Some records are simply made for Halloween, and today’s Spooky Season Spins selection sounds as though it crawled straight out of a crypt. We’re heading back to 1984 for a delightfully twisted slice of British gothic rock from one of the most outrageous bands to emerge from London’s underground scene. It’s Alien Sex Fiend with “Dead And Buried,” a sinister, hypnotic, and wonderfully deranged record that perfectly captures the darker side of the 1980s.

Formed in London in late 1982, Alien Sex Fiend became closely associated with the legendary Batcave nightclub, one of the most important gathering places for the emerging gothic subculture. Led by the unmistakable Nik Fiend and his wife, Mrs. Fiend, the band developed a sound that combined post-punk, psychedelic rock, primitive electronics, industrial rhythms, and a healthy dose of B-movie horror. Their music was strange, confrontational, and often darkly humorous. While many of their contemporaries approached gothic rock with a sense of seriousness, Alien Sex Fiend seemed perfectly happy to turn the whole thing into a gloriously demented nightmare.

“Dead And Buried” arrived in August 1984 on Anagram Records, a subsidiary of Cherry Red Records, during an especially productive period for the group. Following their 1983 debut album Who’s Been Sleeping In My Brain?, Alien Sex Fiend were quickly establishing themselves as one of the more recognizable names in Britain’s independent music scene. Their unusual appearance, theatrical performances, and unpredictable recordings helped them stand apart from the growing number of bands associated with the gothic movement.

Musically, “Dead And Buried” is a wonderfully unsettling experience. A relentless, mechanical rhythm drives the track forward while distorted guitar, swirling electronics, and eerie effects create an atmosphere that feels somewhere between a haunted carnival and an underground nightclub. Nik Fiend’s distinctive vocals are the real centerpiece. He snarls, howls, mutters, and shrieks his way through the recording with the enthusiasm of a mad scientist who has just discovered how to bring the dead back to life.

What makes the song especially appealing is its danceable quality. Beneath all the noise and theatrical horror is an infectious groove that would have sounded perfectly at home on the dance floor at the Batcave. Alien Sex Fiend understood that gothic music could be both frightening and fun. “Dead And Buried” captures that balance beautifully. It is creepy enough for a Halloween soundtrack but energetic enough to keep the dance floor moving.

The single was produced by Ken Thomas, whose work helped give the recording its thick, atmospheric sound. Interestingly, the single versions of “Dead And Buried” and its companion track “Attack!!!” are entirely different recordings from those that appeared on the band’s second studio album, Acid Bath, later in 1984. The 12-inch editions are also longer than their 7-inch counterparts, allowing the band’s hypnotic rhythms and bizarre sonic experiments additional room to unfold.

The record’s unsettling atmosphere extends to its accompanying material. “Attack!!!” is another extended excursion into the band’s chaotic musical world, while “Ignore The Machine… Dub” revisits one of their earliest underground favorites through a more spacious, dub-influenced arrangement. Produced by Youth, the latter provides an especially interesting contrast with the more aggressive material on the record.

Despite their unconventional sound, Alien Sex Fiend managed to make an impression on the mainstream British charts. “Dead And Buried” entered the UK Singles Chart on August 25, 1984, at No. 92 and climbed to No. 91 the following week. It eventually spent three weeks in the Top 100, a remarkable achievement for a record that sounded so completely unlike the polished pop dominating the airwaves at the time. The single was also a Top 10 hit on the UK Independent Singles Chart.

One of the most memorable aspects of Alien Sex Fiend was their ability to combine horror imagery with a playful sense of the absurd. Their influences stretched from punk rock and psychedelia to electronic experimentation and classic horror films. Unlike bands that relied on gloomy atmospheres alone, Alien Sex Fiend created an entire world of grotesque characters, twisted humor, and musical mayhem. It was a world that could be disturbing one moment and completely ridiculous the next, often within the same song.

More than four decades later, “Dead And Buried” remains a wonderful reminder of just how adventurous the independent music scene could be during the early 1980s. It also demonstrates why the original gothic movement was far more varied than its popular image sometimes suggests. Alien Sex Fiend were never particularly interested in following anyone else’s rules, and their willingness to experiment helped give their recordings a character that remains unmistakably their own.

For me, “Dead And Buried” is exactly the sort of record that makes Spooky Season Spins so much fun. It has the atmosphere, the attitude, the strange electronic textures, and just enough campy horror to make it a perfect October selection. There is something irresistible about a record that sounds like the soundtrack to a midnight séance taking place on the dance floor of a particularly disreputable nightclub.

