Burning The Ground Exclusive
NEW 2025 Transfer
NEW Meticulous Audio Restoration
Originally posted on April 5, 2018, this 12″ single has been given a meticulous 2025 audio restoration, enhancing clarity, dynamics, and depth while preserving the warmth of the original vinyl pressing.
Released in September 1985, “To Live and Die in L.A.” stands as one of the most evocative singles of the decade — a moody, cinematic piece that perfectly captures the neon-lit tension of the era. Written and performed by Wang Chung — the British duo of Jack Hues and Nick Feldman — the song was composed specifically for director William Friedkin’s 1985 crime thriller of the same name.
Following the success of their 1984 album Points on the Curve and the hit single “Dance Hall Days,” Wang Chung were approached directly by Friedkin, who was impressed by the atmospheric quality of their music. He commissioned them to create the entire soundtrack for his upcoming film. Unlike most directors, Friedkin gave the band complete creative freedom, telling them, “I don’t want songs that comment on the action. I want music that becomes the action.”
The result was a strikingly original soundtrack that fused synth-pop, ambient textures, and instrumental experimentation — a soundscape as stylish and dangerous as the film’s Los Angeles setting. The title track serves as both the emotional and thematic centerpiece, with Hues’ cool, detached vocals floating over pulsating synths and slow, haunting percussion. The lyrics speak of honor, love, and freedom — echoing the film’s fatalistic tone and moral ambiguity.
While “To Live and Die in L.A.” peaked at #41 on the Billboard Hot 100, its influence has endured far beyond its chart position. It’s a track that rewards rediscovery — a haunting anthem for dreamers and drifters, shimmering with the melancholic beauty that defined much of mid-’80s electronic pop.
The Extended Version was released exclusively on the UK 12” single (Geffen Records, stretching the song to nearly six minutes with an expanded intro and instrumental sections that heighten its hypnotic mood. No instrumental mix was ever issued, making the extended 12” version the definitive way to experience the track in its fullest form.
After the To Live and Die in L.A. project, Wang Chung returned to mainstream pop success with Mosaic (1986) and the massive hit “Everybody Have Fun Tonight.” Yet this song — and the album it anchors — remains their most artistically ambitious work, a timeless fusion of pop and noir that captures the sound of Los Angeles in all its beauty and decay.
Nearly forty years later, “To Live and Die in L.A.” still glows with the same dangerous allure — a haunting reminder that Wang Chung were more than just party anthems and pop hooks. They could also craft music that felt like cinema.
SIDE A:
To Live And Die In L.A. (Extended Version) 5:57
Producer – Steve Jolley & Tony Swain
SIDE B:
Dance Hall Days (Remix) 8:13
Producer – Chris Hughes, Ross Cullum
Black-Blue-White 2:29
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
| Chart | Peak Position | Date |
|---|---|---|
| US Billboard Hot 100 | #41 | 1985 |
| US Billboard Mainstream Rock Tracks | #21 | 1985 |
RELEASE INFORMATION:
Label: Geffen Records – TA 6756
Format: Vinyl, 12″, 45 RPM
Country: UK
Released: 1985
Genre: Electronic
Style: Synth-pop
CREDITS:
- Written-By – Wang Chung
NOTES:
Tracks A1-B2 from the Music From The Motion Picture “To Live And Die In L.A.
Track B2 Recorded in Motion-Rama by Dave Motion
Track B1 from the LP “Points On A Curve”
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
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My favourite Wang Chung track (and it’s so much better in the long version). Fantastic new transfer as well, Paul. So much detail I’d missed before. Thank you again.
One of my favourite WC 12” singles, although their are quite a few to choose from the catalogue.
I forgot it was produced by Jolley/Swain
Thanks Paul 🙂
You’re welcome, Mark 🙂
Paul, you really nailed this single in a nutshell! Its impact goes far beyond its chart position. I can vouch for that! It feels like yesterday watching this video in heavy, heavy rotation on MTV in the fall of ’85. There aren’t too many videos that did more to cross promote the movie and soundtrack than this one! If Points On The Curve put Wang Chung on the map, this single showed they were here to stay… and proved beyond a doubt they were worthy of inclusion in William Friedkin’s underrated masterpiece. Looking forward to this new restoration – BIG… Read more »
Thanks so much, Retro Hound! I love how you put that — you’re absolutely right, this single’s impact went way beyond its chart position. The MTV rotation really did give it that extra cinematic presence, and the video perfectly tied the song and film together. It’s one of those rare moments when everything clicked — music, visuals, and story.
