Tag: Promo

August 13, 2026

Suzi Quatro – Rock Hard (US 12″ Promo) (1980)

Burning The Ground Exclusive

Yesterday we were playing with some very weird science.

Today we are going back to where the streets were dirty, the music was loud, and Times Square actually looked like Times Square.

For our next Ladies Of The 80s: Soundtrack Edition selection, we travel all the way back to 1980 for Suzi Quatro and “Rock Hard,” from the original motion picture soundtrack to Times Square.

Directed by Allan Moyle, Times Square stars Trini Alvarado and Robin Johnson as two teenage girls from very different backgrounds who run away together and find their own form of rebellion on the streets of New York City. Tim Curry co-stars as radio DJ Johnny LaGuardia. The film opened in October 1980 and was shot on location around New York, including the wonderfully grimy Times Square that existed long before the neighborhood was cleaned up and transformed.

And then there is that soundtrack.

What a soundtrack.

The double LP reads like somebody raided one of the coolest record stores in 1980. The Pretenders, Roxy Music, Gary Numan, Talking Heads, Joe Jackson, XTC, the Ramones, The Cure, Lou Reed, Patti Smith, Garland Jeffreys, and more all appear alongside music recorded specifically for the film.

And right there at the beginning of Side One is Suzi Quatro.

“Rock Hard.”

In fact, “Rock Hard” is identified in the film as a favorite record of Nicky and Pamela, which makes it more than just another song dropped onto the soundtrack. It actually belongs to their world.

Written by Mike Chapman and Nicky Chinn, “Rock Hard” was also the title track from Suzi’s 1980 studio album of the same name.

The song marked a return to the tough, guitar-driven sound that had made Suzi such a distinctive presence during the 1970s.

And she sounds fantastic.

The guitars grind.

The drums pound.

Suzi attacks the vocal like she has something to prove.

This is not background music.

This is Suzi Quatro reminding everybody why she was one of rock’s original tough ladies.

Mike Chapman produced the track, continuing a partnership that had already produced some of Suzi’s biggest records. The backing-vocal lineup is interesting too, with Michael Des Barres among the singers adding muscle behind Suzi’s lead.

Yes, that Michael Des Barres.

Actor, singer, later frontman for The Power Station, and apparently available in 1980 when somebody needed a little extra shouting behind Suzi Quatro.

I love these credits.

“Rock Hard” did considerably better in some countries than it did in Suzi’s native United States. The single reached No. 5 in South Africa, No. 9 in Australia, No. 19 in Zimbabwe, No. 26 in West Germany, No. 46 in the Netherlands, and No. 68 on the UK Singles Chart.

In the United States, however, Dreamland Records took a different approach.

And that brings us to the record I am featuring today.

My copy is the US promotional 12-inch labeled:

AOR SPECIAL

For anyone who remembers FM rock radio, those three letters tell the story.

AOR stood for Album-Oriented Rock, and this 12-inch was sent to American rock radio programmers in an attempt to get “Rock Hard” into rotation. Contemporary trade coverage shows the song receiving AOR airplay and being added by stations including KBPI, WABX, KLOL, WBAB, KZEL, and WSHE.

But if you are waiting for me to tell you about the Extended Version…

There isn’t one.

The Special Dance Mix?

Nope.

The Dub?

Keep dreaming.

This promo contains “Rock Hard” on one side.

Then you flip the record over…

and you get “Rock Hard” again.

That is dedication.

No remix. No alternate vocal. No bonus beats. No seven-minute breakdown designed for a club at two in the morning.

Just Suzi.

Rocking hard.

Twice.

And honestly, I love records like this.

The 12-inch single was not always about remixes. Sometimes it existed because a record company wanted radio stations to have a promotional copy of one particular track, and an AOR 12-inch like this is a little snapshot of how rock records were promoted in 1980.

It also makes an interesting addition to this series because Times Square itself was so closely tied to music.

The soundtrack was heavily promoted as a showcase for contemporary rock, punk, and new wave, and it eventually reached number 37 on the Billboard album chart.

The film may never have become the blockbuster its producers hoped for, but the soundtrack developed a life of its own.

