Tag: 1988

Lisa Lisa & Cult Jam With Full Force – Go For Yours (US 12″) (1988)

Burning The Ground Exclusive

For today’s Ladies Of The 80s: Soundtrack Edition, I’m going to gopher it.

Yes, I went there.

This one was originally scheduled for last Friday, but I decided to put Ladies Of The 80s on hold for the day to remember William Orbit. Today we are picking up right where we left off, and after a more reflective Friday, I think we could use a little Lisa Lisa, Full Force, and one very persistent gopher.

Our next selection is Lisa Lisa & Cult Jam with Full Force and “Go For Yours,” recorded for the soundtrack to the 1988 comedy Caddyshack II.

By 1988, Lisa Lisa & Cult Jam were hardly strangers to the charts. With Full Force behind them, they had already given us “I Wonder If I Take You Home,” “Can You Feel The Beat,” “All Cried Out,” and the back-to-back number-one pop hits “Head To Toe” and “Lost In Emotion.”

Their combination of freestyle, R&B, pop, and hip-hop had become one of the defining sounds of mid-1980s New York.

Then came Caddyshack II.

Released in July 1988, the sequel attempted to follow the enormously popular 1980 original. Chevy Chase returned as Ty Webb, while Jackie Mason, Dan Aykroyd, Robert Stack, Dyan Cannon, Randy Quaid, and Jonathan Silverman joined the cast.

The movie did not exactly receive a hero’s welcome.

In fact, Caddyshack II developed a reputation as one of those sequels most people would rather forget.

Fortunately, we are here for the music.

And once again, the soundtrack was much better than the movie.

The album included Kenny Loggins’ “Nobody’s Fool,” Patty Smyth’s “I Run Right Back,” the Pointer Sisters’ “Power Of Persuasion,” Earth, Wind & Fire’s “Turn On (The Beat Box),” Cheap Trick, Eric Martin, Full Force, and Lisa Lisa & Cult Jam.

“Go For Yours” was written and produced by Full Force, who had been central to Lisa Lisa & Cult Jam’s sound from the beginning.

The result is unmistakably late-1980s Full Force.

The drums hit hard. The keyboards bounce around the rhythm. Lisa’s vocal moves between attitude and playfulness, while Full Force surrounds her with vocal interjections and enough energy to keep everything moving.

The message is simple.

Stop waiting.

Go after what you want.

Go for yours.

It is a fun, confident record that fits Lisa Lisa perfectly, but it arrived at an awkward point in her release history. The massive success of Spanish Fly was winding down, and “Everything Will B-Fine” had already been released earlier in 1988.

“Go For Yours” existed outside a regular Lisa Lisa & Cult Jam studio album and was tied instead to a movie that quickly disappeared from theaters.

That probably did not help.

The single was released only in the United States and reached number 19 on Billboard’s Hot Black Singles chart in 1988. It did not cross over to the Billboard Hot 100.

As far as I have been able to determine, there was also no official music video made to promote the single.

By 1988, that was a real disadvantage. MTV, BET, and other video outlets had become an important part of pushing a record beyond its established audience. A colorful Lisa Lisa video tied to Caddyshack II might have helped the song reach a much larger audience.

We will never know.

For collectors, however, the US 12-inch is where things become especially fun.

Full Force clearly decided that if they were going to make a record for Caddyshack II, they might as well commit to the golf theme. That brings us to the wonderfully titled “Gopher Yers (F.F. Hole In One Mix).”

Yes.

“Gopher Yers.”

You have to admire the commitment to the joke.

The mix stretches the song out and gives Full Force more room to play with the rhythm, vocals, and production. Instead of simply making the track longer, they lean into its playful personality and turn it into something even more suited to the dance floor.

The 12-inch also gives us an Instrumental, which lets the busy Full Force production stand on its own. Without Lisa’s lead vocal, you can really hear how much rhythmic detail is packed underneath.

There is also “I Promise You,” taken from the 1987 Spanish Fly album, making this a particularly generous 12-inch for Lisa Lisa collectors.

“Go For Yours” is not one of the Lisa Lisa & Cult Jam singles that immediately comes to mind when people remember the group.

That is exactly why it belongs here.

Ladies Of The 80s: Soundtrack Edition has been as much about rediscovery as it has been about the major hits. Sometimes the most interesting soundtrack records are the ones that slipped between albums, received limited promotion, and quietly disappeared while everyone was looking somewhere else.

The movie may not have scored a hole in one.

But Lisa Lisa, Cult Jam, and Full Force certainly gave it their best shot.

So grab your clubs.

Watch out for the gopher.

And Go For Yours.

