Tag: 1985

May 7, 2026

Grace Jones – Slave To The Rhythm (UK 12″ Limited Edition) (1985)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: July 19, 2011

“Don’t Cry It’s Only The Rhythm”…

Few songs in pop history are as daring, theatrical, and sonically adventurous as Slave To The Rhythm by Grace Jones. Released in October 1985, the single was the centerpiece of Jones’ critically acclaimed album of the same name, a record that blurred the lines between pop, art, performance, and avant-garde experimentation.

Produced by the legendary duo of Trevor Horn and Stephen Lipson, “Slave To The Rhythm” became one of Grace Jones’ signature recordings. Built around thunderous percussion, dramatic orchestration, layered vocals, and hypnotic grooves, the track remains a striking example of mid-80s studio innovation.

The project originally began as a song intended for Frankie Goes to Hollywood, but Trevor Horn ultimately realized the composition was perfectly suited for Grace Jones’ commanding vocal style and larger-than-life persona. The result was unlike anything else on radio at the time.

The album itself was conceived almost like a concept piece. Different variations and interpretations of the title track appear throughout the LP, weaving together interviews, spoken-word passages, orchestral elements, and dense production techniques that pushed studio technology of the era to its limits. Horn utilized the Fairlight CMI extensively, helping create the album’s futuristic and cinematic soundscape.

“Slave To The Rhythm” was a major international success. The single reached the Top 10 in several countries including the UK, Germany, Switzerland, and the Netherlands, while also becoming a staple of dance clubs worldwide. In the United States, Grace Jones continued to strengthen her reputation as one of the most fearless and uncompromising artists of the decade.

The unforgettable music video, directed by Jean-Paul Goude, perfectly complemented the song’s surreal atmosphere. Goude, who had previously collaborated extensively with Jones both artistically and personally, created striking visual imagery that further cemented her status as a true icon of style and performance art.

This UK Limited Edition 12″ single contains the full-length “Blooded Version” of the track, running over eight minutes and delivering the complete immersive experience intended for the dance floor. From its dramatic opening narration to its explosive percussion breakdowns, the extended mix remains one of the defining 12-inch releases of the 1980s.

As with many productions from Trevor Horn during this era, the vinyl pressing offers warmth, punch, and dynamic range that many later digital releases struggle to capture fully. The layered percussion, deep bass textures, and atmospheric details especially come alive on a properly mastered 12-inch pressing.

Presented here is a NEW 2026 meticulous audio restoration and transfer, sourced directly from vinyl to preserve the depth, clarity, and power of this groundbreaking recording.

Whether experienced as avant-garde pop, dance music, or pure sonic theater, “Slave To The Rhythm” remains one of the boldest artistic statements of the 1980s. Nearly four decades later, it still sounds futuristic.

SIDE A:
Slave To The Rhythm (Blooded) 8:29

SIDE B:
Junk Yard 5:21
Annihilated Rhythm 3:38

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
Poster: Mint

Chart Performance – Grace Jones: Slave To The Rhythm (1985–1986)	Peak position
Australia (Kent Music Report)	20
Austria (Ö3 Austria Top 40)	7
Belgium (Ultratop 50 Flanders)	4
Canada Adult Contemporary (RPM)	18
European Top 100 Singles (Eurotipsheet)	7
Finland (Suomen virallinen lista)	16
France (SNEP)	50
Italy (Musica e dischi)	6
Luxembourg (Radio Luxembourg)	8
Netherlands (Dutch Top 40)	3
Netherlands (Single Top 100)	4
New Zealand (Recorded Music NZ)	5
Spain (AFYVE)	14
Switzerland (Schweizer Hitparade)	5
UK Singles (OCC)	12
US Dance Club Songs (Billboard)	1
US Hot R&B/Hip-Hop Songs (Billboard)	20
West Germany (GfK)	4

RELEASE INFORMATION:
Label:ZTT – 12IS 206, Island Records – 12IS 206
Format: Vinyl, 12″, 45 RPM, Limited Edition, Poster
Country: UK
Released: 1985
Genre: Electronic, Pop
Style: Synth-pop, Avant-Garde

CREDITS:

Accompanied By – The Strictly Unreasonable Zang Tuum Tumb Big Beat Colossus
Artwork [Front Cover] – Jean Paul Goude*
Producer – Trevor Horn
Producer [Assistant] – S. J. Lipson*
Written-By – Bruce Woolley, Simon Darlow, Stephen Lipson, Trevor Horn

NOTES:
“The members of the Z.T.T. art AND ACT SERVICE and the strictly unreasonable ZANG TUUM TUMB BIG BEAT COLOSSUS, who accompany Miss Grace Jones, are acknowledged on the cover of the biography.”

Includes a poster – sleeve sealed with a green and silver sticker featuring the wording “Strictly Limited Edition Includes Special Poster”.

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.

April 30, 2026

Ta Mara & The Seen – Everybody Dance (US 12″) (1985)

Burning The Ground Exclusive

When the Minneapolis sound was in full swing during the mid-80s, a wave of artists connected to Prince and his extended circle began carving out their own identities. One of the more underrated entries from that era came from Ta Mara and the Seen, a group assembled and guided by Jesse Johnson, best known as the guitarist for The Time.