So dim the lights, draw the curtains, and prepare to disturb the neighbors. Alien Sex Fiend are about to wake the dead, and judging by the sound of this record, they have absolutely no intention of letting them rest in peace.

Until the next Spooky Season Spin, keep those turntables spinning and the lights turned down low.

SIDE A:
A1. Dead And Buried (12″ Version) 5:47
Producer – Ken Thomas

SIDE B:
B1. Attack!!! (12″ Version) 8:30
Producer – Ken Thomas

B2. Ignore The Machine… Dub 6:45
Producer – Youth

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Anagram Records – 12 ANA 23
Format: Vinyl, 12″, 45 RPM, Single, Stereo
Country: UK
Released: Aug 1984
Genre: Electronic, Rock
Style: New Wave, Goth Rock

CREDITS:

• Drums – Johnnie Ha. Ha.*
• Engineer – Ken Thomas
• Guitar – The Yaxi*
• Producer [Help With Early Production Work] – Tommy Desmond
• Synthesizer [The Organ Grinder] – Mrs Fiend*
• Vocals [The Crooner] – Nik Fiend
• Written-By – Wade*, James*, Freshwater*, Wade*

NOTES:
Made in France.
Printed in France

Mastered at The Town House, London.

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-Ject Tube Box DS2
Phono 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
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: 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

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Not every record featured during Spooky Season needs to be about ghosts, monsters, or things that go bump in the night. Sometimes the music itself creates enough tension to send a chill down your spine. For today’s Spooky Season Spins, I’m reaching back to January 1983 for a record that has always carried an unmistakable sense of mystery, Echo & The Bunnymen’s “The Cutter.”

With its strange, swirling strings, driving percussion, and Ian McCulloch’s dramatic vocals, “The Cutter” sounds like a warning from somewhere just beyond the shadows. It’s not a traditional Halloween song, but its dark atmosphere and cryptic lyrics make it a perfect addition to this year’s collection of spooky sounds.

A Sharp Turn Into Darkness

Formed in Liverpool in 1978, Echo & The Bunnymen had already established themselves as one of Britain’s most interesting post-punk bands by the time “The Cutter” arrived on January 14, 1983.

The group’s classic lineup featured Ian McCulloch on vocals and rhythm guitar, Will Sergeant on lead guitar, Les Pattinson on bass, and Pete de Freitas on drums. Together, they created a sound that mixed post-punk energy with psychedelic influences and a healthy dose of mystery.

“The Cutter” was the second single taken from their third studio album, Porcupine, released in February 1983. Produced by Ian Broudie under the name Kingbird, the single became the band’s first UK Top 10 hit, climbing to number eight.

It’s remarkable that a song this unusual managed to reach such a wide audience. At a time when synthesizers and polished pop productions were dominating the British charts, Echo & The Bunnymen delivered something far stranger.

From its opening seconds, “The Cutter” refuses to sound ordinary.

The song begins with an unusual string melody that seems to twist and turn before the rhythm section comes crashing in. Those distinctive strings came courtesy of Indian violinist L. Shankar, whose playing gives the recording an almost otherworldly quality.

Interestingly, the opening melody has an unexpected connection to Cat Stevens. In a 1985 interview, McCulloch recalled that Broudie had encouraged Shankar to play something resembling Stevens’ 1967 hit “Matthew & Son.” The result became one of the most recognizable elements of “The Cutter.”

Beneath those strings, Les Pattinson’s bass provides a steady pulse while Pete de Freitas drives the song forward with forceful percussion. Will Sergeant’s sharp guitar work adds another layer of tension.

Then there’s Ian McCulloch.

His commanding vocals move between restraint and desperation, eventually erupting into the repeated plea, “Spare us the cutter!”

What exactly is he trying to escape? That’s part of the song’s appeal. The lyrics never provide an easy explanation, leaving the listener to imagine what might be lurking beneath the surface.

The result is a recording that feels threatening, restless, and strangely beautiful all at once.

The Original 1983 UK 12-Inch

For today’s spin, I’ve pulled out my original UK 12-inch pressing on Korova Records, complete with its picture sleeve and limited-edition foldout poster.

One of the things I’ve always enjoyed about collecting 12-inch singles is discovering what record companies included beyond the main track. Sometimes it was an extended remix. Other times, it was an unusual B-side, a live recording, or an extra piece of artwork.

“The Cutter” offers a little of the latter two.

Unlike many 12-inch releases from this period, the A-side does not feature an extended remix. Instead, the additional playing space is devoted to two B-side selections, including a remarkable live performance.

