Tag: Tony Mansfield

September 26, 2026

Naked Eyes – Always Something There To Remind Me (US 12″ Promo) (1982)

Burning The Ground Exclusive

Yesterday I posted the UK 12″ of “Always Something There To Remind Me,” featuring the 5:43 “American Remix” by John “Jellybean” Benitez. Today we’re staying with Naked Eyes for a companion release that helps complete the story of this classic single and its sometimes confusing assortment of mixes.

Today’s record is the U.S. promotional 12″ issued by EMI America, catalog numbers SPRO-9891 and SPRO-9892.

Unlike yesterday’s Jellybean remix, this promo contains the earlier extended version produced and mixed by Tony Mansfield.

The A-side is simply titled “Long Version” and runs 6:13.

This is the Tony Mansfield extended mix of “Always Something There To Remind Me,” the version that has sometimes been referred to over the years as the original UK 12″ mix. It predates Jellybean’s later remix and takes a different approach to extending the song.

Rather than radically rebuilding the track, Mansfield expands his original production and gives the arrangement more room to breathe. The familiar electronic textures, percussion, keyboards, and those unmistakable chimes are all given additional space without losing the character of the original recording.

For me, that is part of what makes this version so appealing. It sounds like an extended version from the era when a 12″ mix did not necessarily have to completely reinvent a song. Sometimes you simply wanted more of the record you already loved.

And at 6:13, that is exactly what you get.

The flip side contains the appropriately titled “Short Version,” running 3:40. With both versions on the same promotional disc, American radio programmers and DJs could choose between the longer mix and the more compact version depending on what they needed.

This promo also clears up another part of the mix confusion discussed in yesterday’s post.

SPRO-9891 contains the 6:13 “Long Version,” which is the Tony Mansfield mix.

A later U.S. promotional 12″, SPRO-9924, contains the approximately 5:41 “Remixed Version” by John “Jellybean” Benitez. That Jellybean remix was later issued in the UK as the “American Remix,” which is the 5:43 version I posted yesterday.

So if you’re trying to keep all of this straight, the easiest way is by running time:

The 6:13 “Long Version” is the Tony Mansfield mix.

The approximately 5:41 to 5:43 “Remixed Version” or “American Remix” is the John “Jellybean” Benitez mix.

Simple enough once you know what you’re looking for. Getting there is another story.

The confusion has not been helped by various compilations and reissues over the years assigning the wrong mix names or credits. That is one reason I wanted to post these two records together. Hearing them directly from the original vinyl makes the differences much easier to identify.

It also gives us another opportunity to celebrate the work of producer Tony Mansfield.

Mansfield was an important part of the early Naked Eyes sound. His production helped give “Always Something There To Remind Me” that combination of polished pop, electronics, and drama that still jumps out of the speakers more than forty years later.

Of course, at the center of it all is Pete Byrne’s vocal.

Following the sad news of Byrne’s passing on September 14, listening to these records has taken on added meaning. Yesterday’s post was dedicated to his memory, and I wanted to continue that tribute today with another important piece of the Naked Eyes catalog.

It is remarkable how a recording can instantly transport you back to a certain time. For many of us, “Always Something There To Remind Me” is permanently tied to 1983, MTV, radio, and that wave of British synth-pop that seemed to arrive almost overnight.

And with both the Tony Mansfield and Jellybean mixes now represented here on Burning The Ground, we can finally hear two very different extended interpretations of the record from the original vinyl.

Which one do you prefer?

The Tony Mansfield 6:13 “Long Version,” or Jellybean’s punchier 5:43 “American Remix”?

For me, there is room for both.

Rest in peace, Pete Byrne.

SIDE A:
Always Something There To Remind Me (Long Version) 6:16

SIDE B:
Always Something There To Remind Me (Short Version) 3:41

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: EMI America – SPRO-9891, EMI America – SPRO-9892
Format: Vinyl, 12″, 33 ⅓ RPM, Promo, Stereo
Country: US
Released: 1982
Genre: Electronic
Style: New Wave, Synth-pop

CREDITS:

Mixed By – Tony Mansfield
Producer – Tony Mansfield
Written-By – B. Bacharach-H. David*

NOTES:
Recorded in England.

