Tag: Canada

September 30, 2026

Steve Miller Band – Shangri-La (Canada 12″) (1984)

Burning The Ground Exclusive

By 1984, the Steve Miller Band had already enjoyed more than a decade of success, with classics such as “The Joker,” “Fly Like An Eagle,” and “Rock’n Me.” The band’s 1982 smash “Abracadabra” introduced Miller to a new generation of listeners, combining his familiar rock sound with synthesizers and a dance-friendly beat. Two years later, Miller continued experimenting with that formula on “Shangri-La.”

Released in 1984 as the lead single from the band’s thirteenth studio album, Italian X Rays, “Shangri-La” found Steve Miller moving even further into the electronic sounds of the decade. Written by Miller and bassist Kenny Lee Lewis, the song combined synthesizers, a funky bass line, electronic textures, and Miller’s unmistakable vocals. It was quite a departure from the guitar-driven rock that had made the band famous during the 1970s.

Italian X Rays was also a departure from a recording standpoint. The album was recorded digitally and made extensive use of electronic instruments and computer technology. Miller was enthusiastic about the new recording process and embraced the possibilities it offered.

“Shangri-La” reached No. 57 on the US Billboard Hot 100 and No. 84 in Canada. Although it never matched the enormous success of “Abracadabra,” the single remains an interesting example of an established rock act experimenting with the increasingly electronic sound of the mid-1980s.

For the 12″ release, Capitol enlisted legendary New York DJ and remixer François Kevorkian, along with Jay Mark, to give “Shangri-La” a dance-floor makeover.

Kevorkian was already one of the most respected names in dance music, having worked with artists ranging from D-Train and Yazoo to Depeche Mode. His approach to remixing went well beyond simply extending a song. He could completely reshape a recording, bringing out its rhythm, creating new instrumental passages, and giving it an entirely different atmosphere.

The Extended Version of “Shangri-La” allows the song’s infectious groove to take center stage. The longer arrangement gives the percussion, electronic instrumentation, and funky bass line room to breathe, transforming Miller’s pop-rock single into something much more suited to the dance floor.

The Dub Version takes things even further, shifting attention away from the conventional song structure and toward the instrumental and rhythmic elements. It’s a particularly interesting listen for anyone who enjoys the more experimental side of eighties remixing.

Today’s featured record is my Canadian 12″ pressing on Capitol Records (V 75076). In addition to the Extended and Dub versions of “Shangri-La,” the record includes the original album version of “Abracadabra,” making this an especially nice pairing of Miller’s early-eighties dance-oriented material.

It’s also a reminder of an era when record companies weren’t afraid to hand a rock recording to a club remixer and see what happened. Sometimes those unlikely combinations produced some of the most interesting 12″ singles of the decade.

Enjoy!

SIDE A:
Shangri-La (Extended Club Mix) 7:32
Co-producer – Kenny Lee Lewis
Producer – Steve Miller
Recorded By – David Cole (4)
Remix – François Kevorkian, Jay Mark
Written-By – Kenny Lee Lewis, Steve Miller

SIDE B:
Shangri-La (Dub Version) 5:32
Co-producer – Kenny Lee Lewis
Producer – Steve Miller
Recorded By – David Cole (4)
Remix – François Kevorkian, Jay Mark
Written-By – Kenny Lee Lewis, Steve Miller

Abracadabra 5:10
Co-producer – Gary Mallaber
Producer – Steve Miller
Written-By – Steve Miller

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart (1984)	Peak Position
US Billboard Hot 100	57
Canada RPM Top Singles	84

RELEASE INFORMATION:
Label: Capitol Records – V 75076
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: Canada
Released: 1984
Genre: Rock, Pop
Style: Pop Rock

CREDITS:

Bass, Guitar, Co-producer – Kenny Lee Lewis
Drums, Percussion – Gary Mallaber
Keyboards – Byron Allred
Producer, Vocals – Steve Miller

NOTES:
Track A: “(Album Version available on forthcoming LP “ITALIAN X RAYS” SJ-12339)”
Track B1: “(Album Version available on forthcoming LP “ITALIAN X RAYS” SJ-12339)”
Track B2: “(from the LP “ABRACADABRA” ST-12216)”

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

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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

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

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January 23, 2026

Tina B – Nothin’s Gonna Come Easy (Canada 12″) (1984)

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Nothing Is Handed to You: Tina B’s Nothin’s Gonna Come Easy and the Beat Street Era

By 1984, New York City was ground zero for a musical revolution. Dance, electronic, funk, and hip-hop were colliding in clubs, studios, and on the streets, producing a sound that would reshape popular music for decades. Few soundtracks captured that moment as perfectly as Beat Street, and tucked inside its landmark tracklist is a quietly powerful dancefloor gem: “Nothin’s Gonna Come Easy” by Tina B.

