Tag: 1985

July 21, 2026

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.

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July 1, 2026

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:

Photography By – Antoine Giaccomoni*
Producer – Ivo*, Howard Hughes*

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

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.

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

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.