Promo
Not For Sale

(from the LP “Naked Eyes” ST-17089)

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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**24-bit FLAC Only Available For SIX Days!

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September 25, 2026

Naked Eyes – Always Something There To Remind Me (American Remix) (UK 12″) (1982)

Burning The Ground Exclusive

Today’s post is dedicated to the memory of Pete Byrne, lead vocalist and co-founder of Naked Eyes, who passed away peacefully in Los Angeles on September 14, 2026, after a brief illness. He was 74. News of his passing was announced this week.

For anyone who came of age during the early days of MTV, Byrne’s voice is instantly recognizable. Along with keyboardist Rob Fisher, he created some of the most memorable British synth-pop to cross the Atlantic during the early ’80s.

Naked Eyes formed in Bath, England, with Byrne and Fisher emerging from the earlier band Neon. As Naked Eyes, the pair signed with EMI and began working with producer Tony Mansfield. Their debut album, Burning Bridges, arrived in the UK in 1983 and was released in a slightly altered form in the United States simply as Naked Eyes.

Their breakthrough was a dramatic electronic remake of the Burt Bacharach and Hal David composition “Always Something There To Remind Me.”

The song already had a long history by the time Naked Eyes recorded it. Lou Johnson first released it in 1964, while Sandie Shaw took her version all the way to No. 1 in the UK later that year. Naked Eyes took the familiar song and rebuilt it for the synthesizer generation, surrounding Byrne’s vocal with programmed rhythms, keyboards, and Tony Mansfield’s polished production.

While Naked Eyes never became a major chart act in their native country, America was another story. “Always Something There To Remind Me” climbed to No. 8 on the Billboard Hot 100 in 1983, followed by another major U.S. hit, “Promises, Promises,” which reached No. 11.

Ironically, the record that helped define the early-’80s British synth-pop sound was much less successful in Britain. After being re-promoted following its American success, “Always Something There To Remind Me” entered the UK Singles Chart in July 1983 and peaked at No. 59.

Today’s record is the UK 12″ on EMI, catalog number 12EMI 5334, backed with the non-LP track “Pit Stop.”

And this is where things get interesting.

The A-side is the “American Remix,” and my copy runs exactly 5:43. This is the John “Jellybean” Benitez remix, though the history of the various mixes has become surprisingly muddled over the years.

The original extended version of “Always Something There To Remind Me,” mixed as part of Tony Mansfield’s original production, runs approximately 6:13. It was issued in the United States on the promotional 12″ SPRO-9891 as the “Long Version.”

A second U.S. promotional 12″, SPRO-9924, contained a newer “Remixed Version” by John “Jellybean” Benitez. That version runs approximately 5:41 and, unlike the earlier mix, begins with drums. The Jellybean mix was subsequently issued in the UK as the “American Remix.” My UK pressing runs 5:43, putting it squarely in this Jellybean remix family.

If that sounds confusing, it gets worse.

Over the years, reissues and compilations have sometimes mixed up the credits. The One Way/EMI collection Everything And More reportedly included the Jellybean mix while identifying it as the Tony Mansfield 12″ mix. Other discographies have also attributed the UK “American Remix” to Mansfield. The more recent Chrysalis edition of the debut album identifies the approximately 5:40 version as the “Jellybean Extended Remix.”

So, for collectors keeping score:

The approximately 6:13 version is the earlier Tony Mansfield long version.

The approximately 5:41 to 5:43 version beginning with drums is the John “Jellybean” Benitez remix.

Sometimes the grooves tell the story better than the liner notes.

The B-side, “Pit Stop,” was written by Pete Byrne and Rob Fisher and produced by Tony Mansfield. It was not included on the original UK Burning Bridges LP, making it another reason this 12″ is worth having.

Sadly, both halves of the original Naked Eyes partnership are now gone. Rob Fisher died in 1999. Pete Byrne continued making music and eventually revived Naked Eyes, performing the songs for audiences who had never forgotten them.

