Tag: 1986

August 20, 2026

Aretha Franklin – Jumpin’ Jack Flash (US 12″) (1986)

Burning The Ground Exclusive

Well, here we are.

Four weeks.

A whole lot of movies.

A whole lot of vinyl.

Extended mixes, dubs, instrumentals, bonus beats, promo pressings, gophers, summer schools, weird science, and more soundtrack trivia than any reasonable person probably needs.

And now the closing credits are about to roll.

For the final entry in Ladies Of The 80’s: Soundtrack Edition, I wanted something big.

Something legendary.

Something with enough energy to send us out properly.

So how about the Queen of Soul taking on the Rolling Stones?

Today’s selection is Aretha Franklin and “Jumpin’ Jack Flash,” recorded for the 1986 Whoopi Goldberg comedy of the same name.

That should do it.

Directed by Penny Marshall, Jumpin’ Jack Flash stars Whoopi Goldberg as Terry Doolittle, a computer operator at a New York bank who unexpectedly begins communicating with a British intelligence agent trapped behind the Iron Curtain.

Remember when computers were mysterious enough that Hollywood could make almost anything happen through one?

Apparently Weird Science was not the only movie taking advantage of that.

Terry becomes caught up in espionage, secret codes, assassins, and government agents while trying to help the mysterious man using the code name “Jumpin’ Jack Flash.”

Naturally, the Rolling Stones song becomes part of the puzzle.

The Stones’ original recording is heard in the film, but when the closing credits arrive, the microphone is handed over to Aretha Franklin.

And Aretha does not exactly tiptoe into the room.

Her version of “Jumpin’ Jack Flash” was produced by none other than Keith Richards.

Yes, Keith Richards produced Aretha Franklin singing a Rolling Stones song.

The 1980s really could make some wonderful things happen.

Keith also plays guitar on the recording, joined by fellow Rolling Stones guitarist Ronnie Wood. The session included Randy Jackson on bass, Chuck Leavell on keyboards, Steve Jordan on drums, and Aretha herself on piano.

That is quite a band.

Steve Lillywhite engineered the session, adding yet another major name to an already impressive list of credits.

And then there is Aretha.

She does not attempt to imitate Mick Jagger.

Why would she?

She takes the song, plants both feet firmly on the ground, and turns it into an Aretha Franklin record.

There is gospel in it.

There is soul.

There is rock.

There is attitude.

And there is that voice.

Keith Richards gives the record plenty of grit, but Aretha takes complete ownership of the song.

The connection to the movie continued with the music video, which was directed by Penny Marshall and features Whoopi Goldberg alongside Aretha, Keith Richards, and Ronnie Wood.

Whoopi even gets pulled into the action with Aretha, making the video feel like a playful extension of the film rather than simply another promotional clip.

With Aretha Franklin, Whoopi Goldberg, and two Rolling Stones all sharing the screen, subtlety was clearly not the goal.

And thank goodness for that.

Interestingly, despite being recorded for Jumpin’ Jack Flash and playing over the film’s closing credits, Aretha’s version was not included on the original soundtrack album.

There is another one for the soundtrack-collector mystery file.

The song instead appeared on Aretha’s 1986 album Aretha and was released as a single by Arista.

It became another solid chart success for her, reaching No. 21 on the Billboard Hot 100, No. 20 on Hot Black Singles, No. 33 on the Dance chart, and No. 36 on the Mainstream Rock chart.

Yes.

Aretha Franklin on the Mainstream Rock chart.

I love that.

The single also charted internationally, including the UK, Germany, and Switzerland.

Then we get to the US 12-inch.

And this is where things become interesting for collectors.

The US promotional 12-inch was issued by Arista under catalog number AD1-9529, but there are two variations of the record circulating with the same catalog number.

Both sleeves list the Album Version among the tracks.

One pressing actually contains it.

Mine does not.

Even though the sleeve says it is there.

My copy contains four mixes of “Jumpin’ Jack Flash,” with the Album Version completely absent from the record itself.

You have to love vinyl collecting.

Sometimes even the record does not know what is on the record.