Exploring the B-Side

Turning the record over reveals two tracks that make this release especially interesting.

“Way Out And Up We Go” continues the band’s early post-punk approach. It’s a lesser-known recording that deserves attention beyond its position on the flip side of a hit single.

But the real surprise comes with “Zimbo.”

Originally known as “All My Colours,” the song first appeared on the band’s 1981 album Heaven Up Here. For this 12-inch, however, Korova included a live version recorded at the inaugural WOMAD Festival in July 1982.

This extraordinary performance features Echo & The Bunnymen alongside the Royal Burundi Drummers.

The addition of the drummers gives “Zimbo” a powerful, hypnotic quality. The steady percussion builds beneath McCulloch’s haunting vocals, creating an atmosphere that feels almost ceremonial.

It’s a striking performance, and one that demonstrates how far the Bunnymen were willing to stretch the boundaries of their sound.

In fact, for a Spooky Season playlist, I’d argue that this live recording is every bit as effective as “The Cutter” itself.

There is something mesmerizing about its repeated rhythms and brooding atmosphere. It’s the kind of recording that seems to grow more mysterious the longer you listen.

The historic WOMAD performance later received renewed attention when it was included on Live at WOMAD 1982, an archival collection released in 2022 to celebrate the festival’s 40th anniversary.

An Icy Image From Iceland

Another reason I particularly enjoy this pressing is the original foldout poster, which is still included with my copy.

The black-and-white poster features the band during their visit to Iceland, where they filmed the promotional video for “The Cutter.”

The video was shot in late 1982, with much of the footage filmed around Gullfoss, one of Iceland’s most famous waterfalls. Surrounded by snow, ice, and a bleak winter landscape, the band looks almost stranded at the edge of the world.

The icy scenery provides a perfect visual match for the music.

There’s nothing warm or inviting about the setting. Instead, the frozen landscape reflects the same cold, uneasy atmosphere running through the song.

Photographs from the Iceland trip were also used for the artwork of Porcupine, helping establish the band’s striking visual identity during this period.

The poster is a wonderful reminder of when buying a record could mean getting something extra to unfold, examine, and occasionally hang on your bedroom wall.

More than forty years later, it’s especially satisfying to find an original pressing that still has its promotional extras intact.

A Perfect Cut for Spooky Season

So, what makes “The Cutter” such a good choice for Spooky Season Spins?

For me, it’s the atmosphere.

The song doesn’t rely on horror references or supernatural imagery. Instead, it creates a feeling of unease through its unusual instrumentation, mysterious lyrics, and dramatic performance.

Even the title suggests something unpleasant. There’s an implied threat hanging over the recording, although we’re never quite sure what that threat might be.

That’s what makes it so effective.

And when you add the equally haunting live performance of “Zimbo” on the B-side, the entire record takes on an even darker character.

Echo & The Bunnymen would go on to explore similar territory with songs such as “The Killing Moon,” but “The Cutter” has an urgency and nervous energy all its own.

It’s sharp, strange, and just a little unsettling.

Exactly what I’m looking for when the Halloween season rolls around.

So, as the October nights grow longer and the shadows begin to creep across the walls, I’m placing this original 1983 UK 12-inch on the turntable, turning up the volume, and letting Echo & The Bunnymen provide tonight’s soundtrack.

After all, who needs a horror movie when a record can make you feel this uneasy?

Until the next Spooky Season Spin, keep those turntables spinning and the lights turned down low.

SIDEA:
A1. The Cutter 3:54
Producer – Kingbird

SIDE B:
B1. Way Out And Up We Go 4:00
Producer – Kingbird

B2. Zimbo (Recorded Live) 4:58
Producer –  Robbie McGrath
With The Royal Burundi Drummers

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
Poster: Mint

RELEASE INFORMATION:
Label: Korova – KOW 26 (T), Korova – KOW 26T, Korova – 249 918-0
Format: Vinyl, 12″, Single, 45 RPM, White Labels, Poster
Country: UK
Released: Jan 14, 1983
Genre: Rock
Style: New Wave, Indie Rock

CREDITS:

• Written-By – McCulloch*, Pattinson*, de Freitas*, Sergeant*

NOTES:
White centre labels with orange ‘Korova Records’ logos
Embossed Warner “W” stamp to back cover , upper right corner.

Initial copies included a free poster.

‘Zimbo’ recorded live at the W.O.M.A.D. Festival, July 1982.

