Tag: 1985

Chaka Khan – (Krush Groove) Can’t Stop The Street (US 12″) (1985)

Burning The Ground Exclusive

After the polished electronic pop of Olivia Newton-John, Ladies Of The 80s: Soundtrack Edition heads straight into the streets of New York City.

Today’s selection is Chaka Khan’s “(Krush Groove) Can’t Stop The Street,” recorded for the soundtrack to the 1985 film Krush Groove.

Chaka Khan was already one of the most powerful and versatile voices in music. Whether performing funk with Rufus, disco, jazz, rock, pop, or electronic dance music, she could take control of almost any song placed in front of her.

“Can’t Stop The Street” gave her another world to conquer.

Krush Groove was loosely inspired by the early years of Russell Simmons and the rise of Def Jam Recordings. Blair Underwood made his feature-film debut as Russell Walker, a young record promoter trying to build his label while struggling to finance the success of his artists.

The film brought together an incredible lineup that included Run-DMC, Sheila E., Kurtis Blow, The Fat Boys, New Edition, LL Cool J, the Beastie Boys, and several other performers from New York’s growing hip-hop scene. Directed by Michael Schultz, Krush Groove opened in October 1985 after a fast twenty-six-day shoot around New York City.

It is part movie, part musical showcase, and part time capsule.

The plot may be fictionalized, but the energy surrounding the music is real. Krush Groove arrived when hip-hop was moving beyond clubs, neighborhood parties, and independent singles into movies, major-label releases, and mainstream popular culture.

Chaka was an ideal artist to help connect those worlds.

Only a year earlier, “I Feel For You” had combined her enormous voice with synthesizers, electronic rhythms, scratching, and Melle Mel’s unforgettable rap introduction. It became one of the defining records of her career and proved how naturally she could move between classic R&B and the new sounds developing around her.

“Can’t Stop The Street” continues in that direction.

The rap heard near the beginning of the song is performed by none other than Nile Rodgers. Best known as the co-founder and guitarist of Chic, as well as one of the era’s most important producers, Rodgers briefly steps up to the microphone and adds another surprising name to the recording’s credits.

His appearance also feels perfectly suited to the track. Nile Rodgers had already helped shape disco, funk, and dance music, while Chaka was bringing those traditions into the electronic and hip-hop-driven sound of the mid-1980s.

The song was written by Dan Hartman and Charlie Midnight, the team behind several memorable soundtrack recordings of the period. Hartman had recently scored his own major soundtrack hit with “I Can Dream About You” from Streets Of Fire.

Production was handled by Russ Titelman, with an arrangement by Philippe Saisse. Titelman had already worked extensively with Chaka and understood how to surround her voice with a busy production without allowing it to become buried.

The track begins with an immediate sense of movement. Electronic drums, synthesizers, vocal effects, and streetwise chants create a restless mixture of R&B, dance music, and electro-funk.

Then Chaka arrives.

Her performance is playful, commanding, and completely fearless. She does not approach the song like an outside guest trying to sound comfortable with hip-hop. She attacks it as if the street has always belonged to her.

Few singers could move so easily from a rough growl to a clear, soaring note. Chaka uses both sides of her voice here. She can sound loose and spontaneous one moment, then cut directly through the production with tremendous force the next.

The repeated chorus is simple, but she gives it authority. You believe that the street cannot be stopped because Chaka Khan is the one delivering the message.

“Can’t Stop The Street” also reflects the film’s larger celebration of music created outside the traditional industry system. The street represents more than a location. It is where the rhythms, fashions, dances, and ideas begin before the record companies discover them.

By the time the business catches up, the movement is already underway.

The song opened the Krush Groove soundtrack album, placing Chaka at the front of a collection that also featured LL Cool J, Kurtis Blow, The Fat Boys, Debbie Harry, Sheila E., the Beastie Boys, The Gap Band, Force M.D.’s, and the Krush Groove All-Stars.

Although the single did not reach the Billboard Hot 100, it performed well in the markets where Chaka’s audience remained strongest. It reached number 18 on Billboard’s R&B chart and number 30 on its dance chart. In the UK, it reached number 80 and remained on the chart for two weeks.

Those numbers do not tell the full story.

