Tag: UK

May 7, 2026

Grace Jones – Slave To The Rhythm (UK 12″ Limited Edition) (1985)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: July 19, 2011

“Don’t Cry It’s Only The Rhythm”…

Few songs in pop history are as daring, theatrical, and sonically adventurous as Slave To The Rhythm by Grace Jones. Released in October 1985, the single was the centerpiece of Jones’ critically acclaimed album of the same name, a record that blurred the lines between pop, art, performance, and avant-garde experimentation.

Produced by the legendary duo of Trevor Horn and Stephen Lipson, “Slave To The Rhythm” became one of Grace Jones’ signature recordings. Built around thunderous percussion, dramatic orchestration, layered vocals, and hypnotic grooves, the track remains a striking example of mid-80s studio innovation.

The project originally began as a song intended for Frankie Goes to Hollywood, but Trevor Horn ultimately realized the composition was perfectly suited for Grace Jones’ commanding vocal style and larger-than-life persona. The result was unlike anything else on radio at the time.

The album itself was conceived almost like a concept piece. Different variations and interpretations of the title track appear throughout the LP, weaving together interviews, spoken-word passages, orchestral elements, and dense production techniques that pushed studio technology of the era to its limits. Horn utilized the Fairlight CMI extensively, helping create the album’s futuristic and cinematic soundscape.

“Slave To The Rhythm” was a major international success. The single reached the Top 10 in several countries including the UK, Germany, Switzerland, and the Netherlands, while also becoming a staple of dance clubs worldwide. In the United States, Grace Jones continued to strengthen her reputation as one of the most fearless and uncompromising artists of the decade.

The unforgettable music video, directed by Jean-Paul Goude, perfectly complemented the song’s surreal atmosphere. Goude, who had previously collaborated extensively with Jones both artistically and personally, created striking visual imagery that further cemented her status as a true icon of style and performance art.

This UK Limited Edition 12″ single contains the full-length “Blooded Version” of the track, running over eight minutes and delivering the complete immersive experience intended for the dance floor. From its dramatic opening narration to its explosive percussion breakdowns, the extended mix remains one of the defining 12-inch releases of the 1980s.

As with many productions from Trevor Horn during this era, the vinyl pressing offers warmth, punch, and dynamic range that many later digital releases struggle to capture fully. The layered percussion, deep bass textures, and atmospheric details especially come alive on a properly mastered 12-inch pressing.

Presented here is a NEW 2026 meticulous audio restoration and transfer, sourced directly from vinyl to preserve the depth, clarity, and power of this groundbreaking recording.

Whether experienced as avant-garde pop, dance music, or pure sonic theater, “Slave To The Rhythm” remains one of the boldest artistic statements of the 1980s. Nearly four decades later, it still sounds futuristic.

SIDE A:
Slave To The Rhythm (Blooded) 8:29

SIDE B:
Junk Yard 5:21
Annihilated Rhythm 3:38

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
Poster: Mint

Chart Performance – Grace Jones: Slave To The Rhythm (1985–1986)	Peak position
Australia (Kent Music Report)	20
Austria (Ö3 Austria Top 40)	7
Belgium (Ultratop 50 Flanders)	4
Canada Adult Contemporary (RPM)	18
European Top 100 Singles (Eurotipsheet)	7
Finland (Suomen virallinen lista)	16
France (SNEP)	50
Italy (Musica e dischi)	6
Luxembourg (Radio Luxembourg)	8
Netherlands (Dutch Top 40)	3
Netherlands (Single Top 100)	4
New Zealand (Recorded Music NZ)	5
Spain (AFYVE)	14
Switzerland (Schweizer Hitparade)	5
UK Singles (OCC)	12
US Dance Club Songs (Billboard)	1
US Hot R&B/Hip-Hop Songs (Billboard)	20
West Germany (GfK)	4

RELEASE INFORMATION:
Label:ZTT – 12IS 206, Island Records – 12IS 206
Format: Vinyl, 12″, 45 RPM, Limited Edition, Poster
Country: UK
Released: 1985
Genre: Electronic, Pop
Style: Synth-pop, Avant-Garde

