Tag: 1988

June 24, 2026

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:

Design – Jade Lee
Mastered By – José Rodriguez
Photography By – David La Chappelle*
Producer – Flood, Ted Ottaviano
Vocals [Uncredited] – Susan Ottaviano

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.

May 22, 2026

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:

Engineer [Remix] – B. Greenspan*
Producer – Davis Stone Klein*
Recorded By – C. Barwick*
Remix – The Fly Boys
Written-By – E. Cager*, J. Stone* (tracks: A), L. Julian*, P. Klein* (tracks: A), R. DeRougemont*

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

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 20, 2026

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:

Design [Cover-Design] – H. Wegner*
Photography By – Esser & Strauss
Producer – Frank Farian
Vocals – Rob + Fab*

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

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 19, 2026

Stevie B – I Wanna Be The One (US 12″) (1988)

Burning The Ground Exclusive

Released in late 1988, “I Wanna Be The One” marked a major turning point for Miami freestyle sensation Stevie B. Issued as the lead single from his second album In My Eyes, the song introduced Stevie B to a much broader audience and became his first U.S. Top 40 hit, climbing to No. 32 on the Billboard Hot 100 in early 1989. While he had already built a loyal following on dance floors and urban radio, “I Wanna Be The One” helped push freestyle music further into the mainstream during the late 1980s.

Built around shimmering synths, crisp drum programming, and Stevie B’s instantly recognizable emotional vocal delivery, “I Wanna Be The One” perfectly captured the romantic heartbreak that defined much of the freestyle genre. The song’s lyrics tell the story of longing and devotion, themes that resonated strongly with fans and helped establish Stevie B as one of freestyle’s most successful crossover artists.

The single performed especially well on dance and crossover radio stations, where freestyle was thriving alongside dance-pop and contemporary R&B. Its polished production and catchy chorus made it accessible to pop audiences while still maintaining the Latin-influenced electronic sound that freestyle fans loved. The success of “I Wanna Be The One” paved the way for an impressive string of hits that would follow throughout the late 1980s and early 1990s, including “In My Eyes,” “Love Me For Life,” and eventually the No. 1 ballad “Because I Love You (The Postman Song).”

Several versions of “I Wanna Be The One” were released across 7-inch, 12-inch, and cassette single formats. The extended 12-inch mixes became especially popular in clubs, offering longer instrumental passages and dancefloor-friendly arrangements that highlighted the song’s layered synth textures and freestyle rhythms.

At a time when freestyle music was exploding in cities like Miami, New York, Chicago, and Los Angeles, Stevie B emerged as one of the genre’s defining voices. “I Wanna Be The One” remains one of his signature recordings and a favorite among fans of classic late-80s dance music. More than three decades later, the song still stands as a timeless example of freestyle’s emotional energy and melodic charm.

SIDE A:
I Wanna Be The One (Radio Mix) 5:05
I Wanna Be The One (Extended Mix) 6:58

SIDE B:
I Wanna Be The One (Blissapella) 5:22
I Wanna Be The One (Percapella) 5:33

VINYL GRADE:
Vinyl: Mint
Sleeve: Mint

Chart Performance — Stevie B: ***I Wanna Be The One*** (1988)
Chart	Peak Position	Date
Canada (RPM Dance / Urban)	#3	1988
US Billboard Hot 100	#32	1988
US Billboard Hot Dance Music / Club Play	#39	1988
US Billboard Hot Dance Music / Maxi-Singles Sales	#12	1988

RELEASE INFORMATION:
Label: LMR (Lefrak-Moelis Records) – LMR 4003
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1988
Genre: Electronic
Style: Freestyle

CREDITS:

Arranged By – Dadgel Atabay, Stevie B
Executive-Producer – Herb Moelis
Lacquer Cut By – Gladys*
Mastered By – Gladys Hopkowitz
Producer, Written-By – Stevie B
Remix – Glenn Gutierrez, Jimmy Starr

NOTES:
Runouts are etched except for the SRC logo which is stamped.

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.