Released in 1985, “Everybody Dance” served as the lead single from the group’s self-titled debut album. Right out of the gate, the track made its intentions clear. This was not a slow burn. It was built for movement, clubs, and radio, with a slick blend of funk grooves, synth hooks, and sharp, dancefloor-ready rhythm.

Jesse Johnson’s production carries the DNA of the Minneapolis sound. Tight drum programming, punchy bass lines, and layered keyboards all sit front and center. There is a polished edge, but it never feels sterile. Instead, it has that live-wire energy that defined so many records coming out of Minneapolis at the time.

Fronting it all is Ta Mara’s vocal. She brings a confident, playful tone that rides the groove effortlessly. The lyrics are simple and direct. This is a call to the dancefloor, nothing more, nothing less. That simplicity works in the song’s favor. It keeps the focus on the rhythm and the feel.

Commercially, the track performed well. “Everybody Dance” climbed to No. 3 on the Billboard R&B chart and crossed over to reach No. 24 on the Billboard Hot 100. That crossover success shows how accessible the track was, balancing funk credibility with pop appeal.

Even with that chart success, Ta Mara and the Seen often get overlooked when people talk about the Minneapolis scene. Acts like The Time, Sheila E., and Janet Jackson tend to dominate the conversation. But “Everybody Dance” proves that the circle ran deeper, with artists who could deliver just as much groove and personality.

Listening back now, the track still holds up. The production feels of its time, but in the best way. It captures a moment when funk, R&B, and pop were colliding in a very specific, very influential way.

For collectors and fans of 80s dance music, this is one that deserves a revisit. It sits comfortably alongside the bigger names, even if it never quite got the same long-term spotlight. Sometimes the deeper cuts tell the fuller story, and “Everybody Dance” is a perfect example of that.

SIDE A:
Everybody Dance 5:43
Written-By – J. Johnson*, Ta Mara

SIDE B:
Lonely Heart 4:45
Written-By – J. Johnson, T. Bradley

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Ta Mara & The Seen: *Everybody Dance* (1985)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#17	1985
US Billboard Hot 100	#24	1985
US Billboard R&B/Hip-Hop Songs	#3	1985

RELEASE INFORMATION:
Label: A&M Records – SP-12149
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: US
Released: 1985
Genre: Electronic
Style: Electro, Synth-pop

CREDITS:

Engineer [Engineered By] – Jesse*, Kevin Madeja
Producer [Produced By] – J. Johnson*

NOTES:
Recorded and Mixed at Jungle Love Studios, Mpls., Minn.

From the A&M album “Ta Mara & The Seen

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.

April 22, 2026

Hubert Kah – Angel 07 (Alternate Club Mix) (US 12″) (1985)

Burning The Ground Exclusive

When Hubert Kah set their sights on the U.S. market in 1985, they didn’t just translate one of their songs—they reimagined it. “Angel 07” is the English-language counterpart to “Engel 07,” originally released in 1984 from the album Golden Zeiten, but the American version stands on its own as a sleek, soundtrack-ready slice of mid-’80s synthpop.

From Engel to Angel

The original “Engel 07”—written by Hubert Kemmler (music) with lyrics by Mario Killer—had already established itself in Germany, peaking at No. 30 on the national chart. But for international audiences, the band went back into the studio and crafted “Angel 07,” with new English lyrics by Timothy Touchton.

Rather than feeling like a simple translation, “Angel 07” has a slightly different energy—more direct, a bit more polished, and clearly aimed at radio and club play beyond Europe.

The Sound of 1985

Produced by Michael Cretu and Armand Volker, the track is a perfect example of that crisp, high-gloss electronic production that defined the era. There’s a cool precision to the arrangement—driving sequencers, shimmering synth layers, and a steady, pulsing rhythm that gives the song its forward momentum.

Kemmler’s vocal retains that detached, almost enigmatic quality, which only adds to the track’s sense of intrigue. It’s this balance between emotional distance and rhythmic urgency that makes the song so compelling.

Lights, Camera, Synthpop

“Angel 07” found a natural home in the 1985 action-comedy Gotcha!, a film steeped in Cold War paranoia and playful espionage. The song’s cinematic feel—tense, stylish, and slightly mysterious—fits seamlessly into that world.

It’s one of those rare soundtrack pairings where the music and the film actually enhance each other.

The 12″ Experience

If you’re spinning the U.S. 12″, you’re hearing “Angel 07” the way it was meant to be heard. The extended format opens up the track, giving more space to the instrumental passages and allowing the production details to shine.

This is where the craftsmanship of Cretu really comes through—subtle textures, layered synth lines, and a dynamic arrangement that keeps evolving from start to finish. It’s not just a longer version—it’s a deeper one.

Final Spin

While “Engel 07” remains a standout in the band’s German catalog, “Angel 07” is a fascinating alternate vision—one shaped for a different audience but just as effective.

