Tag: Germany

September 22, 2026

The Cars – Hello Again (Germany 12″) (1984)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Hello again everyone!

It feels really good to finally be back at Burning The Ground.

What was originally supposed to be a short break for vacation turned into a much longer absence than I had planned. Shortly after we returned home, my partner’s father passed away unexpectedly. The past couple of weeks have been difficult for our family, and I simply needed some additional time away.

I want to thank everyone who continued to visit Burning The Ground while I was gone, and especially those of you who reached out and checked in. Your continued support of BTG means more to me than you probably realize.

When I started thinking about what record should be the first one back on the turntable, this one seemed almost too perfect.

“Hello Again.”

Sometimes the record chooses itself.

Longtime BTG readers may remember this 12″ from the early days of the site. I originally posted it on December 2, 2010, then returned to it with a new rip in June 2015. Eleven years later, I thought it was time to pull this record from the archive once again and give it a completely new transfer using my current setup.

“Hello Again” was released in 1984 as the fourth single from The Cars’ fifth studio album, “Heartbeat City.” Written and sung by Ric Ocasek, the track became the fourth Top 20 single from the album in the United States, reaching No. 20 on the Billboard Hot 100. It also reached No. 8 on Billboard’s Dance Music/Club Play chart and No. 22 on the Mainstream Rock chart.

“Heartbeat City” was produced by The Cars along with Robert John “Mutt” Lange. For the 12″ release, “Hello Again” was handed over to legendary producer and remixer Arthur Baker. Andy Wallace and The Latin Rascals provided additional editing, while Chris Lord-Alge and Tom Lord-Alge handled remix engineering.

The result is a nearly six-minute Extended Remix Version that takes the electronic side of the original even further. The German 12″ also includes the Dub Version, giving Arthur Baker and company even more room to play with the track’s rhythms, vocals, and electronic effects.

The B-side contains the shorter Single Version.

More than anything, though, the title of this record just felt right for today.

After vacation, loss, and some unexpected time away, I’m ready to get back to sharing the records we all love. I have plenty of vinyl waiting in the stacks and quite a few things planned for Burning The Ground in the weeks ahead.

So…

Hello again.

Turn it up, enjoy the music, and welcome back to Burning The Ground!

SIDE A:
Hello Again (Extended Remix Version) 5:56
Hello Again (Dub Version) 6:12

SIDE B:
Hello Again (Single Version) 3:47

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart (1984)	Peak Position
U.S. Billboard Hot 100	20
U.S. Billboard Mainstream Rock	22
U.S. Billboard Hot Dance Music/Club Play	8

RELEASE INFORMATION:
Label: Elektra – 966 929-0
Format: Vinyl, 12″, 45 RPM
Country: Germany
Released: 1984
Genre: Electronic, Rock, Pop
Style: New Wave, Pop Rock, Synth-pop

CREDITS:

Art Direction – Carol Friedman
Design [Cover Design] – Jodee Stringham
Edited By – Andy Wallace (tracks: A1, A2), The Latin Rascals (tracks: A1, A2)
Engineer [Remix] – Chris Lord-Alge (tracks: A1, A2), Tom Lord-Alge (tracks: A1, A2)
Photography By [Cover] – James Wojcik
Producer – Robert John “Mutt” Lange*, The Cars
Remix – Arthur Baker (tracks: A1, A2)
Written-By – Ric Ocasek

NOTES:
Special versions from the LP “HEARTBEAT CITY”

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.

June 23, 2026

Sheryl Lee Ralph – In The Evening (Germany 12″) (1984)

Burning The Ground Exclusive

As Pride Month continues, “The Soundtrack of Pride” shines a spotlight on a dance floor classic that perfectly captures the spirit of self-expression, freedom, and community. While it may not have achieved the mainstream recognition of some of its contemporaries, Sheryl Lee Ralph’s 1984 debut single “In The Evening” became a beloved anthem in clubs and remains an enduring favorite within LGBTQ+ culture.

Many know Sheryl Lee Ralph as the original Deena Jones in the Broadway production of Dreamgirls, or from her acclaimed television and film career. Long before earning awards and critical acclaim on screen, Ralph stepped onto the dance floor with a record that would leave a lasting mark on club culture.

Produced by Trevor Lawrence, “In The Evening” combined infectious post-disco grooves, soulful vocals, and polished production into one of the most irresistible dance records of the decade. The single reached No. 6 on Billboard’s Dance chart and became a favorite in clubs around the world.

What truly cemented the song’s place in LGBTQ+ history, however, was its message.

The song’s unforgettable lyric, “In the evening, the real me comes alive,” resonated deeply with many queer people during the 1980s. At a time when countless LGBTQ+ individuals still faced discrimination, rejection, and pressure to hide their authentic selves, the nightlife offered something precious, a place where they could finally be free. Dance clubs became sanctuaries, and songs like “In The Evening” became their soundtrack.

For many, those lyrics were more than words. They reflected a lived experience. During the day, some were forced to conceal who they were. At night, surrounded by community on crowded dance floors, they could embrace their true identity. Ralph’s powerful vocal performance gave voice to those feelings of liberation and self-discovery.

The record quickly became a staple in gay clubs and discotheques upon its release. Decades later, it continues to fill dance floors and remains a cherished classic in LGBTQ+ spaces. Few songs from the era so perfectly capture the joy, resilience, and sense of belonging that club culture provided.

Sheryl Lee Ralph herself has fully embraced the song’s legacy. In recent years she has frequently referred to “In The Evening” as a “big gay anthem” and has credited much of its enduring popularity within the LGBTQ+ community to her friendship with the late disco icon Sylvester, one of the most important and influential openly gay artists in dance music history.

Ralph’s connection to the LGBTQ+ community extends far beyond this single. Throughout her career she has been a passionate advocate and ally. In 2024 she was recognized for her tireless support of LGBTQ+ causes, being named Advocate of the Year by Out Magazine and honored by GLAAD for her ongoing activism and commitment to equality.

More than forty years after its release, “In The Evening” remains a shining example of how music can provide comfort, empowerment, and connection. It reminds us of the importance of safe spaces, chosen families, and the freedom to live authentically.

As we celebrate Pride Month and the songs that helped shape LGBTQ+ culture, “In The Evening” stands tall as more than just a dance record. It is an anthem of self-acceptance, a celebration of authenticity, and a testament to the power of finding your community.

When the sun goes down, and the music begins, the message still rings true:

“In the evening, the real me comes alive.”

SIDE A:
In The Evening (Special Extended Dance Mix) 6:18

SIDE B:
In The Evening (Instrumental) 6:18

VINYL GRADE:
Vinyl: Naer Mint
Sleeve: Near Mint

Chart Performance — Sheryl Lee Ralph: *In The Evening* (1984)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#6	1984
Belgium (Ultrapop Flanders)	#16	1984
Netherlands (Dutch Singles Top 100)	#18	1984
UK Singles Chart	#64	1984

RELEASE INFORMATION:
Label: TELDEC – 6.20379
Format: Vinyl, 12″, Green Fluorescent
Country: Germany
Released: 1984
Genre: Electronic, Funk / Soul
Style: Synth-po

CREDITS:

Composed By – Frank Musker
Cover [Concept] – Joe Bernstein*, Sheryl Lee*
Mixed By, Engineer – Ben Wisch
Photography By [Cover Photo] – Marc Raboy
Producer, Arranged By, Composed By – Trevor Lawrence

NOTES:
Pressed on Green Fluorescent Vinyl

Licensed by – The New York Music Company

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.

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

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.

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.