Tag: Ladies Of The 80s: Soundtrack Edition

July 21, 2026

Nona Hendryx – Moving Violations (US 12″) (1985)

Burning The Ground Exclusive

For today’s entry in Ladies Of The 80s: Soundtrack Edition, we are pulling over for a title track that has spent far too many years hidden in the slow lane.

“Moving Violations” was recorded by Nona Hendryx for the 1985 comedy of the same name. The film was directed by Neal Israel, who also co-wrote the screenplay with Pat Proft. Released on April 19, 1985, it starred John Murray, Jennifer Tilly, James Keach, Brian Backer, Wendie Jo Sperber, Fred Willard, and Sally Kellerman.

The movie follows a group of unlucky motorists who are sentenced to traffic school. What they do not know is that the school is part of a crooked plan to fail the students and sell their impounded cars. Naturally, the students do not quietly accept the situation, and the result is a very silly collection of car chases, sight gags, crashes, and the sort of broad comedy that filled movie theaters during the mid-1980s.

The film may not be remembered as one of the decade’s major comedies, but its title song deserves another listen.

“Moving Violations” was written by Bruce Roberts and produced by Bernard Edwards, the bass player, songwriter, and producer best known as one-half of the team behind Chic. Edwards and Nile Rodgers created classics such as “Le Freak,” “Good Times,” “I Want Your Love,” and “Everybody Dance,” while also writing and producing hits for Sister Sledge and other artists.

That connection becomes clear as soon as “Moving Violations” gets underway.

Edwards gives the track a tight, fast-moving dance groove that feels built for both a movie chase and a crowded dance floor. The rhythm never lets up, and Nona Hendryx attacks the song with the power, humor, and confidence needed to keep up with it.

A lesser singer might have disappeared inside such a busy production. Nona sounds completely at home.

She growls, shouts, and pushes the title phrase as though she is personally daring the police to catch her. Her performance brings a little danger to what could have been a simple novelty theme. The movie is a comedy, but Nona sings as though every traffic ticket has become a personal challenge.

Nona Hendryx first gained fame as a member of Labelle alongside Patti LaBelle and Sarah Dash. She was also one of the group’s main songwriters and helped move their music beyond traditional soul into funk, rock, glam, and more experimental territory. Her solo career continued that refusal to remain in one musical lane.

By the middle of the 1980s, Hendryx had developed a sound that mixed rock, funk, electronic music, R&B, and dance music. She could be soulful one moment and sound like the leader of a futuristic rock band the next.

That made her a perfect choice for a soundtrack title that needed personality.

“Moving Violations” arrived during a busy soundtrack period for Nona. She also recorded “I Sweat (Going Through The Motions)” for the Jamie Lee Curtis film Perfect, another 1985 release. Both songs placed her commanding voice over polished dance-rock productions made for the movies.

The music used in Moving Violations reflected the anything-goes nature of the decade. Alongside Nona’s title song, the film featured Sammy Hagar’s “I Can’t Drive 55,” Julie Brown’s “Every Boy’s Got One,” a version of James Brown’s “I Got You (I Feel Good),” and Peaches & Herb’s “Reunited.” It is an odd combination on paper, but that was often part of the fun of an 80s movie soundtrack.

However, Moving Violations never received an official standalone soundtrack album on either vinyl or CD. The songs remained scattered across individual releases and the artists’ own catalogs, making it impossible for fans to purchase the complete soundtrack in one place.

Nona Hendryx’s title song was only issued in the United States on 7-inch and 12-inch vinyl. There was no commercial release in other major territories, and no music video was produced to help promote the single.

Those missing pieces may help explain why the song became so difficult to remember and rediscover. Without a soundtrack album, a widely distributed international release, or a video receiving airplay on MTV, “Moving Violations” had very little chance to develop a life beyond the movie itself.

The title song still gives the film its own musical identity.

The regular single version runs just over four minutes, while the 12-inch version expands the track to nearly seven. The longer version gives Bernard Edwards’ production more space, letting the groove run longer while Nona’s vocal phrases move in and out of the arrangement. The extended version was later added to an expanded edition of Hendryx’s 1985 album The Heat.

“Moving Violations” does not carry the name recognition of “Lady Marmalade,” “Transformation,” or “Why Should I Cry?” It was also not attached to a blockbuster movie like Footloose.

That is exactly what makes it such a fun choice for this series.

