Tag: Germany

June 17, 2026

Soft Cell – Torch (Germany 12″) (1982)

Burning The Ground Exclusive

As Pride Month continues, The Soundtrack of Pride turns its attention to one of the most poignant and emotionally devastating songs ever recorded by Soft Cell. While the duo is forever associated with dance floor staples and synth-pop provocations, “Torch” revealed another side of Marc Almond and David Ball, one filled with longing, heartbreak, and romantic obsession.

Released in the UK in April 1982, with the extended 12-inch single arriving in May, “Torch” quickly captured the public’s imagination. By mid-June, it had climbed to number two on the UK Singles Chart, held from the top spot by Dexys Midnight Runners’ “Come On Eileen.” It would go on to rank as the 45th biggest-selling single in the UK for 1982.

Audiences who expected another dark electronic dance anthem in the wake of “Tainted Love” and “Bedsitter” instead discovered something altogether different. “Torch” was a torch song in the truest sense of the word.

Built around dramatic piano chords, sweeping strings, and David Ball’s elegant synthesizer arrangements, the track showcased Marc Almond at his most vulnerable. His theatrical vocal performance captures the anguish of unrequited love with startling honesty. The lyrics paint the portrait of someone trapped in emotional limbo, desperately waiting for affection that may never be returned.

Adding to the song’s emotional intensity is a striking trumpet solo by John Gatchell, whose performance gives “Torch” an almost cinematic quality. The arrangement feels rooted as much in classic cabaret and film noir as it does in synth-pop, elevating the song into something timeless and deeply affecting.

As the song reaches its climax, another unexpected voice enters the story. Marc Almond duets with Cindy Ecstasy, an American clubgoer whom Soft Cell had met the previous year at the legendary after-hours Club Berlin in New York City. Her appearance is brief but unforgettable, providing a ghostly counterpoint to Almond’s aching vocal. The exchange feels intimate and spontaneous, as if we are eavesdropping on two lonely souls searching for connection in the early hours of the morning.

The song’s title itself is a nod to the tradition of torch songs, ballads of lost love and impossible desire that stretch back through decades of popular music. From Billie Holiday to Dusty Springfield, these songs gave voice to hearts left bruised and broken. Marc Almond embraced that lineage, channeling old Hollywood glamour and cabaret drama through the lens of early 1980s synth-pop.

For many LGBTQ+ listeners, “Torch” resonated on an even deeper level.

At a time when openly queer representation in mainstream music was rare, Marc Almond brought an unmistakable sense of outsider emotion to his performances. He often resisted labels and preferred ambiguity in his art, yet the feelings embedded within songs like “Torch” felt deeply familiar to those who had experienced loving from a distance, hiding their true selves, or longing for connections that society didn’t always permit them to express openly.

Pride isn’t only about celebration. It is also about acknowledging the emotional journeys that shape our lives. The first crushes we couldn’t talk about. The relationships that existed in secret. The heartbreaks that taught us resilience. The hope that someday our love stories could be lived honestly and without fear.

“Torch” understands all of that.

More than four decades later, it remains one of Soft Cell’s finest achievements. It stands as proof that synth-pop could be sophisticated, cinematic, and emotionally fearless. It reminds us that vulnerability can be its own form of strength.

As we continue celebrating The Soundtrack of Pride, “Torch” honors those quieter moments of our shared experience. The tears shed behind closed doors. The dreams that kept us going. The courage it took to keep loving, even when love seemed impossible.

Because sometimes Pride isn’t found beneath the disco ball.

Sometimes, Pride is carrying a flame through the darkness and refusing to let it go out.

SIDE A:
Torch 8:30
Trumpet – John Gatchell

SIDE B:
Insecure Me 8:17
Tenor Saxophone – Dave Tofani

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Soft Cell: Torch (1982)	Peak position
Australia (Kent Music Report)	68
Belgium (Ultratop 50 Flanders)	6
Ireland (IRMA)	7
Netherlands (Single Top 100)	12
UK Singles (OCC)	2
West Germany (GfK)	75

RELEASE INFORMATION:
Label: Vertigo – 6400 618, Vertigo – 64 00 618
Format: Vinyl, 12″, 45 RPM, Maxi-Single, Stereo
Country: Germany
Released: 1982
Genre: Electronic
Style: Synth-pop

CREDITS:

Design [Sleeve Design], Illustration – Huw Feather
Engineer – Don Wershba
Mixed By – Harvey Goldberg
Photography By – Eugene Adebari
Producer – Mike Thorne
Vocals – Cindy Ecstasy
Written-By – Ball*, Almond*

NOTES:
Made in West 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

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June 16, 2026

Visage – Fade To Grey (Germany 12″) (1980)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: January 24, 2018

As Pride Month continues, it’s impossible to overlook the artists and movements that gave LGBTQ+ people spaces where they could express themselves freely, boldly, and without apology. Few songs embody that spirit of reinvention and self-expression quite like “Fade To Grey” by Visage.

