Tag: Victor Flores

Hubert Kah – Angel 07 (Alternate Club Mix) (US 12″) (1985)

Burning The Ground Exclusive

When Hubert Kah set their sights on the U.S. market in 1985, they didn’t just translate one of their songs—they reimagined it. “Angel 07” is the English-language counterpart to “Engel 07,” originally released in 1984 from the album Golden Zeiten, but the American version stands on its own as a sleek, soundtrack-ready slice of mid-’80s synthpop.

From Engel to Angel

The original “Engel 07”—written by Hubert Kemmler (music) with lyrics by Mario Killer—had already established itself in Germany, peaking at No. 30 on the national chart. But for international audiences, the band went back into the studio and crafted “Angel 07,” with new English lyrics by Timothy Touchton.

Rather than feeling like a simple translation, “Angel 07” has a slightly different energy—more direct, a bit more polished, and clearly aimed at radio and club play beyond Europe.

The Sound of 1985

Produced by Michael Cretu and Armand Volker, the track is a perfect example of that crisp, high-gloss electronic production that defined the era. There’s a cool precision to the arrangement—driving sequencers, shimmering synth layers, and a steady, pulsing rhythm that gives the song its forward momentum.

Kemmler’s vocal retains that detached, almost enigmatic quality, which only adds to the track’s sense of intrigue. It’s this balance between emotional distance and rhythmic urgency that makes the song so compelling.

Lights, Camera, Synthpop

“Angel 07” found a natural home in the 1985 action-comedy Gotcha!, a film steeped in Cold War paranoia and playful espionage. The song’s cinematic feel—tense, stylish, and slightly mysterious—fits seamlessly into that world.

It’s one of those rare soundtrack pairings where the music and the film actually enhance each other.

The 12″ Experience

If you’re spinning the U.S. 12″, you’re hearing “Angel 07” the way it was meant to be heard. The extended format opens up the track, giving more space to the instrumental passages and allowing the production details to shine.

This is where the craftsmanship of Cretu really comes through—subtle textures, layered synth lines, and a dynamic arrangement that keeps evolving from start to finish. It’s not just a longer version—it’s a deeper one.

Final Spin

While “Engel 07” remains a standout in the band’s German catalog, “Angel 07” is a fascinating alternate vision—one shaped for a different audience but just as effective.

For collectors, especially those who appreciate the intersection of European synthpop and mid-’80s American club culture, the U.S. 12″ is an essential piece. It captures a moment when borders blurred, sounds traveled, and a German synthpop band briefly stepped onto a global stage—with style to spare.

SIDE A:
Angel 07 (Extended Version) 6:10
Angel 07 (Edited Version) 3:54

SIDE B:
Angel 07 (Rock Remix) 4:19
Remix, Engineer – David Leonard

Angel 07 (Alternative Remix) 6:54
Engineer [Remix] – David Storrs
Remix –  Victor Flores

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Curb Records – MCA-23551, MCA Records – MCA-23551,  Wheatley Records – MCA-23551
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1985
Genre: Electronic
Style: Synth-pop

CREDITS:

NOTES:
Special versions of the song from the LP, music from the motion picture soundtrack, “Gotcha!” MCA-5596

Recorded at Data-Alpha Studios, Munich.
Track B1 remixed at Capitol Studios, Los Angeles, CA.
Track B2 remixed at the Record Plant, Los Angeles, CA.

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.


Wang Chung – Dance Hall days & Don’t Let Go (US 12″) (1984)

Burning The Ground Exclusive

By 1984, Wang Chung had evolved from their early days as Huang Chung into one of the most distinctive new wave acts of the decade. With their second album Points on the Curve (1983), Jack Hues and Nick Feldman sharpened their blend of sleek synth-pop and angular guitar riffs into something both stylish and radio-friendly. Two standout tracks from this era—“Dance Hall Days” and “Don’t Let Go”—were paired on the U.S. 12″ single, giving fans extended remixes that perfectly captured the duo’s unique sound.

