Tag: 1984

Limahl – Too Much Trouble (Lovers Heartbeat Mix) (UK 12″) (1984)

Burning The Ground Exclusive

Before the massive international success of “The NeverEnding Story,” Limahl found himself navigating uncertain waters.

Fresh from his very public split with Kajagoogoo in 1983, Christopher Hamill, better known to the world as Limahl, suddenly had something to prove. As the instantly recognizable voice behind hits like “Too Shy,” many questioned whether his success had been tied to the band, or if he could stand on his own. Rather than retreat, Limahl embraced the challenge and launched a solo career that allowed him greater creative control and a chance to define himself beyond the image that had made him an early MTV favorite.

As Pride Month continues here at Burning The Ground, it’s fitting to spotlight another LGBTQ+ artist who helped shape the sound and style of the 1980s. Long before artists felt comfortable discussing their sexuality publicly, Limahl’s distinctive look, theatrical presence, and refusal to conform made him an important figure for many fans who saw something of themselves reflected in pop music’s outsiders and individualists.

Released on May 21, 1984, “Too Much Trouble” served as the second single from Limahl’s debut solo album, Don’t Suppose. Written by Limahl himself and produced by Tim Palmer and Dave Harris, the track showcased a darker, more introspective side of the singer than audiences may have expected after the bright optimism of his debut solo hit “Only for Love.”

Built around icy synthesizers, dramatic percussion, and Limahl’s unmistakable vocal delivery, “Too Much Trouble” captures the emotional exhaustion that comes from a relationship trapped in a cycle of conflict and uncertainty. There is a tension running through the song, balancing polished pop craftsmanship with a restless undercurrent that mirrors the turbulence described in the lyrics.

Commercially, the single wasn’t the breakthrough EMI had hoped for. In the UK, “Too Much Trouble” peaked at No. 64 on the Official Singles Chart, spending three weeks in the Top 75. It found a warmer reception elsewhere in Europe, reaching No. 26 in Germany and No. 23 in Finland.

History, however, has a funny way of rewriting narratives.

Overshadowed at the time by what came next, “Too Much Trouble” has gradually become something of a hidden gem among Limahl fans. Just a few months later, he would achieve worldwide success with Giorgio Moroder’s unforgettable theme from The NeverEnding Story, a song that would forever define his solo career. In retrospect, “Too Much Trouble” feels like an intriguing snapshot of an artist in transition. Determined to establish his own identity, experimenting with mood and texture, and refusing to simply recreate the formula that had already made him famous.

Listening today, the record stands as a reminder that some of the most interesting moments in an artist’s career aren’t always the biggest hits. Sometimes they’re the risks taken between the chart successes, when the path forward isn’t clear and reinvention is still taking shape.

For those willing to dig a little deeper into Limahl’s catalog, “Too Much Trouble” rewards repeated listens. It is sophisticated synth-pop with an edge of melancholy, delivered by one of the decade’s most distinctive voices.

Not every chapter of an artist’s story becomes a headline. Some become cult favorites.

And sometimes, that’s even more rewarding.

SIDE A:
Too Much Trouble (Lovers Heartbeat Mix) 6:18

SIDE B:
Too Much Trouble (7″ Version) 3:32
You’ve Been Gone For A Little While (Too Much Trouble – Reprise) 2:04

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Limahl: Too Much Trouble (1984) Peak Position
Finland (Suomen virallinen lista) 23
West Germany (GfK) 26
UK Singles (OCC) 64

RELEASE INFORMATION:
Label: EMI – 12LML 2
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1984
Genre: Electronic
Style: Synth-pop

CREDITS:

NOTES:
Manufactured in the UK by EMI Records Limited

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

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Marilyn – You Don’t Love Me (UK 12″) (1984)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: June 21, 2012

By 1984, Marilyn was still navigating the momentum that followed his breakthrough success, but the pop landscape was shifting quickly. Released as the third single from his debut album Despite Straight Lines, “You Don’t Love Me” showed a more reflective side of the singer, trading some of the earlier flash for a deeper emotional pull.

Musically, the track leans into a polished synth-pop sound with a soft, melancholic tone. The production is clean and uncluttered, allowing Marilyn’s soulful and expressive vocal to take center stage. There’s a sense of restraint here that works in the song’s favor, giving it a late-night, almost intimate feel.

Unlike the more immediate, club-oriented energy of his earlier hits, “You Don’t Love Me” feels more introspective. It captures the emotional fallout of a relationship with a quiet intensity, rather than going for obvious drama. That subtle approach is part of what makes the track stand out today.