SIDE A:
Go For Yours 4:37
Mixed By – Full Force, Tony Maserati

Gopher Yers (F.F. Hole In One Mix) 5:45
Mixed By – Full Force, Nick Delre

SIDE B:
I Promise You 4:41
Remix – Full Force, Tony Maserati

Go For Yours (Instrumental) 4:36
Mixed By – Full Force, Tony Maserati

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart (1988) Peak Position
US Billboard Hot Black Singles 19

RELEASE INFORMATION:
Label: Columbia – 44 07867
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: 1988
Genre: Electronic, Hip Hop, Funk / Soul
Style: Freestyle, RnB/Swing

CREDITS:

NOTES:
From the Warner Bros. Original Motion Picture Soundtrack “Caddyshack II”

Management for Full Force Productions
Printed in U.S.A.
Made in U.S.A.

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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Book Of Love – Pretty Boys And Pretty Girls (US 12″) (1988)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: January 30, 2013

Today, I’m revisiting a Burning The Ground favorite that was originally posted in 2013. For this Soundtrack Of Pride edition, I’ve created a brand-new 2026 transfer of Book Of Love’s “Pretty Boys And Pretty Girls,” complete with meticulous audio restoration that brings renewed energy and clarity to this iconic dance-floor classic. It’s the perfect opportunity to celebrate a song that remains as powerful and relevant today as it was upon its release in 1988.

When discussing the soundtrack of LGBTQ+ liberation, some songs become anthems through sheer visibility, while others earn their place through something deeper. They capture a moment, a struggle, and a community finding its voice. Book Of Love’s “Pretty Boys And Pretty Girls” is one of those records.

Released in 1988 as the lead single from the band’s second album Lullaby, “Pretty Boys And Pretty Girls” was the fifth single overall from the American synth-pop quartet and remains their most commercially successful release. The song reached No. 90 on the Billboard Hot 100, making it the band’s only crossover pop hit. In the clubs, however, it found its true home, climbing to No. 5 on Billboard’s Hot Dance Club Play chart and spending eleven weeks on the survey.

At first listen, “Pretty Boys And Pretty Girls” sounds like classic late-’80s synth-pop. Bright keyboards, pulsing dance rhythms, and an irresistible chorus made it a natural fit for dance floors across America. Yet beneath its infectious surface lies a message that resonated powerfully within the LGBTQ+ community.

One of the song’s most powerful moments comes when Susan Ottaviano sings, “But sex is dangerous. I don’t take my chances.” Released during the height of the AIDS crisis, the lyric was remarkably direct for a pop record in 1988. At a time when many artists and radio programmers shied away from addressing the epidemic, Book Of Love confronted it head-on, promoting safe sex and acknowledging the fears that had become part of everyday life for the LGBTQ+ community. Rather than diminishing the song’s celebratory spirit, the message reinforced the importance of protecting one another while continuing to find joy, connection, and solidarity on the dance floor.

The timing of the song’s release was especially significant. Emerging during the height of the AIDS crisis, “Pretty Boys And Pretty Girls” became one of the first pop songs to openly advocate for safe sex. While many mainstream artists avoided addressing the epidemic directly, Book Of Love used their platform to promote awareness, responsibility, and compassion. The band has spoken about how dance clubs, long considered safe havens for the queer community, became places marked by both celebration and unimaginable loss during this period.

That duality is woven throughout the song. It is joyful yet reflective, euphoric yet grounded in the realities facing LGBTQ+ people at the time. The dance floor wasn’t just a place to party. It was a place to find community, support, and survival.

The single’s B-side added another memorable chapter to the band’s history. Book Of Love recorded a synth-pop interpretation of Mike Oldfield’s “Tubular Bells,” the instrumental theme forever associated with the horror classic The Exorcist. For their version, the band sampled Lauren Roselli dramatically crying, “Mother, make it stop!”, a playful nod to Linda Blair’s possessed character Regan from the film.

For the 12-inch release, producers Scott Blackwell and Bob Brockmann took things a step further, seamlessly blending “Pretty Boys And Pretty Girls” and “Tubular Bells” into a fourteen-minute dance-floor epic. The resulting medley became a favorite in clubs and remains one of the most inventive extended mixes of the era.

More than three decades later, “Pretty Boys And Pretty Girls” continues to resonate. While rooted firmly in the club culture of the late 1980s, its message of inclusion, self-acceptance, and solidarity remains as relevant today as it was upon release. The song stands as a reminder that Pride is not only about celebration, but also about visibility, advocacy, and creating space for those who have too often been pushed to the margins.

For many LGBTQ+ listeners, Book Of Love captured that feeling perfectly. Wrapped inside one of the decade’s most infectious synth-pop records is a message that still echoes from dance floors, Pride celebrations, and queer spaces around the world.

“Pretty Boys And Pretty Girls” remains not only a club classic, but an enduring chapter in the Soundtrack Of Pride.