What my copy does give us is a terrific group of alternate mixes that take Aretha’s rock-and-soul performance into much more rhythmic territory.

Additional production and remix work was handled by Steve Thompson and Michael Barbiero, a team whose names will be very familiar to anyone who spent time reading the fine print on 1980s 12-inch singles.

The Street Mix pushes the rhythm forward and gives the track a tougher, more contemporary mid-’80s feel.

There is also a shorter Street Mix Radio Edit, bringing that same treatment into a more compact form.

Then we get the Master Dub Mix and Beat Dub Mix, where the record begins to come apart in all the ways we 12-inch collectors love.

Drums move forward.

Vocals appear and disappear.

Guitars, percussion, and little pieces of the arrangement suddenly have room to breathe.

Aretha Franklin.

Keith Richards.

And a dub mix.

That alone might explain why I have been doing this series for four weeks.

This record also seems like an appropriate place to finish because it represents so much of what Ladies Of The 80’s: Soundtrack Edition has been about.

A major artist doing something unexpected.

A song connected to a movie in a slightly unusual way.

A 12-inch with mixes that tell another part of the story.

And, in this case, even a pressing variation that can make two supposedly identical copies something quite different.

That is the fun of collecting these records.

You think you know the single.

Then you flip it over.

Read the label.

Compare the sleeve.

Listen closely.

And discover there is still another story hiding in the grooves.

When I began this series, I originally planned to do it for one week.

Then you wanted another.

And another.

So here we are four weeks later.

I want to thank everyone who followed along, downloaded the transfers, shared memories, corrected details, added stories, discovered records they had never heard before, or rediscovered something they had forgotten.

Your enthusiasm turned a one-week idea into something much bigger.

Tomorrow I begin a two-week vacation, and the turntable will be taking a little break along with me.

But this is not goodbye to Ladies Of The 80’s: Soundtrack Edition.

There are still plenty of records left.

And as we established earlier…

This is the ’80s.

Everything gets a sequel.

So someday, the ladies will return.

For now, though, the lights are coming up.

The theater is emptying.

The final record is spinning.

Four weeks.

Dozens of records.

One last blast from the soundtrack.

And who better to take us home than Aretha Franklin?

It’s all right now.

The closing credits are rolling.

And Jumpin’ Jack Flash is a gas, gas, gas.

SIDE A:
Jumpin’ Jack Flash (Street Mix) 6:10

SIDE B:
Jumpin’ Jack Flash (Street Mix-Radio Edit) 4:39
Jumpin’ Jack Flash (Master Dub Mix) 4:35
Jumpin’ Jack Flash (Beat Dub Mix) 4:11

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

“Jumpin’ Jack Flash” Chart Performance (1986)	Peak Position
Germany Singles Chart	42
Netherlands Dutch Top 40	48
New Zealand Singles Chart	43
Sweden Singles Chart	14
Switzerland Singles Chart	19
UK Singles Chart	58
US Billboard Hot 100	21
US Billboard Hot Black Singles	20
US Billboard Dance	33
US Billboard Mainstream Rock	36

RELEASE INFORMATION:
Label: Arista – ADI-9529
Format: Vinyl, 12″, Maxi-Single, 33 ⅓ RPM
Country: US
Released: 1986
Genre: Electronic, Rock
Style: Pop Rock, Synth-pop

CREDITS:

Art Direction – Maude Gilman
Engineer – Steve Lillywhite
Keyboards [Additional] – Ed Terry
Mixed By – Steve Thompson And Michael Barbiero*
Photography By – Ross Marino
Producer – Keith Richards
Written-By – Mick Jagger/Keith Richards*

NOTES:
The sleeve lists “Album Mix” as track A1, but that track is omitted from this pressing.

From Aretha’s album “Aretha”, and the Twentieth Century Fox film, “Jumping Jack Flash”

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.

August 19, 2026

Klymaxx – Man Size Love (US 12″) (1986)

Burning The Ground

Yesterday we went back to Summer School.

Today we are…

Running Scared.

And longtime readers of this series may be thinking, “Haven’t we been here before?”

Yes, we have.

