Tag: John “Jellbean” Benitez

July 29, 2026

Patti Austin – It’s Gonna Be Special (US 12″ Promo) (1984)

Burning The Ground Exclusive

Apparently, one visit to the Two Of A Kind soundtrack was not enough.

After featuring Olivia Newton-John’s double A-side release of “Livin’ In Desperate Times” and “Twist Of Fate,” Ladies Of The 80s: Soundtrack Edition returns to the same movie for another overlooked gem.

This time, the spotlight belongs to Patti Austin and “It’s Gonna Be Special.”

The song first appeared on the soundtrack to the 1983 fantasy comedy Two Of A Kind, starring Olivia Newton-John and John Travolta. It was later released as the first single from Patti Austin’s self-titled 1984 album, where it also opened side one.

The movie may not have repeated the success of Grease, but its soundtrack brought together an impressive group of artists. Along with Olivia and Patti, the album featured Journey, Chicago, Boz Scaggs, Steve Kipner, David Foster, and the Olivia Newton-John and John Travolta duet “Take A Chance.”

As we have already discovered, the music from Two Of A Kind enjoyed a much longer life than the film itself.

“It’s Gonna Be Special” was written by Clif Magness and Glen Ballard and produced by Quincy Jones. Patti supplied both the lead and backing vocals, while the musicians included Magness on guitar, John Van Tongeren on keyboards and synthesizer, Paulinho da Costa on percussion, and a horn section arranged by Jerry Hey.

That is quite a collection of talent for one song.

Glen Ballard was still years away from becoming one of the most successful songwriters and producers of the 1990s. Clif Magness would also build an impressive career as a songwriter, musician, and producer. Here, they created a song filled with the excitement of believing that something wonderful is about to happen.

The title says it all.

“It’s Gonna Be Special” is bright, energetic, and filled with optimism. The rhythm combines polished early-1980s pop, R&B, and dance music. Synthesizers give the production a modern edge, while Jerry Hey’s horn arrangement adds warmth and punch.

Then there is Patti Austin.

Her voice gives the song its personality. She begins with confidence and continues building as the arrangement grows around her. By the time she reaches the chorus, she sounds completely certain that something special is on the way.

Patti had the technical skill to sing almost anything, but she never allowed that skill to overpower the emotion of a song. She could sound smooth and controlled, then suddenly lift a phrase with tremendous force. On “It’s Gonna Be Special,” she sounds joyful, playful, and determined all at once.

The song also fits the unusual story of Two Of A Kind better than it may first appear.

The film follows two ordinary people brought together through romance, angels, divine intervention, and the possible destruction of humanity. Against that background, Patti’s promise that something special is about to happen almost sounds like a message from the angels themselves.

Perhaps saving the world begins with a good dance record.

The single reached number 82 on the Billboard Hot 100. It performed much better with Patti’s core audience, climbing to number 15 on Billboard’s R&B chart and number 5 on the Dance chart.

The song does not appear to have received an official promotional music video. That lack of visual support may have limited its exposure at a time when music videos were becoming increasingly important to pop success. It is impossible to know whether a video would have pushed the record higher on the Hot 100, but it certainly could not have hurt.

In the United States, “It’s Gonna Be Special” was released commercially as a 7-inch single. The extended version, however, appeared only on a promotional 12-inch sent to radio stations and club DJs.

The promo contains the 6:30 “Dance Remix” and the shorter 4:14 “Single Edit.” The Dance Remix was created by John “Jellybean” Benitez.

Jellybean understood how to extend a song without losing what made the original work. His mix gives the rhythm section more room, brings the percussion forward, and adds instrumental passages designed for the dance floor.

The longer introduction allows the groove to establish itself before Patti takes control. Once her vocal arrives, the arrangement continues opening around her. The synthesizers, percussion, horns, and backing vocals receive more space, but the song never loses its strong pop structure.

This is still “It’s Gonna Be Special.”

There is simply more of it to enjoy.

The Dance Remix also places the song firmly within the club sound of 1984. The production is polished, but it has plenty of movement. It connects traditional R&B musicianship with the electronic pulse that was becoming central to dance music.

