Tag: US

April 14, 2026

Sheila E. – Hold Me (US 12″) (1986)

Burning The Ground Exclusive

By 1986, Sheila E. had already carved out a unique space in the pop and R&B landscape. Known for her explosive percussion work and high-energy hits like “The Glamorous Life” and “A Love Bizarre,” she shifted gears with something far more intimate on Hold Me — the lead single from her third self-titled album, Sheila E.

Interestingly, the song had a somewhat complicated early release history. It first appeared in Canada under the title Touch Me, and in Japan as the B-side to Holly Rock. The title was later changed to Hold Me for wider release, reportedly to avoid confusion with Samantha Fox’s international hit Touch Me. It’s one of those small but fascinating details that collectors and longtime fans will appreciate — a reminder of how marketing decisions could shape a song’s identity across different territories.

Released at a time when glossy production and dancefloor dominance were the norm, Hold Me stands out as a smooth, heartfelt R&B ballad. It’s a vulnerable moment in her catalog — trading in the bold, rhythmic punch she was known for in favor of a softer, more emotional delivery. The track leans into late-night quiet storm territory, with lush instrumentation and a restrained vocal that showcases a different side of Sheila’s artistry.

Despite its understated approach, Hold Me found solid success on the charts. The single climbed to No. 3 on the U.S. Hot Black Singles chart, proving her appeal within the R&B audience, while also reaching No. 68 on the Billboard Hot 100. It may not have been a massive crossover hit, but it resonated strongly where it counted.

Flipping the record over reveals The World Is High, a non-album B-side that offers a striking contrast. Where Hold Me is reflective and tender, The World Is High is an upbeat dance track, much closer in spirit to Sheila’s earlier, more energetic work. It’s the kind of pairing that made 12″ and 7″ singles so exciting — giving listeners both sides of an artist’s range in one release.

Collector’s Note: The A-side is labeled as an “Extended Version,” but this is actually the standard album version. For the 7″ single, the track was edited down, making the so-called “Extended Version” designation a bit misleading — and a detail that vinyl collectors will definitely want to take note of.

As far as I can tell, no official music video was produced for “Hold Me,” which may have contributed to its lower profile on the pop charts, despite its strong showing on the R&B side.

For collectors, it’s yet another example of why physical formats remain so essential. Between alternate titles, regional variations, and exclusive B-sides, releases like this tell a deeper story than the charts alone ever could.

As always, it’s these kinds of releases — the overlooked singles, the unique pressings, and the hidden gems on the flip side — that make digging through vinyl so rewarding.

SIDE A:
Hold Me (Extended Version) 5:04
Written-By – Constance Guzman, Eddie Minnifield*, Sheila E.

SIDE B:
The World Is High 3:24
Written-By – Levi Seacer*, Sheila E.

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Sheila E: *Hold Me* (1986)
Chart	Peak Position	Date
US Billboard Hot Black Singles	#3	1986
US Billboard Hot 100	#68	1986
US Billboard Hot Dance Music / Maxi-Singles Sales	#22	1986

RELEASE INFORMATION:
Label: Warner Bros. Records – 92 05790, Paisley Park – 92 05790
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 1986
Genre: Electronic, Hip Hop
Style: RnB/Swing, Downtempo, Synth-pop

CREDITS:

Co-producer – David Z.
Producer, Arranged By – Sheila E.

NOTES:
Side A: from the LP Sheila E.

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.

April 10, 2026

Boys Don’t Cry – I Wanna Be A Cowboy (US 12″) (1988)

Burning The Ground Exclusive

Previous post date: April 11, 2017

In 1985, British band Boys Don’t Cry delivered one of the most delightfully offbeat and unforgettable novelty hits of the decade — “I Wanna Be A Cowboy.” Equal parts synth-pop, humor, and Wild West fantasy, the track carved out a unique space on radio and dance floors alike.

Formed in 1983, Boys Don’t Cry was the brainchild of lead vocalist and keyboardist Nick Richards, who had just purchased Maison Rouge Recording Studios in London. An early lineup of the group featured Richards alongside guitarist Richard Taee and drummer Steve Creese, with additional support from session musicians.

From the moment that iconic spoken intro kicks in — “I wanna be a cowboy…” — you know you’re in for something different. The track blends playful storytelling with a catchy synth-driven groove, creating a sound that feels both quintessentially mid-80s and completely its own.

The 12″ Experience

As with many tracks featured here on Burning the Ground, the real magic happens in the 12″ format.

