Tag: 1986

April 23, 2026

Ten Ten – When It Rains (Europe 12″) (1986)

Burning The Ground Exclusive

For today’s Closet 80s feature, we shine a light on a band that seemed poised to break through—but ultimately remained one of the decade’s more intriguing “what ifs.” Enter Ten Ten, a Richmond, Virginia-based New Wave outfit whose debut single “When It Rains” arrived in 1986 as a fully-formed statement of mood, melody, and transatlantic ambition.

Formed in 1984, Ten Ten—Mark Lewis (guitar/vocals), Peter Bell (bass), Don Ruzek (keyboards/guitar), and Lee Johnson (drums)—quickly found themselves in an unusual position for an American band. Rather than being compared to their U.S. contemporaries, the American press consistently drew parallels between Ten Ten and British acts. That association would ultimately shape the band’s trajectory.

Leaning into those comparisons, Ten Ten signed with the UK-based Chrysalis Records and focused much of their energy overseas. It was a strategic move that made perfect sense—their sound, driven by shimmering guitars and introspective lyricism, aligned naturally with the UK’s alternative and New Wave scenes of the time.

“When It Rains”, their debut single, encapsulates that aesthetic beautifully. There’s a cool, atmospheric restraint to the track—jangly guitars ripple across a steady rhythm while subtle keyboard textures add depth and mood. Mark Lewis delivers the vocal with a detached, almost wistful tone that enhances the song’s reflective quality. It’s not flashy—it’s immersive.

The single also benefited from a music video that received airplay on MTV in the spring of 1986, giving the band a valuable platform at a time when visual exposure could make or break a new act. While it didn’t catapult them into superstardom, it certainly helped cement their place within the alternative underground of the era.

Ten Ten’s momentum carried them onto some impressive tours. In autumn 1985, they hit the road with The Waterboys, followed by tours in 1986 supporting Simply Red and later Pete Shelley. These associations further reinforced their connection to the UK scene and exposed them to audiences that were already primed for their sound.

Despite these opportunities, Ten Ten never quite achieved the commercial breakthrough their music suggested was possible. Over the course of their career, they released just two singles and two albums, leaving behind a compact but compelling catalog. By 1991, after several years of playing club shows around their hometown of Richmond, the band quietly disbanded.

Listening back to “When It Rains” today, it’s easy to hear why Ten Ten stood out. The song captures a very specific mid-80s atmosphere—thoughtful, slightly melancholic, and deeply melodic—without sounding dated or overproduced. It’s the kind of track that rewards repeat listens, revealing more of its understated charm each time.

For collectors and fans of the era, Ten Ten represents one of those bands that slipped through the cracks—not for lack of talent, but perhaps due to timing, geography, or the unpredictable nature of the music industry.

If “When It Rains” is new to you, give it a spin and let it sink in. It’s a perfect example of why digging into the Closet 80s can be so rewarding—because sometimes the most memorable songs are the ones that never quite made it into the spotlight.

SIDE A:
When It Rains (Extended Version) 5:14

SIDE B:
Walk On (Live Version) 4:09
When It Rains (Edit) 4:17

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Chrysalis – 608 429
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: Europe
Released: 1986
Genre: Electronic
Style: Synth-pop

CREDITS:

Photography By [Cover] – Eric Watson (3)
Photography By [Coverback] – Neil Matthews
Producer – John Williams (3) (tracks: B1), Stephen Street (tracks: A, B2)

NOTES:
Ten Ten are: Mark Lewis (guitar/vocals), Peter Bell (bass), Don Ruzek (keyboards/guitar), and Lee Johnson (drums)

Printed In Germany

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 17, 2026

Two Girls – Another Boy In Town (Canada 12″) (1986)

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When it comes to obscure Hi-NRG gems of the mid-80s, few records capture that elusive blend of European flair and North American dancefloor ambition quite like “Another Boy In Town” by Two Girls. Released in 1986 on Popular Records in both the U.S. and Canada, this single stands as a one-off project under this name—but like many Italian productions of the era, the story behind it runs much deeper.

Two Girls was less a traditional group and more a studio creation, part of the rotating network of Italo-disco talent that thrived during the decade. The artists behind the project were also known under several aliases, including Caren Monique, Chip Chip, Clip Club, and Cristina Montanari—a common practice in the European dance scene where producers and vocalists moved fluidly between projects, leaving behind a trail of interconnected releases.