The Single Edit takes the opposite approach.

At 4:14, it presents the song in a tighter form suited to radio. The energy remains, but the arrangement moves more quickly from one section to the next. Having both versions together makes the promotional 12-inch especially useful for collectors.

You get the concise radio presentation and the full club experience on one record.

Because the 12-inch was promotional-only in the United States, it could easily have been missed by listeners who bought the soundtrack or Patti’s album. There was no widely available commercial 12-inch sitting beside the regular single in record stores.

You had to know a DJ, search the used-record bins, or get lucky.

That limited availability makes it an ideal selection for this series. “It’s Gonna Be Special” is not completely unknown, but Jellybean’s Dance Remix never received the attention given to many of his more famous mixes.

It deserves another chance.

Patti Austin had already built an extraordinary career by the time this single appeared. She began recording as a child and became one of the most respected studio vocalists of the 1970s. Her solo work moved through jazz, soul, pop, R&B, and dance music, while her recordings with Quincy Jones introduced her voice to an even larger audience.

Her number-one duet with James Ingram, “Baby, Come To Me,” had become a major hit shortly before this release. “It’s Gonna Be Special” showed that she could follow a romantic ballad with a bright electronic dance track without sounding out of place.

That versatility is one reason Patti belongs in Ladies Of The 80s.

She did not depend on shocking image changes or elaborate characters. Her reinvention happened through the music. She could move from a sophisticated ballad to jazz, funk, pop, or club music because her voice gave her the freedom to go almost anywhere.

For this post, I am featuring the rare US promotional 12-inch containing John “Jellybean” Benitez’s Dance Remix and the Single Edit.

The Dance Remix lets the groove stretch out.

The Single Edit gets directly to the point.

Two Of A Kind may have been an unusual movie, but its soundtrack continues to reveal treasures.

With Quincy Jones behind the controls, Jellybean Benitez handling the remix, and Patti Austin at the microphone, this one was always going to be special.

SIDE A:
It’s Gonna Be Special (Dance Remix) 6:30
Remix – John “Jellybean” Benitez

SIDE B:
It’s Gonna Be Special (Single Edit) 4:14

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart (1984)	Peak Position
US Billboard Dance/Disco	5
US Billboard Hot Black Singles	15
US Billboard Hot 100	82

RELEASE INFORMATION:
Label: Qwest Records – PRO-A-2076
Format: Vinyl, 12″, Promo, 33 ⅓ RPM
Country: US
Released: 1984
Genre: Electronic, Funk / Soul, Pop
Style: Soul

CREDITS:

Producer – Quincy Jones
Written-By – Cliff Magness*, Glen Ballard

NOTES:
From the motion picture “TWO OF A KIND”
From the album “PATTI AUSTIN” (1-23974)

Promotional Copy Not For Sale

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.

July 23, 2026

Madonna – Gambler (Extended Dance Mix) (UK 12″) (1985)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

For today’s entry in Ladies Of The 80s: Soundtrack Edition, we are returning to 1985, when Madonna seemed to be everywhere.

“Like A Virgin,” “Material Girl,” “Crazy For You,” “Angel,” “Into The Groove,” and “Dress You Up” were all competing for attention during the same extraordinary year. Hidden among that crowded run was another great Madonna single, “Gambler,” recorded for the soundtrack to the motion picture Vision Quest.

Vision Quest was released on February 15, 1985. Directed by Harold Becker and based on the 1979 novel by Terry Davis, the film stars Matthew Modine as Louden Swain, a high school wrestler who becomes determined to drop two weight classes and face the undefeated Brian Shute. His demanding physical goal becomes more complicated when Carla, played by Linda Fiorentino, temporarily moves into his family home.

Madonna makes a brief appearance in the film as herself, performing in a nightclub. At the time Vision Quest was filmed in late 1983, she was still at the beginning of her career. By the time the movie reached theaters, she had become one of the biggest pop stars in the world.

Her ballad “Crazy For You” became the soundtrack’s major hit, reaching number one in the United States. “Gambler,” however, shows a very different side of Madonna.

