Tag: Taavi Mote

August 19, 2026

Klymaxx – Man Size Love (US 12″) (1986)

Burning The Ground

Yesterday we went back to Summer School.

Today we are…

Running Scared.

And longtime readers of this series may be thinking, “Haven’t we been here before?”

Yes, we have.

Earlier in Ladies Of The 80’s: Soundtrack Edition, we visited the 1986 film Running Scared for Kim Wilde’s “Say You Really Want Me.”

Apparently one trip to Chicago was not enough.

For the second-to-last entry in the series, we return to the soundtrack for Klymaxx and “Man Size Love.”

Running Scared, directed by Peter Hyams, stars Gregory Hines and Billy Crystal as Chicago police detectives Ray Hughes and Danny Costanzo, two wisecracking partners who decide they have had enough of police work and plan to retire to Key West.

Naturally, there is one more case to finish first.

Because retirement in an ’80s buddy-cop movie is never that easy.

The film was released on June 27, 1986, and also stars Jimmy Smits, Steven Bauer, Darlanne Fluegel, Joe Pantoliano, and Dan Hedaya. It went on to earn more than $38 million at the US box office.

Then there is the soundtrack.

This was no collection of leftovers.

Rod Temperton played a major role in the project, with Temperton, Dick Rudolph, and legendary engineer Bruce Swedien producing the soundtrack album. Temperton also wrote several of its songs.

And look at the lineup.

Klymaxx.

Michael McDonald.

Ready For The World.

New Edition.

Patti LaBelle.

Kim Wilde.

Fee Waybill.

There is a lot happening on this record.

“Man Size Love” opens the soundtrack, and it was written by Rod Temperton, the man whose résumé includes Heatwave’s “Boogie Nights,” George Benson’s “Give Me The Night,” and, of course, Michael Jackson’s “Rock With You” and “Thriller.”

So expectations are already pretty high.

Temperton produced “Man Size Love” with Dick Rudolph and Bruce Swedien, giving the record the kind of polished pop, R&B, and dance production you would expect from that team.

Big synthesizers.

A funky bass line.

Those unmistakable mid-’80s drums.

And Klymaxx coming at the song with plenty of attitude.

Subtle?

Not particularly.

But with a title like “Man Size Love,” subtle probably was not on the agenda.

Klymaxx were already enjoying a major breakthrough by this point. Their previous single, the ballad “I Miss You,” had climbed all the way to No. 5 on the Billboard Hot 100.

“Man Size Love” proved they could follow a big ballad with something completely different.

The single reached No. 15 on the Billboard Hot 100, No. 43 on the R&B chart, and No. 18 on Billboard’s Dance Club chart. It also reached No. 55 in Canada.

Across the Atlantic, the single received another chance in early 1987 and reached No. 86 on the UK Singles Chart.

There was also an official promotional video for the song, giving Klymaxx plenty of visibility during the summer of 1986.

But, of course, we are here for the 12-inch.

And this one does not disappoint.

The US 12-inch takes “Man Size Love” far beyond the soundtrack version, with an Extended Remix and Instrumental on one side before things become considerably more adventurous with the Man Size Mix and Son Of Man Size Mix.

Whoever named these mixes understood the assignment.

The Man Size Mix stretches the track to nearly nine minutes, while the Son Of Man Size Mix gives us another alternate treatment. Louil Silas Jr. was involved with the extended remix work, with Taavi Mote engineering the remix.

Once again, the 12-inch becomes more than simply a longer version of the hit.

The rhythm gets pulled apart.

Vocals move in and out.

Percussion gets extra room.

Little pieces of Rod Temperton’s arrangement that pass quickly in the regular version suddenly get their own moment.

This is exactly why I love these records.

The soundtrack gives you the song.

The 12-inch lets you climb inside it.

“Man Size Love” was later included on Klymaxx’s self-titled 1986 album, but its original identity remains strongly connected to Running Scared.

And it was not the only hit the movie produced.

Michael McDonald’s “Sweet Freedom” reached No. 7 on the Billboard Hot 100, while New Edition’s “Once In A Lifetime Groove” became a Top 10 R&B and Dance hit.

