Tag: UK

Limahl – Too Much Trouble (Lovers Heartbeat Mix) (UK 12″) (1984)

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Before the massive international success of “The NeverEnding Story,” Limahl found himself navigating uncertain waters.

Fresh from his very public split with Kajagoogoo in 1983, Christopher Hamill, better known to the world as Limahl, suddenly had something to prove. As the instantly recognizable voice behind hits like “Too Shy,” many questioned whether his success had been tied to the band, or if he could stand on his own. Rather than retreat, Limahl embraced the challenge and launched a solo career that allowed him greater creative control and a chance to define himself beyond the image that had made him an early MTV favorite.

As Pride Month continues here at Burning The Ground, it’s fitting to spotlight another LGBTQ+ artist who helped shape the sound and style of the 1980s. Long before artists felt comfortable discussing their sexuality publicly, Limahl’s distinctive look, theatrical presence, and refusal to conform made him an important figure for many fans who saw something of themselves reflected in pop music’s outsiders and individualists.

Released on May 21, 1984, “Too Much Trouble” served as the second single from Limahl’s debut solo album, Don’t Suppose. Written by Limahl himself and produced by Tim Palmer and Dave Harris, the track showcased a darker, more introspective side of the singer than audiences may have expected after the bright optimism of his debut solo hit “Only for Love.”

Built around icy synthesizers, dramatic percussion, and Limahl’s unmistakable vocal delivery, “Too Much Trouble” captures the emotional exhaustion that comes from a relationship trapped in a cycle of conflict and uncertainty. There is a tension running through the song, balancing polished pop craftsmanship with a restless undercurrent that mirrors the turbulence described in the lyrics.

Commercially, the single wasn’t the breakthrough EMI had hoped for. In the UK, “Too Much Trouble” peaked at No. 64 on the Official Singles Chart, spending three weeks in the Top 75. It found a warmer reception elsewhere in Europe, reaching No. 26 in Germany and No. 23 in Finland.

History, however, has a funny way of rewriting narratives.

Overshadowed at the time by what came next, “Too Much Trouble” has gradually become something of a hidden gem among Limahl fans. Just a few months later, he would achieve worldwide success with Giorgio Moroder’s unforgettable theme from The NeverEnding Story, a song that would forever define his solo career. In retrospect, “Too Much Trouble” feels like an intriguing snapshot of an artist in transition. Determined to establish his own identity, experimenting with mood and texture, and refusing to simply recreate the formula that had already made him famous.

Listening today, the record stands as a reminder that some of the most interesting moments in an artist’s career aren’t always the biggest hits. Sometimes they’re the risks taken between the chart successes, when the path forward isn’t clear and reinvention is still taking shape.

For those willing to dig a little deeper into Limahl’s catalog, “Too Much Trouble” rewards repeated listens. It is sophisticated synth-pop with an edge of melancholy, delivered by one of the decade’s most distinctive voices.

Not every chapter of an artist’s story becomes a headline. Some become cult favorites.

And sometimes, that’s even more rewarding.

SIDE A:
Too Much Trouble (Lovers Heartbeat Mix) 6:18

SIDE B:
Too Much Trouble (7″ Version) 3:32
You’ve Been Gone For A Little While (Too Much Trouble – Reprise) 2:04

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Limahl: Too Much Trouble (1984) Peak Position
Finland (Suomen virallinen lista) 23
West Germany (GfK) 26
UK Singles (OCC) 64

RELEASE INFORMATION:
Label: EMI – 12LML 2
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1984
Genre: Electronic
Style: Synth-pop

CREDITS:

NOTES:
Manufactured in the UK by EMI Records Limited

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!

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The Associates – Club Country (UK 12″) (1982)

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NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: September 2, 2015

Pride is often celebrated through the obvious anthems, the songs that become rallying cries on dance floors and parade routes. But some songs belong to Pride for different reasons. They represent individuality, self-expression, and the courage to exist outside the lines others draw for us. The Associates’ 1982 single “Club Country” is one of those songs.