The extended mix takes everything that made the single memorable and stretches it into a full-on dancefloor experience. The groove is given more room to breathe, the instrumental passages are expanded, and the quirky western motifs — including whip cracks and cinematic flourishes — are emphasized to full effect.

This is where the song truly shines. What might come across as a novelty on the radio becomes something hypnotic and immersive in its extended form. DJs in the mid-80s understood this, and the track found a welcome home in clubs where its infectious rhythm and playful energy could really connect with audiences.

Chart Success & Cultural Impact

“I Wanna Be A Cowboy” became a major hit in the United States, reaching the Top 20 on the Billboard Hot 100 and climbing even higher on the Dance Chart. Its accompanying music video — featuring a humorous Wild West storyline — received heavy rotation on MTV, helping cement its place in 80s pop culture.

Though Boys Don’t Cry would not replicate this level of success with later releases, this single remains a beloved time capsule of an era when pop music didn’t take itself too seriously — and was all the better for it.

Why It Still Works

Nearly four decades later, “I Wanna Be A Cowboy” still holds up — not just as a nostalgic novelty, but as a genuinely well-crafted pop track. Its blend of humor, melody, and production polish captures a moment in time when creativity and fun were at the forefront of the music scene.

And in its 12″ incarnation, it’s more than just a curiosity — it’s a reminder of how the extended format could transform even the most unexpected songs into something club-ready and unforgettable.

If you have this one in your collection, you already know — sometimes the most unlikely tracks end up being the most enduring.

Saddle up and enjoy.

SIDE A:
I Wanna Be A Cowboy (12″ Saddle Mix) 6:05

SIDE B:
I Wanna Be A Cowboy (Instrumental Saloon Mix) 6:05

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Boys Don’t Cry: *I Wanna Be A Cowboy* (1985)
Chart	Peak Position	Date
US Billboard Hot 100	#12	1986
US Billboard Hot Dance Music / Maxi-Singles Sales	#12	1986
US Billboard Hot Dance Music / Club Play	#44	1986
Australia (Kent Music Report)	#4	1986
New Zealand (Recorded Music NZ)	#1	1986
Canada (Top Singles RPM)	#19	1986
Belgium (Ultrapop 50 Flanders)	#24	1985
South Africa (Springbok Radio)	#11	1985
UK Singles (OCC)	#77	1985
West Germany (GfK)	#41	1985

RELEASE INFORMATION:
Label: Profile Records – PRO-7084
Format: Vinyl, 12″, Single, 33 ⅓ RPM
Country: US
Released: 1985
Genre: Electronic
Style: Synth-pop

CREDITS:

Engineer – Chris Potter*, Tony Taverner
Photography By – Simon Fowler (2)
Producer – Boys Don’t Cry
Written-By – Chatton*, Seopardie*, Richards*, Ramsden*

NOTES:
Jacket Made In Canada
Message in run-out groove, side A: This Cowboy Ride is BLAZE-“ing” HOT!!!

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 8, 2026

Voice Of The Beehive – I Say Nothing (US 12″) (1987)

Burning The Ground Exclusive

Formed in London in the mid-1980s, Voice Of The Beehive brought together American-born vocalists Tracey Bryn and Melissa Brooke Belland, who created a bright, infectious pop sound that blended jangly guitars with a distinctly alternative edge. The band quickly became part of the late ’80s indie/pop crossover scene, delivering catchy hooks with just enough attitude to set them apart.

“I Say Nothing” was originally released in 1987 as the second single from their debut album Let It Bee. The track perfectly captures the band’s signature style—upbeat and melodic on the surface, but with lyrics that hint at frustration and emotional restraint.

Produced by Hugh Jones, known for his work with artists like Echo & the Bunnymen and The Sound, the song features crisp guitars, driving rhythm, and layered harmonies that give it that unmistakable late-’80s alternative pop sheen.

While “I Say Nothing” didn’t make a major impact on the U.S. charts, it became one of the band’s most recognizable tracks and remains a fan favorite among those who followed the UK indie scene at the time reaching #45 on the UK singles chart. Its blend of pop sensibility and indie credibility helped Voice Of The Beehive carve out a unique space during a period when guitar-driven pop was evolving into something brighter and more accessible.

There’s a certain charm to “I Say Nothing” that still resonates today—it’s one of those tracks that feels effortlessly catchy while carrying just enough emotional weight beneath the surface.