Earlier in Ladies Of The 80’s: Soundtrack Edition, we visited the 1986 film Running Scared for Kim Wilde’s “Say You Really Want Me.”

Apparently one trip to Chicago was not enough.

For the second-to-last entry in the series, we return to the soundtrack for Klymaxx and “Man Size Love.”

Running Scared, directed by Peter Hyams, stars Gregory Hines and Billy Crystal as Chicago police detectives Ray Hughes and Danny Costanzo, two wisecracking partners who decide they have had enough of police work and plan to retire to Key West.

Naturally, there is one more case to finish first.

Because retirement in an ’80s buddy-cop movie is never that easy.

The film was released on June 27, 1986, and also stars Jimmy Smits, Steven Bauer, Darlanne Fluegel, Joe Pantoliano, and Dan Hedaya. It went on to earn more than $38 million at the US box office.

Then there is the soundtrack.

This was no collection of leftovers.

Rod Temperton played a major role in the project, with Temperton, Dick Rudolph, and legendary engineer Bruce Swedien producing the soundtrack album. Temperton also wrote several of its songs.

And look at the lineup.

Klymaxx.

Michael McDonald.

Ready For The World.

New Edition.

Patti LaBelle.

Kim Wilde.

Fee Waybill.

There is a lot happening on this record.

“Man Size Love” opens the soundtrack, and it was written by Rod Temperton, the man whose résumé includes Heatwave’s “Boogie Nights,” George Benson’s “Give Me The Night,” and, of course, Michael Jackson’s “Rock With You” and “Thriller.”

So expectations are already pretty high.

Temperton produced “Man Size Love” with Dick Rudolph and Bruce Swedien, giving the record the kind of polished pop, R&B, and dance production you would expect from that team.

Big synthesizers.

A funky bass line.

Those unmistakable mid-’80s drums.

And Klymaxx coming at the song with plenty of attitude.

Subtle?

Not particularly.

But with a title like “Man Size Love,” subtle probably was not on the agenda.

Klymaxx were already enjoying a major breakthrough by this point. Their previous single, the ballad “I Miss You,” had climbed all the way to No. 5 on the Billboard Hot 100.

“Man Size Love” proved they could follow a big ballad with something completely different.

The single reached No. 15 on the Billboard Hot 100, No. 43 on the R&B chart, and No. 18 on Billboard’s Dance Club chart. It also reached No. 55 in Canada.

Across the Atlantic, the single received another chance in early 1987 and reached No. 86 on the UK Singles Chart.

There was also an official promotional video for the song, giving Klymaxx plenty of visibility during the summer of 1986.

But, of course, we are here for the 12-inch.

And this one does not disappoint.

The US 12-inch takes “Man Size Love” far beyond the soundtrack version, with an Extended Remix and Instrumental on one side before things become considerably more adventurous with the Man Size Mix and Son Of Man Size Mix.

Whoever named these mixes understood the assignment.

The Man Size Mix stretches the track to nearly nine minutes, while the Son Of Man Size Mix gives us another alternate treatment. Louil Silas Jr. was involved with the extended remix work, with Taavi Mote engineering the remix.

Once again, the 12-inch becomes more than simply a longer version of the hit.

The rhythm gets pulled apart.

Vocals move in and out.

Percussion gets extra room.

Little pieces of Rod Temperton’s arrangement that pass quickly in the regular version suddenly get their own moment.

This is exactly why I love these records.

The soundtrack gives you the song.

The 12-inch lets you climb inside it.

“Man Size Love” was later included on Klymaxx’s self-titled 1986 album, but its original identity remains strongly connected to Running Scared.

And it was not the only hit the movie produced.

Michael McDonald’s “Sweet Freedom” reached No. 7 on the Billboard Hot 100, while New Edition’s “Once In A Lifetime Groove” became a Top 10 R&B and Dance hit.

For a buddy-cop comedy, Running Scared certainly knew how to fill a dance floor.

So here we are.

Four weeks.

Dozens of movies, singers, remixes, dubs, bonus beats, gophers, summer schools, and more 12-inch vinyl than any sensible person should probably own.

And now only one entry remains.

