Tag: US

January 27, 2026

Prince – Sign ☮ The Times (US 12″) (1987)

Burning The Ground Exclusive

Today, we honor Minneapolis—the music, the community, and the lives impacted by violence. Prince’s “Sign ☮ The Times” remains a document of witness, not spectacle. This is a tribute.

Released in 1987 and recorded in Minneapolis, “Sign ☮ The Times” is one of Prince’s most direct and uncompromising works. Stripped down to a stark drum machine pattern and spoken delivery, the song removes any barrier between artist and reality. There is no metaphor to decode, no dramatic crescendo—only observation.

Prince opens with a litany of crises: violence, addiction, disease, environmental collapse. These are not abstract concepts but lived conditions, delivered calmly, almost matter-of-factly. That restraint is what gives the song its weight. Sign ☮ The Times doesn’t sensationalize suffering—it documents it.

The record is inseparable from its place of origin. Minneapolis wasn’t just where Prince lived or recorded; it was the center of an independent creative universe he built on his own terms. Studios, musicians, clubs, and communities flourished there outside the usual industry pipelines. That spirit of autonomy and clarity runs through this track. It speaks plainly, without performance or posturing.

Within the context of 12″ culture and club music, Sign ☮ The Times stands apart. At a time when extended mixes often leaned toward escapism, Prince chose confrontation through simplicity. Even in its various edits and remixes, the song never loses its tension or intent. This is dance-era music that demands attention before movement.

Nearly four decades later, the song remains painfully relevant. Violence still shapes headlines. Communities still grieve. Minneapolis continues to be a city defined not only by tragedy, but by deep cultural impact and creative legacy. Prince held those truths together, refusing to let one erase the other.

Sign ☮ The Times is not an argument. It is not a slogan. It is a record of its moment—and, uncomfortably, of ours. Posting it today is an act of remembrance, respect, and acknowledgment.

This is Minneapolis speaking—then and now..

SIDE A:
Sign ☮ The Times (LP Version) 4:57

SIDE B:
La, La, La, He, He, Hee (Highly Explosive) 10:46
Lyrics By [Co-Written] – Sheena Easton

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Prince: **Sign ☮ The Times (1987)**
Chart	Peak Position	Date
US Billboard Hot 100	#3	1987
US Billboard Hot Black Singles	#1	1987
UK Singles	#10	1987
Canada Top Singles (RPM)	#10	1987
Australia (Kent Music Report)	#29	1987

RELEASE INFORMATION:
Label: Paisley Park – 9 20648-0 A, Paisley Park – 0-20648
Format: Vinyl, 12″, 45 RPM, Maxi-Single, SRC Pressing
Country: US
Released: 1987
Genre: Rock, Funk / Soul, Pop
Style: Minneapolis Sound, Funk, Pop Rock

CREDITS:

Producer, Arranged By, Composed By, Performer – Prince

NOTES:
Original version of ‘Sign “☮” The Times’ on the 4th-coming double album Sign “O” The Times available on the Paisley Park LP, cassette and compact disc (1/4/2-25577)

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.

January 22, 2026

Cindy Mizelle – This Could Be The Night (US 12″ Promo) (1984)

Burning The Ground Exclusive

Before freestyle took over the clubs, Cindy Mizelle delivered this emotional floor-filler on the Beat Street soundtrack.

Released in 1984, “This Could Be The Night” stands as an early freestyle dance landmark and a key contribution to the influential Beat Street soundtrack. While the film is often cited for helping bring hip-hop and breakdance culture into the mainstream, its soundtrack also documented the parallel rise of freestyle—romantic, melodic, and rooted in the clubs of New York and New Jersey. Cindy Mizelle’s single captured that sound at a formative moment, pairing emotional urgency with dancefloor precision.

Born in Englewood, New Jersey, Cindy Mizelle began singing at a very young age. Raised in the church, she attended First Baptist Church in Englewood with her grandmother and eventually joined the choir, an experience that helped shape her powerful sense of phrasing and control. She attended Dwight Morrow High School and cites the Mizell Brothers—her cousins—and Cissy Houston as key musical influences, grounding her style in gospel discipline and classic soul tradition.

By the age of 17, Mizelle was already working professionally as a touring singer. Her early recording credits include vocals on Lemelle’s 1982 single “You Got Something Special,” followed by the 1983 album Pump the Nation with her band Attitude. In 1984, she stepped into the spotlight with “This Could Be The Night,” a freestyle track that aligned her with a genre just beginning to define itself.

Produced by Arthur Baker, the single reflects a producer at the height of his creative reach. Known for shaping the sound of electro and early hip-hop, Baker here adapts his approach to freestyle’s melodic framework. Driving drum machine patterns, pulsing synth basslines, and dramatic keyboard flourishes provide the foundation for Mizelle’s vocal, which delivers yearning and anticipation with clarity and emotional weight. The result is a song built for late-night dance floors, where romance and rhythm collide.