For collectors, especially those who appreciate the intersection of European synthpop and mid-’80s American club culture, the U.S. 12″ is an essential piece. It captures a moment when borders blurred, sounds traveled, and a German synthpop band briefly stepped onto a global stage—with style to spare.

SIDE A:
Angel 07 (Extended Version) 6:10
Angel 07 (Edited Version) 3:54

SIDE B:
Angel 07 (Rock Remix) 4:19
Remix, Engineer – David Leonard

Angel 07 (Alternative Remix) 6:54
Engineer [Remix] – David Storrs
Remix – Victor Flores

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Curb Records – MCA-23551, MCA Records – MCA-23551, Wheatley Records – MCA-23551
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1985
Genre: Electronic
Style: Synth-pop

CREDITS:

Co-producer – Armand Volker
Producer, Arranged By – Michael Cretu
Written-By – H. Kemmler*, T. Touchton*

NOTES:
Special versions of the song from the LP, music from the motion picture soundtrack, “Gotcha!” MCA-5596

Recorded at Data-Alpha Studios, Munich.
Track B1 remixed at Capitol Studios, Los Angeles, CA.
Track B2 remixed at the Record Plant, Los Angeles, CA.

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.

April 10, 2026

Boys Don’t Cry – I Wanna Be A Cowboy (US 12″) (1988)

Burning The Ground Exclusive

Previous post date: April 11, 2017

In 1985, British band Boys Don’t Cry delivered one of the most delightfully offbeat and unforgettable novelty hits of the decade — “I Wanna Be A Cowboy.” Equal parts synth-pop, humor, and Wild West fantasy, the track carved out a unique space on radio and dance floors alike.

Formed in 1983, Boys Don’t Cry was the brainchild of lead vocalist and keyboardist Nick Richards, who had just purchased Maison Rouge Recording Studios in London. An early lineup of the group featured Richards alongside guitarist Richard Taee and drummer Steve Creese, with additional support from session musicians.

From the moment that iconic spoken intro kicks in — “I wanna be a cowboy…” — you know you’re in for something different. The track blends playful storytelling with a catchy synth-driven groove, creating a sound that feels both quintessentially mid-80s and completely its own.

The 12″ Experience

As with many tracks featured here on Burning the Ground, the real magic happens in the 12″ format.

The extended mix takes everything that made the single memorable and stretches it into a full-on dancefloor experience. The groove is given more room to breathe, the instrumental passages are expanded, and the quirky western motifs — including whip cracks and cinematic flourishes — are emphasized to full effect.

This is where the song truly shines. What might come across as a novelty on the radio becomes something hypnotic and immersive in its extended form. DJs in the mid-80s understood this, and the track found a welcome home in clubs where its infectious rhythm and playful energy could really connect with audiences.

Chart Success & Cultural Impact

“I Wanna Be A Cowboy” became a major hit in the United States, reaching the Top 20 on the Billboard Hot 100 and climbing even higher on the Dance Chart. Its accompanying music video — featuring a humorous Wild West storyline — received heavy rotation on MTV, helping cement its place in 80s pop culture.

Though Boys Don’t Cry would not replicate this level of success with later releases, this single remains a beloved time capsule of an era when pop music didn’t take itself too seriously — and was all the better for it.

Why It Still Works

Nearly four decades later, “I Wanna Be A Cowboy” still holds up — not just as a nostalgic novelty, but as a genuinely well-crafted pop track. Its blend of humor, melody, and production polish captures a moment in time when creativity and fun were at the forefront of the music scene.

And in its 12″ incarnation, it’s more than just a curiosity — it’s a reminder of how the extended format could transform even the most unexpected songs into something club-ready and unforgettable.

If you have this one in your collection, you already know — sometimes the most unlikely tracks end up being the most enduring.

Saddle up and enjoy.

SIDE A:
I Wanna Be A Cowboy (12″ Saddle Mix) 6:05

SIDE B:
I Wanna Be A Cowboy (Instrumental Saloon Mix) 6:05

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Boys Don’t Cry: *I Wanna Be A Cowboy* (1985)
Chart	Peak Position	Date
US Billboard Hot 100	#12	1986
US Billboard Hot Dance Music / Maxi-Singles Sales	#12	1986
US Billboard Hot Dance Music / Club Play	#44	1986
Australia (Kent Music Report)	#4	1986
New Zealand (Recorded Music NZ)	#1	1986
Canada (Top Singles RPM)	#19	1986
Belgium (Ultrapop 50 Flanders)	#24	1985
South Africa (Springbok Radio)	#11	1985
UK Singles (OCC)	#77	1985
West Germany (GfK)	#41	1985

RELEASE INFORMATION:
Label: Profile Records – PRO-7084
Format: Vinyl, 12″, Single, 33 ⅓ RPM
Country: US
Released: 1985
Genre: Electronic
Style: Synth-pop

CREDITS:

Engineer – Chris Potter*, Tony Taverner
Photography By – Simon Fowler (2)
Producer – Boys Don’t Cry
Written-By – Chatton*, Seopardie*, Richards*, Ramsden*

NOTES:
Jacket Made In Canada
Message in run-out groove, side A: This Cowboy Ride is BLAZE-“ing” HOT!!!

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.