Tag: Julian Mendelsohn

Bronski Beat – Why? (Remix) (UK 12″ Limited Edition) (1984)

Burning The Ground Exclusive

As Pride Month comes to a close, I can’t think of a better record to finish my “Soundtrack Of Pride” series than Bronski Beat’s “Why?”

Released in 1984, “Why?” followed the band’s stunning debut single “Smalltown Boy,” and together the two songs form one of the most powerful one-two punches in LGBTQ+ pop history. Where “Smalltown Boy” tells the painful story of leaving home to survive, “Why?” turns that pain outward. It asks the question directly. Why the hate? Why the fear? Why should anyone have to hide who they are or who they love?

Jimmy Somerville’s voice is one of the great voices of the 1980s. Fragile one moment, fierce the next, he could turn a dance record into a protest song without losing the beat. “Why?” is pure Hi-NRG fire, but it is also angry, wounded, and unafraid. The record moves with urgency, driven by sharp synths, pounding percussion, and that unmistakable cry in Somerville’s vocal. It is a song built for the dance floor, but it refuses to be background music.

The charts also showed just how far Bronski Beat’s message traveled. “Why?” reached No. 6 on the UK Singles Chart and topped the UK Airplay chart, while also finding success across Europe, Australia, and the U.S. dance charts. “Smalltown Boy” had already made an even bigger impact, reaching No. 3 in the UK and No. 1 on the U.S. Billboard Hot Dance Club Play chart. For music this direct, this emotional, and this openly queer to travel that far in 1984 still feels remarkable.

That was the power of Bronski Beat. They were not hiding behind suggestion or coded language. Steve Bronski, Larry Steinbachek, and Jimmy Somerville made music that spoke openly about gay life at a time when that was still a radical act in pop music. Their debut album, The Age Of Consent, carried its message right in the title, referring to the unequal age of consent laws in the United Kingdom at the time. This was pop music with a purpose.

My limited edition UK 12” single makes this release even more special because the flip side contains the 12″ version of “Smalltown Boy.” Having “Why?” and “Smalltown Boy” together on one 12” feels almost too perfect. One song is the escape. The other is the confrontation. One is the heartbreak of being pushed away. The other is the demand to be seen, heard, and respected.

“Smalltown Boy” remains one of the most moving LGBTQ+ anthems ever recorded. Its story of rejection, loneliness, and the search for a place to belong has touched generations of listeners. Even now, four decades later, it still feels deeply personal. It is not just a song about leaving. It is a song about surviving.

“Why?” is just as important. It reminds us that Pride is not only a celebration. It is also a protest. It is history. It is memory. It is the sound of people refusing to disappear.

For the final entry in this year’s “Soundtrack Of Pride,” Bronski Beat feels essential. These songs are not just dance classics. They are documents of their time, and they still speak loudly today. They remind us why the dance floor mattered, why visibility mattered, and why music could become a lifeline.

Pride has always had a soundtrack. Sometimes it is joyful. Sometimes it is defiant. Sometimes it hurts. Bronski Beat gave us all of that, wrapped in synths, rhythm, and one of the most unforgettable voices pop music has ever known.

Happy Pride, and as always, thank you for listening.

SIDE A:
Why? (Remix) 5:11
Engineer [Mixing Engineer] – Julian Mendelsohn
Mixed By [Uncredited] – Laz, Steve

SIDE B:
Smalltown Boy (12″ Version) 9:02

Cadillac Car 3:52
Engineer [Mixing Engineer] – Harvey Goldberg
Guitar – Steve*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Weekly chart performance for Bronski Beat’s “Why?” and “Smalltown Boy”
Chart “Why?”
Peak Position		 “Smalltown Boy”
Peak Position
Australia (Kent Music Report) 10 8
Austria (Ö3 Austria Top 40) N/A 2
Belgium (Ultratop 50 Flanders) 3 1
Canada Top Singles (RPM) 31 9
Europe (Airplay Top 50) 4 N/A
Europe (Europarade Top 40) 4 3
Europe (Eurochart Hot 100) 5 15
France (SNEP) 8 8
Germany Airplay Top 15 10 N/A
Ireland (IRMA) 6 4
Italy (Musica e dischi) 5 1
Italy (Discografia Internazionale) N/A 2
Netherlands (Dutch Top 40) 2 1
Netherlands (Single Top 100) 6 1
New Zealand (Recorded Music NZ) 11 5
South Africa (Springbok Radio) 7 N/A
Spain Airplay 2 N/A
Spain (AFYVE) 10 N/A
Switzerland (Schweizer Hitparade) 7 2
UK Airplay Top 20 1 N/A
UK Singles (OCC) 6 3
US Billboard Hot 100 N/A 48
US Hot Dance Club Play (Billboard) 27 1
US Hot Dance Music/Maxi-Singles Sales (Billboard) 20 4
US Cash Box Top 100 N/A 32
West Germany (GfK) 5 3

RELEASE INFORMATION:
Label: Forbidden Fruit – BITEX 2, Forbidden Fruit – 882 014-1
Format: Vinyl, 12″, 45 RPM, Single, Limited Edition
Country: UK
Released: 1984
Genre: Electronic
Style: Synth-pop

CREDITS:

NOTES:
Why?: Dedicated To The Memory Of Drew Griffiths.

