Records (3) – D&D103
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1983
Genre: Electronic
Style: Disco, Hi-NRG

CREDITS:

Arranged By – Ian Anthony Stevens*, Winston Sela
Producer, Written-By – Ian Anthony Stevens*

NOTES:
A Poncap Production
Released in association with Proto Records, U.K. & Tom Hayden Productions.

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for burningtheground.net

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.

June 13, 2025

Earlene Bentley – The Boys Come To Town (US 12″) (1983)

Burning The Ground Exclusive

Let the glitterball spin a little faster today—because the boys have definitely come to town!

Today’s Disco Friday and Pride Month pick is an unapologetic slab of Hi-NRG heat from the fabulous Erlene Bentley: the powerhouse 1983 club anthem “The Boys Come To Town.” Originally released in the UK on Ian Levine’s Record Shack Records, my post features the rare and equally fierce US 12″ pressing on Megatone Records—a label legendary in the San Francisco gay disco scene. 🔥

From its stomping bassline to Erlene’s commanding, no-nonsense vocal delivery, this track was built for the dancefloor. It’s campy, it’s charged, it’s proud—and it captures that bold, liberating spirit that defined queer nightlife at the height of the Hi-NRG movement.

💥 Fun fact: The song was so iconic in the New York club scene that it even found its way onto the big screen—featured in the 1984 film “Police Academy” during the infamous Blue Oyster Bar scene. A moment that has since become a cultural time capsule of leather, mustaches, and late-night disco sleaze.

And how can you resist lines like:
“Hey, big boy! Why don’t you come up and see me sometime?”
Camp. Sass. Power. Bentley delivers it all with a wink and a whip crack.

While she may not have had mainstream chart success, Erlene Bentley carved out her own niche in queer club culture—and this track remains one of the most iconic anthems of the Hi-NRG era. It’s pure theatricality with a pulsing heart, a perfect tribute to the freedom and flair that Pride Month celebrates.

💿 This extended mix takes its time—and you’ll want it to—building into a glorious eruption of synths, horns, and unapologetic attitude.

So throw on your harness or heels, find your spotlight, and let this Hi-NRG gem take you back to a time when the dancefloor was both sanctuary and stage.

SIDE A:
The Boys Come To Town 8:07

SIDE B:
The Boys Come To Town (Instrumental Dub) 8:16

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Megatone Records – MT-115, Record Shack Records – MT-115
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 1983
Genre: Electronic
Style: Hi NRG, Disco

CREDITS:

Arranged By – Fiachra Trench
Mastered By – José Rodriguez
Producer – Ian Levine and Fiachra Trench
Written-By – I. Levine – F. Trench*

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
burningtheground.net

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.