By 1985, Chaka had released an extraordinary run of singles from I Feel For You, including the title track, “This Is My Night,” “Through The Fire,” and “Eye To Eye.” “Can’t Stop The Street” arrived between those releases and her next studio album, making it easy for the song to become lost among her larger hits.

It also belonged exclusively to a various-artists soundtrack rather than one of her own albums.

For soundtrack collectors, that is part of its appeal.

For this post, I am featuring the US 12-inch single. Side one contains the 6:01 Extended Dance Mix, while the B-side includes the 5:15 Instrumental.

The Extended Dance Mix gives the rhythm more room to breathe. The opening is expanded, the electronic percussion becomes more prominent, and Chaka’s vocal phrases are allowed to bounce around the arrangement. The extra space brings the track’s electro and hip-hop elements closer to the surface.

This is not a remix that completely rebuilds the record.

Instead, it stretches the original production and focuses attention on its rhythm. The result feels tougher, looser, and more suited to a dance floor.

The Instrumental is equally valuable. Without Chaka’s lead vocal commanding the center, it becomes easier to hear how much is happening underneath her. The synthesizers, programmed drums, edits, and vocal effects reveal a production very much tied to the changing sound of 1985.

Of course, removing Chaka Khan from a Chaka Khan record creates a rather large empty space.

That may be the best proof of how much she brings to the song.

“Can’t Stop The Street” may not be one of the first titles mentioned when people discuss Chaka Khan’s career, but it captures an exciting moment in her evolution.

She had already conquered funk, soul, disco, and pop. Here she stepped into the growing world of electro and hip-hop without sacrificing any part of her musical identity.

The street could not be stopped.

With Chaka Khan leading the charge, it never stood a chance.

SIDE A:
(Krush Groove) Can’t Stop The Street (Extended Dance Mix) 6:04

SIDE B:
(Krush Groove) Can’t Stop The Street (Instrumental) 5:11

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart (1985) Peak Position
US Billboard Hot Black Singles 18
US Billboard Dance Club Songs 30
UK Singles Chart 80

RELEASE INFORMATION:
Label: Warner Bros. Records – 0-20367, Warner Bros. Records – 20367 A
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: US
Released: 1985
Genre: Electronic, Hip Hop
Style: Electro

CREDITS:

NOTES:
From the forthcoming Warner Bros album “ Krush Groove – Music From The Original Motion Picture Sound Track ” 9 25295-1, 1-25295.

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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Madonna – Gambler (Extended Dance Mix) (UK 12″) (1985)

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NEW 2026 Transfer
NEW Meticulous Audio Restoration

For today’s entry in Ladies Of The 80s: Soundtrack Edition, we are returning to 1985, when Madonna seemed to be everywhere.

“Like A Virgin,” “Material Girl,” “Crazy For You,” “Angel,” “Into The Groove,” and “Dress You Up” were all competing for attention during the same extraordinary year. Hidden among that crowded run was another great Madonna single, “Gambler,” recorded for the soundtrack to the motion picture Vision Quest.

Vision Quest was released on February 15, 1985. Directed by Harold Becker and based on the 1979 novel by Terry Davis, the film stars Matthew Modine as Louden Swain, a high school wrestler who becomes determined to drop two weight classes and face the undefeated Brian Shute. His demanding physical goal becomes more complicated when Carla, played by Linda Fiorentino, temporarily moves into his family home.

Madonna makes a brief appearance in the film as herself, performing in a nightclub. At the time Vision Quest was filmed in late 1983, she was still at the beginning of her career. By the time the movie reached theaters, she had become one of the biggest pop stars in the world.

Her ballad “Crazy For You” became the soundtrack’s major hit, reaching number one in the United States. “Gambler,” however, shows a very different side of Madonna.

Where “Crazy For You” is slow, romantic, and vulnerable, “Gambler” is fast, defiant, and completely self-assured.

The song was written entirely by Madonna and recorded with John “Jellybean” Benitez, who had already worked with her on records such as “Holiday,” “Borderline,” and “Lucky Star.” Phil Ramone oversaw the music for Vision Quest and received production credit in the film.

“Gambler” begins with an urgent synthesizer pulse before exploding into electronic drums, handclaps, keyboards, guitar, and a driving bass line. The production races forward with the same determination as the film’s young wrestler.