Not every great soundtrack single became a major hit. Some records appeared, did their job inside the movie, and then slowly vanished from view. Years later, they are waiting in old record bins for someone to pull them out and give them another spin.

“Moving Violations” is one of those records.

It has a great vocalist, a respected songwriter, one of the finest bass players and producers of the era behind the controls, and enough energy to earn several tickets for reckless driving.

Buckle up.

Nona Hendryx is behind the wheel.

SIDE A:
Moving Violations (Extended Version) 6:56
Producer – Bernard Edwards
Written-By – B. Roberts*

SIDE B:
Soft Targets 4:24
Producer – Material, Nona Hendryx
Written-By – Nona Hendryx

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: RCA – PD-14057
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: 1985
Genre: Electronic, Funk / Soul
Style: Rhythm & Blues

NOTES:
Side A: From the Movie “MOVING VIOLATIONS”

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

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Password: burningtheground

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July 17, 2026

Eurythmics – Sexcrime (Nineteen Eighty·Four) (1984)

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NEW 2026 Transfer
NEW Meticulous Audio Restoration

For the next entry in Ladies Of The 80s: Soundtrack Edition, we are leaving behind the bright pop of “Whole Wide World” and entering a much colder, darker, and more unsettling world.

“Sexcrime (Nineteen Eighty-Four)” was released in 1984 as the first single from Eurythmics’ soundtrack album 1984 (For The Love Of Big Brother), created for Michael Radford’s film adaptation of George Orwell’s Nineteen Eighty-Four. The movie starred John Hurt as Winston Smith, Suzanna Hamilton as Julia, and Richard Burton in his final film role as O’Brien.

Although Eurythmics was a duo, there was no leaving Annie Lennox out of this series. Her voice, image, and commanding presence helped make Eurythmics one of the most recognizable acts of the decade. On “Sexcrime,” she sounds fierce, nervous, controlled, and ready to explode, often within the same few seconds.

The song was written by Annie Lennox and Dave Stewart and produced by Stewart. Its title comes directly from Orwell’s fictional language of Newspeak. In the world of Nineteen Eighty-Four, even private desire can become an offense against the state. Romance, sex, and personal loyalty are dangerous because they create bonds that exist outside the control of Big Brother.

Eurythmics turned that idea into one of their hardest and most mechanical singles.

“Sexcrime” is built around pounding electronic percussion, stabbing synthesizers, sampled fragments of Annie’s voice, and Dave Stewart’s processed repetition of “nineteen eighty-four.” Annie’s vocals are cut into small pieces and fired through the track like another rhythm instrument. The effect is tense, hypnotic, and slightly disturbing.

It sounds like a pop song created inside the Ministry of Truth.

There is also a physical urgency to the record. Beneath all the cold machinery, Annie sings like someone trying to protect the final pieces of her private life. When she reaches the line about pulling down the bricks one by one and leaving a hole in the wall, the song briefly turns from fear toward resistance.

That was one of Eurythmics’ greatest strengths during this period. They could make electronic music sound cold and deeply human at the same time.

The song’s video carried the Orwellian mood even further. Filmed at London’s Battersea Power Station, it placed Annie Lennox and Dave Stewart inside a bleak industrial setting filled with harsh lighting, smoke, rain, surveillance imagery, and scenes from the movie. The location could hardly have been more appropriate for the song’s oppressive atmosphere.

The story behind the soundtrack was nearly as tense as the music.

Virgin Films commissioned Eurythmics to create music for the movie, while director Michael Radford had already been working with composer Dominic Muldowney on a traditional orchestral score. Radford objected when much of Muldowney’s work was replaced with Eurythmics’ electronic music. The Eurythmics later stated that they had accepted the assignment in good faith and were unaware of the disagreement between the director and the film company. Different releases of the movie have since appeared with different combinations of the two scores.

The controversy may have complicated the movie’s release, but 1984 (For The Love Of Big Brother) remains a fascinating Eurythmics album. Much of it is instrumental, experimental, and far removed from the direct pop sound of hits such as “Sweet Dreams (Are Made Of This)” and “Here Comes The Rain Again.”

“Sexcrime” was the album’s most obvious single, although there was nothing particularly safe about it.

In the UK, the record became Eurythmics’ sixth consecutive Top 10 single, reaching number four and spending fifteen weeks on the chart. The album reached number 23 on the UK Albums Chart.

The reception in the United States was very different. Many American radio programmers and video outlets reacted to the title without understanding its meaning within Orwell’s novel. The single stalled at number 81 on the Billboard Hot 100, but club audiences were far more welcoming. It reached number two on Billboard’s dance chart.