Dance Hall Days

Originally released as a single in 1982 in the UK, “Dance Hall Days” was re-recorded for Points on the Curve and became Wang Chung’s first big U.S. hit in 1984, climbing to #16 on the Billboard Hot 100. The song’s nostalgic, dreamlike lyrics—“Take your baby by the hand…”—float over a lush synth-pop arrangement that’s equal parts danceable and bittersweet. The 12″ version stretches the track into a more atmospheric experience, emphasizing its hypnotic groove and instrumental textures, making it a staple of mid-80s dance floors.

Don’t Let Go

On the flip side, “Don’t Let Go” provides a harder-hitting contrast. Released as the lead single from Points on the Curve, it reached #38 on the Billboard Hot 100 and became a club favorite. Built around sharp guitar lines, punchy percussion, and urgent vocals, it showcases the edgier side of Wang Chung’s sound. The extended 12″ mix adds more space for the song’s rhythm section to shine, giving it a driving energy that worked perfectly in DJ sets.

The 12″ Release

The U.S. 12″ release (Geffen Records, 1984) paired these two tracks in their extended forms, providing fans with the definitive dancefloor experience. The mixes highlight the balance between Wang Chung’s reflective pop sensibilities and their club-ready energy. For collectors, this 12″ stands as an essential piece of the band’s catalog, bridging their underground beginnings with the mainstream success that would soon peak with hits like “Everybody Have Fun Tonight” and “Let’s Go!”

SIDE A:
Dance Hall Days (Remix) 7:22
Edited By – Victor Flores

SIDE B:
Don’t Let Go (Remix) 7:14
Remix – John Luongo
Written-By – Feldman*

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

CHART PERFORMANCE
Song Chart Peak Position Year
Dance Hall Days US Billboard Hot 100 #16 1984
US Billboard Mainstream Rock #25 1984
US Billboard Dance Club Songs #1 (with remix) 1984
UK Singles Chart #21 1984
Canada RPM Top Singles #14 1984
Australia Kent Music Report #36 1984
Don’t Let Go US Billboard Hot 100 #38 1984
US Billboard Mainstream Rock #24 1984
US Billboard Dance Club Songs #27 1984

RELEASE INFORMATION:
Label: Geffen Records – 0-20194Geffen Records – 9 20194-0 A
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: US
Released: 1984
Genre: Electronic
Style: New Wave, Synth-pop

CREDITS:

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

Original version available on the Geffen album
“Points On The Curve”

Made in U.S.A.
Printed in USA

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.


Glass Tiger – Don’t Forget Me (When I’m Gone) (Germany 12″)

Burning The Ground Exclusive -1986

NEW 2025 Transfer!
NEW Meticulous Audio Restoration!

I originally shared this record on July 17, 2017, but I’ve revisited it with a fresh, meticulously updated transfer for those who may have missed it. This time, I used upgraded audio gear that wasn’t available during the original transfer back in 2017.

Canadian rock band Glass Tiger made waves in January 1986 with the release of their hit single “Don’t Forget Me (When I’m Gone),” the lead track from their debut album, The Thin Red Line. Featuring backing vocals by iconic rock singer Bryan Adams, the song became a chart-topping success, reaching number one in Canada and peaking at number two in the United States.

In 1985, Glass Tiger enlisted Jim Vallance to produce their debut album. At the time, Vallance was primarily known as a prolific songwriter, often collaborating with Bryan Adams, though he had also produced albums for Doug and the Slugs, CANO, and Adams himself. According to Glass Tiger’s lead vocalist Alan Frew, Vallance’s approach to production allowed the band to explore their creative sound while providing guidance when necessary. “It worked out great because we were all at the same stage of development,” Frew recalled. “He didn’t change the sound of the band at all. He let us experiment but wasn’t afraid to get heavy-handed when he had to.” Vallance collaborated with the band to compose “Don’t Forget Me (When I’m Gone),” while Adams lent his distinct voice to the backing vocals.

The song’s creation was inspired by an ice-breaking moment during the band’s first meeting with Vallance. Frew shared: “On the very first day that we met Jim Vallance, he picked us up at the airport and, to break the ice, asked us what we were listening to. One of the answers was Tears for Fears. We went to his house and drank tea while listening to some tunes. ‘Everybody Wants to Rule the World’ came on, and we really liked the shuffle beat. So we went into the studio and, based on that shuffle beat, we wrote ‘Don’t Forget Me (When I’m Gone).’ First day, first song.”