CREDITS:

Accompanied By – The Strictly Unreasonable Zang Tuum Tumb Big Beat Colossus
Artwork [Front Cover] – Jean Paul Goude*
Producer – Trevor Horn
Producer [Assistant] – S. J. Lipson*
Written-By – Bruce Woolley, Simon Darlow, Stephen Lipson, Trevor Horn

NOTES:
“The members of the Z.T.T. art AND ACT SERVICE and the strictly unreasonable ZANG TUUM TUMB BIG BEAT COLOSSUS, who accompany Miss Grace Jones, are acknowledged on the cover of the biography.”

Includes a poster – sleeve sealed with a green and silver sticker featuring the wording “Strictly Limited Edition Includes Special Poster”.

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-Jec Tube Box DS2
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
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

You can help show your support for this blog by donating using PayPal. I appreciate your help.

May 5, 2026

Marilyn – You Don’t Love Me (UK 12″) (1984)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: June 21, 2012

By 1984, Marilyn was still navigating the momentum that followed his breakthrough success, but the pop landscape was shifting quickly. Released as the third single from his debut album Despite Straight Lines, “You Don’t Love Me” showed a more reflective side of the singer, trading some of the earlier flash for a deeper emotional pull.

Musically, the track leans into a polished synth-pop sound with a soft, melancholic tone. The production is clean and uncluttered, allowing Marilyn’s soulful and expressive vocal to take center stage. There’s a sense of restraint here that works in the song’s favor, giving it a late-night, almost intimate feel.

Unlike the more immediate, club-oriented energy of his earlier hits, “You Don’t Love Me” feels more introspective. It captures the emotional fallout of a relationship with a quiet intensity, rather than going for obvious drama. That subtle approach is part of what makes the track stand out today.

On the charts, the single had a respectable showing. It reached No. 40 on the UK Singles Chart, while performing even better internationally, breaking into the Top 20 in both the Netherlands and New Zealand. Those placements suggest the song connected strongly outside the UK, even if it did not reach the same heights as his debut releases.

From a vinyl standpoint, the 12-inch format is where this track really opens up. The extended versions give the arrangement more room, emphasizing the groove and allowing the atmospheric elements to fully develop. It is one of those records where the longer mix feels essential, especially for listeners who appreciate the nuances of mid-80s production.

Looking back, “You Don’t Love Me” captures a transitional moment in Marilyn’s career. It reflects an artist trying to expand beyond a carefully crafted image, leaning more into mood and emotion. While it may not be his most celebrated single, it adds an important layer to the Despite Straight Lines era.

As always, this transfer has been given a NEW 2026 Meticulous Audio Restoration and Transfer, preserving the warmth and dynamics of the original vinyl pressing.

SIDE A:
You Don’t Love Me (Dance Mix) 6:08
Producer – Clive Langer And Alan Winstanley*

SIDE B:
Raining Again 5:06
Producer – Roger Jackson

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Marilyn: *You Don’t Love Me* (1984)
Chart	Peak Position	Date
UK Singles Chart	#40	1984
Australia (Kent Music Report)	#57	1984
Belgium (Ultratop)	#26	1984
Netherlands (Top Singles 100)	#18	1984
New Zealand	#16	1984

RELEASE INFORMATION:
Label: Love (6) – MAZ 312, Love (6) – 818 808-1
Format: Vinyl, 12″, 45 RPM, Single
Country: UK
Released: Apr 1984
Genre: Electronic, Pop
Style: Downtempo, Synth-pop

CREDITS:

Arranged By, Coordinator – Roger Jackson
Backing Vocals – Claudia Fontaine, Naomi*
Design – Da Gama
Lacquer Cut By – BilBo (3) (tracks: A)
Photography By – Johnny Rozsa
Written-By – Marilyn

NOTES:
from the LP Despite Straight Lines

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

**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.

April 28, 2026

Yello – Of Course I’m Lying (UK 12″) (Record 1) (1989)

Burning The Ground Exclusive

As promised, Record 1 of the two-record set for Yello’s 1989 single “Of Course I’m Lying” has finally arrived — and it was absolutely worth the wait.