And more than four decades later, that collection of records still captures a moment when punk, new wave, hard rock, and mainstream pop were all crashing into one another.

Suzi Quatro belonged right in the middle of it.

So no extended mix today.

No dub.

Not even a bonus beat.

Sometimes you do not need any of that.

Sometimes you just need to…

Rock Hard.

SIDE A:
Rock Hard (Intro: :17) 3:21

SIDE B:
Rock Hard (Intro: :17) 3:21

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart (1980)	Peak Position
Australia (Kent Music Report)	9
Germany	26
Netherlands	46
South Africa	5
UK Singles Chart	68
Zimbabwe	19

RELEASE INFORMATION:
Label: Dreamland Records, Inc. – DPR – 1204, Dreamland Records, Inc. – DPR – 1204 AS
Format: Vinyl, 12″, Single, 33 ⅓ RPM, Promo
Country: US
Released: 1980
Genre: Rock
Style: Hard Rock

CREDITS:

Producer – Mike Chapman
Written-By – M. Chapman – N. Chinn*

NOTES:
Came in die-cut sleeve with hype sticker:
From the original motion picture
soundtrack “Times Square”
Labels read: Suzi Quatro AOR Special
Promotion Copy – Not For Sale

Manufactured By – RSO Records, Inc.
Marketed By – RSO Records, Inc.

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.

August 4, 2026

Pointer Sisters – Neutron Dance / I’m So Excited (Japan 12″ Promo) (1984)

Burning The Ground Exclusive

BTG fans have spoken.

Ladies Of The 80s: Soundtrack Edition is officially returning for a fourth week!

To begin, we have the Pointer Sisters, one of the most successful and versatile female groups of the 1980s, with “Neutron Dance” from the blockbuster soundtrack to Beverly Hills Cop.

And because one Pointer Sisters classic is never enough, the flip side contains “I’m So Excited.”

Today’s record is a rare Japanese promotional 12-inch that pairs special extended versions of both hits. It is an unusual coupling that appears to have been created exclusively for the Japanese market.

What a way to begin week four.

“Neutron Dance” first appeared on the Pointer Sisters’ 1983 album Break Out. The album became the biggest commercial success of their career and produced an incredible run of singles, including “Automatic,” “Jump (For My Love),” “I’m So Excited,” and “Neutron Dance.”

Written by Allee Willis and Danny Sembello and produced by Richard Perry, “Neutron Dance” featured Ruth Pointer on lead vocals, with Anita and June supporting her.

Ruth was not immediately convinced by the song.

The word “neutron” made her think about bombs, violence, and the threat of nuclear war. Allee Willis encouraged her to stop worrying about the title and sing it with the same gospel spirit Ruth had developed in church.

That advice changed everything.

Ruth’s performance gives the track its soul. She does not simply sing over the electronic production. She attacks it with the force of a gospel performance, turning a strange title into a celebration of survival, determination, and joy.

The verses describe frustration and hardship, but the chorus refuses to surrender. Ruth sounds as though she is determined to keep moving no matter what happens around her.

Sometimes the best answer to trouble is to dance through it.

The song’s path to Beverly Hills Cop also involved a strange twist.

“Neutron Dance” had already appeared on Break Out when Allee Willis received a package from the movie’s producers. Inside was a copy of her own song, along with a request for new music that sounded like it.

Willis and Danny Sembello wrote Patti LaBelle’s “Stir It Up” for the film, but the producers also decided to use “Neutron Dance” itself.

Apparently, no one could write a better “Neutron Dance” than the original writers.

The song plays during the wild opening chase in Beverly Hills Cop. Eddie Murphy’s Axel Foley is caught in the back of a speeding truck as it smashes through traffic and leaves destruction across Detroit.

The scene moves fast.

The song moves faster.

Released in December 1984, Beverly Hills Cop became one of the defining comedies of the decade. Its soundtrack was equally successful, featuring Glenn Frey’s “The Heat Is On,” Patti LaBelle’s “New Attitude” and “Stir It Up,” Harold Faltermeyer’s “Axel F,” and the Pointer Sisters’ “Neutron Dance.” The album later won the Grammy Award for Best Score Soundtrack for Visual Media.