Where “Crazy For You” is slow, romantic, and vulnerable, “Gambler” is fast, defiant, and completely self-assured.

The song was written entirely by Madonna and recorded with John “Jellybean” Benitez, who had already worked with her on records such as “Holiday,” “Borderline,” and “Lucky Star.” Phil Ramone oversaw the music for Vision Quest and received production credit in the film.

“Gambler” begins with an urgent synthesizer pulse before exploding into electronic drums, handclaps, keyboards, guitar, and a driving bass line. The production races forward with the same determination as the film’s young wrestler.

Madonna’s character in the song refuses to be controlled. She makes her own choices, accepts the risks, and warns anyone standing in her way that she will not be told how to live.

It is a theme that would appear throughout her career.

Even at this early stage, Madonna understood how to sell confidence. Her vocal is sharp and playful, but there is also an aggressive edge beneath it. She sounds like someone who has already placed her bet and knows she is going to win.

The repeated “You can’t stop me now” refrain could almost have served as Madonna’s personal statement for 1985. Within a short time, she had moved from clubs and small television appearances to international superstardom. There was certainly no stopping her then.

The single was released in Europe, Australia, and several other markets during the fall of 1985. Strangely, it was never given a commercial single release in the United States.

Madonna’s label, Sire Records, reportedly feared that another single would compete with the ongoing releases from Like A Virgin and with “Crazy For You,” which had already been issued through Geffen Records. As a result, American listeners could buy the song on the Vision Quest soundtrack but not as its own commercial single.

That decision prevented “Gambler” from appearing on the Billboard Hot 100, but the song became a considerable hit elsewhere.

In the United Kingdom, “Gambler” reached number four and remained on the Official Singles Chart for fourteen weeks. It spent four weeks inside the Top 10 and became yet another major Madonna hit during her remarkable 1985 chart run.

The promotional video combines Madonna’s nightclub performance with scenes from Vision Quest. Like the clip for “Crazy For You,” it helped turn her brief film appearance into something much larger than a standard soundtrack cameo.

The Vision Quest soundtrack was also an impressive collection beyond Madonna’s two contributions. It included Journey’s “Only The Young,” John Waite’s “Change,” The Style Council’s “Shout To The Top,” Don Henley’s “She’s On The Zoom,” Dio’s “Hungry For Heaven,” and Red Rider’s “Lunatic Fringe.”

“Gambler” remained something of an orphan within Madonna’s catalog for many years. It did not appear on one of her regular studio albums, and the single was unavailable on streaming and digital services until December 2022. The digital release finally made the original version, Extended Dance Mix, and Instrumental Mix widely available around the world.

For collectors, however, the original vinyl remains an essential piece of Madonna’s 1980s discography.

I previously posted this single in March 2016. A decade later, I decided it was time to return to the record and create an entirely new transfer.

For this 2026 edition, I started again from the beginning using my current equipment and restoration process. This is not a remaster of the files posted in 2016. It is a fresh vinyl transfer made to preserve the punch of the electronic percussion, the bright synthesizers, and the force of Madonna’s vocal.

“Gambler” sometimes gets lost among the enormous number of Madonna singles released during this period. It did not have the American chart run of “Crazy For You,” the cultural impact of “Into The Groove,” or the constant radio exposure of her Like A Virgin hits.

But listen again.

The song is fast, fearless, and unmistakably Madonna.

She knew the risks.

She played the game.

And she won.