This first 12″ completes the set and includes Part 1 of The Yello Metropolitan Mixdown 1989, an ambitious megamix that pulls together the duo’s unique sonic world into one sprawling, seamless experience. For longtime fans, it’s a fascinating listen — less a straightforward dance medley and more a cinematic collage of rhythm, atmosphere, and signature Yello eccentricity. It’s the kind of mix that feels like flipping through radio stations in some futuristic late-night city, where every channel is tuned to a different dimension.

Also included is the Dance Mix of Oh Yeah, arguably the track most recognized by U.S. audiences. Thanks to its unforgettable appearance in films like Ferris Bueller’s Day Off and The Secret of My Success, “Oh Yeah” became Yello’s calling card in America — instantly recognizable from those opening vocal grunts alone. The Dance Mix stretches the groove further, giving the track even more room to breathe while keeping all of its playful swagger intact.

Rounding out the release is the edited version of “Of Course I’m Lying,” offering a more concise take on one of the duo’s most elegant and atmospheric recordings. While the full-length version unfolds like a smoky late-night conversation, the edit trims it down without losing its seductive tension. It remains one of the most sophisticated tracks in the Yello catalog — understated, mysterious, and endlessly replayable.

Together with Record 2 — which featured Part 2 of The Yello Metropolitan Mixdown, “Bostich,” and the full version of “Of Course I’m Lying” — this set feels like a perfect snapshot of where Yello stood in 1989: refined, adventurous, and completely in their own lane.

I always enjoy when a long-sought record finally lands, especially when it completes a release like this. There’s something satisfying about hearing both halves of a project the way it was originally intended. And as many of you mentioned in the comments, having both parts of the Metropolitan Mixdown in top quality makes the experience even better.

For me, this is another reminder of why I still love collecting physical media. Holding the record, seeing how the release was structured, and hearing these mixes as they were originally presented on vinyl adds something that digital files just can’t fully replicate.

So now, the full two-record story of “Of Course I’m Lying” is here — and it sounds just as stylish, strange, and sophisticated as Yello intended.

Of note: Track A2 would be better described as ‘Oh Yeah (Dance Mix Edit)’ as it only runs for approximately 5 minutes and 13 seconds, so as not to exceed the 20-minute limit that existed at the time. The full Oh Yeah (Dance Mix), running at 6.24, is found on the 12” version of The Race (The Pits Mix).

SIDE A:
Of Course I’m Lying (Edit) 3:52
Backing Vocals – Billy MacKenzie
Percussion – Beat Ash

Oh Yeah (Dance Mix) 5:13

SIDE B:
The Yello Metropolitan Mixdown 1989 Part I 11:02
DJ Mix [Megamix], Remix – Paul Dakeyne*

B.1 Dakeyne Intro
B.2 The Race
B.3 Bostich
B.4 Call It Love (Trego Snare)
B.5 Santiago
B.6 Tied Up
B.7 Vicious Games
B.8 I Love You
B.9 Oh Yeah

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Mercury – YELLO 312, Mercury – 872 945-1
Format: Vinyl, 12″, 45 RPM, 1/2
Country: UK & Europe
Released: Mar 23, 1989
Genre: Electronic
Style: Synth-pop

CREDITS:

Cover – Ernst Gamper
Lyrics By, Vocals – Dieter Meier
Music By, Arranged By – Boris Blank
Producer, Engineer – Yello

NOTES:
Release titled “Record I” on its gatefold sleeve, designed to add the second 12″ sold separately and called “Record II”

With sticker on gatefold front cover:
‘YELLO The ultimate collectors edtion
Contains record 1 of a 2 record set
Record 2 to be released Soon
YELLO 312’

Track B remixed for DMC.
Mastered at Townhouse Studios, London

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

**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.

April 21, 2026

Yello – Of Course I’m Lying (UK 12″) (Record 2) (1989)

Burning The Ground Exclusive

In March 1989, Swiss electronic duo Yello returned with a single that perfectly encapsulated their offbeat brilliance. Lifted from their sixth studio album Flag, “Of Course I’m Lying” may not have stormed the charts like “Oh Yeah” or “The Race,” but it stands today as one of the duo’s most fascinating deep cuts — a track that rewards those willing to lean in and listen closely.

