Tag: US

March 18, 2026

U2 – Discothèque (US 12″ Promo) (1997)

Burning The Ground Exclusive

When U2 returned in 1997 with “Discothèque,” it felt like a shock to the system—in the best possible way.

Released as the lead single from their ambitious album Pop, “Discothèque” saw the band diving headfirst into electronic dance music, club culture, and the glossy excess of the late ‘90s. Produced by Flood, Howie B, and Steve Osborne, the track fused U2’s signature anthemic sound with pulsing beats, distorted grooves, and a heavy dose of irony.

From the opening filtered guitar riff by The Edge, it’s clear this isn’t the same band that gave us The Joshua Tree. Instead, “Discothèque” leans into a sleazy, neon-lit atmosphere—more underground club than stadium rock. Bono delivers lyrics that flirt with decadence and spiritual longing, blurring the line between indulgence and introspection: “You can reach, but you can’t grab it…”

The single was a commercial success, hitting #1 in the UK and topping charts across Europe, while also making a strong showing on the Billboard Hot 100. In the U.S., it also became a major club hit, proving that U2 could successfully reinvent themselves yet again—this time for the dancefloor.

Of course, no discussion of “Discothèque” would be complete without its unforgettable video. Directed by Stéphane Sednaoui, the clip features the band dressed in outrageous costumes—most notably their appearance inside a giant mirrorball—poking fun at both themselves and club culture excess. It perfectly captured the era’s playful, anything-goes aesthetic while reinforcing the band’s willingness to take risks.

For longtime fans, “Discothèque” was initially divisive. Those expecting another With or Without You or One were instead met with a bold stylistic pivot. But in hindsight, that’s exactly what makes it so compelling. Much like their earlier reinvention during the Achtung Baby era, this track showed that U2 refused to stand still.

On the 12-inch and CD single formats, “Discothèque” truly came alive. Various remixes expanded the track’s club appeal, stretching its hypnotic groove into extended dancefloor workouts that fit perfectly alongside the late ‘90s electronic scene. The US 12″ promo that I am featuring today is especially noteworthy, as it includes the “Discothèque (DM Tec Club Mix),” which, as far as I know, remains exclusive to this particular release—making it a must-have for collectors and completists.

Nearly three decades later, “Discothèque” stands as one of the most daring singles in U2’s catalog. It’s a time capsule of late ‘90s experimentation, excess, and transformation—and a reminder that even the biggest bands can still surprise you when they’re willing to take risks.

SIDE A:
Discothèque (DM Deep Club Mix) 6:59

SIDE B:
Discothèque (DM Tec Club Mix) 7:20

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – U2: *Discothèque* (1997)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#1	1997
US Billboard Hot 100	#10	1997
US Billboard Mainstream Rock	#6	1997
UK Singles	#1	1997
Scottland Singles	#1	1997
Norway	#1	1997
New Zealand	#1	1997
Ireland	#1	1997
Italy	#1	1997
Finland	#1	1997
Canada Top Singles (RPM)	#2	1997
Canada Dance/Urban	#1	1997
Canada Rock/Alternative	#1	1997
Australia	#3	1997

RELEASE INFORMATION:
Label: Island Records – PR12 7398-1
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1997
Genres: Electronic, Pop
Styles: House

CREDITS:

Decks [Original], Loops [Original], Recorded By [Original] – Howie B.
Mastered By [Original] – Howie Weinberg
Mixed By [Original] – Conal Markey
Mixed By [Original], Recorded By [Original] – Mark “Spike” Stent*
Producer [Original] – Flood
Recorded By [Original] – Femio Hernandez, Rob Kirwan
Remix – David Morales, Satoshi Tomiie

NOTES:
For Promotional Use Only – Not For Sale

“Discothèque” contains samples from “Fane” by Freeform. Courtesy of Skam Records.

Mastered at Masterdisk – New York

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.

March 12, 2026

Alexander O’Neal – Innocent (US 12″) (1985)

Burning The Ground Exclusive

When Alexander O’Neal emerged in the mid-1980s, his commanding baritone and emotionally charged delivery quickly set him apart in the evolving R&B landscape. One of the standout tracks from his debut album was the sleek and synth-driven single “Innocent.”