The single was reissued in 1988, peaking at #11 on the US Billboard Alternative chart. The re-issue also charted again in the UK at #46.

SIDE A:
I Say Nothing 3:27
Lyrics By [Words] – T. Bryn
Music By – M. Jones, T. Bryn
Producer – Pete Collins

SIDE B:
The Things You See When You Don’t Have Your Gun (Live At ULU) 2:29
Producer – Peter Collins
Written-By – Brooke-Belland, Bryn

In The Flesh 2:30
Producer – M. Jones
Written-By – C. Stein, D. Harry*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Voice Of The Beehive: *I Say Nothing* (1988)
Chart	Peak Position	Date
US Billboard Alternative Tracks	#11	1988
UK Singles	#46	1988
Australia	#73	1987

RELEASE INFORMATION:
Label: London Records – 886 370-1
Format: Vinyl, 12″, Single, 33 ⅓ RPM
Country: US
Released: 1988
Genre: Electronic, Rock
Style: Alternative Rock, Pop Rock

CREDITS:

Design – Vivid I.D.
Photography – Simon Fowler

NOTES:
“I Say Nothing” From the London album “Let It Bee”

Printed in U.S.A.

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 3, 2026

The Vapors – Turning Japanese (US 7″) (1980)

Burning The Ground Exclusive バーニング・ザ・グラウンド独占掲載

Released in 1980, “Turning Japanese” by The Vapors remains one of the most distinctive and enduring singles of the early New Wave era. Built on a tight, nervy guitar riff and an urgent vocal from David Fenton, the track perfectly captures the anxious energy that defined the shift from punk into more melodic, radio-friendly territory.

Formed in Guildford, England in the late 1970s, The Vapors emerged from the same fertile UK scene that produced bands like The Jam. In fact, the group got an early break when they supported The Jam on tour—an opportunity that helped them gain industry attention and ultimately led to a recording contract. Their sound balanced punk’s raw edge with a cleaner, more structured pop sensibility, placing them squarely in the first wave of British New Wave acts.

Produced by Vic Coppersmith-Heaven and released on the band’s debut album New Clear Days, “Turning Japanese” quickly became an international hit—reaching #3 in the UK and cracking the US Top 40. Its success was driven by its instantly recognizable hook and slightly offbeat character, setting it apart from more conventional pop releases of the time.

Musically, the track thrives on tension. The clipped guitar lines, driving rhythm section, and Fenton’s almost obsessive vocal delivery create a sense of unease that never fully resolves. That tension mirrors the song’s true subject: emotional fixation and the psychological spiral that can follow a failed relationship.

Despite long-standing rumors suggesting a more provocative meaning, Fenton has consistently explained that the song is about obsession and identity loss—the feeling of becoming someone else when consumed by thoughts of another person. That emotional core, paired with a deceptively simple arrangement, gives the track its lasting resonance.

The accompanying video—later picked up by MTV in its early days—helped introduce the band to a wider audience and cemented the single as a defining moment of early ‘80s pop culture. Although The Vapors released a follow-up album (Magnets) in 1981, they were unable to replicate the success of their debut, and the band soon faded from the spotlight.

Of note: the artwork featured here is taken from my personal copy of the U.S. white, rectangular-shaped vinyl edition. Interestingly, there was no standard picture sleeve issued for the regular U.S. 7″ release, making this version a unique and visually distinctive alternative for collectors.

Still, “Turning Japanese” endures. More than four decades on, it remains a sharp, catchy, and emotionally charged snapshot of a time when pop music embraced both vulnerability and eccentricity—hallmarks of the New Wave era at its very best.

SIDE A:
Turning Japanese (Edited) 3:20

SIDE B:
Talk Talk 3:50

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – The Vapors: *Turning Japanese* (1980)
Chart	Peak Position	Date
US Billboard Hot 100	#36	1980
US Billboard Hot Dance Club Play	#34	1980
Australia (Kent Music Report)	#1	1980
Canada Top Singles	#6	1980
Ireland (RMA)	#4	1980
New Zealand	#9	1980
UK Singles	#3	1980

RELEASE INFORMATION:
Label: United Artists Records – UA-X1364-Y
Format: Vinyl, 7″, 45 RPM, Single, Stereo
Country: US
Released: 1980
Genre: Rock
Style: New Wave, Punk

CREDITS:
Producer – Vic Coppersmith-Heaven
Written-By – David Fenton

NOTES:
From the United Artists Records LP “New Clear Days”

Buy the 7″ 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.