Released on November 14, 1980, as the second single from the band’s self-titled debut album, “Fade To Grey” became one of the defining records of the New Romantic movement. More than just a synth-pop classic, it served as the soundtrack to a cultural shift born from London’s underground club scene, a place where fashion, music, gender expression, and identity blurred in the most exhilarating ways.

At the center of it all was Steve Strange.

Before becoming the face of Visage, Steve Strange was the flamboyant doorman and co-host of London’s legendary Blitz nightclub. Alongside DJ Rusty Egan, Strange helped create a haven for outsiders, artists, and LGBTQ+ people seeking a space where they could be themselves. The Blitz wasn’t simply a club. It was a community. Its regulars included future stars such as Boy George, Marilyn, and members of Spandau Ballet, all embracing creativity and individuality at a time when conformity was often expected.

Visage itself was something of a supergroup. The lineup included Steve Strange, Midge Ure and Billy Currie of Ultravox, Rusty Egan, John McGeoch of Magazine and Siouxsie and the Banshees, and Barry Adamson. Together, they crafted a sound that felt futuristic and sophisticated, helping to usher synth-pop into the mainstream.

Originally developed by Billy Currie and Chris Payne during soundchecks on Gary Numan’s 1979 tour, the song evolved when Midge Ure added lyrics and structure. Steve Strange’s detached vocal delivery, paired with Brigitte Arendt’s spoken French narration, created an atmosphere unlike anything else on the radio.

“One man on a lonely platform,
One case sitting by his side.”

The lyrics evoke isolation, uncertainty, and emotional distance. For many LGBTQ+ people who grew up feeling different or unseen, those themes carried a resonance that extended beyond the dance floor. Yet despite its melancholy, “Fade To Grey” became a club favorite. It offered release through movement, style, and connection.

That duality is part of what makes the song so enduring. It acknowledges loneliness while inviting people together. It transforms vulnerability into beauty.

Commercially, “Fade To Grey” became Visage’s biggest success, reaching No. 8 in the UK and topping the charts in Germany and Switzerland. More importantly, it introduced audiences around the world to a scene that celebrated individuality and challenged traditional ideas about identity and presentation.

The striking video, directed by Kevin Godley and Lol Creme, further cemented its legacy. Steve Strange’s dramatic makeup and androgynous image challenged expectations of masculinity and performance. During a period when LGBTQ+ representation in mainstream media remained limited, simply existing in that space with confidence could be a radical act.

Pride Month is often associated with loud celebrations and joyous anthems, but it is also about honoring the spaces and communities that allowed people to find themselves. The Blitz club was one of those spaces. The New Romantic movement gave countless young people permission to experiment with who they were. And songs like “Fade To Grey” provided the soundtrack.

More than four decades later, its influence can still be heard in modern electronic music, while its message of embracing individuality remains as relevant as ever.

Elegant, mysterious, and utterly timeless, “Fade To Grey” reminds us that Pride isn’t only about being seen. Sometimes it’s about finding the courage to become the person you were always meant to be, even if the rest of the world hasn’t caught up yet.

While “Fade To Grey” may not be considered a traditional Pride anthem, its roots in LGBTQ+ nightlife and the inclusive spirit of the New Romantic scene make it a fitting addition to “The Soundtrack of Pride.” Some songs shout their message from the rooftops. Others whisper it beneath neon lights on a crowded dance floor. This one does both.

SIDE A:
Fade To Grey (Special Maxi Version) 6:17
Written-By – Currie, Payne, Ure*

SIDE B:
The Steps 3:16
Written-By – Currie, Formula, McGeoch, Ure, Egan, Strange

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Visage: Fade To Grey (1980)
Chart	Peak Position
Australia (Kent Music Report)	#6
Austria	#3
Belgium	#1
France	#3
Germany	#1
Ireland	#10
Italy	#6
Netherlands	#7
New Zealand	#9
Spain	#25
Switzerland	#1
UK Singles Chart	#8

RELEASE INFORMATION:
Label: Polydor – 2141 318
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: Germany
Released: 1980
Genre: Electronic
Style: New Wave, Synth-pop

CREDITS:

Arranged By – Visage
Producer – Midge Ure, Visage

NOTES:
Made in West 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.

March 10, 2026

Princess – Say I’m Your No. 1 (Germany 12″) (1985)

Burning The Ground Exclusive

“Say I’m Your No. 1”: How Princess Launched a Pop Revolution in 1985

The song that put Stock Aitken Waterman on the map — and gave British soul a new queen.

