Tag: 1985

August 12, 2026

Cheyne – Private Joy (US 12″) (1985)

Burning The Ground Exclusive

Yesterday Luba told us that “The Best Is Yet To Come.”

Today we are getting a little more private.

Private Joy, that is.

For our next Ladies Of The 80s: Soundtrack Edition selection, we head back to 1985 for Cheyne’s “Private Joy,” from the soundtrack to one of the decade’s most wonderfully ridiculous teen comedies, Weird Science.

Written and directed by John Hughes, Weird Science stars Anthony Michael Hall and Ilan Mitchell-Smith as Gary and Wyatt, two teenage boys who use a computer, a doll, and a little lightning to create their idea of the perfect woman.

Naturally, they get Kelly LeBrock.

Because apparently computers worked much better in 1985.

The movie also features Bill Paxton as Wyatt’s nightmare older brother Chet, along with Robert Downey Jr., Suzanne Snyder, Judie Aronson, and Vernon Wells. Weird Science opened in the United States on August 2, 1985.

And, of course, there was a soundtrack.

Oingo Boingo supplied the unforgettable title track, while the album also included Kim Wilde’s “Turn It On,” Max Carl’s “The Circle,” Wall Of Voodoo’s “Deep In The Jungle,” Killing Joke’s “Eighties,” The Lords Of The New Church, Taxxi, and others.

Then there was Cheyne.

Her contribution, “Private Joy,” has another very important name attached to it.

Prince.

“Private Joy” was written and originally recorded by Prince for his 1981 album Controversy. It was one of those wonderfully playful Prince tracks filled with synthesizers, rhythm machines, attitude, and just enough weirdness to make it unmistakably his.

Cheyne was not the first woman to cover it. La Toya Jackson recorded “Private Joy” for her 1984 album Heart Don’t Lie.

But Cheyne’s version takes the song somewhere else.

Produced by Greg Phillinganes and Jimmy Iovine, with vocal production by Louil Silas Jr., the Weird Science recording gives “Private Joy” a harder, more electronic 1985 makeover. AFI’s official film credits confirm Phillinganes and Iovine as producers and Silas as vocal producer.

The result fits Weird Science beautifully.

It is bright.

Synthetic.

Playful.

A little strange.

In other words, perfect for a movie about two teenagers creating Kelly LeBrock with a computer.

Cheyne herself is another interesting part of the story.

Earlier in 1985, she had topped Billboard’s Dance Club chart with “Call Me Mr. Telephone (Answering Service).”

And here is a great piece of 1980s pop trivia.

Before Madonna recorded “Into The Groove,” the song was originally intended for Cheyne, who was working with producer Mark Kamins at the time. Madonna ultimately decided to keep the song for herself.

Considering what happened to “Into The Groove,” that has to qualify as one of pop music’s great “what if?” moments.

Later that same year, MCA released “Private Joy” as a single from the Weird Science soundtrack.

Billboard featured the record as one of its Dance Picks in October 1985, listing the 5:28 version and crediting Greg Phillinganes and Jimmy Iovine as producers.

Despite the push, “Private Joy” does not appear to have reached Billboard’s major national singles charts.

Another one that slipped through the cracks.

Fortunately for us, MCA gave the song a US 12-inch release, and this is where things get especially interesting.

The 12-inch gives us the Extended Version, an Instrumental, and something wonderfully labeled “Bonus Beats Plus Bass.”

Now that is a title designed to get my attention.

Louil Silas Jr. handled the remix, taking the already electronic production and giving it considerably more room to move. The Extended Version runs 5:28, while the Instrumental stretches even longer at 5:46. “Bonus Beats Plus Bass” clocks in at 4:30.

The Instrumental is particularly fun because without Cheyne’s vocal, you can really dig into the machinery underneath the record.

And then there are those Bonus Beats.

Plus bass.

What else do we need?

“Private Joy” is exactly the kind of record I hoped to uncover when this series began.

A Prince composition.

A singer who had already topped the dance chart.

