Tag: US

December 9, 2025

Breathe – Say A Prayer (US 12″) (1990)

Burning The Ground Exclusive

Today, we’re stepping into the smooth, late-80s/early-90s pop world of Breathe, the English band best known for their soft-focus, heartfelt hits “Hands to Heaven” and “How Can I Fall?” But in 1990, as the group tried to evolve their sound and keep pace with a new decade, they released the underrated “Say a Prayer.”

While not as widely remembered as their earlier chart-toppers, “Say a Prayer” stands out as one of Breathe’s most confident singles—lush, melodic, and built around David Glasper’s unmistakably warm and soulful voice. It was the lead single from their second and final album, Peace of Mind. In the U.S. the track reached #21 on the Billboard Hot 100 and #3 on the Adult Contemporary chart, giving the band one last significant moment on American radio.

The Sound

“Say a Prayer” is classic early-90s adult contemporary pop—smooth keys, soft rhythmic guitar, a steady mid-tempo beat, and that signature late-80s sheen that still had one foot in the previous decade. Glasper’s vocals carry the whole thing: emotionally direct without being over-the-top, and full of that breathy, intimate quality that helped Breathe stand out from their peers.

Lyrically, the song continues the band’s familiar themes—love, hope, longing—but with a slightly more mature tone than their 1988 material. If “Hands to Heaven” was the dream-pop ballad and “How Can I Fall?” was the heartbreak moment, “Say a Prayer” feels like the hopeful resolution.

Why It Matters

“Say a Prayer” didn’t reach the iconic status of Breathe’s earlier hits, but it has aged remarkably well. It’s one of those turn-of-the-decade singles that beautifully captures the transition from 80s pop romanticism into the sleek sound of the early 90s.

For fans of the band—or anyone who loves exquisitely crafted pop with emotional sincerity—“Say a Prayer” is a gem worth revisiting. Its warm production, thoughtful lyrics, and Glasper’s gorgeous vocal delivery make it a perfect reminder of why Breathe’s catalog continues to resonate long after their short time in the spotlight.

If you grew up with their music (or discovered them later), this one hits all the right nostalgic notes.

SIDE A:
Say A Prayer (Save My Soul 12″) 6:32
Say A Prayer (Save My Soul Dub) 5:47
Say A Prayer (LP Version) 3:49

SIDE B:
Say A Prayer (Oh Mercy! House 12″) 6:33
Say A Prayer (Oh Mercy! House Dub) 6:10
Say A Prayer (Oh! Mercy! House 7″) 3:52

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Breathe: *Say A Prayer* (1990)
Chart	Peak Position	Date
US Billboard Hot 100	#21	1990
US Billboard Adult Contemporary	#3	1990
Australia (ARIA Charts)	#97	1990
Canadian Singles (RPM)	#6	1990
UK Singles	#63	1990

RELEASE INFORMATION:
Label: A&M Records – 75021 2337 1
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: 1990
Genre: Electronic
Style: House

CREDITS:

Edited By – Chep Nunez*
Producer – Bob Sargeant, Breathe (3)
Producer [Additional], Remix – Daniel Abraham (tracks: A1, A2)
Programmed By [Keyboard Programming] – Merv DePeyer*
Written-By – David Glasper, Marcus Lillington

NOTES:
Original version appears on the A&M album, cassette & compact disc “Peace Of Mind”

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
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec 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

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.

November 21, 2025

Gang Of Four – I Love A Man In Uniform (US 12″) (1982)

Burning The Ground Exclusive

If there’s one thing Gang of Four mastered, it was taking post-punk sharpness and turning it into social critique, wrapped in jagged rhythms and infectious grooves. One song that perfectly exemplifies their mix of angular funk and biting commentary is “I Love A Man In Uniform.” Released in 1982 as part of their album Songs of the Free, this track is both danceable and discomforting—a signature Gang of Four juxtaposition.