The movie gave “Neutron Dance” the push it needed to become a major single.

It reached number six on the Billboard Hot 100 in early 1985, becoming the fourth Top 10 hit released from Break Out and the final Top 10 pop hit of the Pointer Sisters’ career.

The music video continued the Beverly Hills Cop connection. Ruth, Anita, and June appear as unhappy movie-theater employees while scenes from the film play around them. Bronson Pinchot, who appeared in the movie as Serge, also joined the fun.

The record captures the Pointer Sisters at their commercial peak.

Ruth’s gospel-powered lead vocal is surrounded by synthesizers, electronic drums, handclaps, and a rhythm that never stops pushing forward. It sounds mechanical and human at the same time.

Then we turn the record over.

“I’m So Excited” had already lived more than one life before appearing on this Japanese promo.

Written by Anita, June, and Ruth Pointer with Trevor Lawrence, the song was originally released in 1982. That first release reached number 30 on the Billboard Hot 100.

A remixed version returned in 1984, was added to later pressings of Break Out, and climbed to number nine. It became one of the group’s signature recordings and remains nearly impossible to hear without singing along.

While “Neutron Dance” features Ruth out front, “I’m So Excited” belongs to Anita.

She begins with a controlled sense of anticipation, but that control does not last long. By the chorus, the sisters are practically exploding out of the speakers.

The Japanese promotional 12-inch gives both songs extra room.

“Neutron Dance” was mixed by Bill Schnee and edited by Michael Brooks. The extended arrangement stretches the introduction, emphasizes the electronic rhythm, and allows Ruth’s vocal ad-libs to build toward the chorus.

“I’m So Excited” was remixed by Gabe Veltri and Jim Tract, with Trevor Lawrence credited as associate producer. Their version expands the percussion, vocals, and instrumental passages without weakening the song’s immediate pop appeal.

This is not simply a soundtrack single with an unrelated B-side.

It is a snapshot of the Pointer Sisters at the height of their powers.

One side gives us the gospel-charged electronic rush of “Neutron Dance.”

The other gives us the unstoppable celebration of “I’m So Excited.”

The Pointer Sisters had already traveled through gospel, jazz, country, funk, soul, rock, and disco before conquering 1980s pop. Few groups could move between so many styles while keeping their identity intact.

That range makes them perfect for Ladies Of The 80s.

Week four is here.

The readers are excited.

The Pointer Sisters are excited.

And somewhere in Detroit, Axel Foley is hanging from the back of a runaway truck.

Let’s do the Neutron Dance.

SIDE A:
Neutron Dance (Special Extended Version) 5:36
Edited By – Michael Brooks
Producer – Richard Perry
Remix – Bill Schnee

SIDE B:
I’m So Excited (Special Extended Version) 5:41
Producer – Trevor Lawrence
Remix – Gabe Veltri, Jim Tract

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Single	Chart	Peak Position
Neutron Dance	Australia (Kent Music Report)	4
Neutron Dance	Canada Top Singles (RPM)	1
Neutron Dance	Germany Singles Chart	18
Neutron Dance	Ireland Singles Chart	14
Neutron Dance	UK Singles Chart	31
Neutron Dance	US Billboard Hot 100	6
Neutron Dance	US Billboard Hot Black Singles	13
Neutron Dance	US Billboard Adult Contemporary	23
Neutron Dance	US Billboard Hot Dance Club Play	4
I’m So Excited	Canada Top Singles (RPM)	21
I’m So Excited	Ireland Singles Chart	6
I’m So Excited	UK Singles Chart	11
I’m So Excited	US Billboard Hot 100	9
I’m So Excited	US Billboard Adult Contemporary	25

RELEASE INFORMATION:
Label: Planet (15) – PLR-12002
Format: Vinyl, 12″, 45 RPM, Single
Country: Japan
Released: 1984
Genre: Electronic, Funk / Soul
Style: Synth-pop, Soul

NOTES:
Track A: From the Paramount motion picture “Beverly Hills Cop.”

Special Extended Version 45 RPM

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 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

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 17, 2026

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

Burning The Ground Exclusive

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.