Production by Greg Phillinganes and Jimmy Iovine.

A remix by Louil Silas Jr.

A cult-classic John Hughes movie.

And a US 12-inch filled with versions that rarely get mentioned today.

Yet somehow, the record has become little more than a footnote.

Not here.

Gary and Wyatt needed a computer, a government mainframe, a Barbie doll, and a lightning storm to create their fantasy.

All we need is a turntable.

Welcome to my Private Joy.

SIDE A:
Private Joy (Extended Version) 5:28

SIDE B:
Private Joy (Instrumental) 5:46
Private Joy (Bonus Beats Plus Bass) 4:30

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: MCA Records – MCA-23583
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1985
Genre: Electronic
Style: Electro, Synth-pop

CREDITS:

Engineer – Taavi Mote
Engineer [Assistant] – Fred Howard
Producer – Greg Phillinganes, Jimmy Iovine
Producer [Vocals], Remix – Louil Silas, Jr.*
Written-By – Prince

NOTES:
Original version appears on the MCA LP MCA-6146, Music From The Motion Picture Soundtrack, “Weird Science”.

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.

August 6, 2026

Cyndi Lauper – The Goonies ‘R’ Good Enough (Japan 12″) (1985)

Burning The Ground Exclusive

After beginning week four with the Pointer Sisters and Beverly Hills Cop, Ladies Of The 80s: Soundtrack Edition continues with another movie song that became inseparable from its film.

Today’s selection is Cyndi Lauper’s “The Goonies ‘R’ Good Enough” from the 1985 adventure classic The Goonies.

This is also a completely new 2026 meticulous audio transfer and restoration.

I previously posted this record in 2020. For this edition, I returned to the vinyl and recorded it again from the beginning using my current equipment and restoration process.

This is not a remaster of the files shared in 2020.

It is a new transfer from the Japanese 12-inch pressing.

The Goonies was directed by Richard Donner from a story by Steven Spielberg. The film follows a group of children who discover an old treasure map and set out to find the lost fortune of the pirate One-Eyed Willie. Along the way, they encounter underground tunnels, elaborate traps, a pirate ship, and the criminal Fratelli family.

It is one of those movies that could only have come from the 1980s.

The children are allowed to disappear for hours without mobile phones, tracking devices, or adults hovering over them.

They simply find a treasure map and go looking for a pirate ship.

Cyndi Lauper was asked by Steven Spielberg to serve as musical director for the soundtrack. She helped assemble a varied collection that included the Bangles, REO Speedwagon, Philip Bailey, Teena Marie, Luther Vandross, and the Goon Squad. The Bangles were still early in their career when Cyndi brought them into the project.

“The Goonies ‘R’ Good Enough” was written by Cyndi Lauper, Stephen Broughton Lunt, and Arthur Stead. It was produced by Cyndi and Lennie Petze. The song was reportedly written under the simpler title “Good Enough” before the movie’s name was added for promotional purposes.

The finished record sounds unmistakably like Cyndi at the height of her early success.

The synthesizers are bright, the drums are enormous, and the melody rises with the same colorful energy that made She’s So Unusual such a sensation. Cyndi’s voice moves from playful and vulnerable to powerful and determined, often within the same line.

The lyrics are not really about pirates, treasure maps, or underground caves. Instead, the song deals with expectations, self-doubt, and the feeling that something must be real before it can be good enough.

That gives it a life outside the film.

At the same time, the chorus fits the Goonies perfectly. These are young outsiders constantly being underestimated, yet they refuse to give up on one another.

Goonies are good enough.

The single became another major hit for Cyndi, reaching number ten on the Billboard Hot 100. It was her fifth solo Top 10 single in the United States and also reached the Top 10 in Australia and Canada. Surprisingly, it did not enter the UK Singles Chart.

The music video may be even more excessive than the movie.

Directed by Richard Donner, it was presented as a two-part mini-adventure lasting roughly thirteen minutes. Cyndi attempts to save her family’s business while crossing paths with pirates, professional wrestlers, and members of the Goonies cast.