At first listen, the song has a compelling groove: a tight, propulsive bassline, staccato guitar riffs, and a drumbeat that pushes the song forward relentlessly. The music feels almost celebratory, inviting listeners to move their feet. But beneath the kinetic rhythm lies the band’s scathing critique of authority and obsession.

The lyrics are pointed and ironic, exploring society’s fetishization of power and control. By framing the fascination with uniforms in a seemingly romantic light, the song exposes the undercurrent of militarism, authoritarianism, and social conformity. Gang of Four had a knack for pairing danceable post-punk music with a sharp-edged political message—and this track is a prime example.

“I Love A Man In Uniform” is also notable for its production and arrangement. The interplay between Andy Gill’s cutting guitar work and Sara Lee’s driving bass creates a sense of tension that mirrors the song’s thematic warning: there’s an allure to authority, but it’s one that’s dangerous to embrace blindly. Vocals by Jon King cut through with sardonic precision, emphasizing the irony in every line.

Cultural Impact

Though never a mainstream hit, “I Love A Man In Uniform” has left a lasting mark on alternative and post-punk music. Its critique of societal obsession with authority resonates even decades later, giving it a timeless quality. The song has influenced a generation of artists who blend political commentary with danceable post-punk energy—from industrial acts to indie rock bands that flirt with funk-infused riffs.

The track has also appeared on several compilations and retrospective collections, cementing its place in Gang of Four’s legacy. For listeners discovering post-punk today, it remains a striking example of how music can entertain while questioning societal norms.

Chart Performance

Commercially, the song was something of a breakthrough for Gang of Four in the U.S., gaining airplay on college radio and more adventurous R&B–oriented stations. The song also reached #27 on the Billboard Dance Club Play chart. In the UK “O Live A Man In Uniform” reached #65 on the official singles chart remaining there for two weeks.

Live Performances

Gang of Four were renowned for their live intensity, and “I Love A Man In Uniform” became a highlight of their sets. The band’s performance style—minimalist yet visceral—turned the song’s biting critique into a shared, almost confrontational experience for audiences. Jon King’s sardonic delivery and Andy Gill’s razor-sharp guitar lines created a sense of urgency in the live setting, making the song feel like both a dance anthem and a political statement simultaneously.

Over the years, different incarnations of Gang of Four have continued to perform the song, keeping its sharp social commentary alive for new generations. Its inclusion in live sets demonstrates how some music never loses relevance, and how the tension between rhythm and message can be electrifying on stage.

Music Video and Visual Style

The music video for “I Love A Man In Uniform” captures the song’s ironic tension perfectly. Shot in stark, high-contrast visuals, it combines minimalism with surreal touches—mirroring the band’s angular, jagged musical style. Scenes of regimented movement, repeated gestures, and uniformed figures underscore the song’s critique of obsession with authority.

The video’s aesthetic is a snapshot of early 80s post-punk: black-and-white textures, sharp geometric framing, and a detached performance style that emphasizes the music’s cerebral, confrontational energy. It’s the kind of visual approach that rewards repeated viewing, revealing layers of irony and commentary that complement the song itself.

For anyone exploring the post-punk era, “I Love A Man In Uniform” is an essential listen. It encapsulates everything that made Gang of Four so compelling: jagged funk, political wit, striking visuals, and a willingness to confront uncomfortable truths—all while keeping your body moving.

SIDE A:
I Love A Man In A Uniform (Remix) 5:37
Engineer – Randy Burns
Remix – Steve Sinclair (2)

SIDE B:
Producer 2:34

I Love A Man In A Uniform (Dub Version) 4:48
Engineer – Randy Burns
Remix – Steve Sinclair (2)

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Gang Of Four: *I Love A Man in Uniform* (1982)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#27	1982
UK Singles Chart	#65	1982

RELEASE INFORMATION:
Label: Warner Bros. Records – 0-29907
Format: Vinyl, 12″, 45 RPM, Single, Promo
Country: US
Released: 1982
Genre: Electronic, Rock
Style: New Wave

CREDITS:

Executive-Producer – David Rostamo
Producer – Andrew Gill*, Jon King, Mike Howlett
Written-By – Gill*, King*

NOTES:
Tracks A, B2 remixed from the original LP version on the Warner Bros. album “Songs Of The Free”

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.