SIDE A:
Madonna – Gambler (Extended Dance Mix) 5:38
Arranged By – Stephen Bray
Producer, Remix – John “Jellybean” Benitez
Written-By – Madonna

SIDE B:
Madonna – Gambler (Instrumental Remix) 3:54
Arranged By – Stephen Bray
Producer, Remix – John “Jellybean” Benitez
Written-By – Madonna

Black ‘N Blue – Nature Of The Beach 3:47
Producer – Bruce Fairbairn
Written-By – St. James, Thayer

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Madonna: Gambler (1985-86)	Peak Position
Australia (Kent Music Report)	10
Belgium (Ultratop 50 Flanders)	10
European Hot 100 Singles	8
Europarade Top 40	13
Finland (Suomen virallinen lista)	4
France (SNEP)	33
Germany (GfK)	25
Iceland (RÚV)	6
Ireland (IRMA)	3
Italy (Musica e dischi)	10
Netherlands (Dutch Top 40)	9
Netherlands (Single Top 100)	7
New Zealand (Recorded Music NZ)	45
Norway (VG-lista)	9
Switzerland (Schweizer Hitparade)	23
UK Singles Chart	4

RELEASE INFORMATION:
Label: Geffen Records – TA 6585
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: UK
Released: 1985
Genre: Electronic, Rock, Pop
Style: Pop Rock, Synth-pop

CREDITS:

Design [Sleeve Design] – Tomcat (7)
Lacquer Cut By – Timtom* (tracks: A)
Photography By [Cover] – Armando Gallo

NOTES:
A & B1: Special version from the LP “Vision Quest” GEF 70263

A & B1: Produced and Remixed for Jellybean Productions, Inc.

Madonna appears through the courtesy of Sire Records 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.

July 15, 2026

Deniece Williams – Let’s Hear It For The Boy (US 12″) (1984)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

After beginning Ladies Of The 80s: Soundtrack Edition with Bonnie Tyler’s “Holding Out For A Hero,” I just could not leave the Footloose soundtrack behind quite yet.

For the second entry in the series, we are staying with one of the biggest soundtrack albums of the 1980s and turning our attention to another of its defining hits, Deniece Williams and the irresistible “Let’s Hear It For The Boy.”

Released in 1984, “Let’s Hear It For The Boy” was written by Tom Snow and Dean Pitchford and produced by the late George Duke. The song became one of the biggest hits of Deniece Williams’ career, reaching number one on the US Billboard Hot 100 and number two on the UK Singles Chart. It was also nominated for the Academy Award for Best Original Song.

Where “Holding Out For A Hero” is loud, dramatic, and almost operatic, “Let’s Hear It For The Boy” is pure joy. The production is bright and playful, with Deniece’s unmistakable voice floating effortlessly above the keyboards, rhythm, and infectious chorus.

It is also another perfect example of a song becoming forever connected to a scene in a movie.

In Footloose, the song accompanies the memorable sequence in which Ren teaches Willard how to dance. What begins with Willard struggling to find the beat gradually turns into one of the most enjoyable moments in the film. The song fits the scene beautifully. It is encouraging, funny, affectionate, and completely impossible to sit still through.

That sequence also shows just how important music was to Footloose. The songs were not simply placed over the movie. They became part of its identity. Nearly every major musical moment brings back a particular scene, character, or feeling.

And what a soundtrack it was.

The Footloose album produced an extraordinary run of hits, including Kenny Loggins’ title song, Bonnie Tyler’s “Holding Out For A Hero,” Shalamar’s “Dancing In The Sheets,” Mike Reno and Ann Wilson’s “Almost Paradise,” and, of course, “Let’s Hear It For The Boy.”

Deniece Williams was already an established and highly respected singer before Footloose, but this song introduced her to an even larger pop audience. Her light, soaring vocal style is a perfect match for the production. There is an innocence and warmth to her performance that keeps the song from ever feeling forced. Even at its most polished and unmistakably 1984, it still sounds completely natural coming from her.

And then there is that chorus.

Once you hear it, good luck getting it out of your head.

For this post, I am featuring the 12-inch single, which includes the Dance Remix and Instrumental, both mixed by John “Jellybean” Benitez.

That makes this the second Footloose post in a row to feature Jellybean behind the remix desk. Just as he did with Bonnie Tyler’s “Holding Out For A Hero,” he takes the original song and gives it more room for the dance floor without losing what made the record work in the first place.

The Dance Remix stretches out the groove and lets the rhythm section breathe, while the Instrumental puts the spotlight on George Duke’s production and the arrangement underneath Deniece’s vocal.