Produced by Arthur Baker and John Robie, the track embodies the raw optimism and grit of mid-’80s NYC dance music. Built on pulsing electro rhythms and a driving groove, “Nothin’s Gonna Come Easy” feels both urgent and uplifting—music made for dancers who knew that survival, success, and self-expression all required work. The message hits hard: nothing is handed to you, but perseverance moves mountains.

The song resonated on the dancefloor, reaching #18 on the U.S. Billboard Dance Chart in December 1984, a solid showing amid a fiercely competitive era for club music. Its inclusion on the Beat Street soundtrack placed Tina B alongside some of the most influential artists and producers shaping the sound of the decade.

Tina B is one of those essential voices of the era whose impact runs deeper than chart positions alone. A vocalist and songwriter featured on gold and platinum records, her work helped define a musical movement that still echoes today. Her versatility made her a go-to supporting vocalist, contributing her unmistakable voice to recordings by Madonna, New Order, Al Green, Freeze, U2, Carly Simon, and Bruce Springsteen—a staggering cross-section of pop, rock, soul, and dance royalty.

She was also married to Arthur Baker, one of the architects of electro, freestyle, and early hip-hop crossover records, and together their creative orbit helped shape the sound of 1980s club culture. While Baker and Robie provided the framework, it’s Tina B’s vocal presence that gives “Nothin’s Gonna Come Easy” its emotional core—strong, determined, and perfectly in sync with the era’s DIY spirit.

More than four decades later, “Nothin’s Gonna Come Easy” stands as a reminder of a time when dance music wasn’t just about escapism—it was about resilience, ambition, and carving out space in a changing city. A true Beat Street deep cut, and an essential slice of New York’s electrifying 1984 soundscape.

SIDE A:
Nothin’s Gonna Come Easy (Vocal/Long Version) 8:02

SIDE B:
Nothin’s Gonna Come Easy (Dub/Long Version) 6:13
Nothin’s Gonna Come Easy (Vocal/Edit) 4:10

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Tina B: *Nothin’s Gonna Come Easy* (1984)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#18	1984

RELEASE INFORMATION:
Label: Atlantic – 78 69180
Format: Vinyl, 12″, 33 ⅓ RPM, Stereo
Country: Canada
Released: 1984
Genre: Electronic, Funk / Soul
Style: Freestyle

CREDITS:

Design – Lynn Dreese Breslin
Engineer [Mix] – John Potoker (tracks: B1)
Executive-Producer – Arthur Baker, Harry Belafonte
Lacquer Cut By – D.K.*
Mixed By – Arthur Baker, John Robie
Producer, Arranged By – Arthur Baker, John Robie
Written-By – Arthur Baker, Tina Baker*

NOTES:
Recorded at Unique Sound Studio & Shakedown Sound Studio, NYC.
A, B2. Mixed at Greene Street Recording
B1. Mixed at Sigma Sound, NYC

Tina B appears courtesy of Elektra/Asylum Records
Version of Atlantic LP 80158 – Original Motion Picture Soundtrack “Beat Street™ Volume 2”

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
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
DAC: Alpha Design Labs GT40a USB DAC
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

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August 29, 2025

Charlie Sexton – Impressed (Canada 12″) (1985)

Burning The Ground Exclusive

In 1985, 16-year-old Texas guitar prodigy Charlie Sexton released his debut album Pictures for Pleasure. Fresh out of the Austin music scene, Sexton had already built a reputation as a musician well beyond his years.

Following the success of his debut single “Beat’s So Lonely,” which reached #17 on the Billboard Hot 100 and became an MTV staple, MCA Records issued “Impressed” as the album’s second single. While the track carried the same glossy production and atmospheric charm, “Impressed” unfortunately failed to chart.

Produced by Keith Forsey (Billy Idol, The Breakfast Club soundtrack), “Impressed” leans heavily into the mid-80s new wave/post-punk hybrid sound. With moody guitars, layered synth textures, and Sexton’s deep, mature-sounding vocal delivery, the song seemed tailor-made for radio and MTV rotation. The 12″ single featured extended and dance-oriented versions that gave the track a club-ready edge, contrasting the darker rock tones of the LP.

**As a bonus track, I have also included the 7″ Remix, which I transferred from the US promo 7″ single.

SIDE A:
Impressed (Mixed Impressions) (Extended Dance Remix) 6:19
Engineer [Remix] – Dave Concors
Remix – Arthur Barrow

SIDE B:
Impressed (Wanna Bet Dub) 7:26
Engineer [Remix] – Steve Parker (2)
Remix – Charlie Sexton, Steve Lillywhite

BONUS TRACK:
Impressed (7″ Remix) 3:45
Remix – Charlie Sexton, Michael Frondelli, Steve Lillywhite

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: MCA Records – MCA-23622
Format: Vinyl, 12″, 45 RPM, Single
Country: Canada
Released: 1986
Genre: Electronic. Rock
Style: Pop Rock, Synth-pop

CREDITS:

Producer – Keith Forsey
Written-By – R. Wilson*, S. Krikorian*

NOTES:
Original version appears on the Charlie Sexton album “Pictures For Pleasure”

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for burningtheground.net

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.