Released in 1985 from the self-titled debut Alexander O’Neal (1985 album), “Innocent” showcased the polished Minneapolis sound crafted by legendary production duo Jimmy Jam and Terry Lewis. Built around crisp drum machine programming, pulsing bass, and shimmering synthesizers, the track perfectly captures the sophisticated R&B style that Jam and Lewis were refining during the decade.

O’Neal delivers a powerful vocal performance on the track, balancing intensity with smooth restraint. Adding to the song’s distinctive character are the backing vocals performed by fellow Minneapolis artist Cherrelle. Her unmistakable harmonies weave throughout the track, giving the chorus an extra layer of energy and providing a subtle preview of the musical chemistry that the two artists would later display on their famous duet “Saturday Love.”

“Innocent” quickly found success in the United States, climbing to #11 on the Billboard Hot R&B/Hip-Hop Songs chart in 1985 and helping introduce Alexander O’Neal to a wider audience. Interestingly, while many of his later singles would become major hits in the UK, “Innocent” remains the only single from the album not to chart there.

Before his solo breakthrough, O’Neal had already been closely tied to the Minneapolis music scene. In fact, he was originally slated to front an early version of The Time before being replaced by Morris Day. His eventual partnership with Jam and Lewis proved to be a turning point, producing a series of stylish R&B recordings that would define much of his career.

More than four decades later, “Innocent” remains a standout from O’Neal’s debut era—an irresistible blend of electronic funk, soulful vocals, and the unmistakable studio craftsmanship of Jam and Lewis. For fans of the Minneapolis sound, it’s a track that still feels as fresh and sophisticated as it did when it first arrived in 1985.

SIDE A:
Innocent (Special 12” Extended Dance Remix) 10:34

SIDE B:
Innocent (Instrumental) 9:54

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Alexander O’Neal: *Innocent* (1985)
Chart	Peak Position	Date
US Billboard Hot R&B / Hip-Hop Songs	#11	1985

RELEASE INFORMATION:
Label:Tabu Records – 4Z9 05140
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1985
Genre: Electronic, Funk / Soul
Style: Funk, Soul

CREDITS:

Art Direction, Photography By – Stafford (2)
Lacquer Cut By [Runout Etching ❀] – Brian Gardner
Producer, Written-By – Jimmy Jam And Terry Lewis*

NOTES:
Special 12″ extended dance remix
Special version from the Tabu LP: “Alexander O’Neal.”

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.

March 11, 2026

Oran “Juice” Jones – The Rain (Remix) (US 12″ Promo) (1986)

Burning The Ground Exclusive

Smooth R&B Meets Street-Corner Drama

Released in 1986, The Rain by Oran ‘Juice’ Jones became one of the most memorable and unconventional R&B hits of the decade. Blending smooth soul with a spoken-word monologue that unfolds like a dramatic confrontation, the track stood apart from nearly everything else on radio at the time. Its cinematic storytelling and unforgettable mid-song breakdown helped make it an instant classic of 80s R&B.

An Unlikely Hit for Def Jam

Jones, born in Houston, Texas, was among the first R&B artists signed to Def Jam Recordings, the pioneering label founded by Russell Simmons and Rick Rubin. During the mid-80s, Def Jam was primarily known for groundbreaking hip-hop acts such as LL Cool J and Beastie Boys, making Jones’ polished R&B sound somewhat of an outlier on the roster.

Still, the label took a chance—and it paid off. “The Rain” showcased that Def Jam could reach beyond hip-hop and deliver a crossover R&B smash.

The Monologue That Made History

Musically, the song begins as a slick mid-80s soul groove built on drum machines, shimmering synths, and Jones’ smooth vocals. But halfway through, the track takes an unexpected turn when Jones launches into a spoken tirade after catching his girlfriend with another man.

The monologue—equal parts heartbreak, anger, and biting humor—plays out like a late-night street argument set against a rainy city backdrop. Lines like “I saw you—and him—walking in the rain…” instantly became part of pop culture lore, giving the song a theatrical edge rarely heard in mainstream R&B.