As a bonus, I have also included the vinyl-only “Dance Remix Edit,” lifted from the US 12-inch promotional release. This shorter edit offers another variation of Jellybean’s remix and has never been easy to find outside of the original vinyl.

I originally posted this single in March 2019. Seven years later, I decided it was time to return to the vinyl and start again.

For this 2026 edition, I created an entirely new transfer from the beginning, followed by meticulous audio restoration. This is not an update of the old 2019 files. It is a brand-new transfer created with my current equipment and restoration process.

Following the enormous drama of Bonnie Tyler’s “Holding Out For A Hero,” Deniece Williams gives us a completely different side of the Footloose soundtrack. One song demands a hero. The other celebrates the boy you already have, even if he cannot dance.

At least not yet.

Two very different songs. Two unforgettable women. One incredible soundtrack.

Let’s hear it for Deniece Williams.

SIDE A:
Let’s Hear It For The Boy (Extended Dance Remix) 6:02

SIDE B:
Let’s Hear It For The Boy (Instrumental) 4:12

BONUS TRACK:
Let’s Hear It For The Boy (Dance Remix Edit) 3:36

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Deniece Williams: Let’s Hear It For The Boy (1984)	Peak Position
Argentina (CAPIF)	10
Australia (Kent Music Report)	3
Belgium (Ultratop 50 Flanders)	5
Canada Top Singles (RPM)	1
Europe (European Top 100 Singles)	7
Ireland (IRMA)	2
Netherlands (Dutch Top 40)	4
New Zealand (Recorded Music NZ)	2
Switzerland (Schweizer Hitparade)	19
UK Singles Chart	2
US Billboard Hot 100	1
US Billboard Adult Contemporary	3
US Billboard Dance Club Songs	1
US Billboard Hot R&B/Hip-Hop Songs	1
West Germany (GfK)	10

RELEASE INFORMATION:
Label: Columbia – 44-04988
Format: Vinyl, 12″, 33 ⅓ RPM, Single, Stereo
Country: US
Released: 1984
Genre: Electronic
Style: Synth-pop

CREDITS:

Engineer – Michael Hutchinson
Mixed By – John “Jellybean” Benitez
Producer – George Duke
Written-By – D. Pitchford*, T. Snow*

NOTES:
Also available “FOOTLOOSE” Music from the Paramount Motion Picture

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.

August 18, 2023

Santana – Say It Agan (Extended Dance Remix) (US 12″)

Burning The Ground Exclusive 1985

“Say It Again” is a 1985 single by American band Santana formed in San Francisco in 1966 by Mexican-born guitarist Carlos Santana.

“Say It Again” nearly hit the U.S. Top 40 peaking at #46 in 1985, and in Carlos Santana’s arsenal of lead singers, the vocals on “Say It Again” fell to the soulful Greg Walker. Of Santana’s 15 Top 40 songs, Walker would sing lead on two of them as he made his mark with “Stormy” and “She’s Not There” – both of which charted in the ’70s and were remakes of ’60s songs.

“Say It Again”, also reached #15 on Billboard’s Mainstream Rock Tracks chart. The song was taken from the band’s fourteenth studio album “Beyond Appearances”.

SIDE A:
Say It Again (Extended Dance Remix) 7:41

SIDE B:
Say It Again (Instrumental) 6:28

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year	Single	Chart	Position
1985	Say It Again	U.S. Billboard Hot 100	#46
1985	Say It Again	U.S. Billboard Mainstream Rock Tracks	#15

RELEASE INFORMATION:
Label: Columbia – 44-05168
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: Mar 1985
Genre: Electronic
Style: Synth-pop

CREDITS:

Engineer – Michael Hutchinson
Engineer [Mix Assistant] – Sabrina Buchanek
Mixed By – John “Jellybean” Benitez
Producer – Val Garay

NOTES:
From the Columbia LP “Beyond Appearances”

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
burningtheground.net

THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon 2M Black PnP MkII
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

SOFTWARE:
Recording/Editing: Adobe Audition 3.0 (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

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

You can help show your support for this blog by making a donation using PayPal. Thank you for your help.