For a buddy-cop comedy, Running Scared certainly knew how to fill a dance floor.

So here we are.

Four weeks.

Dozens of movies, singers, remixes, dubs, bonus beats, gophers, summer schools, and more 12-inch vinyl than any sensible person should probably own.

And now only one entry remains.

But before we roll the final reel tomorrow…

Klymaxx has one request.

No small love.

No medium love.

Today…

we’re going Man Size.

SIDE A:
Man Size Love (Extended Remix) 4:43
Engineer [Remix] – Bruce Swedien

Man Size Love (Instrumental) 4:39
Engineer [Remix] – Bruce Swedien

SIDE B:
Man Size Love (Man Size Mix) 8:41
Engineer [Remix] – Taavi Mote
Remix – Louil Silas Jr.

Man Size Love (Son Of Man Size Mix) 6:47
Engineer [Remix] – Taavi Mote
Remix – Louil Silas Jr.

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

“Man Size Love” Chart Performance 1986	Peak Position
Canada RPM Top Singles	55
UK Singles Chart	86
US Billboard Hot 100	15
US Billboard Hot Black Singles	43
US Billboard Hot Dance/Disco	18

RELEASE INFORMATION:
Label: MCA Records – MCA-23642
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: Jul 1986
Genre: Electronic, Funk / Soul
Style: Synth-pop, Electro

CREDITS:

Arranged By [Horns] – Larry Williams
Producer, Recorded By, Mixed By, Remix – Bruce Swedien
Producer, Remix – Dick Rudolph*
Producer, Written-By, Arranged By, Arranged By [Horns], Remix – Rod Temperton

NOTES:
Theme from the Motion Picture, “Running Scared”

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.

August 12, 2026

Cheyne – Private Joy (US 12″) (1985)

Burning The Ground Exclusive

Yesterday Luba told us that “The Best Is Yet To Come.”

Today we are getting a little more private.

Private Joy, that is.

For our next Ladies Of The 80s: Soundtrack Edition selection, we head back to 1985 for Cheyne’s “Private Joy,” from the soundtrack to one of the decade’s most wonderfully ridiculous teen comedies, Weird Science.

Written and directed by John Hughes, Weird Science stars Anthony Michael Hall and Ilan Mitchell-Smith as Gary and Wyatt, two teenage boys who use a computer, a doll, and a little lightning to create their idea of the perfect woman.

Naturally, they get Kelly LeBrock.

Because apparently computers worked much better in 1985.

The movie also features Bill Paxton as Wyatt’s nightmare older brother Chet, along with Robert Downey Jr., Suzanne Snyder, Judie Aronson, and Vernon Wells. Weird Science opened in the United States on August 2, 1985.

And, of course, there was a soundtrack.

Oingo Boingo supplied the unforgettable title track, while the album also included Kim Wilde’s “Turn It On,” Max Carl’s “The Circle,” Wall Of Voodoo’s “Deep In The Jungle,” Killing Joke’s “Eighties,” The Lords Of The New Church, Taxxi, and others.

Then there was Cheyne.

Her contribution, “Private Joy,” has another very important name attached to it.

Prince.

“Private Joy” was written and originally recorded by Prince for his 1981 album Controversy. It was one of those wonderfully playful Prince tracks filled with synthesizers, rhythm machines, attitude, and just enough weirdness to make it unmistakably his.

Cheyne was not the first woman to cover it. La Toya Jackson recorded “Private Joy” for her 1984 album Heart Don’t Lie.

But Cheyne’s version takes the song somewhere else.

Produced by Greg Phillinganes and Jimmy Iovine, with vocal production by Louil Silas Jr., the Weird Science recording gives “Private Joy” a harder, more electronic 1985 makeover. AFI’s official film credits confirm Phillinganes and Iovine as producers and Silas as vocal producer.

The result fits Weird Science beautifully.

It is bright.

Synthetic.

Playful.

A little strange.

In other words, perfect for a movie about two teenagers creating Kelly LeBrock with a computer.

Cheyne herself is another interesting part of the story.