There is something especially poignant about listening to “Always Something There To Remind Me” following Pete Byrne’s passing. A song written decades before Naked Eyes recorded it became forever linked to his voice, and its words about memory and the things we can never quite leave behind seem particularly appropriate today.

Pete Byrne helped give the early ’80s a distinctive voice. Thankfully, the records remain.

Rest in peace, Pete Byrne.

SIDE A:
Always Something There To Remind Me (American Remix) 5:43
Remix – John “Jellybean” Benitez
Written-By – Bacharach & David*

SIDE B:
Pit Stop 3:30
Written-By – Byrne, Fisher

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart (1983)	Peak Position
Australia (Kent Music Report)	7
Canada Top Singles (RPM)	9
New Zealand (RIANZ)	2
UK Singles (Official Charts)	59
US Billboard Hot 100	8
US Billboard Adult Contemporary	31
US Billboard Dance/Disco	37
US Cash Box Top 100	7

RELEASE INFORMATION:
Label: EMI – 12EMI 5334
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1982
Genre: Electronic
Style: New Wave, Synth-pop

CREDITS:

Producer – Tony Mansfield

NOTES:
Taken from the LP and Cassette “Burning Bridges”

Manufactured in the UK by EMI Records Limited.

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.

June 12, 2026

The B-52’s – Wig (UK 12″) (1987)

Burning The Ground Exclusive

Wig! The B-52’s Let Their Hair Down

Some songs tell you to fit in. Then there are songs like “Wig” by The B-52’s that practically dare you to stand out.

Released as a single in the UK in 1987 from the album Bouncing Off the Satellites, “Wig” is one of the most gloriously offbeat entries in The B-52’s remarkable catalog. It may not have achieved the commercial heights of later hits like “Love Shack” or “Roam,” but for longtime fans, “Wig” remains an irresistible celebration of individuality, self-expression, and having the confidence to be exactly who you are.

And really, what could be more fitting for Pride Month than that?

By the time Bouncing Off the Satellites finally arrived in record stores, The B-52’s had endured unimaginable heartbreak. Original guitarist Ricky Wilson had passed away in October 1985 from complications related to AIDS. Devastated by the loss of their friend, bandmate, and creative force, the group chose not to tour in support of the album’s original U.S. release.

Instead, the record became something of a transitional chapter. It captured the final recordings created with Ricky’s unmistakable musical fingerprints while hinting at the resilience that would eventually propel the band into their next era.

“Wig” perfectly embodies the playful absurdity that made The B-52’s unlike anyone else. Built around a buoyant groove and punctuated by Fred Schneider’s unmistakable spoken declarations, the song encourages listeners to throw caution to the wind and embrace transformation.

Need confidence? Put on a wig.

Need an attitude adjustment? Put on a wig.

Need a little extra fabulousness? You know what to do.

Beneath the campy humor lies a surprisingly empowering message. Long before conversations about authenticity and chosen identity became commonplace, The B-52’s understood that fashion, performance, and self-invention could be acts of liberation. Whether it was teased hair, thrift store glamour, vintage dresses, or outrageous accessories, they championed the idea that identity could be joyful, fluid, and entirely your own.

The UK embraced “Wig” enough to send it into the Top 80, peaking at No. 79 on the singles chart. Released to coincide with the delayed British issue of Bouncing Off the Satellites, it allowed the band to reconnect with audiences overseas through television appearances and promotional performances. Although it was a modest chart success, the song developed a devoted following among fans who appreciated its eccentric charm.

Years later, the band rediscovered their affection for the track and began performing it live again, beginning in 2010. A live version would eventually appear on their concert album With The Wild Crowd! Live in Athens, GA, proving that even deep cuts can have a second life when audiences are finally ready to celebrate them.

The B-52’s always occupied a unique space in popular music. Emerging from Athens, Georgia, in the late 1970s, they blended new wave, surf rock, kitsch, dance music, and pure art school weirdness into something entirely their own. Their thrift store aesthetic and joyful embrace of the unconventional made them icons for generations of outsiders.