Once again, the clubs were ahead of the radio.

For this post, I am returning to the US 12-inch promotional release. The record opens with the nearly eight-minute Extended Mix, followed on the B-side by the Single Version and “I Did It Just The Same.”

The Extended Mix gives the mechanical rhythm more room to build. Annie’s sampled vocals move in and out of the arrangement while the percussion, synthesizers, and processed voices create a sense that the listener is being watched from every direction. It is not a traditional extended mix filled with new melodies or a warm dance-floor groove. Instead, it takes the song’s nervous tension and stretches it into something even more severe.

The B-side, “I Did It Just The Same,” also draws its title and subject matter from Orwell’s novel. It is another dark electronic piece that fits naturally beside “Sexcrime” and helps make the 12-inch feel like a small extension of the soundtrack album rather than a standard pop single. The US promotional pressing contains the Extended Mix, Single Version, and “I Did It Just The Same.”

I previously posted this record in January 2018. That transfer was itself an update of an even earlier Burning The Ground post, but eight years have passed, and my equipment and restoration work have changed considerably since then.

For the new 2026 edition, I returned to the vinyl and created an entirely new transfer from the beginning. This is not a remaster of the 2018 files. It is a fresh recording followed by meticulous audio restoration, with special attention given to preserving the sharp electronic attack, deep percussion, vocal samples, and cold atmosphere of the original production.

“Sexcrime (Nineteen Eighty-Four)” is not the easiest or most comforting Eurythmics single. It is harsh, strange, repetitive, and confrontational.

That is exactly why it remains so exciting.

More than four decades later, the song still sounds like a warning being transmitted from somewhere just beyond the telescreen.

Big Brother is watching.

Annie Lennox is fighting back.

SIDE A:
Sexcrime (Nineteen Eighty•Four) (Extended Version) 7:59

SIDE B:
Sexcrime (Nineteen Eighty•Four) (Single Version) 3:58
I Did It Just The Same 3:27

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Eurythmics: Sexcrime (Nineteen Eighty Four) (1984–1985)	Peak Position
Australia (Kent Music Report)	5
Belgium (Ultratop 50 Flanders)	3
Canada Top Singles (RPM)	18
Europe (European Top 100 Singles)	7
France (SNEP)	7
Ireland (IRMA)	4
Italy (Musica e dischi)	19
Netherlands (Dutch Top 40)	10
Netherlands (Single Top 100)	12
New Zealand (Recorded Music NZ)	8
Norway (VG-lista)	9
Sweden (Sverigetopplistan)	3
Switzerland (Schweizer Hitparade)	6
UK Singles Chart	4
US Billboard Hot 100	81
US Billboard Dance Club Songs	2
West Germany (GfK)	3

RELEASE INFORMATION:
Label: RCA – JW-13957, RCA – PW-13957
Format: Vinyl, 12″, 33 ⅓ RPM, Promo, Stereo
Country: US
Released: 1984
Genre: Electronic, Pop
Style: Synth-pop

CREDITS:

Composed By [Composer] – Lennox*, Stewart*
Lacquer Cut By – JA*
Mixed By – David A. Stewart, Eric Thorngren
Producer [Produced By] – David A. Stewart

NOTES:
Mix names on the sleeve are “Extended Mix” and “Single Mix” and on the labels are “Extended Version” and “Single Version”.

Taken from the motion picture soundtrack album: 1984

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 16, 2026

A’mé Lorain – Whole Wide World (US 12″) (1989)

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After spending the first two entries of Ladies Of The 80s: Soundtrack Edition with the blockbuster Footloose soundtrack, I thought it was time to move toward something a little less obvious.

“Whole Wide World” by A’mé Lorain may not be tied to a movie as famous as Footloose, but the record became a major hit on its own and remains one of the most infectious pop singles released during the closing months of the 1980s.

The song appeared on the soundtrack to True Love, a 1989 independent comedy directed by Nancy Savoca and starring Annabella Sciorra and Ron Eldard. Set within an Italian-American neighborhood in the Bronx, the film follows an engaged couple as wedding plans, family expectations, and second thoughts begin to test their relationship. True Love opened in October 1989 and won the Grand Jury Prize at the Sundance Film Festival.