SIDE A:
Pretty Boys And Pretty Girls (Extended Mix) 7:22
Engineer [Remix Engineer] – Bob Brockmann*
Keyboards, Producer [Additional Production], Remix – Bob Brockmann, Scott Blackwell
Written-By – Theodore Ottaviano

Tubular Bells (7″ Mix) 4:27
Mixed By – Alan Meyerson
Written-By – Mike Oldfield

Pretty Boys And Pretty Girls (7″ Mix) 4:50
Mixed By – Alan Meyerson
Written-By – Theodore Ottaviano*

SIDE B:
Tubular Bells / Pretty Boys And Pretty Girls (Regan’s House Medley) 14:28
Engineer [Remix] – Bob Brockmann, Hugo Dwyer
Keyboards, Producer [Additional Production], Remix – Bob Brockmann, Scott Blackwell
Written-By – Mike Oldfield, Theodore Ottaviano*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Book Of Love: Pretty Boys And Pretty Girls/Tubular Bells (1988)
Chart Peak Position Date
US Billboard Dance Club Songs #5 1988
US Billboard Hot 100 #90 1988

RELEASE INFORMATION:
Label: Sire ‎– 0-20963, Sire ‎– 9 20963-0, I Square Records ‎– 0-20963, I Square Records ‎– 9 20963-0
Format: Vinyl, 12″, Maxi-Single, 33 RPM
Country: US
Released: 1988
Genre: Electronic, Pop
Style: House, Synth-pop

CREDITS:

NOTES:
Cover says “Specially Priced Maxi-Single”.
Front cover photo of the group says “MCMLXXXVIII” next to it, vertically, which corresponds to the date of release, 1988.

Tracks A1 and B: Remix, additional production and keyboards for Broadbeard Productions.

Original versions from the Sire Album “Lullaby.” Available on LP, Cassette and Compact Disc (1/4/2-25700)

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.

 

L’Trimm – Cars With The Boom (US 12″) (1988)

Burning The Ground Exclusive

As Memorial Day weekend arrives in the US, marking the unofficial start of Summer, I thought it would be fun to showcase one of the ultimate late-80s Summer anthems, “Cars With The Boom” by L’Trimm. Few songs capture the feeling of cruising around with friends, windows down, and giant speakers rattling the neighborhood quite like this Miami bass classic.

Released in 1988, “Cars With The Boom” by American hip hop duo L’Trimm became one of the defining records of the Miami bass explosion. Issued on Atlantic Records and Time-X Records as the third single from the duo’s debut album Grab It!, the track was a playful, bass-heavy anthem that perfectly captured late-80s car audio culture and street party energy. Produced by David Stone Klein, the single became L’Trimm’s biggest commercial success, peaking at #54 on the Billboard Hot 100 and #39 on the Billboard Hot R&B/Hip-Hop Songs chart.

Consisting of Bunny D and Lady Tigra, L’Trimm emerged from Miami, Florida during a period when the city’s booming bass scene was starting to gain national attention. Their music combined 808-driven beats, playful rhymes, dancefloor hooks, and enough low-end to rattle car trunks for blocks. “Cars With The Boom” leaned fully into that culture, celebrating loud stereos, customized rides, and neighborhood cruising with an infectious sense of humor.

The track’s minimalist production is pure Miami bass. Heavy Roland 808 drums, simple synth stabs, and repetitive chants created a hypnotic groove that worked as well in clubs as it did blasting from car speakers. Unlike many hip hop records of the era that focused on lyrical complexity, L’Trimm delivered something intentionally fun and carefree. That approach helped the single stand out on radio and in clubs nationwide.

What made “Cars With The Boom” especially memorable was its personality. Bunny D and Lady Tigra traded playful verses and chants that felt spontaneous and unpolished in the best possible way. The chemistry between the two gave the song an authenticity that connected with listeners immediately. Even decades later, the hook remains instantly recognizable.

The music video became equally iconic. Filled with neon colors, customized cars, oversized fashions, and exaggerated humor, it perfectly reflected late-80s street culture and MTV aesthetics. Over time, the video became a cult favorite online and introduced the duo to a new generation of listeners.

The success of “Cars With The Boom” also helped push Miami bass further into the mainstream. At the time, the genre was still largely regional, thriving in Florida clubs and car culture scenes. Songs like this helped pave the way for later bass artists and Southern hip hop acts that would dominate throughout the 1990s and beyond.

The single appeared on the album Grab It!, originally released by Time-X Records before being licensed to Atlantic Records. The album itself reached the Billboard 200 and became a solid representation of the late-80s Miami bass sound.

For collectors, the original 7-inch and 12-inch singles remain sought-after pieces of late-80s hip hop history. The U.S. 7-inch, and 12-inch single featured “Don’t Come To My House” on the B-side.

So as Summer unofficially kicks off this Memorial Day weekend, crank up the volume, roll the windows down, and enjoy one of the most fun and unforgettable bass records of the 1980s. “Cars With The Boom” still sounds like sunshine, hot pavement, and giant speakers shaking the neighborhood.