Some songs simply exist, and then some songs arrive — songs that feel, from the very first beat, like they were always meant to be. “Say I’m Your No. 1” by Princess is firmly in the second category. Released in the summer of 1985 as the lead single ahead of her self-titled debut album, it didn’t just introduce the world to a remarkable new voice. It quietly announced the arrival of one of pop music’s most consequential production teams, and helped reshape what British R&B and dance-pop could sound like.

Who Was Princess?

Born Desiree Heslop in Birmingham, England, Princess was a young British soul singer with a voice that belied her age — warm, assured, and capable of stretching from a tender whisper to a full-throated, emotionally charged belt. Before her solo career took off, she had been singing backing vocals, honing her craft in relative obscurity. But when she stepped in front of the microphone for “Say I’m Your No. 1,” it became immediately clear that obscurity was never going to be her permanent address.

She brought a sincerity to her delivery that was unusual in the increasingly glossy pop landscape of mid-1980s Britain. While so much of the era’s pop was cool and detached, Princess sang like she meant it — like the emotional stakes in every lyric were real and urgent.

The SAW Blueprint — Before Anyone Knew It Existed

“Say I’m Your No. 1” was written and produced by the trio of Mike Stock, Matt Aitken, and Pete Waterman — collectively known as Stock Aitken Waterman, or simply SAW. In 1985, they were still largely unknown quantities. That was about to change dramatically.

The production on the track is a masterclass in sophisticated pop craftsmanship. Lush synthesizers, a sleek, pulsing rhythm track, and shimmering electronic textures create a soundscape that feels both warmly soulful and crisply modern. Unlike some of the more mechanical dance productions of the time, there’s an organic quality to it — a sense of breathing, of space. The arrangement lets Princess’s voice live at the centre of the record, elevated rather than buried.

What SAW achieved here foreshadowed everything they would go on to do with acts like Rick Astley, Kylie Minogue, and Bananarama — but with an R&B polish that distinguished this early work. There’s a sophistication and restraint in the production of “Say I’m Your No. 1” that the more factory-line pop hits of their later years would sometimes trade for sheer velocity. Here, they were still showing off.

The Song Itself

At its heart, “Say I’m Your No. 1” is a love song about the need for affirmation — the deeply human desire to know, without doubt, that you are the most important person to someone. The lyric is direct without being simplistic, romantic without being saccharine.

The chorus is an undeniable earworm: melodically memorable, emotionally resonant, and built for both the dancefloor and the bedroom. It has the quality that only the best pop songs possess — the sense that it could have been playing somewhere your whole life, even the first time you hear it.

The song builds beautifully, too. It doesn’t just explode out of the gate; it draws you in, lets the verses establish intimacy, and then opens up into something bigger and more euphoric. Princess earns that release through performance rather than relying on the production to do the work for her.

Chart Success and Cultural Impact

“Say I’m Your No. 1” was a significant commercial hit in the United Kingdom, reaching a peak of number seven on the UK Singles Chart, spending four weeks in the top ten and twelve weeks on the chart in total. It was a statement of arrival — proof that a young Black British woman with a powerful voice and the right song could cut through in a pop landscape that wasn’t always generous with that kind of space.

The song’s reach extended well beyond Britain. It climbed into the top ten in Australia, the Netherlands, New Zealand, Switzerland, and West Germany. It was, in the truest sense, an international hit.

Making Waves in the United States

The American story of the single is a revealing one. The song didn’t storm the Billboard Hot 100 — in 1985, a British soul record from an unknown singer on an independent label had a steep climb ahead of it in the US mainstream market. But where it did land was significant: in the United States, it reached number 20 on Billboard’s Hot Black Singles chart. That placing tells you something important about where the record found its audience — not on pop radio, but in the soul and R&B world, among listeners with exacting taste and a sharp ear for the real thing. Breaking into that chart as a British artist, with a record produced by a team that was still finding its feet, was no small achievement.

It also hinted at something SAW would increasingly lean into: the American R&B and dance influence that underpinned their best early work. Princess didn’t just make a record that charted in the US — she made one that was embraced by the community whose music had inspired it in the first place.

The single set up her debut album perfectly, establishing Princess as more than a novelty or a one-off. It created genuine anticipation for what came next, and the self-titled album that followed in 1986 delivered on that promise.

Why It Still Matters

Revisiting “Say I’m Your No. 1” today, what strikes you is how good it is — not in a nostalgic, rose-tinted way, but in a fundamental, musical sense. The production holds up. The vocal holds up. The songwriting holds up.

It occupies a specific and interesting place in pop history: it arrived at the intersection of classic soul tradition and the sleek new sounds of mid-1980s British pop, and it synthesized those influences into something that felt entirely its own. It is also a document of SAW before their formula hardened into an assembly line — a glimpse of genuine artistry at work.