Musically, “Another Boy In Town” is pure mid-80s Hi-NRG bliss. Pulsating synth basslines, tight electronic drums, and a catchy, emotionally charged vocal drive the track forward with relentless energy. It’s polished, dramatic, and tailor-made for the club—exactly the kind of record DJs relied on to keep the floor moving.

What makes this release especially interesting—and highly collectible—is its remix history. Multiple versions of “Another Boy In Town” were issued internationally, each with subtle (and sometimes not-so-subtle) differences. The North American pressings in particular offer something unique.

My copy is the Canadian 12″ on Popular Records, and to the best of my knowledge, the remix featured on Side A is exclusive to this release. That kind of regional variation was fairly common at the time, with labels commissioning or selecting alternate mixes to better suit local club tastes. For collectors and DJs alike, these differences are part of the thrill—tracking down the version that hits just a little harder or takes the track in a slightly different direction.

It also speaks to how strong the Hi-NRG scene was in North America during this period. By 1985, there was a real appetite for European imports, and labels ensured these records were optimized for the booming club culture on both sides of the border.

Despite never becoming a major crossover hit, “Another Boy In Town” has all the ingredients of a classic—memorable hooks, driving rhythm, and that unmistakable Italo-meets-Hi-NRG production style. It remains a cult favorite, especially among collectors who appreciate the nuances between different pressings.

And while Two Girls may have only released this single under this name, their broader body of work—spread across multiple aliases—helped shape the sound of an era.

For me, this Canadian pressing is a standout—not just for the track itself, but for that exclusive Side A remix that makes it feel like a truly special find.

💿 Sometimes it’s the regional variations that make collecting so rewarding—one record, many stories, and a dancefloor legacy that still resonates today.

SIDE A:
Another Boy In Town (Special Underwater Remix) 6:50
Remix – Casey Jones

SIDE B:
Another Boy In Town 5:24

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Popular Records – KXD 001
Format: Vinyl, 12″, 45 RPM
Country: Canada
Released: 1986
Genre: Electronic
Style: Synth-pop, Hi-NRG, Italo Disco

CREDITS:

Drum Programming – Matt Noble
Producer – Anthony Monn
Written-By – Monn*, Dempsey*

NOTES:
Mixed at Northcott Studios, NYC
Remixed for Volume Productions
Produced for Transparent Records

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 14, 2026

Sheila E. – Hold Me (US 12″) (1986)

Burning The Ground Exclusive

By 1986, Sheila E. had already carved out a unique space in the pop and R&B landscape. Known for her explosive percussion work and high-energy hits like “The Glamorous Life” and “A Love Bizarre,” she shifted gears with something far more intimate on Hold Me — the lead single from her third self-titled album, Sheila E.

Interestingly, the song had a somewhat complicated early release history. It first appeared in Canada under the title Touch Me, and in Japan as the B-side to Holly Rock. The title was later changed to Hold Me for wider release, reportedly to avoid confusion with Samantha Fox’s international hit Touch Me. It’s one of those small but fascinating details that collectors and longtime fans will appreciate — a reminder of how marketing decisions could shape a song’s identity across different territories.

Released at a time when glossy production and dancefloor dominance were the norm, Hold Me stands out as a smooth, heartfelt R&B ballad. It’s a vulnerable moment in her catalog — trading in the bold, rhythmic punch she was known for in favor of a softer, more emotional delivery. The track leans into late-night quiet storm territory, with lush instrumentation and a restrained vocal that showcases a different side of Sheila’s artistry.

Despite its understated approach, Hold Me found solid success on the charts. The single climbed to No. 3 on the U.S. Hot Black Singles chart, proving her appeal within the R&B audience, while also reaching No. 68 on the Billboard Hot 100. It may not have been a massive crossover hit, but it resonated strongly where it counted.

Flipping the record over reveals The World Is High, a non-album B-side that offers a striking contrast. Where Hold Me is reflective and tender, The World Is High is an upbeat dance track, much closer in spirit to Sheila’s earlier, more energetic work. It’s the kind of pairing that made 12″ and 7″ singles so exciting — giving listeners both sides of an artist’s range in one release.

Collector’s Note: The A-side is labeled as an “Extended Version,” but this is actually the standard album version. For the 7″ single, the track was edited down, making the so-called “Extended Version” designation a bit misleading — and a detail that vinyl collectors will definitely want to take note of.

As far as I can tell, no official music video was produced for “Hold Me,” which may have contributed to its lower profile on the pop charts, despite its strong showing on the R&B side.