November 20, 2025

Wall Of Voodoo – Two Songs By wall Of Voodoo (US 12″) (1982)

Burning The Ground Exclusive

A Strange and Brilliant 12-Inch Experiment From L.A.’s Most Eccentric New Wavers

Before Wall of Voodoo became synonymous with their cult breakthrough “Mexican Radio,” the L.A. art-punk outfit had already built a reputation for creating quirky, cinematic, and sharply experimental new wave. Their 1982 12-inch “Two Songs By Wall of Voodoo” captures the band at a fascinating moment—caught between underground obscurity and the sudden visibility that MTV would soon bring them. More than just a maxi-single, this release plays like a compact sonic experiment.

The A-Side: Mexican Radio – From Underground Curiosity to MTV Staple

The 12″ opens with the familiar 3:56 version of “Mexican Radio,” later released as a single from Call of the West in early 1983. Even in this earlier context, the track stands out: Stan Ridgway’s wry, deadpan vocals, Marc Moreland’s spaghetti-western guitar twang, and the band’s fascination with shortwave transmissions all combine into something both catchy and wonderfully eccentric.

Although “Mexican Radio” wasn’t a massive chart hit, it made a notable impact. It broke into the Billboard Hot 100, performed particularly well in Canada and New Zealand, and even in countries where it didn’t chart—like the UK—it quickly became a cult favorite. Much of that success came from its surreal, low-budget music video, a quirky, dusty fever dream that became an early MTV staple. The video’s DIY charm and oddball imagery ensured Wall of Voodoo stood out in the rapidly expanding landscape of ’80s music television.

The B-Side: A Continuous Sound Collage

The creative heart of this 12″ lives on the B-side.

“There’s Nothing on This Side” begins as an atmospheric instrumental built on echoing percussion, pulsing synth lines, and disembodied bursts of radio chatter. It unfolds slowly, like a transmission drifting in from another world—moody, immersive, and distinctly Wall of Voodoo.

What makes this side particularly compelling is the seamless transition that follows. Without a break, the piece gradually bends and reshapes itself until it emerges as the unlisted “Mexican Radio (Limited Edition Special Dub Mix).”

This mix isn’t a standard dance-floor dub. Instead, it deconstructs the original track into:

warped and echo-soaked vocal fragments
sparse drum-machine rhythms
swirling pockets of reverb and space
manipulated bits of the A-side stitched into new patterns

Because the segue is continuous, the B-side plays as a single extended sound collage—a compact nearly 11-minute suite that highlights the band’s experimental instincts and studio playfulness. It’s a fascinating contrast to the more structured A-side and a reminder of how adventurous the early lineup truly was.

Why This 12″ Still Matters

This release captures Wall of Voodoo standing at the crossroads of cult experimentation and unexpected mainstream attention. The unlisted dub mix, the conceptual flow of the B-side, and the presence of what would become their signature song all make this 12″ a standout in the band’s catalog. For collectors and fans of early ’80s new wave, it remains one of the most intriguing—and rewarding—artifacts from the era.

Music Video

The music video for “Mexican Radio” became a regular fixture on MTV shortly after the single’s release, giving Wall of Voodoo a level of visibility they’d never had before. It was the first music video directed by filmmaker Frank Delia—formerly the frontman of the Bruthers and a longtime friend of the band. His work on the clip made an immediate impression; the Ramones were so taken with it that they hired Delia to direct several of their videos soon after.