But before we roll the final reel tomorrow…

Klymaxx has one request.

No small love.

No medium love.

Today…

we’re going Man Size.

SIDE A:
Man Size Love (Extended Remix) 4:43
Engineer [Remix] – Bruce Swedien

Man Size Love (Instrumental) 4:39
Engineer [Remix] – Bruce Swedien

SIDE B:
Man Size Love (Man Size Mix) 8:41
Engineer [Remix] – Taavi Mote
Remix – Louil Silas Jr.

Man Size Love (Son Of Man Size Mix) 6:47
Engineer [Remix] – Taavi Mote
Remix – Louil Silas Jr.

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

“Man Size Love” Chart Performance 1986	Peak Position
Canada RPM Top Singles	55
UK Singles Chart	86
US Billboard Hot 100	15
US Billboard Hot Black Singles	43
US Billboard Hot Dance/Disco	18

RELEASE INFORMATION:
Label: MCA Records – MCA-23642
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: Jul 1986
Genre: Electronic, Funk / Soul
Style: Synth-pop, Electro

CREDITS:

Arranged By [Horns] – Larry Williams
Producer, Recorded By, Mixed By, Remix – Bruce Swedien
Producer, Remix – Dick Rudolph*
Producer, Written-By, Arranged By, Arranged By [Horns], Remix – Rod Temperton

NOTES:
Theme from the Motion Picture, “Running Scared”

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.

August 11, 2026

Luba – The Best Is Yet To Come (Extended Dance Mix) (US 12″) (1986)

Burning The Ground Exclusive

Yesterday we were chasing a gopher around the golf course.

Today, we are moving on to 9½ Weeks.

Nobody can accuse this series of lacking variety.

For our next Ladies Of The 80s: Soundtrack Edition selection, we turn to Canadian singer and songwriter Luba and “The Best Is Yet To Come,” from the 1986 film 9½ Weeks.

Directed by Adrian Lyne and starring Kim Basinger and Mickey Rourke, 9½ Weeks certainly was not Caddyshack II. The film became one of the most talked-about movies of the decade, following the intense relationship between New York art gallery employee Elizabeth and mysterious Wall Street broker John.

And like so many memorable films from the 1980s, it came with a terrific soundtrack.

John Taylor opened the album with “I Do What I Do… (Theme For 9½ Weeks),” followed by Luba’s “The Best Is Yet To Come.” The soundtrack also featured Bryan Ferry’s “Slave To Love,” Dalbello’s “Black On Black,” Corey Hart’s “Eurasian Eyes,” Joe Cocker’s unforgettable “You Can Leave Your Hat On,” Devo, Eurythmics, and Stewart Copeland.

Luba actually appears twice.

The album closes with “Let It Go,” a song that originally appeared on her 1984 album Secrets And Sins. “The Best Is Yet To Come,” however, was not taken from one of Luba’s regular studio albums. It was recorded for the soundtrack and later appeared on her 1987 compilation Over 60 Minutes With Luba.

That makes this one especially interesting for soundtrack collectors.

“The Best Is Yet To Come” was written by Terry Britten and Graham Lyle and produced by Narada Michael Walden.

That is already quite a pedigree.

Walden surrounds Luba’s powerful voice with the kind of glossy, dramatic production that seemed made for the middle of the 1980s. Big drums, keyboards, atmosphere, and a vocal that keeps building as the song moves forward.

And then François Kevorkian gets hold of it.

Now we are really talking.

The US 12-inch takes the track onto the dance floor with an Extended Dance Mix and Dub Version remixed by François Kevorkian, one of the most important names in club music. The record also includes “Let It Go,” giving us both of Luba’s contributions to the 9½ Weeks soundtrack on one 12-inch.

The Extended Dance Mix gives the production room to breathe. Kevorkian stretches out the rhythm, lets the percussion and keyboards take a larger role, and builds an arrangement that feels much more spacious than the soundtrack version.

Then comes the Dub.

And you know I love a good dub.

This is where the record gets stripped down and opened up, allowing the production itself to become the star. Vocals move in and out, instrumental pieces suddenly jump forward, and all those little details hiding underneath the original mix finally get their turn.