Earlier in 1985, she had topped Billboard’s Dance Club chart with “Call Me Mr. Telephone (Answering Service).”

And here is a great piece of 1980s pop trivia.

Before Madonna recorded “Into The Groove,” the song was originally intended for Cheyne, who was working with producer Mark Kamins at the time. Madonna ultimately decided to keep the song for herself.

Considering what happened to “Into The Groove,” that has to qualify as one of pop music’s great “what if?” moments.

Later that same year, MCA released “Private Joy” as a single from the Weird Science soundtrack.

Billboard featured the record as one of its Dance Picks in October 1985, listing the 5:28 version and crediting Greg Phillinganes and Jimmy Iovine as producers.

Despite the push, “Private Joy” does not appear to have reached Billboard’s major national singles charts.

Another one that slipped through the cracks.

Fortunately for us, MCA gave the song a US 12-inch release, and this is where things get especially interesting.

The 12-inch gives us the Extended Version, an Instrumental, and something wonderfully labeled “Bonus Beats Plus Bass.”

Now that is a title designed to get my attention.

Louil Silas Jr. handled the remix, taking the already electronic production and giving it considerably more room to move. The Extended Version runs 5:28, while the Instrumental stretches even longer at 5:46. “Bonus Beats Plus Bass” clocks in at 4:30.

The Instrumental is particularly fun because without Cheyne’s vocal, you can really dig into the machinery underneath the record.

And then there are those Bonus Beats.

Plus bass.

What else do we need?

“Private Joy” is exactly the kind of record I hoped to uncover when this series began.

A Prince composition.

A singer who had already topped the dance chart.

Production by Greg Phillinganes and Jimmy Iovine.

A remix by Louil Silas Jr.

A cult-classic John Hughes movie.

And a US 12-inch filled with versions that rarely get mentioned today.

Yet somehow, the record has become little more than a footnote.

Not here.

Gary and Wyatt needed a computer, a government mainframe, a Barbie doll, and a lightning storm to create their fantasy.

All we need is a turntable.

Welcome to my Private Joy.

SIDE A:
Private Joy (Extended Version) 5:28

SIDE B:
Private Joy (Instrumental) 5:46
Private Joy (Bonus Beats Plus Bass) 4:30

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: MCA Records – MCA-23583
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1985
Genre: Electronic
Style: Electro, Synth-pop

CREDITS:

Engineer – Taavi Mote
Engineer [Assistant] – Fred Howard
Producer – Greg Phillinganes, Jimmy Iovine
Producer [Vocals], Remix – Louil Silas, Jr.*
Written-By – Prince

NOTES:
Original version appears on the MCA LP MCA-6146, Music From The Motion Picture Soundtrack, “Weird Science”.

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.

September 5, 2025

Stacy Lattisaw – Call Me (US 12″) (1988)

Burning The Ground Exclusive

By 1988, Stacy Lattisaw was already a seasoned performer despite her young age. Discovered as a teenager, she had been recording since the late 1970s and built a reputation as one of R&B’s most promising voices. Known for her sweet yet powerful vocal style, Stacy seamlessly navigated ballads and uptempo tracks, earning her a loyal following throughout the ’80s.

“Call Me” was released as the third single from her ninth studio album, Personal Attention, which dropped on January 21, 1988, through Motown Records. The album itself represented an important chapter in Stacy’s career, as she worked to expand her sound with more contemporary late-’80s R&B production while keeping the soulful essence that had carried her through the decade.

The single “Call Me” is a sleek mid-tempo groove that showcases Stacy’s effortless vocal delivery over polished instrumentation. While it didn’t soar to the top of the charts, it managed to carve out its place, peaking at #80 on the Billboard R&B Chart. Even though it wasn’t a major hit, the track reflects the transitional sound of R&B at the time—blending smooth melodies with danceable rhythms that leaned toward the New Jack Swing era just around the corner.

Looking back, “Call Me” captures Stacy at an interesting point in her journey. Just a few years later, she would step back from the recording industry altogether, leaving behind a catalog that has continued to earn appreciation from collectors, DJs, and fans of ’80s soul and R&B.