The video itself is packed with strange, memorable imagery: Stan Ridgway’s face rising out of a bowl of beans, disorienting close-ups, and sun-baked desert scenes. Some of the footage was filmed on location in Tijuana, including sequences shot at the bullfights. Actor Carel Struycken even makes a brief appearance, playing the role of the video’s director amid the organized chaos.

Final Thoughts

Two Songs By Wall of Voodoo is much more than a simple promotional single. It’s a compact statement of the band’s idiosyncratic vision: part new wave, part soundtrack, part art-punk collage. While “Mexican Radio” would soon carry them into the MTV spotlight, this 12″ shows the deeper, stranger ideas bubbling underneath.

For fans, collectors, and anyone fascinated by the left-of-center edges of early MTV-era new wave, this release is absolutely worth revisiting.

SIDE A:
Mexican Radio 3:56

SIDE B:
There’s Nothing On This Side /
Mexican Radio (Limited Edition Special Dub Mix) 10:46

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Wall Of Voodoo: *Mexican Radio* (1982)
Chart	Peak Position	Date
US Billboard Hot 100	#58	1982
UK Singles (OCC)	#64	1982
Canada Top Singles (RPM)	#16	1982
Australia (ARIA)	#33	1982
New Zealand (Recorded Music)	#21	1982

RELEASE INFORMATION:
Label: I.R.S. Records – SP 70407
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1982
Genre: Rock
Style: New Wave, Experimental

CREDITS:

Design – Carl Grasso
Engineer – Jess Sutcliffe, Robert Battaglia
Guitar – Marc Moreland
Keyboards, Bass – Chas T. Gray
Lacquer Cut By [Runout Etching ⚇] – Frank DeLuna
Percussion – Joe Nanini
Photography By [Back] – Scott Lindgren
Photography By [Front] – Jules Bates
Producer – Richard Mazda
Vocals, Keyboards – Stannard Ridgway*
Written-By – WOV*

NOTES:
Pressed at Columbia Records Pressing Plant, Terre Haute as indicated by 1T etched in both runouts.

Lacquer cut by Frank DeLuna as indicated by ⚇ symbol etched in runouts.

Side B is only credited as one song, “There’s Nothing On This Side,” at a duration of 10:08, but there is a split between B1 and B2; the tracks segue into each other.

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.

November 15, 2025

Scritti Politti – Perfect way (US 12″ Promo) (1985)

Burning The Ground Exclusive

REPOST

This is a repost after I accidentally deleted the original; now freshly updated and ready to share again. Originally posted on December 24, 2024.

“Perfect Way” was only a modest hit in the UK, topping out at #48, but it went on to become Scritti Politti’s biggest U.S. success. The track entered the Billboard Top 40 on October 26, 1985, spent 13 weeks on the chart, and ultimately climbed to #11.

What makes this release especially interesting is that the version of “Perfect Way” on the A-side of this single is exclusive to this pressing—nowhere else features this exact mix. It’s distinct from the François Kevorkian mix issued on the standard UK and German 12″ singles, and it also runs longer than the U.S. 12″ mix by Alan Meyerson, François Kevorkian, and Josh Abbey (credited collectively as Committee). Although the label lists the runtime incorrectly, the true length clocks in at 7:24.

+De-notes vinyl-only

SIDE A:
Perfect Way (Way Perfect Mix Extended)+ 7:24
Mixed By – Alan Meyerson, Francois Kevorkian*, Josh Abbey

SIDE B:
Perfect Way (Single Version) 4:03
Mixed By – John Potoker

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Warner Bros. Records – PRO-A-2357
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1985
Genre: Electronic
Style: Synth-pop

CREDITS:

Producer – Gamson*, Maher*, Green*
Recorded By – Howard Gray

NOTES:
Original version available on the Warner Bros. album CUPID & PSYCHE 85

Promotional Copy Not For Sale

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND

THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon 2M Black PnP MkII
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec 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.