From the opening moments, the song unfolds like a scene rather than a traditional pop record. Boris Blank constructs a lush, cinematic soundscape built on exotic samples, hypnotic rhythms, and finely detailed textures. It’s classic Yello, but more restrained — less bombast, more atmosphere. The groove simmers rather than explodes, pulling you into a world that feels equal parts neon-lit cityscape and late-night reverie.

At the center of it all is Dieter Meier, whose vocal delivery blurs the line between narration and performance. He doesn’t so much sing the lyrics as inhabit them, offering a sly, detached monologue that feels like a private joke shared with the listener. The title itself — “Of Course I’m Lying” — is a riddle wrapped in a smirk. Is he confessing, deceiving, or simply playing a role? With Meier, it’s never entirely clear, and that ambiguity is precisely the point.

Adding another layer of intrigue are the backing vocals by Billy MacKenzie of The Associates. His unmistakable presence subtly elevates the track, weaving an emotional undercurrent beneath Meier’s cool detachment. It’s a pairing that works beautifully — theatrical, mysterious, and slightly surreal.

Commercially, the single found modest success, reaching No. 23 on the UK Singles Chart in April 1989 and remaining there for eight weeks. While it didn’t chart in the United States, its impact has proven far more enduring among fans. Over time, Flag has grown into a cult favorite, and “Of Course I’m Lying” remains one of its standout moments — a track that exemplifies Yello’s ability to exist just outside the mainstream while quietly influencing everything around them.

The 12″ release itself is also notable. Issued in the UK and Europe as a two-record set, it offered collectors an expanded listening experience, including the sought-after “Metropolitan Mixdown.” I currently have the second release in hand, but I’ve tracked down the first — which includes Part One of the Metropolitan Mixdown — and will be sharing that as soon as it arrives.

“Of Course I’m Lying” isn’t a song that demands attention. It doesn’t shout or chase trends. Instead, it whispers, lingers, and leaves a trace long after it ends. Nearly four decades on, it still feels singular — a testament to Yello’s unique place in electronic music: always slightly off-center, always ahead of the curve, and always playing with the listener just enough to keep things interesting.

SIDE A:
Of Course I’m Lying 5:59
Written-By –B. Blank, D. Meier

Bostich 3:34
Written-By – B. Blank, D. Meier

SIDE B:
The Yello Metropolitan Mixdown 1989 Part II 10:14
Remix – Paul Dakeyne*
Written-By – B. Blank, D. Meier

B.1 Dakeyne Intro
B.2 The Rhythm Divine
B.3 Goldrush
B.4 Desire
B.5 La Habanera
B.6 Blazing Saddles
B.7 Domingo
B.8 Live At The Roxy
B.9 Pin Ball Cha Cha
B.10 Swing

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Yello: *Of Course I’m Lying* (1989)
Chart	Peak Position	Date
Switzerland	#30	1989
Australia (Kent Music Report)	#123	1989
Germany	#48	1989
U.K. Singles Chart	#23	1989

RELEASE INFORMATION:
Label: Mercury – YELLO 322, Mercury – 872 947-1
Format: Vinyl, 12″, 45 RPM, 2/2
Country: UK & Europe
Released: 1989
Genre: Electronic
Style: Synth-pop

CREDITS:

Backing Vocals [Backing Chorus] – Billy MacKenzie (tracks: A1)
Composed By [Music], Arranged By – Boris Blank
Cover – Ernst Gamper
DJ Mix [Megamix, Uncredited] – Paul Dakeyne* (tracks: B)
Lyrics By, Vocals – Dieter Meier
Percussion – Beat Ash (tracks: A1)
Producer, Engineer – Yello
Remix – Paul Dakeyne* (tracks: B)

NOTES:
This is “Record II” of a 2-record set. “Record I” (sold separately) was housed in gatefold packaging with space for this

Track B remixed for DMC.

From the album YELLO FLAG

Made in England

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

**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.