Madonna’s character in the song refuses to be controlled. She makes her own choices, accepts the risks, and warns anyone standing in her way that she will not be told how to live.

It is a theme that would appear throughout her career.

Even at this early stage, Madonna understood how to sell confidence. Her vocal is sharp and playful, but there is also an aggressive edge beneath it. She sounds like someone who has already placed her bet and knows she is going to win.

The repeated “You can’t stop me now” refrain could almost have served as Madonna’s personal statement for 1985. Within a short time, she had moved from clubs and small television appearances to international superstardom. There was certainly no stopping her then.

The single was released in Europe, Australia, and several other markets during the fall of 1985. Strangely, it was never given a commercial single release in the United States.

Madonna’s label, Sire Records, reportedly feared that another single would compete with the ongoing releases from Like A Virgin and with “Crazy For You,” which had already been issued through Geffen Records. As a result, American listeners could buy the song on the Vision Quest soundtrack but not as its own commercial single.

That decision prevented “Gambler” from appearing on the Billboard Hot 100, but the song became a considerable hit elsewhere.

In the United Kingdom, “Gambler” reached number four and remained on the Official Singles Chart for fourteen weeks. It spent four weeks inside the Top 10 and became yet another major Madonna hit during her remarkable 1985 chart run.

The promotional video combines Madonna’s nightclub performance with scenes from Vision Quest. Like the clip for “Crazy For You,” it helped turn her brief film appearance into something much larger than a standard soundtrack cameo.

The Vision Quest soundtrack was also an impressive collection beyond Madonna’s two contributions. It included Journey’s “Only The Young,” John Waite’s “Change,” The Style Council’s “Shout To The Top,” Don Henley’s “She’s On The Zoom,” Dio’s “Hungry For Heaven,” and Red Rider’s “Lunatic Fringe.”

“Gambler” remained something of an orphan within Madonna’s catalog for many years. It did not appear on one of her regular studio albums, and the single was unavailable on streaming and digital services until December 2022. The digital release finally made the original version, Extended Dance Mix, and Instrumental Mix widely available around the world.

For collectors, however, the original vinyl remains an essential piece of Madonna’s 1980s discography.

I previously posted this single in March 2016. A decade later, I decided it was time to return to the record and create an entirely new transfer.

For this 2026 edition, I started again from the beginning using my current equipment and restoration process. This is not a remaster of the files posted in 2016. It is a fresh vinyl transfer made to preserve the punch of the electronic percussion, the bright synthesizers, and the force of Madonna’s vocal.

“Gambler” sometimes gets lost among the enormous number of Madonna singles released during this period. It did not have the American chart run of “Crazy For You,” the cultural impact of “Into The Groove,” or the constant radio exposure of her Like A Virgin hits.

But listen again.

The song is fast, fearless, and unmistakably Madonna.

She knew the risks.

She played the game.

And she won.

SIDE A:
Madonna – Gambler (Extended Dance Mix) 5:38
Arranged By – Stephen Bray
Producer, Remix – John “Jellybean” Benitez
Written-By – Madonna

SIDE B:
Madonna – Gambler (Instrumental Remix) 3:54
Arranged By – Stephen Bray
Producer, Remix – John “Jellybean” Benitez
Written-By – Madonna

Black ‘N Blue – Nature Of The Beach 3:47
Producer – Bruce Fairbairn
Written-By – St. James, Thayer

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Madonna: Gambler (1985-86) Peak Position
Australia (Kent Music Report) 10
Belgium (Ultratop 50 Flanders) 10
European Hot 100 Singles 8
Europarade Top 40 13
Finland (Suomen virallinen lista) 4
France (SNEP) 33
Germany (GfK) 25
Iceland (RÚV) 6
Ireland (IRMA) 3
Italy (Musica e dischi) 10
Netherlands (Dutch Top 40) 9
Netherlands (Single Top 100) 7
New Zealand (Recorded Music NZ) 45
Norway (VG-lista) 9
Switzerland (Schweizer Hitparade) 23
UK Singles Chart 4

RELEASE INFORMATION:
Label: Geffen Records – TA 6585
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: UK
Released: 1985
Genre: Electronic, Rock, Pop
Style: Pop Rock, Synth-pop

CREDITS:

NOTES:
A & B1: Special version from the LP “Vision Quest”  GEF 70263

A & B1: Produced and Remixed for Jellybean Productions, Inc.