For Princess herself, it remains a defining statement. A song that said, loudly and clearly:

I’m here. I’m serious. And yes — I am your No. 1.

SIDE A:
Say I’m Your No. 1 (H.R.H. Mix No.3) 8:58

SIDE B:
Say I’m Your No. 1 (H.R.H. Mix No.2) 9:02

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Princess: *Say I’m Your No. 1* (1985)
Chart	Peak Position	Date
US Billboard 12-Inch Singles Sales	#15	1985
US Billboard Hot Dance/Club Play	#15	1985
US Billboard Hot Black Singles	#20	1985
Australia (Kent Music Report)	#8	1985
New Zealand	#2	1985
Switzerland	#2	1985
West Germany	#2	1985
UK Singles	#7	1985
Netherlands (Single Top 100)	#6	1985

RELEASE INFORMATION:
Label: TELDEC – 6.20495
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: Germany
Released: 1985
Genre: Electronic, Funk / Soul
Style: Soul, Synth-pop

CREDITS:

NOTES:
Hammer Music
A PWL Production

Made in Germany – TELDEC Schallplatten GmbH – 2000 Hamburg 20.

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

**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.

December 10, 2025

Camouflage – Handsome (Germany 12″) (1991)

Burning The Ground Exclusive

Today we’re stepping into an overlooked corner of early-’90s synthpop with “Handsome,” a track that deserved far more attention than it ever received. Released only in Germany as the second single from Camouflage’s 1991 studio album Meanwhile, “Handsome” marks a fascinating moment in the band’s evolution—one that often gets overshadowed by their late-’80s classics.

By the time Meanwhile arrived, Camouflage were already known for sleek, melodic synthpop craftsmanship, thanks to earlier hits like “The Great Commandment” and “Love Is a Shield.” But Meanwhile pushed them in a more organic, band-driven direction, integrating live instrumentation while still keeping their electronic backbone intact. “Handsome” sits right at the center of this stylistic shift.

Produced by a Synthpop Legend

A major part of what makes “Handsome” noteworthy is the involvement of producer Colin Thurston, whose résumé reads like a map of synthpop’s golden age. Thurston, of course, worked his magic on early Duran Duran, helped shape David Bowie’s landmark “Heroes”, and guided the earliest recordings of Talk Talk. His production touch on “Handsome” gives the track a polished, dynamic heft that blends Camouflage’s melodic sensibilities with the more muscular, rhythmic textures that defined early-’90s pop.

A Single That Slipped Through the Cracks

Despite its pedigree and strong production, “Handsome” ultimately failed to chart, making it one of Camouflage’s more obscure singles. Its limited German-only release didn’t help, but even so, it remains a gem for fans of the band and collectors of early-’90s synthpop. There’s an earnestness to the song—a push toward growth and reinvention—that reflects where Camouflage were artistically at the time.

The non-charting status doesn’t diminish its charm. If anything, it adds to the single’s cult appeal. It’s one of those tracks that rewards rediscovery, especially for listeners who enjoy the transition era between the analog synthpop of the ’80s and the increasingly hybrid sound of the ’90s.

Rediscovering Meanwhile Through “Handsome”

Revisiting “Handsome” today is a reminder that Camouflage were never content to simply repeat themselves. The band’s willingness to explore new textures, paired with Thurston’s experienced hand in the studio, results in a track that’s both quintessentially Camouflage and quietly adventurous.

If “Handsome” slipped past you the first time, now’s the perfect moment to give it a fresh listen. For fans of synthpop’s deeper cuts—and especially collectors of productions by Colin Thurston—this single is well worth pulling off the shelf again.

SIDE A:
Handsome (Psycho-Ray-Mix) 6:32
Instruments [Add. Instruments] – Ronda Ray
Mixed By – James Herter (2), Ronda Ray
Producer – Colin Thurston
Written-By, Composed By – Camouflage

SIDE B:
Love Is A Shield (12″ US Orbit Mix) 8:10
Engineer – Richard Dight
Producer – Axel Henninger*
Remix, Producer [Add. Production] – William Orbit
Vocals [Add. Vocals] – Sharon Musgrave
Written-By, Composed By – Heiko Maile, Marcus Meyn, Oliver Kreyssig, Peter Godwin

This Day 3:47
Producer – Colin Thurston
Written-By, Composed By – Camouflage

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Metronome – 867 495-1
Format: Vinyl, 12″, 45 RPM
Country: Germany
Released: 1991
Genre: Electronic
Style: Synth-pop

CREDITS:

Producer – Camouflage

NOTES:
A) Mixed at Atlantis Studio.
B1) Mixed at Guerilla Studios.

Made in Holland.

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

You can help show your support for this blog by donating using PayPal. I appreciate your help.