SIDE A:
Cars With The Boom (Hot Summer Boom Remix) 3:54

SIDE B:
Don’t Come To My House (Cool Summer Remix) 4:27

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — L’Trimm: The Cars With Boom (1988)
Chart Peak Position Date
US Billboard Hot 100 #54 1988
US Billboard Hot R&B / Hip-Hop #39 1988

RELEASE INFORMATION:
Label: Atlantic – 0-86506
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1988
Genre: Electronic, Hip Hop
Style: Bass Music, Electro

CREDITS:

NOTES:
Remixed from the Atlantic LP 81925 “Grab It!”.
Produced for Hot Productions, Inc.

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.

 

Milli Vanilli – Baby Don’t Forget My Number (Europe 12″) (1988)

Burning The Ground Exclusive

German producer Frank Farian struck gold again in late 1988 with the release of “Baby Don’t Forget My Number,” the second single by pop-dance duo Milli Vanilli. Following the success of “Girl You Know It’s True,” the track helped catapult the group into international superstardom and cemented their place as one of the biggest pop acts of the late 1980s.

Released in December 1988 from the European debut album All Or Nothing, and later included on the U.S. counterpart Girl You Know It’s True (1989), “Baby Don’t Forget My Number” blended infectious dance grooves, catchy hooks, and polished production that dominated radio and dance floors alike. The single became Milli Vanilli’s first U.S. Billboard Hot 100 number one in 1989, beginning a remarkable chart run that would eventually produce three consecutive U.S. chart-toppers.

Produced by Frank Farian, the mastermind behind acts such as Boney M., the song featured the signature late-80s Euro-dance sound that defined the era. Pulsating synths, heavy drum programming, and slick vocal arrangements made the track irresistible to pop audiences worldwide.

In the United States, “Baby Don’t Forget My Number” became a massive commercial success, earning a gold certification from the Recording Industry Association of America. Internationally, the single reached the Top 10 in seven countries and performed exceptionally well in Australia, where it remained on the charts for an impressive 36 weeks and also achieved gold certification.

The 12-inch single remains a favorite among collectors and club music fans, especially for its extended dance mixes that fully embraced the high-energy production style of the period. These longer versions stretched the groove into pure dancefloor bliss, giving DJs plenty of room for seamless club mixing during the peak of the late-80s dance-pop explosion.

Despite the controversy that would later surround Milli Vanilli, there is no denying the impact their music had on pop culture. Songs like “Baby Don’t Forget My Number” captured a specific moment in time when dance-pop ruled the airwaves, MTV was king, and extended 12-inch mixes were essential listening for club kids and radio fans alike.

Today, “Baby Don’t Forget My Number” stands as a nostalgic reminder of an era filled with flashy fashion, massive hooks, and larger-than-life pop production. Whether spinning on vinyl or blasting from a retro playlist, the track still delivers the same infectious energy that made it a worldwide smash nearly four decades ago.

SIDE A:
Baby Don’t Forget My Number (Pennsylvania Six-Five-Thousand Heart Line Mix) 8:56
Written-By – B. Nail, F. Farian

SIDE B:
Too Much Monkey Business 3:23
Written-By – B. Nail, F. Farian, H. Ruloffs, J. Davis

Baby Don’t Forget My Number (Radio Mix) 4:33
Written-By – B. Nail, F. Farian

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Weekly charts

Milli Vanilli: Baby Don’t Forget My Number (1988–1989) Peak position
Australia (ARIA) 17
Belgium (Ultratop 50 Flanders) 14
Canada Retail Singles (The Record) 1
Canada Top Singles (RPM) 3
Canada Dance/Urban (RPM) 1
Europe (Eurochart Hot 100) 18
Finland (Suomen virallinen lista) 3
France (SNEP) 17
Ireland (IRMA) 17
Netherlands (Dutch Top 40) 6
Netherlands (Single Top 100) 7
New Zealand (Recorded Music NZ) 9
Norway (VG-lista) 5
Spain (AFYVE) 3
Switzerland (Schweizer Hitparade) 11
UK Singles (OCC) 16
US Billboard Hot 100 1
US Dance Club Songs (Billboard) 10
US Dance Singles Sales (Billboard) 12
US Hot R&B/Hip-Hop Songs (Billboard) 9
US Cash Box Top 100 2
West Germany (GfK) 9

RELEASE INFORMATION:
Label: Hansa – 611 841
Format: Vinyl, 12″, 45 RPM, Maxi-Single, Stereo
Country: Europe
Released: 1988
Genre: Electronic, Pop
Style: Breakbeat, Dub, Synth-pop, Pop Rap

CREDITS:

NOTES:
Recorded and Mixed at FAR Studios
Produced for FAR Music-Production 11/88

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-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.