Madonna appears through the courtesy of Sire Records Company

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.

 

Nona Hendryx – Moving Violations (US 12″) (1985)

Burning The Ground Exclusive

For today’s entry in Ladies Of The 80s: Soundtrack Edition, we are pulling over for a title track that has spent far too many years hidden in the slow lane.

“Moving Violations” was recorded by Nona Hendryx for the 1985 comedy of the same name. The film was directed by Neal Israel, who also co-wrote the screenplay with Pat Proft. Released on April 19, 1985, it starred John Murray, Jennifer Tilly, James Keach, Brian Backer, Wendie Jo Sperber, Fred Willard, and Sally Kellerman.

The movie follows a group of unlucky motorists who are sentenced to traffic school. What they do not know is that the school is part of a crooked plan to fail the students and sell their impounded cars. Naturally, the students do not quietly accept the situation, and the result is a very silly collection of car chases, sight gags, crashes, and the sort of broad comedy that filled movie theaters during the mid-1980s.

The film may not be remembered as one of the decade’s major comedies, but its title song deserves another listen.

“Moving Violations” was written by Bruce Roberts and produced by Bernard Edwards, the bass player, songwriter, and producer best known as one-half of the team behind Chic. Edwards and Nile Rodgers created classics such as “Le Freak,” “Good Times,” “I Want Your Love,” and “Everybody Dance,” while also writing and producing hits for Sister Sledge and other artists.

That connection becomes clear as soon as “Moving Violations” gets underway.

Edwards gives the track a tight, fast-moving dance groove that feels built for both a movie chase and a crowded dance floor. The rhythm never lets up, and Nona Hendryx attacks the song with the power, humor, and confidence needed to keep up with it.

A lesser singer might have disappeared inside such a busy production. Nona sounds completely at home.

She growls, shouts, and pushes the title phrase as though she is personally daring the police to catch her. Her performance brings a little danger to what could have been a simple novelty theme. The movie is a comedy, but Nona sings as though every traffic ticket has become a personal challenge.

Nona Hendryx first gained fame as a member of Labelle alongside Patti LaBelle and Sarah Dash. She was also one of the group’s main songwriters and helped move their music beyond traditional soul into funk, rock, glam, and more experimental territory. Her solo career continued that refusal to remain in one musical lane.

By the middle of the 1980s, Hendryx had developed a sound that mixed rock, funk, electronic music, R&B, and dance music. She could be soulful one moment and sound like the leader of a futuristic rock band the next.

That made her a perfect choice for a soundtrack title that needed personality.

“Moving Violations” arrived during a busy soundtrack period for Nona. She also recorded “I Sweat (Going Through The Motions)” for the Jamie Lee Curtis film Perfect, another 1985 release. Both songs placed her commanding voice over polished dance-rock productions made for the movies.

The music used in Moving Violations reflected the anything-goes nature of the decade. Alongside Nona’s title song, the film featured Sammy Hagar’s “I Can’t Drive 55,” Julie Brown’s “Every Boy’s Got One,” a version of James Brown’s “I Got You (I Feel Good),” and Peaches & Herb’s “Reunited.” It is an odd combination on paper, but that was often part of the fun of an 80s movie soundtrack.

However, Moving Violations never received an official standalone soundtrack album on either vinyl or CD. The songs remained scattered across individual releases and the artists’ own catalogs, making it impossible for fans to purchase the complete soundtrack in one place.

Nona Hendryx’s title song was only issued in the United States on 7-inch and 12-inch vinyl. There was no commercial release in other major territories, and no music video was produced to help promote the single.

Those missing pieces may help explain why the song became so difficult to remember and rediscover. Without a soundtrack album, a widely distributed international release, or a video receiving airplay on MTV, “Moving Violations” had very little chance to develop a life beyond the movie itself.

The title song still gives the film its own musical identity.

The regular single version runs just over four minutes, while the 12-inch version expands the track to nearly seven. The longer version gives Bernard Edwards’ production more space, letting the groove run longer while Nona’s vocal phrases move in and out of the arrangement. The extended version was later added to an expanded edition of Hendryx’s 1985 album The Heat.