On the charts, the single had a respectable showing. It reached No. 40 on the UK Singles Chart, while performing even better internationally, breaking into the Top 20 in both the Netherlands and New Zealand. Those placements suggest the song connected strongly outside the UK, even if it did not reach the same heights as his debut releases.

From a vinyl standpoint, the 12-inch format is where this track really opens up. The extended versions give the arrangement more room, emphasizing the groove and allowing the atmospheric elements to fully develop. It is one of those records where the longer mix feels essential, especially for listeners who appreciate the nuances of mid-80s production.

Looking back, “You Don’t Love Me” captures a transitional moment in Marilyn’s career. It reflects an artist trying to expand beyond a carefully crafted image, leaning more into mood and emotion. While it may not be his most celebrated single, it adds an important layer to the Despite Straight Lines era.

As always, this transfer has been given a NEW 2026 Meticulous Audio Restoration and Transfer, preserving the warmth and dynamics of the original vinyl pressing.

SIDE A:
You Don’t Love Me (Dance Mix) 6:08
Producer – Clive Langer And Alan Winstanley*

SIDE B:
Raining Again 5:06
Producer – Roger Jackson

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Marilyn: You Don’t Love Me (1984)
Chart Peak Position Date
UK Singles Chart #40 1984
Australia (Kent Music Report) #57 1984
Belgium (Ultratop) #26 1984
Netherlands (Top Singles 100) #18 1984
New Zealand #16 1984

RELEASE INFORMATION:
Label: Love (6) – MAZ 312, Love (6) – 818 808-1
Format: Vinyl, 12″, 45 RPM, Single
Country: UK
Released: Apr 1984
Genre: Electronic, Pop
Style: Downtempo, Synth-pop

CREDITS:

NOTES:
from the LP Despite Straight Lines

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-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

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.


Jermaine Jackson & Pia Zadora – When The Rain Begins To Fall (US 12″) (1985)

Burning The Ground Exclusive

There are songs that define a moment, and then there are songs that feel like an entire movie packed into four minutes. “When The Rain Begins To Fall” lands firmly in the second category. Big, dramatic, and completely committed to its sound, it’s one of those tracks that instantly transports you back to the mid-80s.

Released in October 1984, this duet between Jermaine Jackson and Pia Zadora was recorded for the soundtrack to the cult sci-fi musical Voyage of the Rock Aliens. Zadora starred in the film, and the song is featured right at the beginning, doubling as the official music video. It sets the tone immediately, glossy, theatrical, and just a little bit surreal.

The song was written by Peggy March, Michael Bradley, and Steve Wittmack. Musically, it leans into that polished mid-80s pop sound, driven by synths, a strong rhythmic pulse, and a soaring chorus. The contrast between Jermaine’s smooth delivery and Zadora’s more dramatic vocal style gives the track its unique character. It shouldn’t work as well as it does, but that tension is exactly what makes it memorable.

Chart-wise, the single had a split story. In the United States it reached No. 54, and in the UK it peaked at No. 68. But across mainland Europe, it was a major hit. The song went to No. 1 in Belgium, the Netherlands, and France, and reached the Top 10 in Austria, Switzerland, and Italy. It also earned Gold certification in Germany and Platinum in France, making it one of the biggest international successes for both artists.

Because of that momentum, “When The Rain Begins To Fall” was added to later pressings of Jermaine’s 1984 album Jermaine Jackson. In the United States, the album carried that self-titled name, while in the UK and Europe it was released as Dynamite. Including the single helped strengthen the album’s appeal in markets where the song was already a proven hit.

What really makes this track endure is its sense of scale. Everything about it feels larger than life. The arrangement builds with purpose, the chorus hits hard, and the whole production has that cinematic quality that was so popular at the time. It doesn’t hold back, and that’s exactly why it works.

For anyone who remembers it from the charts, the film, or a well-worn 12-inch, “When The Rain Begins To Fall” is a perfect snapshot of 1984. A little bit pop, a little bit movie magic, and completely unforgettable.

