Burning The Ground Exclusive
In the mid-1980s, British singer-songwriter Belouis Some (born Neville Keighley) emerged with a stylish, synth-driven sound that fused pop hooks with an art-rock edge. Following the success of “Imagination” and “Some People,” his next single, “Jerusalem,” found him exploring a darker, more introspective side — a moody, atmospheric track that underscored his reputation as one of the era’s more intriguing voices.
Released in July 1986 as the fourth and final single from his debut album Some People, “Jerusalem” failed to make much commercial impact, peaking at #98 in the UK. Yet for fans and collectors of 1980s 12″ records, it remains a fascinating release — a deep cut brimming with sonic detail, haunting imagery, and a beautifully produced extended version.
The Sound of “Jerusalem”
Produced by Pete Schwier, Steve Thompson, and Michael Barbiero, “Jerusalem” blends shimmering synths with a steady pulse and a quietly powerful vocal from Belouis Some. The result is both cinematic and mysterious — a song that feels as much about atmosphere as melody.
Thompson and Barbiero, whose production credits include work with David Bowie, Talking Heads, and The Psychedelic Furs, brought a transatlantic sheen to the track. Their 12″ remix amplifies its tension and texture, pulling the listener into a shadowy emotional space that fits perfectly within the late-night synthpop aesthetic of 1986.
Lyrically, the song’s imagery is evocative rather than literal:
“You paint your face like it’s Jerusalem,
You lead the way like Jerusalem…”
Even Belouis Some admitted the track was “a bit depressing… just me trying to be clever,” but that introspection gives the song its depth. Its ambiguity, combined with his Bowie-esque delivery, creates a sense of isolation and grandeur that makes it linger long after the final notes fade.
The 12″ Single
The UK 12″ (Chrysalis CHS 12 2969) offered fans two versions of “Jerusalem” — a Long Version and an Instrumental Version — alongside an exclusive Dance Mix of “Target Practice”, another track from Some People that gets a muscular, rhythmic reworking here.
For collectors and DJs, this makes the 12″ essential. The mixes emphasize the song’s layered production and underscore Belouis Some’s ability to merge sophistication with dance-floor sensibility.
Critical Response
Although it didn’t climb the charts, “Jerusalem” was well received by critics who recognized its depth. Smash Hits described it as “haunting” and “David Bowie-inspired,” an apt comparison given the theatrical vocal phrasing and dark romantic tone. In hindsight, “Jerusalem” stands as one of Belouis Some’s most artful moments — sophisticated, moody, and meticulously crafted.
Legacy
For 12″ enthusiasts, “Jerusalem” represents exactly what makes 1980s vinyl culture so enduring: extended versions that breathe, production that rewards close listening, and B-sides that surprise. The addition of the “Target Practice (Dance Mix)” gives this release extra value, showing how Belouis Some and his producers viewed remixing as an art form rather than an afterthought.
It may not have topped the charts, but “Jerusalem” remains a rewarding listen — a slice of mid-80s sophistication that bridges pop ambition with post-new wave introspection. For those who collect, spin, or simply admire the craft of 12″ singles, this one’s a must-hear.
There was not a music video produced for this single.
SIDE A:
Jerusalem (Long Version) 5:56
Jerusalem (Instrumental Version) 5:54
SIDE B:
Target Practice (Dance Mix) 6:02
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
RELEASE INFORMATION:
Label: Parlophone – 12 R 6134, Parlophone – 12R 6134
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1986
Genre: Electronic
Style: New Wave, Synthpop
CREDITS:
- Design – Accident (8)
- Photography By – Eric Watson (3)
- Producer – Belouis Some (tracks: A1, A2), Pete Schwier (tracks: A1, A2), Steve Thompson • Michael Barbiero*
- Remix – Joe Melotte* (tracks: B), Martin Freeland (tracks: B)
- Written-By – Belouis Some
NOTES:
From the LP “SOME PEOPLE”
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
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The song “Innocence in Danger” by the American new wave group of the same name was released in 1984 as part of their self-titled EP. Fronted by Angela Bond and Steve Parry, the band featured notable contributions from renowned musicians, including guitarist Carlos Alomar. The single also incorporated the work of New York-based Freestyle and House producer Nelson Cruz, alongside acclaimed producer, arranger, composer, and remixer Steve Thompson.