“Whole Wide World” was written by Arnie Roman and Elliot Wolff, with Wolff also handling the production. Wolff was on quite a roll at the time, having recently written and produced Paula Abdul’s “Straight Up” and “Cold Hearted.” You can hear some of that same late-80s pop precision here, with tightly programmed rhythms, bright keyboards, and a chorus built to stay in your head.

From its opening seconds, “Whole Wide World” has an energy that sits right on the border between the 1980s and 1990s. The synthesizers and polished pop production are firmly rooted in the late 80s, while the beat points toward the New Jack Swing sound that was quickly taking over radio and dance floors.

A’mé Lorain’s vocal is playful, confident, and full of personality. She delivers the song with the excitement of someone who has fallen so completely in love that keeping it quiet is no longer an option. She wants everyone to know, and by the time the chorus arrives, she has probably convinced the listener to help spread the news.

It is pure pop, and it works.

A’mé Lorain was born Amy Trujillo and performed with The Family Affair, which included her brother Freddy Trujillo on bass and her then-husband Victor Indrizzo on guitar and drums. The group released the wonderfully titled album Starring In…Standing In A Monkey Sea on RCA Records in 1989. “Whole Wide World” appeared on both that album and the True Love soundtrack.

Although the record was released in 1989, its greatest chart success came during the spring of 1990. “Whole Wide World” climbed to number nine on the US Billboard Hot 100, giving A’mé Lorain her first and only Top 10 pop hit. It also reached number nine on Billboard’s dance chart and finished at number 95 on the magazine’s year-end Hot 100 listing for 1990.

That chart run makes “Whole Wide World” an interesting choice for an 80s series. The single belongs to the decade by release date, but its success arrived just as the calendar turned. It captures that brief period when the sound and style of the late 80s continued moving forward before the new decade developed an identity of its own.

The film itself has become more of a cult favorite than a widely remembered box-office hit. The song followed a different path. Many listeners who have never seen True Love still remember “Whole Wide World” from radio, MTV, clubs, or a long-forgotten cassette recorded from the weekly countdown.

That is one of the great things about soundtrack singles from this period. A song did not always need the movie to become a hit. Sometimes the soundtrack gave a new artist an opening, radio took over from there, and the record developed a life entirely separate from the film.

“Whole Wide World” also brings a different type of artist into this series. Bonnie Tyler and Deniece Williams were already established stars when their Footloose singles were released. A’mé Lorain was a new face with a debut hit, suddenly competing on the charts alongside some of the biggest names in pop.

Her follow-up single, “Follow My Heartbeat,” reached number 72 on the Hot 100, but the success of “Whole Wide World” was never repeated. That has left the song frozen in a particular moment, colorful, catchy, slightly quirky, and unmistakably connected to the period when the 1980s were making their final exit.

It may not be the first title people think of when discussing great 80s soundtrack singles, but that is exactly why it belongs here.

Sometimes the most enjoyable selections are the ones that make you stop and say, “I had forgotten all about this.”

The whole wide world may not remember A’mé Lorain, but those who heard this record the first time around certainly have not forgotten the song.

SIDE A:
A’me Lorain – Whole Wide World (Elliot Wolff 12″) 5:37
A’me Lorain – Whole Wide World (Radio Mix) 3:51

SIDE B:
A’me Lorain – Whole Wide World (Wingate 12″ House Remix) 7:21
A’me Lorain – Whole Wide World (Wingate House Dub Remix) 6:09
Barrence Whitfield And The Savagess – Stop Twistin’ My Arm 2:52

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart (1990)	Peak Position
UK Singles Chart	90
US Billboard Hot 100	9
US Billboard Hot Dance Music/Club Play	9
US Billboard Hot Dance Music/Maxi-Singles Sales	37
US Cash Box Top 100	13

RELEASE INFORMATION:
Label: RCA – 9099-1-RD
Format: Vinyl, 12″, 33 ⅓ RPM, Alternate cover
Country: US
Released: 1989
Genre: Electronic, Rock, Funk / Soul
Style: House, Rock & Roll, Rhythm & Blues, New Jack Swing

CREDITS:

Edited By – Tuta Aquino (tracks: B1, B2)
Mixed By, Remix – Mick Guzawski*
Producer – Mike Costello (tracks: B3), Milton Reder (tracks: B3)
Producer [Additional], Remix [Additional] – Trevor Bernard (tracks: B1, B2), Wingate (tracks: B1, B2)
Producer, Arranged By, Remix – Elliot Wolff

NOTES:
Original versions on the Original Motion Picture Soundtrack album, “True Love,” 9819-1-R

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.