“Don’t Forget Me (When I’m Gone)” enjoyed tremendous commercial success. The track topped the Canadian Singles Chart in March 1986, spending two weeks at number one, and earned platinum certification from the Canadian Recording Industry Association by July. In the United States, the single entered the Billboard Hot 100 in July and peaked at number two in October, held back from the top spot by Janet Jackson’s “When I Think of You.” It spent an impressive 24 weeks on the chart, reaching number one on the Singles Sales chart, number six on the Hot 100 Airplay chart, number 17 on the Mainstream Rock chart, and number 30 on the Adult Contemporary chart. The song also placed at number 34 on the Billboard Year-End singles chart of 1986. Internationally, it achieved top 15 status in Australia and charted in New Zealand, the United Kingdom, and the Netherlands.

Frew attributed the song’s global appeal to the band’s ability to create strong, memorable melodies. “We aren’t rewriting musical history by any means,” he explained, “but our melody lines are strong and mature enough to appeal to the English-speaking world.” The song’s success was bolstered by “solid record company involvement” and culminated in winning the 1986 Juno Award for Single of the Year. It was also named the top Canadian single in the Rock Express magazine readers’ poll awards in 1987. A decade later, the Society of Composers, Authors, and Music Publishers of Canada (SOCAN) recognized the track for being played more than 100,000 times on Canadian radio.

For fans of rare cuts, the “Death Mix” of “Don’t Forget Me (When I’m Gone)” remains a vinyl-only treasure, absent from the deluxe CD reissue of The Thin Red Line. This exclusive version adds an intriguing layer to the legacy of a song that defined Glass Tiger’s debut and continues to resonate with audiences decades later.

SIDE A:
Don’t Forget Me (When I’m Gone) (Extended Version) 6:31

SIDE B:
Don’t Forget Me (When I’m Gone) (Death Mix) 5:51

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year Single Chart Position
1986 Don’t Forget Me (When I’m Gone) U.S. Billboard Hot 100 #2
1986 Don’t Forget Me (When I’m Gone) U.S. Billboard Mainstream Rock Tracks #17
1986 Don’t Forget Me (When I’m Gone) U.S. Billboard Hot Adult Contemporary #30

RELEASE INFORMATION:
Label: Manhattan Records – 1C K 060 20 1330 6
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: Germany
Released: 1986
Genre: Rock
Style: Pop Rock

CREDITS:

NOTES:
Original version appears on the LP “THE THIN RED LINE”

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
burningtheground.net

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

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.



Deodato – S.O.S. Fire In The Sky (US 12″)

Burning The Ground Exclusive 1984

“S.O.S., Fire In The Sky” is a vibrant track from Deodato’s 1984 album Motion, released by Warner Bros. The song showcases a collaboration with vocalist Camille, with songwriting credits to Rick Suchow and Alan Palanker. Its energetic rhythm and captivating melody succeeded on the Billboard Dance Chart, where it stayed for 14 weeks, peaking in the Top 20 in 1985. Internationally, the song saw even greater success, entering the Top 10 on the pop charts in France and Holland, and securing the number one spot on the dance chart in Holland.

This track highlights Deodato’s versatility, blending his jazz-fusion style with pop and dance elements to create a memorable and chart-topping hit.

SIDE A:
S.O.S. Fire In The Sky (Special 12″ Disarmamix) 6:40
Edited By – Victor Flores
Written-By – Alan PalankerRick Suchow

SIDE B:
East Side Strut (LP Version) 5:37
Written-By – Eumir DeodatoSergio DiasVan Gibbs

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

U.S. CHART HISTORY:

Year Single Chart Position
1984 S.O.S. Fire In The Sky U.S. Billboard Hot Dance Music / Club Play #6

RELEASE INFORMATION:
Label: Warner Bros. Records – 0-20287Warner Bros. Records – 9 20287-0 A
Format: Vinyl, 12″, Maxi-Single, 45 RPM, Allied Pressing
Country: US
Released: 1984
Genre: Electronic
Style: Disco

CREDITS:

NOTES:
A: Original Version available on the Warner Bros. album “Motion”
B: From the Warner Bros. album “Night Cruiser”

Made in U.S.A.
Printed in U.S.A.

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
burningtheground.net

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

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.