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-Ject Tube Box DS2
Phono 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
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: 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

PLEASE READ

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Happy Friday, everyone!

Yesterday, we brightened things up with the infectious synth-pop sounds of El DeBarge’s “Who’s Johnny.” But before we head into the weekend, I thought we might open a few closet doors and see what’s hiding inside! Today, we’re staying in the Motown family with Stevie Wonder’s funky 1987 hit “Skeletons.” It might not be your typical Halloween record, but with its dark electronic groove, mysterious atmosphere, and lyrics about secrets waiting to be exposed, I think it’s a perfect way to bring a little funk back into our Spooky Season Spins!

Released in September 1987 as the lead single from Stevie Wonder’s album Characters, “Skeletons” found the legendary singer, songwriter, and musician exploring a harder-edged electronic funk sound while delivering some pointed social commentary.

At first glance, the title might suggest something supernatural, but these aren’t the kind of skeletons that rattle their bones in a haunted house. Stevie is talking about the skeletons people keep hidden in their closets. Those embarrassing secrets, lies, and questionable activities that eventually come back to haunt them.

When the song appeared in 1987, the United States was dealing with a wave of political scandals, public controversies, and revelations about prominent figures. Stevie took that atmosphere of suspicion and deception and turned it into one of the funkiest records of the year. Beneath its irresistible groove was a serious message about dishonesty, hypocrisy, and the consequences of trying to keep the truth buried.

Musically, “Skeletons” is a real treat for fans of eighties electronic funk. The song is built around a thick, rubbery synthesizer bass line, crisp electronic percussion, and layers of keyboards that give it a slightly sinister edge. Stevie’s unmistakable vocals move effortlessly between playful, sarcastic, and downright confrontational. It’s a fascinating combination of social commentary and dance-floor energy that only an artist like Stevie Wonder could pull off.

The accompanying music video took the concept even further. Set in a seemingly ordinary suburban neighborhood, it featured Stevie sitting on his front porch while the hidden lives of his neighbors were gradually revealed. Behind those friendly smiles and picture-perfect appearances were secrets that nobody wanted exposed. The video’s message was simple. You never really know what someone might be hiding behind closed doors!

Despite its darker subject matter, “Skeletons” was a commercial success. The single reached #1 on Billboard’s Hot Black Singles chart, #19 on the Billboard Hot 100, and #20 on the Hot Dance Club Play chart. It also reached #59 on the UK Singles Chart, proving that Stevie still knew how to deliver a hit nearly three decades into his remarkable recording career.

For today’s post, I’m featuring the original U.S. Motown 12″ single, catalog number 4593MG, released in 1987.

Side A contains the 6:43 extended version, which gives Stevie’s funky arrangement considerably more room to stretch out. The longer mix also incorporates spoken excerpts associated with the political controversies of the day, adding another layer to the song’s message. It’s an interesting reminder of just how closely the record reflected the headlines of 1987.

Side B features the equally lengthy instrumental version. This is where the production really gets a chance to shine. Without the lead vocals, you can fully appreciate the intricate synthesizer arrangements, electronic percussion, and relentless bass groove that drive the track. For anyone who loves the sound of eighties drum machines and synthesizers, the instrumental is worth the price of admission alone!

And while “Skeletons” might not have been written with Halloween in mind, I’ve always felt that songs about secrets, deception, and things lurking beneath the surface can be just as unsettling as those about ghosts and monsters. After all, isn’t the thought of someone’s darkest secrets suddenly coming to light a little frightening?

So, as we wrap up another week here at Burning The Ground, let’s turn up the funk and let Stevie Wonder remind us that sometimes the scariest things aren’t hiding under the bed. They’re hiding in the closet!

Enjoy this fresh vinyl transfer, and have a fantastic weekend, everyone!

SIDE A:
A1. Skeletons (Extended Version) 6:43

SIDE B:
B1. Skeletons (Instrumental) 6:43

RELEASE INFORMATION:
Label: Motown – 4593MG
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1987
Genre: Electronic, Funk / Soul
Style: Synth-funk, Contemporary R&B, Dance-Pop

CREDITS:

• Backing Vocals – Alexis England, Darryl Phinnessee, Dorian Holley, Keith John, Kevin Dorsey, Lynne Fiddmont, Melody McCully, Shirley Brewer
• Co-producer, Engineer, Mixed By – Gary Olazabal
• Engineer [Additional], Other [Mastering Coordinator] – R.R. Harlan
• Guitar [Sample] – Gary Myrick
• Mastered By – Stephen Marcussen
• Programmed By [Computer, Synthesizer] – Robert Arbittier