I’m really glad you’re looking forward to the new restoration — this one was a pleasure to revisit and polish up. Appreciate your thoughtful comment and enthusiasm!
—Paul
What a great 12″ — how often can you truly say the B side is as good as the A side?! Love the ultra extended version of Dance Hall Days! I remember my first Wang Chung song… it was, of course, the ultra popular Everybody Have Fun Tonight. Later on I found the joy of Dance Hall Days, the gritty harder synths of To Live and Die in LA and then explored the Huang Chung days. Thanks for sharing this one Dj Paul, it sounds stunning. Appreciate you are redoing so many older classic posts that I missed out on,… Read more »
Thanks so much, JP! I totally agree — this is one of those rare 12″ singles where both sides are equally strong. The extended “Dance Hall Days” mix really lets the song shine and gives it that dreamy, cinematic feel. Love hearing about your journey with Wang Chung, too — from “Everybody Have Fun Tonight” to discovering their deeper cuts like “To Live and Die in L.A.” and the early Huang Chung material. They had such an interesting evolution as a band. I’m really glad you’re enjoying the restored posts — it’s been fun revisiting these classics and giving them… Read more »
The great song that William Friedkin, director of the film To Live and Die in L.A., confessed he didn’t want as the main theme for the film, until Jack Hues and Nick Feldman (Wang Chung) gave him the demo. Upon hearing it, he was so surprised that he kept it as part of the film and its soundtrack.
As my grandmother used to say: “Listen first, speak later.”
That’s such a great bit of trivia, Ruben — and your grandmother’s advice couldn’t be more fitting! It’s funny how even Friedkin, with all his instincts, almost passed on what became the film’s defining piece of music. Once he heard that demo, though, there was no denying how perfectly it fit. Just goes to show how the right song can completely change a director’s vision. Thanks for sharing that great insight!
—Paul
I HAVE BEEN WAITING FOR SO LONG FOR THIS MOMENT!!!! Thanks you so so very much Paul! Sound is immaculate and I FINALLY have my favourite Wang Chung song on 12″. Thank you Paul!!!
That’s awesome to hear, Nubben! I’m so glad this one hit the spot for you — it’s such an incredible track and really shines in the 12″ format. I put a lot of care into this restoration, so it makes me happy to know you’re enjoying it. Thanks so much for the kind words and for being excited right along with me!
—Paul
Yeah, you have really made my day on this one Paul. This is SUCH a brilliant pop song. Especially when it hits that 5 min mark when it drifts into this dreamy segment which then serves as the outro of the song – I could just listen to that bit all day long! Only the 80s could produce this level of sublime pop combined with a sense of melancholy. Totally brilliant. Thanks again Paul.
It’s uncanny how you pick up on peoples’ thoughts. Over this past weekend I thought about Wang Chung and their “Everybody have Fun Tonight” record. Then, yesterday I saw a friend who loves vinyl and he told me he just purchased an original pressing of the record you’re posting today. I was excited to hear the news because I know you posted this a few years ago. WELL!!! The fact that you’re doing a re-rip is extremely cool!! The quality of your work rivals that of compact discs! SERIOUSLY!!!!!!!!!! Thanks for your talents and generosity!! I also give kudos to… Read more »
Wow, Jeff — what a great story! I love those moments when the music seems to circle back around just at the right time. It’s amazing how these records still connect us after all these years. I really appreciate your kind words about the restoration work — that means a lot. And I completely agree, the BTG community is something special. Everyone’s memories and enthusiasm keep this site alive and make it such a joy to share these tracks.
Thanks again for the wonderful comment — I’m so glad this re-rip hit the mark for you!
—Paul
Thanks Paul for your latest restoration of Dance Hall Days. I know I’m not alone in praise for this soundtrack and the perfect meshing of the music with the story and action. The To Live And Die In L.A. ost is one of my personal Desert Island Discs. It’s lovely. I can’t explain how or why, it simply works, and not just a little. Even the final track, Wait, is haunting in that I can feel the angst and loneliness within the song. That film is really underrated (imo) and the multi-layered relationships can be easily lost within all the… Read more »
Wow, Muff Diver — what a fantastic and insightful comment. You really captured what makes To Live and Die in L.A. so special. I couldn’t agree more about the soundtrack’s emotional depth and how perfectly it complements the film’s tone. “Wait” is such a haunting closer — it leaves you sitting in that same uneasy space the movie does. And yes, Friedkin absolutely outdid himself with that car chase — pure adrenaline and tension, and somehow still totally grounded in the film’s gritty realism. I love your “Muff Diver Edition” idea, too — adding “Dance Hall Days” really does make… Read more »
Nice of you to say so, Paul. Thank you for the compliment.