For those who treasure late-’80s Motown releases, “Call Me” stands as a reminder of Stacy Lattisaw’s unique talent—an artist who began her career as a child prodigy and matured into a singer with undeniable warmth, sincerity, and groove.

SIDE A:
Call Me (12″ Remix) 6:15

SIDE B:
Call Me (7″ Version) 4:09
Call Me (Dubsky Bass) 4:56

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year	Single	Chart	Position
1988	Call Me	U.S. Billboard Hot R&B / Hip-Hop	#80

RELEASE INFORMATION:
Label: Motown – MOT-4615
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1988
Genre: Electronic, Funk / Soul
Style: Funk, Soul

CREDITS:

Executive-Producer – Debbie Sandridge
Remix – Taavi Mote
Written-By – The Blitz (2)
Written-By, Producer – Lou Pace

NOTES:
Original version appears on the Stacey Lattisaw album, “Personal Attention”

Buy the 12″ at 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

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.

December 19, 2024

U2 – Desire (US 12″)

Burning The Ground Exclusive 1988

Released in September 1988, “Desire” was the lead single from U2’s album Rattle and Hum. With its pulsating rhythm inspired by the Bo Diddley beat and Bono’s impassioned lyrics, the song channeled the raw energy of rock and roll while addressing themes of ambition and social critique.

Produced by Jimmy Iovine, “Desire” is notable for its stripped-down, garage rock sound. The track captures the spirit of 50s and 60s rock influences while addressing themes of ambition, lust, and spirituality—hallmarks of U2’s storytelling.

Chart Performance:
“Desire” achieved significant commercial success. It became U2’s first #1 single, topping the UK Singles Chart. In the United States, the song peaked at #3 on the Billboard Hot 100 and secured the top spot on the Modern Rock Tracks chart, highlighting its cross-genre popularity and resonance with fans worldwide. It also reached #1 in Australia, Ireland, and New Zealand.

The track earned U2 their first Grammy Award for Best Rock Performance by a Duo or Group with Vocal in 1989, solidifying its place as one of the band’s most celebrated songs.

Legacy:
Over the years, “Desire” has remained a staple in U2’s live performances, often igniting concert audiences with its infectious rhythm and high-energy delivery. Its enduring appeal lies in how it blends the vintage rock sound with U2’s socially conscious and energetic style.

For 80s and 90s music fans, “Desire” represents an era when rock music was a driving force for entertainment and social commentary. It’s a testament to U2’s ability to evolve while staying true to their roots.

SIDE A:
Desire (Hollywood Remix) 5:23
Backing Vocals – Alexandra Brown*, Edna Wright
Engineer [Assistant] – Andy Batwinas
Engineer [Remix] – Taavi Mote
Producer [Additional], Programmed By [Additional] – Jeff Lorber
Remix [Remix Production By] – Louil Silas Jr., Taavi Mote

SIDE B:
Desire (7″ Version) 2:59
Mixed By – Shelly Yakus
Recorded By – Paul Barrett

Hallelujah (Here She Comes) 4:17
Mixed By, Engineer – David Tickle, Marc DeSisto
Other [Special Thanks To], Vocals [Additional], Organ [Hammond] – Billy Preston

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year	Single	Chart	Position
1988	Desire	U.S. Billboard Hot 100	#3
1988	Desire	U.S. Billboard Mainstream Rock Tracks	#1

RELEASE INFORMATION:
Label: Island Records – 0-96600
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: Sep 1988
Genre: Rock
Style: Alternative Rock, Pop Rock

CREDITS:

Artwork By [Design Based On An Idea By] – Steve Averll Works, Associates
Artwork By [Designed By] – DZN, The Design Group
Lyrics By – Bono
Music By – U2
Photography – Anton Corbijn
Photography [Back Cover] – Bill Rubenstein
Producer – Jimmy Iovine

NOTES:
From the forthcoming Paramount Motion Picture,
Opening November 4th 1988,
and Island Records album
“U2 Rattle and Hum”.

Track A Remixed at Larrabee Sound.
Track B2 Recorded at STS Studio, Dublin.

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

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.