Though “This Could Be The Night” did not dominate the charts, its inclusion on the Beat Street soundtrack gave it lasting visibility and historical significance. In hindsight, the track feels like a bridge—connecting gospel-trained vocalists, club culture, and emerging freestyle into a sound that would soon explode in popularity with artists such as Shannon, Exposé, and Lisa Lisa & Cult Jam.

Beyond her solo work, Cindy Mizelle went on to become one of the most in-demand backing vocalists in popular music. Her résumé reads like a modern music history textbook, with performances alongside Billy Ocean, Chaka Khan, Evelyn King, Mariah Carey, Barbra Streisand, Whitney Houston, Luther Vandross, The Rolling Stones, Steely Dan, Dave Matthews Band, and Alicia Keys. She also wrote music for Aretha Franklin and toured with Bruce Springsteen’s E Street Band—an extraordinary range that speaks to her versatility and professionalism.

Today, “This Could Be The Night” remains a compelling snapshot of 1984 freestyle culture: emotional, dance-driven, and full of promise. It also marks an important early chapter in the career of a singer whose voice would go on to shape countless recordings behind the scenes, even as this single continues to glow as a standout moment in her own spotlight.

SIDE A:
This Could Be The Night (Vocal/Extended Version) 6:56

SIDE B:
This Could Be The Night (Instrumental/Dub Mix) 5:18

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Atlantic – DMD 769
Format: Vinyl, 12″, 33 ⅓ RPM, Maxi-Single, Promo, SP (Specialty Records Corporation Pressing)
Country: US
Released: 1984
Genre: Electronic
Style: Freestyle

CREDITS:

Arranged By [Co-Arranged] – Carl Sturken, Evan Rogers
Edited By [Edits By] – Albert Cabrera, The Latin Rascals, Tony Moran
Engineer [Mix] – Andy Wallace, Chris Lord-Alge
Producer, Arranged By, Mixed By – Arthur Baker
Written-By – Arthur Baker, Carl Sturken, Chris Lord-Alge, Evan Rogers, Tina B

NOTES:
PROMOTIONAL COPY
NOT FOR SALE

Version of Atlantic LP 80154 – Original Motion Picture Soundtrack “BEAT STREET”.

Artist name is not printed on B side label.

Housed inside company “12 Inch Maxi Single III” die-cut sleeve.

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.

January 14, 2026

Grandmaster Melle Mel & The Furious Five – Beat Street / Internationally Known (US 12″) (1984)

Burning The Ground Exclusive

“Beat Street Breakdown”: When Hip-Hop Stepped Onto the World Stage

By 1984, hip-hop was no longer a rumor carried on imported electro singles or late-night radio shows—it was ready for a spotlight. Few records captured that moment as vividly as “Beat Street Breakdown” by Grandmaster Melle Mel & The Furious Five, with Mr. Ness, the hard-charging anthem created for the soundtrack to Beat Street, the landmark film that introduced many mainstream listeners to the culture’s four pillars: DJing, MCing, breaking, and graffiti.

Unlike earlier crossover attempts that softened hip-hop’s edges, “Beat Street Breakdown” arrives with purpose. From its opening moments, the track sounds declarative—part rallying cry, part mission statement. Melle Mel’s delivery is commanding and precise, rooted in the socially aware, street-level lyricism that had already made him one of the genre’s most respected voices. There’s a sense that this record isn’t asking for permission; it’s announcing arrival.

Production-wise, the track sits firmly in the early-’80s electro-rap era. The beat is lean and forceful, built to move bodies but also to underline the urgency of the message. Synth stabs and drum machine programming keep things stark and futuristic, while the rhythm maintains a raw, almost confrontational energy—perfectly suited for a song meant to represent hip-hop culture to an uninitiated audience.

The connection to Beat Street is crucial. As the film played in theaters worldwide, “Beat Street Breakdown” became a sonic ambassador for the movement. For many listeners—especially outside New York—it was their first exposure to hip-hop presented not as novelty, but as culture. The song’s lyrics reinforce that role, emphasizing unity, creativity, and the global potential of a sound born in the Bronx.

Flipping the single reveals “Internationally Known,” a B-side that reinforces the A-side’s message while expanding its scope. Where “Beat Street Breakdown” is urgent and declarative, “Internationally Known” leans into confidence and prophecy. The title alone signals hip-hop’s future, asserting worldwide recognition at a time when that idea still felt aspirational. In retrospect, it reads less like bravado and more like foresight.

Together, the two tracks form a snapshot of a pivotal moment—when hip-hop stood on the threshold between underground movement and global phenomenon. “Beat Street Breakdown” isn’t just a soundtrack cut or a period piece; it’s a document of transition, capturing the sound of a culture realizing its own power. More than four decades later, its message—and its impact—remain unmistakably intact.

Please note that Side B is listed as two tracks on the labels, but it is actually one continuous track. Side A is titled “Beat Street” instead of “Beat Street Breakdown”.