“Moving Violations” does not carry the name recognition of “Lady Marmalade,” “Transformation,” or “Why Should I Cry?” It was also not attached to a blockbuster movie like Footloose.

That is exactly what makes it such a fun choice for this series.

Not every great soundtrack single became a major hit. Some records appeared, did their job inside the movie, and then slowly vanished from view. Years later, they are waiting in old record bins for someone to pull them out and give them another spin.

“Moving Violations” is one of those records.

It has a great vocalist, a respected songwriter, one of the finest bass players and producers of the era behind the controls, and enough energy to earn several tickets for reckless driving.

Buckle up.

Nona Hendryx is behind the wheel.

SIDE A:
Moving Violations (Extended Version) 6:56
Producer – Bernard Edwards
Written-By – B. Roberts*

SIDE B:
Soft Targets 4:24
Producer – Material, Nona Hendryx
Written-By – Nona Hendryx

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: RCA – PD-14057
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: 1985
Genre: Electronic, Funk / Soul
Style: Rhythm & Blues

NOTES:
Side A: From the Movie “MOVING VIOLATIONS”

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.

 

Peter Murphy – Final Solution (Remix) (UK 12″) (1985)

Burning The Ground Exclusive

“Final Solution” is one of those records that does not politely enter the room. It arrives like a warning signal, all nerves, shadows, and sharp edges.

Originally recorded by Cleveland art-punk band Pere Ubu in 1976, “Final Solution” was already a strange and unsettling piece of post-punk before Peter Murphy got anywhere near it. Pere Ubu’s version had that raw, almost damaged sound that made it feel as if it was broadcasting from some broken radio tower in the middle of a city no one wanted to admit existed.

Peter Murphy took that chaos and turned it into something theatrical, colder, and strangely danceable.

Released as a single in 1985, before appearing on his 1986 debut solo album Should The World Fail To Fall Apart, “Final Solution” found Murphy stepping out from the long shadow of Bauhaus while still keeping one polished black boot firmly planted in the dark. This was not the more romantic, mystical Peter Murphy that would later emerge on songs like “Cuts You Up” or “A Strange Kind Of Love.” This was Murphy in a more dangerous space, taking a song already loaded with unease and pushing it further into the club.

The 12-inch Club Mix stretches the track into a tense, mechanical workout. The guitars snarl, the rhythm pounds, and Murphy’s vocal performance is pure command. He does not simply sing the song; he stalks through it. Every phrase feels like it is being thrown against a wall just to see what breaks first.

What makes this version so compelling is the way it sits between worlds. It is post-punk, goth, industrial, and club music all at once, but never fully settles into any one of them. It has the grit of the original, but the 12-inch format gives it space to breathe, sweat, and menace the dancefloor.

The B-side, “The Answer Is Clear,” offers a fitting companion piece. Less immediate but just as moody, it captures Murphy during that early solo period when he was still experimenting with what his voice could become outside the Bauhaus frame.

“Final Solution” may not be one of Peter Murphy’s biggest hits, but it remains one of his most arresting early solo singles. It is tense, dramatic, and a little unhinged in all the right ways.

This is the sound of an artist stepping into the spotlight alone, not with comfort, but with intent.

SIDE A:
Final Solution (Third & Final Mix) 5:51
Lacquer Cut By – Timtom
Remix – Ivo, John Fryer
Written-By – Bell*, Pere Ubu

SIDE B:
Final Solution (Club Mix) 5:30
Lacquer Cut By – TY
Mixed By – Stephane Gerbier
Remix – The Latin Rascals
Written-By – Bell, Pere Ubu

The Answer Is Clear (Version) 3:14
Lacquer Cut By – TY
Written-By – Hughes, Murphy*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Peter Murphy: Final Solution (1985)
Chart Peak Position Date
UK Singles Chart #92 1985

RELEASE INFORMATION:
Label: Beggars Banquet – BEG 143TP
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1985
Genre: Electronic, Rock
Style: Industrial, Goth Rock

CREDITS:

NOTES:
Recorded at Blackwing Studios in the summer of ’85.
B1. 12″ mix [Club mix] at Unique Studios, New York City
B2. Mixed at Blackwing Studios

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.