“SPECIAL LIMITED EDITION WHY? REMIX WITH BONUS TRACK SMALLTOWN BOY”

Recorded at R.P.M. Studios, New York
Why?: Mixed at The Town House, London
Cadillac Car: Mixed at Right Track Recording, New York
Mastered at The Master Room, London

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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Models – Cold Fever (US 12″) (1986)

Burning The Ground Exclusive

By 1985, Models had fully refined their sleek, synth-driven sound, culminating in their fourth studio album Out of Mind, Out of Sight. While the title track and “Barbados” found broader international attention, it was the album’s fourth single, “Cold Fever,” that delivered one of the band’s most atmospheric and underrated moments.

Built on shimmering keyboards, icy textures, and a driving mid-tempo groove, “Cold Fever” perfectly captures the polished sophistication that defined mid-’80s new wave. The production—handled by Mark Opitz—leans into a cinematic quality, layering synth lines over a tight rhythm section while Sean Kelly’s detached yet emotive vocal adds a sense of cool distance.

Unlike the brighter, more radio-friendly singles from the album, “Cold Fever” feels moodier and more introspective, almost nocturnal in tone. It’s a track that rewards repeat listens, revealing subtle production details and textures that often go unnoticed on first spin.

The single also found modest international success, reaching #29 on the Billboard Mainstream Rock Tracks chart in the United States, #22 in New Zealand, and #36 in Australia—further evidence of the band’s growing global reach during this period.

Issued in the United States in 1986 as a 12″ single, this pressing leans into the track’s atmospheric qualities, extending the arrangement for club play. The added space allows the synth textures and rhythmic pulse to breathe, making it a perfect fit for late-night sets where mood and groove take center stage.

Although it didn’t achieve the same chart success as its predecessors, “Cold Fever” stands today as a testament to Models’ ability to balance pop sensibility with artful restraint. For fans of sophisticated new wave, it remains a hidden gem within an already stellar album.

Did You Know?
Out of Mind, Out of Sight became the band’s most successful release, spawning multiple hit singles and solidifying Models as one of Australia’s premier acts of the era.

Fellow Australian band INXS were fans of Models; their manager, Chris Murphy, signed them to his MMA management company.

SIDE A:
Cold Fever (Extended Mix) 6:41
Out Of Mind Out Of Sight (“Live” Version) 4:02

SIDE B:
I Hear Motion (Extended Mix) 6:29
Preacher From The Black Lagoon 2:59

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Models: Cold Fever (1986)
Chart Peak Position Date
US Billboard Mainstream Rock Tracks #29 1986
New Zealand #22 1986
Australia (Kent Music Report) #36 1986

RELEASE INFORMATION:
Label: Geffen Records – 0-20494, Mushroom – 0-20494, Geffen Records – 9 20494-0 A, Mushroom – 9 20494-0 A
Format: Vinyl, 12″, 45 RPM, Maxi-Single, Stereo
Country: US
Released: 1986
Genre: Rock
Style: New Wave

CREDITS:

NOTES:
Specially-priced Maxi Single.

Mixed At – Rhinoceros Studios

Track A2: Recorded live at Melbourne Concert Hall, Melbourne, Australia. Mixed at Rhinoceros Studios

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

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

**24bit FLAC Only Available For Seven Days!


Password: burningtheground

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Pet Shop Boys – Was It Worth It? (US 12″) (1991)

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By the end of 1991, the Pet Shop Boys had firmly established themselves as synth-pop icons. Their first greatest hits compilation, Discography: The Complete Singles Collection, not only celebrated their decade-long run of chart-topping singles but also introduced two new songs: “DJ Culture” and “Was It Worth It?”. Released on 9 December 1991 by Parlophone, “Was It Worth It?” became the second and final single from the compilation, peaking at number 24 on the UK Singles Chart. While it ended a streak of 16 consecutive top 20 hits dating back to West End Girls in 1985, the song remains a standout for its reflective optimism and danceable production.

Recorded at Sarm West with production group Brothers in Rhythm, the song was a collaborative effort. Neil Tennant began writing “Was It Worth It?” before their fourth studio album, Behaviour (1990), and Chris Lowe contributed the memorable chorus. Steve Anderson of Brothers in Rhythm added a piano part that Tennant likened to Black Box’s 1989 hit “Ride on Time”. The track features a call-and-response format, with backing vocals from Tessa Niles, Carol Kenyon, and Ghida de Palma, giving it a layered, uplifting feel.