SIDE A:
Beat Street 6:57
Written-By – Melle Mel, Melvin Glover, R. Griffin*, Sylvia Robinson

SIDE B:
Internationally Known (Part 1&2) 10:12

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Sugar Hill Records – SH 32019, Sugar Hill Records – SH-32019
Format: Vinyl, 12″, 33 ⅓ RPM, Single
Country: US
Released: 1984
Genre: Hip Hop, Rap
Style: Electro

CREDITS:

Design [Album Design] – Hemu Aggarwal
Engineer, Mixed By – Shameek “The Mix”*
Executive-Producer – Sylvia Robinson
Featuring [With] – Cowboy, Mr. Ness
Mastered By – pa*
Producer – Melle Mel, Sylvia Robinson
Scratches [Scratching] – Leland Robinson, Vicious Lee (2)

NOTES:
From the Motion Picture “Beat Street”

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.

January 8, 2026

Blue Moderne – No Use To Borrow (US 12″) (1988)

Burning The Ground Exclusive

Rediscovering “No Use to Borrow”: The Forgotten Dance‑Floor Gem from Blue Moderne

In the vast, neon‑lit landscape of late‑1980s dance music, countless singles pulsed through clubs only to fade into obscurity as quickly as they arrived. But every so often, one of those tracks resurfaces—revealing a story richer than its chart position ever suggested. “No Use to Borrow,” released in 1988 by the short‑lived studio project Blue Moderne, is one of those rare rediscoveries.

A One‑Off Collaboration with Serious Credentials

Blue Moderne was never meant to be a long‑term act. Instead, it was a creative collision between two seasoned talents: producer‑songwriter Ish Ledesma, known for his work with Foxy, Oxo, and Company B, and vocalist Sandy B, who would later become a fixture of the 1990s club scene with hits like “Make the World Go Round.”

In 1988, both artists were navigating a dance‑music world in transition. Freestyle was cooling, house was heating up, and club DJs were hungry for hybrid sounds. Ledesma and Sandy B stepped into that moment with “No Use to Borrow,” a track that blended freestyle’s melodic sensibility with the emerging sophistication of late‑80s club production.

Charting Modestly, Resonating Quietly

Released as part of Blue Moderne’s only studio album, Where Is Love, the single made a respectable showing on Billboard’s Hot Dance Music/Club Play Singles chart, peaking at #50. It wasn’t a breakout smash, but it earned enough rotation to become a familiar presence in clubs that favored soulful vocals over harder‑edged house tracks.

For DJs, the song offered something different: a polished, emotive vocal performance from Sandy B layered over Ledesma’s sleek, synth‑driven arrangements. It was dance music with a pop heart—catchy, earnest, and unmistakably of its era.

A Snapshot of a Transitional Moment in Dance Music

Listening to “No Use to Borrow” today feels like opening a time capsule from the late 1980s. The production carries the shimmer of Miami and New York club culture, while Sandy B’s vocal delivery hints at the powerhouse she would soon become. The track sits at the crossroads of genres—part freestyle, part post‑disco, part early house—reflecting a moment when dance music was reinventing itself in real time.

The album Where Is Love never spawned a follow‑up, and Bloe Modern quietly dissolved, leaving behind a small but intriguing footprint. Yet the single remains a testament to the creative experimentation happening just beneath the mainstream surface.

Why It Still Matters

In an era when digital digging has become a sport, “No Use to Borrow” stands as the kind of discovery that excites collectors and dance‑music historians alike. It’s a reminder that the club charts of the 1980s were filled with one‑off collaborations, regional favorites, and overlooked gems—tracks that may not have topped the charts but helped shape the sound of the dance floor.

For fans of Sandy B, Ish Ledesma, or the evolution of late‑80s club music, revisiting Blue Moderne offers a glimpse into the creative experiments that paved the way for the explosion of house and dance‑pop in the decade that followed.

And for everyone else, it’s simply a great excuse to turn up the volume and let a forgotten groove find new life.

SIDE A:
No Use To Borrow (Club Mix) 6:25
Engineer – ISH*, Julio Ferrer
Mixed By – Michael O’Reilly

No Use To Borrow (Edited Club Mix) 4:10
Engineer – ISH*, Julio Ferrer
Mixed By – Michael O’Reilly

SIDE B:
No Use To Cha Cha (House Mix) 6:33
Engineer – Visioneers (2)
Mixed By – Ciro Llerena

No Use To Borrow (Dub Du Jour) 4:13
Engineer – ISH*, Julio Ferrer
Mixed By – Michael O’Reilly

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Blue Moderne: *No Use To Borrow* (1988)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#50	1988

RELEASE INFORMATION:
Label: Atlantic – DMD 1105, 23 West Records – DMD 1105
Format: Vinyl, 12″, Single, 33 ⅓ RPM, Promo, AR Pressing
Country: US
Released: 1988
Genre: Electronic, Funk / Soul
Style: Electro, Hi NRG, Synth-pop

CREDITS:

Executive-Producer – Bob Gordon (6)
Producer, Arranged By, Written-By – ISH*

NOTES:
Special Remix Of Atlantic LP “Where Is Love”

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.