Chart Success and MTV Rotation

Despite its unusual structure, the single was a massive hit. “The Rain” topped the Billboard Hot Black Singles chart and reached #9 on the Billboard Hot 100 in the United States.

The dramatic music video—featuring Jones confronting his unfaithful lover in the rain—became a staple on MTV, further cementing the song’s place in 80s pop culture.

From the Album Juice

“The Rain” was the standout single from Jones’ debut LP Juice. While the album produced a few additional singles, none matched the cultural impact or staying power of his breakout hit.

A Timeless 80s Moment

Nearly four decades later, “The Rain” remains one of the most distinctive singles of the 1980s. Its blend of smooth R&B, storytelling, and spoken-word drama turned what could have been a typical slow jam into something unforgettable.

Whether remembered for its catchy groove or its legendary spoken confrontation, “The Rain” still stands as one of the most unique hit records of its era.

SIDE A:
The Rain (Remix) 5:12
Juice’s Groove (Bonus Beats) 2:46

SIDE B:
The Rain 5:09

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Oran “Juice” Jones: *The Rain* (1986)
Chart	Peak Position	Date
US Billboard Hot 100	#9	1986
US Billboard Hot R&B / Hip-Hop	#1	1986
US Billboard Hot Dance Music / Club Play	#7	1986
Australia (Kent Music Report)	#85	1986
UK Singles Chart	#4	1986

RELEASE INFORMATION:
Label:Def Jam Recordings – CAS 2496, Columbia – CAS 2496
Format: Vinyl, 12″, 33 ⅓ RPM, Single, Promo, Stereo
Country: US
Released: 1986
Genre: Hip Hop, Funk / Soul
Style: Rhythm & Blues

CREDITS:

Producer – Russell Simmons, Vincent F. Bell*

NOTES:
Demonstration Not For Sale.
Taken from the Def Jam/Columbia LP Oran “Juice” Jones

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.

March 5, 2026

Sheila E. – Sister Fate (US 12″) (1985)

Burning The Ground Exclusive

Sister Fate: The Song That Dared Sheila E. to Change Everything

1985. The Purple Rain era is still smoldering. And Sheila E. is done being a spectacle.

There’s a moment in the music video for “Sister Fate” — a blink-and-you’ll-miss-it flash at the 3:06 mark — where an image of Prince is superimposed over a newspaper headline reading “WHO IS SHEILA E.’S MYSTERY LOVE?” It lasts exactly one second. It’s playful. It’s knowing. And it tells you everything about the tightrope Sheila E. was walking in the summer of 1985: close enough to Prince’s orbit to benefit from its gravity, but determined to step into her own light.

“Sister Fate” was the lead single from Romance 1600, Sheila E.’s second album, released on July 26, 1985. It was more than a song. It was a declaration of intent.

A New Image, a New Album, a New Statement

After the breakout success of The Glamorous Life in 1984, Sheila E. could have easily leaned into the formula: glamour, sequins, the thrill of being Prince’s most dazzling protégé. Instead, she did something counterintuitive. She cut her hair. She wore a long-sleeved blouse and long pants for the Romance 1600 campaign. She showed up as a musician first, a performer second.

“They thought the whole thing about the first album was to sell sex,” she later reflected. “But for the second album… I wanted to be seen as a strong musician.”

“Sister Fate” was the sonic embodiment of that shift. Written, produced, and arranged entirely by Sheila E. herself, the track came together quickly — basic tracks were laid down on January 9, 1985, at Cheshire Sound Studios in Atlanta, Georgia, the night after a show on the Purple Rain Tour. Overdubs followed on January 15th. The whole thing had that charged, live-wire energy of a band at its creative peak, running on tour adrenaline and studio instinct.

The Sound: A Prince-Produced Fever Dream

Musically, “Sister Fate” is a rich, layered piece of mid-80s R&B funk. Prince contributed keyboards — Yamaha DX7, Hammond organ, piano — bass guitar, Linn LM-1 drum machine, and handclaps. Sheila E. brought everything else: lead and backing vocals, drums, Simmons SDS-V electronic pads, congas, cowbells, timbales, shaker, and cymbal. The album version opens with an organ and percussion intro that sets a moody, almost cinematic tone before the track kicks into gear. The single version trims that intro entirely, opting for a more direct punch.