Released on May 8, 1982, “Club Country” arrived during one of the most exciting periods in The Associates’ career. Following the success of “Party Fears Two,” Scottish duo Billy Mackenzie and Alan Rankine suddenly found themselves on the verge of mainstream success. The single climbed to No. 13 on the UK Singles Chart and helped pave the way for their acclaimed album Sulk, released just a few weeks later.

At first listen, “Club Country” is irresistible pop. Sweeping piano lines, dramatic flourishes, infectious rhythms, and a chorus that practically begs to be shouted back at the speakers. But like so much of The Associates’ music, there was more happening beneath the surface.

Billy Mackenzie was one of the most extraordinary vocalists of his generation. His voice could shift effortlessly from warm intimacy to soaring falsetto, often within the same line. There was theatricality, vulnerability, humor, and longing in every performance. He didn’t sound like anyone else because he wasn’t trying to be anyone else.

For many LGBTQ+ listeners, that authenticity mattered.

Mackenzie rarely discussed his private life publicly, preferring to let the music speak for itself. At a time when many artists were pressured to fit into neat categories, he embraced ambiguity and individuality. He dressed how he pleased, performed with fearless intensity, and refused to compromise the qualities that made him unique. Simply existing on his own terms became a quiet act of defiance.

The title “Club Country” evokes images of nightlife and belonging. Clubs have long been sanctuaries for LGBTQ+ communities, places where people could dance freely, build connections, and discover versions of themselves that the outside world often rejected. Whether or not Mackenzie intended the song to carry that meaning, it resonates deeply through that lens today.

There is also joy here.

Pride is not only protest and remembrance. It is celebration. It is finding your people under flashing lights and losing yourself in music for a few precious minutes. “Club Country” captures that exhilaration perfectly. It feels glamorous and strange, sophisticated and playful. It invites everyone onto the dance floor while reminding us that the most interesting people are often those who never quite fit in.

The Associates would never fully capitalize on their commercial breakthrough. Tensions between Mackenzie and Rankine eventually brought their partnership to an end, making this period frustratingly brief. Yet the music they created together remains timeless.

More than four decades later, “Club Country” still sparkles with originality. It stands as a reminder that Pride’s soundtrack isn’t built solely from obvious anthems. Sometimes it comes from artists who challenged expectations simply by being unapologetically themselves.

Billy Mackenzie gave the world permission to embrace eccentricity, sensitivity, glamour, and contradiction. He showed that individuality could be its own kind of strength.

For this year’s Soundtrack of Pride, “Club Country” deserves its place on the playlist.

Turn it up, step onto the dance floor, and celebrate everything that makes you beautifully impossible to define.

SIDE A:
Club Country (Extended Version) 6:58

SIDE B:
A.G. It’s You Again 3:06
Ulcragyceptemol 4:25

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — The Associates: Club Country (1982)
Chart Peak Position Date
UK Singles Chart #13 1982
Ireland Irish Singles Chart #22 1982

RELEASE INFORMATION:
Label: Associates – asc2t
Format: Vinyl, 12″, 45 RPM, Single
Country: UK
Released: Apr 29, 1982
Genre: Electronic, Rock
Style: Post-Punk, New Wave, Synth-pop

CREDITS:

NOTES:
Track A is an uncredited extended version.
Track B1 is an early version of “Arrogance Gave Him Up”.

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.

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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:

NOTES:
Track A2 Produced For – Mastermix Productions

But 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.

 

Army Of Lovers – Ride The Bullet (UK 12″) (1992)

Burning The Ground Exclusive

When it comes to excess, spectacle, and unapologetic camp, few groups embraced it quite as enthusiastically as Sweden’s Army of Lovers. Long before pop culture fully embraced flamboyant self-expression and gender-bending visuals, Army of Lovers were building an entire musical universe around it. Their music combined Eurodisco, Hi-NRG, dance-pop, and theatrical storytelling into something uniquely their own.