For LGBTQ+ listeners especially, The B-52’s represented possibility. They invited everyone onto the dance floor. Misfits were welcome. Individuality was encouraged. The stranger you were, the better.

So this Pride Month, if the world feels a little too serious, take a cue from Fred, Kate, Cindy, Keith, and Ricky.

Turn up the volume.

Strike a pose.

Adjust your attitude.

And if all else fails…

Put on a wig.

Whether you remember buying the 7-inch back in 1987 or are discovering this wonderfully weird gem for the first time, “Wig” remains a reminder that self-expression should be celebrated, joy should never be underestimated, and life is simply more fun when you’re not afraid to be a little outrageous.

SIDE A:
Wig 4:30
Producer – Tony Mansfield
Written-By – The B-52’s

Summer Of Love (Remix) 4:00
Producer – Tony Mansfield
Remix [Re-Mix], Producer [Additional Production] – Shep Pettibone
Written-By – C. Wilson, K. Pierson, K. Strickland, R. Wilson

SIDE B:
Song For A Future Generation 3:59
Producer – Steven Stanley
Written-By – The B-52’s

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — The B-52’s: Wig (1987)
Chart	Peak Position	Date
UK Singles Chart	#79	1987

RELEASE INFORMATION:
Label:Island Records – 12 BFT 2
Format: Vinyl, 12″, 45 RPM, Single
Country: UK
Released: Jun 1987
Genre: Rock
Style: Pop Rock

CREDITS:

Design – Island Art
Photography By – Mike Prior (2)
Stylist [Styling] – Sue Venning

NOTES:
Track A2 Produced For – Mastermix Productions

But 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.

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May 7, 2025

Vicious Pink – Take Me Now (UK 12″)

Burning The Ground Exclusive

Released in January 1986, “Take Me Now” marked the final single from the provocative Leeds-based synth-pop duo Vicious Pink. Comprised of Josephine Warden and Brian Moss, the pair had built a cult following throughout the early ’80s with their bold, sensual lyrics and pulsing electronic beats. “Take Me Now” carried forward their signature style but with a more polished, mainstream-friendly sound, reflecting the shifting landscape of mid-’80s synth-pop.

The track was written by John David, a songwriter best known for his work with artists like Status Quo and Cliff Richard. It was produced by Gary Moberley, an Australian keyboardist and producer whose sleek, radio-ready touch gave the song a glossy sheen, contrasting with the rawer edge of the duo’s earlier tracks like “Cccan’t You See” or “Fetish.”

“Take Me Now” layers icy synth textures with Warden’s sultry vocals, conveying urgency and desire with the kind of restraint that made Vicious Pink so intriguing. The song didn’t chart significantly, but it remains a hidden gem of the era—an elegant swan song that closed the Vicious Pink chapter on a sophisticated note.

The 12″ single, released on Parlophone, featured an extended version along with two additional tracks: the hidden gem “I Confess” and “Always Hoping”, both of which showcase the production’s crystalline quality and dancefloor potential. Despite its under-the-radar status, “Take Me Now” has aged remarkably well, offering a glimpse into a band that was always a little ahead of its time—darkly stylish, fiercely independent, and unapologetically provocative.

SIDE A:
Take Me Now (Extended Version) 6:21
Producer – Gary Moberley
Written-By –John David

SIDE B:
I Confess 3:57
Engineer – Martin Webster
Producer – Tony Mansfield
Remix – Gary Moberley
Written-By – Moss, Warden*

Always Hoping 3:55
Producer – Tony Mansfield
Written-By – Moss, Warden

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Parlophone – 12PINK 3, Parlophone – 12 PINK 3
Format: Vinyl, 12″, 45 RPM, Single
Country: UK
Released: Jan 1986
Genre: Electronic
Style: Synth-pop

CREDITS:

Design – Shoot That Tiger!
Other [Hair] – Donna At Vincent Lonnro
Photography By – Johnny Rozsa

NOTES:
Manufactured in the UK

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
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-Ject 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.