It is exactly the kind of remixing that made the 12-inch format so much fun.

There was also an official music video made for “The Best Is Yet To Come,” another reminder that Capitol was giving the song a genuine push beyond its soundtrack appearance.

Despite that promotion and an international single release, “The Best Is Yet To Come” does not appear to have reached any of the major national singles charts.

That is a little surprising.

Here we have a major motion-picture soundtrack, production by Narada Michael Walden, remixes by François Kevorkian, an official music video, and a singer who was already a major star in Canada.

And somehow, the single slipped through the chart cracks.

Luba became one of Canada’s most successful female vocalists of the decade and won the Juno Award for Female Vocalist of the Year three years in a row.

Yet in the United States, she remained something of a discovery.

That makes “The Best Is Yet To Come” perfect for this series.

Here we have a great female vocalist, a major motion-picture soundtrack, production by Narada Michael Walden, remixes by François Kevorkian, and a US 12-inch that brings both of Luba’s soundtrack contributions together.

And still, the record is easy to overlook.

Not anymore.

From golf courses and gophers to Mickey Rourke and Kim Basinger, Week Four continues to take us to some interesting places.

But that is the fun of soundtrack collecting.

You never know where the next record is going to take you.

And judging by this one…

The Best Is Yet To Come.

SIDE A:
The Best Is Yet To Come (Extended Dance Mix) 6:37

SIDE B:
The Best Is Yet To Come (Dub Vs.) 5:53
Let It Go 3:41

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Capitol Records – V-15231
Format: Vinyl, 12″, 33 ⅓ RPM, SRC Pressing
Country: US
Released: 1986
Genre: Electronic, Pop
Style: Synth-pop

CREDITS:

Producer – Daniel Lanois (tracks: B2), Narada Michael Walden (tracks: A, B1)
Remix – Francois Kevorkian* (tracks: A, B1)
Written-By – G. Lyle* (tracks: A, B1), Luba (tracks: B2), T. Britten* (tracks: A, B1)

NOTES:
This is a Specialty Records Corporation (SRC) pressing as indicated by E A S T embossed on side A label.

(from the LP “9 1/2 Weeks” Original Motion Picture Soundtrack SV-12470)

Housed inside a company die-cut sleeve

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 22, 2026

Kim Wilde – Say You Really Want Me (US 12″) (1986)

Burning The Ground Exclusive

For today’s entry in Ladies Of The 80s: Soundtrack Edition, we are heading back to 1986 for a record that brought Kim Wilde together with some of the biggest names working behind the scenes in American pop and R&B.

“Say You Really Want Me” was recorded for the soundtrack of Running Scared, the action-comedy starring Billy Crystal and Gregory Hines as two Chicago police detectives hoping to retire before one last case pulls them back into danger. Directed by Peter Hyams, the movie was released in June 1986 and became a moderate box-office success.

The movie’s soundtrack was a major production in its own right. The nine-track album included Klymaxx’s “Man Size Love,” Michael McDonald’s “Sweet Freedom,” New Edition’s “Once In A Lifetime Groove,” Patti LaBelle’s “I Know What I Want,” and Kim Wilde’s “Say You Really Want Me.” It was released on MCA Records and runs for approximately 44 minutes.

“Say You Really Want Me” was written by Danny Sembello, Dick Rudolph, and Donnell Spencer Jr. Production was handled by Rod Temperton, Dick Rudolph, and legendary engineer Bruce Swedien, with Danny Sembello also playing keyboards.

That is quite a team.

Rod Temperton had written some of the most successful pop and R&B records of the period, including Michael Jackson’s “Rock With You” and “Thriller,” George Benson’s “Give Me The Night,” and several hits for Heatwave. Bruce Swedien was known for his recording and mixing work with Quincy Jones and Michael Jackson. Their involvement gave the song a polished American dance sound that was noticeably different from the records Kim had been making with her brother Ricki Wilde.

Kim later recalled receiving a telephone call from Temperton, who needed a female singer for a song being recorded for the movie. Her American record company suggested her, and she flew to Los Angeles to record it. She considered being selected a major honor, especially since the song could easily have gone to a more established American vocalist.