Hey Muff Diver – I echo DJ Paul’s comments and agree with you about how you crated the accurate soundtrack for an incredible movie. For a change, the music for this film was original and composed to fit the movie, rather than the typical Hollywood model of fitting random songs to the film, or inserting music into a film that is so off-base to the story that it’s obvious the film or soundtrack (and often both) exists solely to push songs in which the corporation owns the publishing (i.e. most MCA releases). It appears it’s the norm for a film… Read more »
Wow, there’s so many things I want to say in response to your observations! However, to keep it simple, I’m not a big fan of the major film studios, or the record labels. They both exist to make profits, always at the expense of the actual artists / content creators (with all the invention y innovations that follow) and the consumers who pay a premium for meh material. The big studios / labels are not unlike a greedy plantation owner who would rather issue filthy garbage at a profit rather than something truly wondrous and beautiful if it means only… Read more »
Thank you, Paul! I love the whole soundtrack, but the extended version on this 12″ really brings out the best in the song. Glad to have it in pristine DJ Paul quality!
Thanks so much, Axel F80! I’m with you — the extended version really lets the song breathe and shows just how beautifully layered the production is. I’m thrilled you’re enjoying the restored rip — this one deserved a little extra love. Appreciate you listening and for the kind words!
—Paul
yeah, it feels like they originally wrote the extended version and then had to compress/edit it for the soundtrack!
I don’t want songs that comment on the action. I want music that becomes the action.” – what a perfect attitude from the director. And Wang Chung did just that with this cut, thanks!!
Absolutely, Raymond — I couldn’t agree more! Friedkin’s approach really allowed Wang Chung to stretch creatively, and you can hear that freedom in every note. The music doesn’t just accompany the film — it is the film. Such a perfect marriage of sound and vision. Thanks for commenting!
Great, post Paul! Can’t wait to listen to this. I LOVE when you circle back to past posts and give them new life with your latest tech. Thank you for sharing this! Also, curious that the remix of Dance Hall Days on this 12″ is almost a full minute longer than the remix of the same name on the U.S. 12″. I assume the U.S. version is just an edit? Oh the nuances! Wouldn’t you love to understand the rationale of these decisions back then? Space perhaps? Thanks again for this!!!
Thanks so much, MusicMan3! I really enjoy revisiting past posts with fresh restorations — it’s amazing what modern tools can bring out of those old grooves. And yes, great observation about “Dance Hall Days.” The U.S. 12″ mix does indeed run shorter — essentially an edit of the UK version. Labels often trimmed things down for radio or club convenience, but the reasoning behind which markets got which version can definitely be a mystery! That’s part of what makes collecting these so fascinating. Appreciate you listening and noticing the details!
I dare you to look into the 2 remixes of Higher Love by Steve Winwood! You have to listen carefully. 🙂 U.K. Extended Mix clocks in at 7:39 and the Extended Remix found on USA 12″s is 7:44.
These are the types of rabbit holes I live for. Now I am going to have to go do that. Thanks.
This was an incredible album. Wang Chung did an amazing job creating a soundscape that told its own story parallel to the movie. The track City of Angels in particular is one of my favourite tracks of any movie soundtrack. Its ebb and flow takes you on a wild journey all by itself.
Absolutely, Mindfield — I couldn’t agree more. The To Live and Die in L.A. soundtrack is such an immersive experience. “City of Angels” is a standout for me too — it perfectly captures that restless, sun-drenched tension of L.A. The whole album feels like a journey through the city’s undercurrent, even without the visuals. Wang Chung really created something special here. Thanks for sharing your thoughts!
Sweet! This is a great track, nice and haunting like Dance Hall Days. As usual I definitely recommend the whole soundtrack album, I listened to it just last week. Great stuff!
Thanks Paul
Thanks so much, Mikey D! You’re absolutely right — it’s got that same haunting quality as “Dance Hall Days,” but with a darker, more cinematic edge. The whole soundtrack really holds up — it’s one of those albums you can play start to finish and just get lost in. Appreciate you giving it another spin and stopping by to comment!
Finally got home and listened, fantastic! Thanks so much!
That makes me happy. Thank you, Mikey D 🙂