The wrestling lineup includes Captain Lou Albano, Roddy Piper, Wendi Richter, the Fabulous Moolah, the Iron Sheik, Nikolai Volkoff, Freddie Blassie, and André the Giant. Steven Spielberg appears, while the Bangles turn up as a group of female pirates.

Cyndi’s mother even joins the adventure.

It is part music video, part wrestling event, part movie trailer, and completely over the top.

In other words, it is perfect.

Cyndi’s relationship with the song was complicated. She kept it out of her concerts and off her major compilations for many years. Fan demand eventually persuaded her to bring it back, and it finally appeared on The Essential Cyndi Lauper in 2003.

Sometimes an artist’s audience hears something in a song that the artist cannot immediately hear.

For many fans, “The Goonies ‘R’ Good Enough” was never simply a soundtrack assignment. It became tied to childhood, friendship, adventure, and the belief that being different could be a strength.

For this post, I am featuring the Japanese 12-inch pressing, complete with its colorful cover artwork and obi.

Side one contains the “Dance Re-Mix,” running approximately 5:26.

Side two contains the “Dub Version,” running approximately 5:36.

Both versions were remixed by Arthur Baker, one of the most important producers and remixers of the decade.

The Dance Re-Mix expands the rhythm while keeping the song’s pop structure intact. The percussion hits harder, the instrumental passages are extended, and Cyndi’s vocal is given more space to build toward the chorus.

Arthur Baker does not remove the song’s personality.

He makes everything larger.

The Dub Version travels further into the production. Vocals appear in fragments while the synthesizers, drums, effects, and backing voices take control. Without the full lead vocal guiding the arrangement, it becomes easier to hear how much detail is packed beneath the surface.

The two mixes make a perfect pair.

The Dance Re-Mix gives us the adventure.

The Dub Version lets us explore the hidden tunnels underneath it.

For this new 2026 transfer, I wanted to preserve the excitement of the Japanese vinyl while bringing out the weight of the drums, the layers of synthesizers, and the full character of Cyndi’s vocal.

This record is loud, colorful, slightly strange, and overflowing with personality.

Just like Cyndi.

Just like The Goonies.

I may have first posted it in 2020, but some treasures are worth digging up again.

After all, Goonies never say die.

SIDE A:
The Goonies ‘R’ Good Enough (Dance Re-Mix) 5:26
Edited By –The Latin Rascals

SIDE B:
The Goonies ‘R’ Good Enough (Dub Version) 5:36
Edited By –The Latin Rascals

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
OBI: Near Mint

Chart (1985)	Peak Position
Australia (Kent Music Report)	8
Canada Top Singles (RPM)	9
West Germany (Media Control)	49
New Zealand Singles Chart	22
US Billboard Hot 100	10
US Cash Box Top 100	14

RELEASE INFORMATION:
Label: Portrait ‎– 12·3P-647
Format: Vinyl, 12″, 45 RPM
Country: Japan
Released: Aug 1, 1985
Genre: Electronic, Rock, Pop
Style: Pop Rock, Synth-pop

CREDITS:

Producer – Cyndi Lauper, Lennie Petze
Remix – Arthur Baker
Written-By – A. Stead*, C. Lauper*, S.B. Lunt*

NOTES:
Taken from the Original Motion Picture Soundtrack LP: “The Goonies”

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

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.

July 28, 2026

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:

Arranged By – Philippe Saisse
Engineer – Malcolm Pollack
Engineer [Assistant] – John Goldberger*
Lacquer Cut By – TJ*
Producer, Edited By, Arranged By [Effects] – Russ Titelman
Rap – Nile Rodgers
Written-By – Charlie Midnight, Dan Hartman

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

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.

July 23, 2026

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

Burning The Ground Exclusive

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:

Design [Sleeve Design] – Tomcat (7)
Lacquer Cut By – Timtom* (tracks: A)
Photography By [Cover] – Armando Gallo

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

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.