Steph Birnbaum added electric guitars. Eddie M. came in on saxophone. Benny Rietveld played bass on the album intro. The result was a textured, full-band R&B production that showcased Sheila’s percussive mastery while still carrying Prince’s unmistakable fingerprints.

The Video: Cloud Jackets and Hidden Messages

The music video, filmed at Greystone Park & Mansion in Beverly Hills and directed by Prince himself, introduced the world to a new Sheila E. aesthetic. Gone was the ultra-glam of “The Glamorous Life.” In its place: Sheila in a brocaded “cloud jacket,” a deliberate visual echo of Prince’s own “cloud suit” from the “Raspberry Beret” video, which was released around the same time. The two visuals were in conversation — a private joke made public, stitched into the fabric of both their images.

That one-second Prince cameo superimposed over the newspaper headline is the video’s sly centerpiece. It acknowledges the constant speculation about their relationship while refusing to actually answer it. It’s teasing. It’s artful. It’s very Prince.

The Charts: Underperformance That Changed Everything

Commercially, “Sister Fate” fell short of expectations. It reached only number 36 on the Hot Black Singles chart and peaked at number 8 on the Bubbling Under Hot 100, never breaking into the main Hot 100 at all. By the metrics of pop radio, it was a miss.

But that miss had consequences. Because “Sister Fate” underperformed, the album’s second single — “A Love Bizarre,” a sprawling duet featuring Prince — was rush-released to salvage momentum. It worked. “A Love Bizarre” climbed to number 11 on the Billboard Hot 100 and topped the Hot Dance Club Play chart, becoming one of the defining tracks of the era. In a strange way, the commercial stumble of “Sister Fate” cleared the path for its far more successful successor.

The Larger Legacy

Romance 1600 was released on August 26, 1985, on Warner Bros. Records and Paisley Park Records — one of the first albums released on Prince’s newly founded label. Sheila E. became one of the first artists to sign to Paisley Park, cementing a creative partnership that was more than mere proximity to a superstar.

On October 12, 1985, Sheila performed “Sister Fate,” “A Love Bizarre,” and “Holly Rock” on Soul Train. She appeared in the film Krush Groove that same fall. A concert film, Live Romance 1600, captured her band at the Warfield Theatre in San Francisco, with Prince and the Revolution making a special appearance.

“Sister Fate” may not have been the hit it was meant to be, but it was something more interesting: a turning point. It was the moment Sheila E. publicly chose artistic identity over commercial formula, even if the charts didn’t reward her for it right away. In that sense, it deserves to be heard not just as a song, but as a statement — a note left for history, signed by a woman who refused to be anyone’s sidekick.

A note on this transfer

This 12″ transfer marks the debut use of the new MOTU M4 Audio Interface — a fitting piece of gear to inaugurate with a record this rich in percussion and texture. You can expect the full warmth and detail of the extended mix to come through with exceptional clarity.

SIDE A:
Sister Fate (Extended Version) 5:48
Organ – Ken Grey
Saxophone – Eddie M (2)

SIDE B:
Save The People 8:30

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Shela E.: *Sister Fate* (1985)
Chart	Peak Position	Date
US Billboard Hot R&B/Hip-Hop Songs	#36	1985
US Billboard Hot 100	#8 (Bubbling Under Hot 100)	1985
US Billboard Hot Dance Music/ Maxi-Singles Sales	#26	1985
Australia (Kent Report)	#481	1985

RELEASE INFORMATION:
Label: Paisley Park – 0-20359, Warner Bros. Records – 9 20359-0 A
Format: Vinyl, 12″, Maxi-Single, 45 RPM, Allied
Country: US
Released: 1985
Genre: Electronic, Funk / Soul
Style: Synth-pop, Funk, Soul

CREDITS:

Arranged By, Producer, Written-By – Sheila E.
Photography By – Rebecca Blake (2)

NOTES:
“Specially-Priced 2-Cut Maxi Single”

Original version of track A available on the Paisley Park album Romance 1600.

Made in U.S.A.
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.