SIDE A:
Jermaine Jackson & Pia Zadora – When The Rain Begins To Fall (Vocal Version With Breakdown) 5:24
Producer – Jack White
Remix – Lonnie Simons*
Written-By – Michael Bradley, Peggy March, Steve Wittmack

SIDE B:
Jermaine Jackson – Come To Me (One Way Or Another) 5:15
Executive-Producer – Clive Davis
Written-By – Jermaine Jackson

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Jermaine Jackson & Pia Zadora: When The Rain Begins To Fall (1985) Peak Position
Australia (Kent Music Report) 63
Austria (Ö3 Austria Top 40) 2
Belgium (Ultratop 50 Flanders) 1
Canada Top Singles (RPM) 42
France (SNEP) 1
Netherlands (Single Top 100) 1
New Zealand (Recorded Music NZ) 15
Switzerland (Schweizer Hitparade) 1
UK Singles (OCC) 68
US Billboard Hot 100 54
US Hot R&B/Hip-Hop Songs (Billboard) 61
US Dance Club Songs (Billboard) 22
West Germany (GfK) 1

RELEASE INFORMATION:
Label: Arista – AD1-9317
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 1985
Genre: Electronic
Style: Hi NRG, Synth-pop

NOTES:
Side B: Taken from the album Jermaine Jackson
Pia Zadora appears courtesy of MCA/Curb Records

Printed in USA

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-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

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.


Digette – Fred From Jupiter (UK 12″) (1984)

Burning The Ground Exclusive

Every so often, a record comes along that feels like it beamed in from another planet—quirky, charming, slightly off-center, and completely irresistible. “Fred From Jupiter” by Digette is one of those hidden gems that perfectly embodies the playful, anything-goes spirit of the early ‘80s underground.

Released in 1984 on Sire Records, Digette was a short-lived but fascinating project featuring Lisa Michaelis (vocals, keyboards), Min Thometz (vocals), and Ivan Ivan (vocals, keyboards, percussion). If Ivan Ivan’s name rings a bell, it should—he was already making waves behind the scenes producing and working within the downtown New York scene, and this project carries that same artsy, left-of-center energy.

“Fred From Jupiter” is a delicious slice of minimalist synth-pop with a wink. Built around a simple, hypnotic keyboard line and deadpan, almost detached vocals, the track tells the oddball tale of an alien visitor—Fred—who seems both mysterious and oddly mundane. It’s that contrast that gives the song its charm. There’s no dramatic build, no big chorus—just a cool, repetitive groove that pulls you into its strange little universe.

What makes this even more interesting is that Digette’s version is actually a cover. The song was originally recorded in 1981 by the German group Die Doraus Und Die Marinas as “Fred Vom Jupiter.” That original version leans even further into the naïve, lo-fi aesthetic of the Neue Deutsche Welle movement, with a kind of childlike innocence that feels almost like a surreal art project.

Digette’s take smooths things out slightly for a wider audience while still retaining the offbeat personality that made the original so special. It’s a perfect example of how ideas traveled across borders in the early ‘80s—mutating and evolving as they went, but always keeping that experimental edge intact.

This is exactly the kind of track that fits right at home in the Closet 80s series—slightly obscure, endlessly interesting, and guaranteed to make you ask, “How did I miss this the first time around?”

💿 This transfer is a NEW 2026 Meticulous Audio Restoration and Transfer, bringing this quirky cult favorite back to life with the clarity and care it deserves. I originally posted this track on December 12, 2013, and I’m excited to revisit it with a fresh upgrade.

And in true offbeat ‘80s fashion, the record itself comes with one of the most delightfully eccentric special thanks lists you’ll ever read. Shout-outs go to Seymour Stein, Shirley Divers, Richard and Jean Wilson, Elliot Spears, Danny Heaps, Mark Josephson, Mark Fotiadis, Mark Kamins, all other Marks in this galaxy, Justin Strauss, Annette von Spreckelsen, Keith Haring, Ron Pameri, WLIR, NASA, ESA, and even The Russian Rocket Force—a perfectly surreal roll call that mirrors the song’s interstellar whimsy.

If you were digging through the bins in 1984, this might have been one of those records you passed over in favor of something more familiar. But give it a spin now, and you’ll find a quirky little treasure that captures a very specific moment in time—when pop music wasn’t afraid to be weird.

And honestly… we could use a little more of that.

SIDE A:
Fred From Jupiter (Long Version) 4:13
Written-By – Dorau, Maurischat

SIDE B:
Fred From Jupiter (Short Version) 2:35
Written-By – Dorau, Maurischat

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Sire – W9166T, Sire – W 9166 (T), Sire – 920279-0
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1984
Genre: Electronic
Style: Synth-pop

CREDITS:

NOTES:
Art Direction and Design for Studio Zed
Final Mix
Recorded at Cronex
Mixed at “Recordland” Berlin

This record is dedicated to the memory of Michael Stewart

Special thanks to Seymour Stein, Shirley Divers, Richard and Jean Wilson, Elliot Spears, Danny Heaps, Mark Josephson, Mark Fotiadis, Mark Kamins, all other Marks in this galaxy, Justin Strauss, Annette von Spreckelsen, Keith Haring, Ron Pameri, WLIR, NASA, ESA, The Russian Rocket Force.

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-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

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.