The result is one of the most unusual singles in Kim Wilde’s catalog.

“Say You Really Want Me” trades much of the cool new wave edge of her earlier records for a warmer mixture of dance-pop, funk, freestyle, and R&B. The rhythm is busy and glossy, the keyboards bounce between the beats, and Kim gives the song a playful vocal that becomes more forceful as the arrangement builds.

The lyric is direct. Kim is tired of waiting for someone to admit how he feels. There is no room for mixed signals or romantic games. Either say you really want her or get out of the way.

Her performance balances confidence with just enough frustration to keep the song from becoming too lightweight. Kim was never known as a big soul singer, but the production pushes her into a different vocal setting, and she sounds as though she is enjoying the challenge.

Ironically, the song has only a small presence in Running Scared. Kim later said that it can be heard briefly from a radio in the film. She was also not especially fond of the movie after finally seeing it, although the soundtrack placement was intended to raise her profile in the United States.

The soundtrack connection gave the song its beginning, but it did not remain confined to the film.

“Say You Really Want Me” was first released as a single in North America during 1986. An edited version was also included on Kim’s fifth studio album, Another Step. After the enormous international success of her cover of “You Keep Me Hangin’ On,” the song was given another chance in 1987, including a UK release with newly created remixes.

The 1987 release reached number 29 in the United Kingdom and remained on the chart for five weeks. It also reached number 44 in the United States, number 48 in Canada, and number 18 in Ireland.

Although those positions were respectable, the single never became one of Kim’s most widely remembered hits. It arrived between two very different stages of her career. The early new wave sound of “Kids In America” was behind her, while the polished international pop of the Close album was still ahead.

“Say You Really Want Me” captures her standing somewhere in the middle.

The record also became something of a puzzle for collectors. At least twelve separate versions have appeared, including different soundtrack and album edits, several radio versions, an instrumental, the David Todd Remix, a nearly ten-minute Video Remix, and new 1987 UK mixes by Ricki Wilde. Some versions differ only slightly, making running times and pressing information very important.

The music video gave the song another life in 1987. Directed by Greg Masuak, it presented a more sensual and adult Kim Wilde than audiences had seen in her earlier clips. Both regular and extended versions of the video were produced, with the longer cut using the nearly ten-minute remix.

Looking back, “Say You Really Want Me” feels like a fascinating experiment. It placed a British pop singer inside a slick Los Angeles production created by people closely connected to some of the biggest American records of the decade.

It should have been a much larger hit.

Instead, it became one of those soundtrack singles that dedicated fans remember, collectors chase across several pressings, and casual listeners are often surprised to rediscover.

Running Scared may have introduced the song, but Kim Wilde gave it a life well beyond the few seconds heard in the movie.

So, do not keep it to yourself.

Say you really want Kim.

SIDE A:
Say You Really Want Me (Extended Mix) 9:47
Remix – Louil Silas, Jr.*

SIDE B:
Say You Really Want Me 5:44
Remix – David Todd

Say You Really Want Me (Radio Edit) 5:08
Remix – Louil Silas, Jr.*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Kim Wilde: Say You Really Want Me (1986-87)	Peak Position
Canada Top Singles (RPM)	48
Ireland (IRMA)	18
UK Singles Chart	29
US Billboard Hot 100	44
US Billboard Hot Dance/Disco Club Play	32
US Cash Box Top 100 Singles	56

RELEASE INFORMATION:
Label: MCA Records – MCA-23678
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1986
Genre: Electronic
Style: Synth-pop

CREDITS:

Arranged By – Danny Sembello
Engineer [Remix] – Taavi Mõte*
Producer – Bruce Swedien, Dick Rudolph*, Rod Temperton
Recorded By, Mixed By – Bruce Swedien
Written-By – Danny Sembello, Donnell Spencer, Jr.*, Dick Rudolph*

NOTES:
From the Motion Picture Soundtrack, “Running Scared”, MCA-6169.
Remixed at Larrabee Sound, Hollywood, 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

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.