Lyrically, Tennant described the song as “a reaffirmation of the worth of love, an ‘I am what I am’ sort of song.” He called it “a very gay song. Very gay positive. It’s basically saying: if I had to do it all again, I wouldn’t change a single thing.” Its upbeat message and celebratory tone make it one of the Pet Shop Boys’ most affirming singles, even if it didn’t achieve their usual chart success.

The B-side, “Miserablism”, produced by Harold Faltermeyer and mixed by Julian Mendelsohn, was originally intended for Behaviour but was removed late in the album’s process. Meanwhile, the single’s cover art is a charming nod to fan creativity: dolls of Tennant and Lowe crafted by Japanese fan Toshima Tada, holding bouquets of red roses reminiscent of the Behaviour album cover. The 7-inch back cover featured yellow roses, while the 12-inch opted for a blue background.

The accompanying music video, directed by Eric Watson, embraced a playful, theatrical energy. Shot in a club setting, it combined footage of the duo performing at Heaven with scenes of a vibrant, drag-filled crowd. Inspired by films like Saturday Night Fever and Hairspray, as well as the moveable clubnight Kinky Gerlinky, the video showcased extravagant costumes, dance, and pure fun—Chris Lowe famously appears in a towering orange Kenzo hat, doing absolutely nothing while the rest of the club revels.

Although “Was It Worth It?” didn’t break into the top 20, it remains an essential part of the Pet Shop Boys’ catalog: a perfectly crafted, celebratory pop song that affirms love, identity, and the joy of dancing through life’s choices.

SIDE A:
Was It Worth It? (12″ Version) 7:12
Producer – Brothers In Rhythm, Pet Shop Boys
Remix – Pet Shop Boys

Was It Worth It? (Dub Version) 5:12
Engineer – Paul Wright
Instrumentation By, Programmed By – Philip Kelsey
Producer – Brothers In Rhythm, Pet Shop Boys
Remix – Dave Seaman, Philip Kelsey

SIDE B:
Miserablism (Electro Mix) 5:35
Producer – Harold Faltermeyer, Pet Shop Boys
Producer [Additional Production], Remix – Moby

Miserablism (Short Version) 4:11
Mixed By – Julian Mendelsohn
Producer – Harold Faltermeyer, Pet Shop Boys

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: EMI Records USA – VNR-56243, EMI Records USA – VNR 56243
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1991
Genre: Electronic
Style: House, Techno, Synth-pop

CREDITS:

NOTES:
A2: Remixed for Creative Theives Conglomerate/DMC.

Printed in the U.S.A.

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

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

**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.


Paul McCartney – Press (US 12″) (1986)

Burning The Ground Exclusive

In July 1986, Paul McCartney returned to the pop charts with “Press”, the lead single from his sixth solo studio album, Press to Play. Released on July 14, 1986, the song marked a distinct step into mid-80s production for McCartney, pairing his classic songwriting style with glossy, synth-driven textures and a bright pop sheen.

Produced by Hugh Padgham, who was well-known for his work with Genesis, The Police, and Phil Collins, “Press” blended jangly guitars, drum programming, and layered keyboards to create a contemporary sound. The song’s lyrics are a lighthearted metaphor, comparing love and communication to the simple act of pressing a button.

Chart Performance

“Press” had a modest chart run compared to McCartney’s earlier hits. In the U.S., it reached #21 on the Billboard Hot 100 and climbed to #10 on the Adult Contemporary chart, while in the U.K., it stalled at #25 on the Singles Chart. Though not one of his biggest successes, it remains a curious and charming entry in his catalog, capturing McCartney’s willingness to experiment with the evolving sounds of the 1980s.

Music Video

The “Press” music video by Paul McCartney was filmed entirely on the London Underground. Specifically, McCartney takes the tube from South Kensington to Piccadilly Circus. The video, directed by Philip Davey, features McCartney singing the song while traveling on the Jubilee line.

✨ While “Press” may not hold the same iconic status as McCartney’s earlier solo hits, it stands as an underrated gem from his 80s output—playful, catchy, and very much of its era. For fans of 12-inch singles and synth-infused pop, it’s a fun one to revisit.

SIDE A:
Press (Video Soundtrack) 4:44
It’s Not True 5:47

SIDE B:
Hanglide 5:16
Press (Dub Mix) 6:29

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year Single Chart Position
1986 Press U.S. Billboard Hot 100 #21

RELEASE INFORMATION:
Label: Capitol Records – V-15235, MPL (2) – V-15235
Format: Vinyl, 12″, 33 ⅓ RPM, Maxi-Single
Country: US
Released: Jul 16, 1986
Genre: Rock
Style: Pop Rock

CREDITS:

NOTES:
Tracks A1 and B2 are different mixes from the album version.
Track A2 was issued as a CD bonus track.
Track B1 was issued as a non-album track.

Buy the 12″ from DISCOGS

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

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

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

**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.