For collectors, it’s yet another example of why physical formats remain so essential. Between alternate titles, regional variations, and exclusive B-sides, releases like this tell a deeper story than the charts alone ever could.

As always, it’s these kinds of releases — the overlooked singles, the unique pressings, and the hidden gems on the flip side — that make digging through vinyl so rewarding.

SIDE A:
Hold Me (Extended Version) 5:04
Written-By – Constance Guzman, Eddie Minnifield*, Sheila E.

SIDE B:
The World Is High 3:24
Written-By – Levi Seacer*, Sheila E.

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Sheila E: *Hold Me* (1986)
Chart	Peak Position	Date
US Billboard Hot Black Singles	#3	1986
US Billboard Hot 100	#68	1986
US Billboard Hot Dance Music / Maxi-Singles Sales	#22	1986

RELEASE INFORMATION:
Label: Warner Bros. Records – 92 05790, Paisley Park – 92 05790
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 1986
Genre: Electronic, Hip Hop
Style: RnB/Swing, Downtempo, Synth-pop

CREDITS:

Co-producer – David Z.
Producer, Arranged By – Sheila E.

NOTES:
Side A: from the LP Sheila E.

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.

March 31, 2026

Models – Cold Fever (US 12″) (1986)

Burning The Ground Exclusive

By 1985, Models had fully refined their sleek, synth-driven sound, culminating in their fourth studio album Out of Mind, Out of Sight. While the title track and “Barbados” found broader international attention, it was the album’s fourth single, “Cold Fever,” that delivered one of the band’s most atmospheric and underrated moments.

Built on shimmering keyboards, icy textures, and a driving mid-tempo groove, “Cold Fever” perfectly captures the polished sophistication that defined mid-’80s new wave. The production—handled by Mark Opitz—leans into a cinematic quality, layering synth lines over a tight rhythm section while Sean Kelly’s detached yet emotive vocal adds a sense of cool distance.

Unlike the brighter, more radio-friendly singles from the album, “Cold Fever” feels moodier and more introspective, almost nocturnal in tone. It’s a track that rewards repeat listens, revealing subtle production details and textures that often go unnoticed on first spin.

The single also found modest international success, reaching #29 on the Billboard Mainstream Rock Tracks chart in the United States, #22 in New Zealand, and #36 in Australia—further evidence of the band’s growing global reach during this period.

Issued in the United States in 1986 as a 12″ single, this pressing leans into the track’s atmospheric qualities, extending the arrangement for club play. The added space allows the synth textures and rhythmic pulse to breathe, making it a perfect fit for late-night sets where mood and groove take center stage.

Although it didn’t achieve the same chart success as its predecessors, “Cold Fever” stands today as a testament to Models’ ability to balance pop sensibility with artful restraint. For fans of sophisticated new wave, it remains a hidden gem within an already stellar album.

Did You Know?
Out of Mind, Out of Sight became the band’s most successful release, spawning multiple hit singles and solidifying Models as one of Australia’s premier acts of the era.

Fellow Australian band INXS were fans of Models; their manager, Chris Murphy, signed them to his MMA management company.

SIDE A:
Cold Fever (Extended Mix) 6:41
Out Of Mind Out Of Sight (“Live” Version) 4:02

SIDE B:
I Hear Motion (Extended Mix) 6:29
Preacher From The Black Lagoon 2:59

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Models: *Cold Fever* (1986)
Chart	Peak Position	Date
US Billboard Mainstream Rock Tracks	#29	1986
New Zealand	#22	1986
Australia (Kent Music Report)	#36	1986

RELEASE INFORMATION:
Label: Geffen Records – 0-20494, Mushroom – 0-20494, Geffen Records – 9 20494-0 A, Mushroom – 9 20494-0 A
Format: Vinyl, 12″, 45 RPM, Maxi-Single, Stereo
Country: US
Released: 1986
Genre: Rock
Style: New Wave

CREDITS:

Mixed By – Mark Opitz (tracks: A2), Nick Launay (tracks: B1)
Photography By – Eric Watson (3)
Producer – Mark Opitz (tracks: A1, A2, B2), Nick Launay (tracks: B1)
Remix – Julian Mendelsohn (tracks: A1)

NOTES:
Specially-priced Maxi Single.

Mixed At – Rhinoceros Studios

Track A2: Recorded live at Melbourne Concert Hall, Melbourne, Australia. Mixed at Rhinoceros Studios

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.