Originally appearing on the group’s 1990 debut album Disco Extravaganza, “Ride The Bullet” was written by Alexander Bard, Anders Wollbeck, Jean-Pierre Barda, Emil Hellman, and Camilla Henemark. The track was later remixed for inclusion on the group’s breakthrough second album Massive Luxury Overdose in 1991, helping introduce the song to a wider international audience. The 1992 single release would become one of the group’s biggest European successes, reaching the Top 10 in Austria, Finland, and Greece while also topping the chart in Israel.

Musically, “Ride The Bullet” is classic Army of Lovers. Layers of sweeping strings, pulsating dance beats, dramatic spoken passages, and larger-than-life vocals collide to create a record that feels equal parts nightclub anthem and theatrical production. While many Eurodance acts of the era focused on straightforward club rhythms, Army of Lovers approached dance music with a sense of humor and grandeur, turning every song into a lavish performance piece. Critics at the time praised the track’s infectious disco energy and irresistible groove, noting its combination of Eurodisco sheen and high-energy dance-pop production.

The song also marked an interesting transition period for the group. The original version featured La Camilla, whose commanding presence helped define the band’s early image. Following her departure in 1991, Michaela de la Cour joined the group and appeared on the later remix and accompanying video. As a result, two distinct music videos exist for “Ride The Bullet,” each reflecting a different era of Army of Lovers’ visual evolution.

Of course, visuals were always just as important as the music. Army of Lovers treated every video as a work of pop art, filling them with religious iconography, historical references, outrageous costumes, and enough camp to power an entire Pride celebration. “Ride The Bullet” is no exception, delivering the kind of extravagant imagery that became the group’s trademark and helped cement their reputation as one of Europe’s most unforgettable pop acts.

Today, “Ride The Bullet” remains one of the defining tracks from the Massive Luxury Overdose era, a period that saw Army of Lovers become international dance-floor favorites. More than three decades later, the song still sounds gloriously over-the-top, proving that sometimes pop music is at its best when it refuses to take itself too seriously while still delivering an irresistible groove.

Army of Lovers showed the world that dance music could be glamorous, outrageous, and wildly entertaining all at once. “Ride The Bullet” remains one of the finest examples of that philosophy in action.

SIDE A:
Ride The Bullet (Radio Edit) 3:28
Remix, Producer [Additional Production By] – Nuzak

Ride The Bullet (Tren De Amor Mix) 6:26
Remix, Producer [Additional Production By] – Nuzak

SIDE B:
Ride The Bullet (DNA Groove Approved) 4:56
Other [Assisted By] – Davidge
Remix, Producer [Additional Production By] – DNA

Ride The Bullet (David Ford & The E.G. Orchestra Re-Mix) 5:21
Remix, Producer [Additional Production By] –  David Ford & The E.G. Orchestra

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Army Of Lovers: Ride The Bullet (1992) Peak Position
Australia (ARIA) 191
Austria (Ö3 Austria Top 40) 4
Belgium (Ultratop 50 Flanders) 12
Europe (Eurochart Hot 100) 40
Europe (European Dance Radio) 24
Finland (IFPI) 4
Germany (GfK) 22
Greece (Virgin) 9
Netherlands (Dutch Top 40 Tipparade) 2
Netherlands (Single Top 100) 34
Sweden (Sverigetopplistan) 32
Switzerland (Schweizer Hitparade) 40
UK Singles (OCC) 67
UK Club Chart (Music Week) 79

RELEASE INFORMATION:
Label: China Records – WOKT 2018, Ton Son Ton – WOKT 2018
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: UK
Released: 1992
Genre: Electronic
Style: House, Synth-pop

CREDITS:

NOTES:
Recorded and mixed at Sonet Studios, Stockholm.

Track B1 is called ‘Ride The Bullet (DNA Groove Approved Mix)’ on the label

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.