NOTES:
Edited version in Album, Cassette and Compact Disc, “Characters”
Recorded at Wonderland Studios, Los Angeles, California
Mastered at Precision Lacquer

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-Ject Tube Box DS2
Phono 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
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: 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

PLEASE READ

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NEW 2026 Transfer
NEW Meticulous Audio Restoration

After yesterday’s dark, mysterious “Mambo Witch,” I thought we could use a little sunshine! Today, we’re trading the shadows for the bright synthesizers, infectious rhythms, and unmistakable voice of El DeBarge. We’re heading back to the summer of 1986 with “Who’s Johnny,” a feel-good slice of synth-pop that still sounds as irresistible as it did forty years ago.

I originally posted this U.S. promotional 12″ single on June 5, 2012, during the early days of Burning The Ground. Fourteen years later, I felt it was time to pull this record from the archives and give it a brand-new transfer for 2026. Whether you downloaded it back then or are discovering it here for the first time, I hope you’ll enjoy revisiting this little piece of eighties pop history.

Released in 1986 on Motown’s Gordy label, “Who’s Johnny” marked a major turning point for El DeBarge. After finding success as the lead singer of the family group DeBarge, El stepped into the spotlight as a solo artist. His first solo single became a smash hit, reaching #3 on the Billboard Hot 100 and spending one week at #1 on the Billboard Hot Black Singles chart. The record also climbed to #10 on the Billboard Hot Dance Club Play chart.

Written by Peter and Ina Wolf and produced by Peter Wolf, “Who’s Johnny” was recorded as the theme for the 1986 science-fiction comedy Short Circuit, starring Ally Sheedy, Steve Guttenberg, and Fisher Stevens. The film introduced audiences to the lovable robot Number 5, later known as Johnny 5, who develops a personality of his own after being struck by lightning. The song’s playful title fit the movie perfectly, while its upbeat production helped it become a hit far beyond the silver screen.

The accompanying music video was just as memorable. Set inside a courtroom, it featured El DeBarge performing while Johnny 5 found himself on trial. It was the kind of wonderfully silly MTV moment that could only have come from the eighties!

For me, much of the song’s charm comes from its production. Those sparkling synthesizers, punchy electronic drums, and funky bass lines create a sound that sits comfortably between R&B, dance-pop, and the polished synth-driven music that dominated the mid-eighties. Add El’s smooth vocals and soaring falsetto, and you have a record that’s nearly impossible to resist.

Today’s U.S. promotional 12″, catalog number PR 183, features the 6:26 extended version on Side A, remixed by Barney Perkins. The longer running time gives the arrangement a little more room to breathe while keeping the song’s irresistible hooks firmly in place. Side B contains the 4:43 instrumental version, which is a real treat for anyone who appreciates the production work behind these eighties recordings. Without the lead vocal, all those wonderful electronic textures and rhythmic details get their chance to shine.

And here’s a little extra eighties trivia. “Weird Al” Yankovic even recorded a parody called “Here’s Johnny” for his 1986 album Polka Party!, turning the song into a tribute to Ed McMahon and his famous introduction of Johnny Carson.

It’s hard to believe that both “Who’s Johnny” and Short Circuit are celebrating their 40th anniversaries in 2026. Where did the time go?

So, let’s brighten up this October morning with a little El DeBarge. Dust off those memories, turn up the volume, and enjoy this fresh 2026 transfer of a genuine eighties favorite!

SIDE A:
A1. Who’s Johnny (12″ Version) 6:26

SIDE B:
B1. Who’s Johnny (12″ Instrumental) 4:43

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Gordy – PR 183
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1986
Genre: Electronic, Funk / Soul, Pop
Style: Synth-pop, Rhythm & Blues

CREDITS:

• Executive-Producer – Tony Jones (15)
• Producer – Peter Wolf (3)
• Remix – Barney Perkins

NOTES:
For Promotional Use Only/Not For sale
Album version inEl DeBarge, 6181GL

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-Ject Tube Box DS2
Phono 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
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: 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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

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Password: burningtheground

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Some Halloween records rely on creepy sound effects, ghostly voices, or familiar horror movie themes to set the mood. Others take a darker route, using pounding rhythms, sinister vocals, and an atmosphere that feels downright threatening. Today’s Spooky Season Spins selection falls squarely into that second category.

Turn down the lights, turn up the volume, and prepare to meet the “Mambo Witch.”

Released in 1988, “Mambo Witch” is a dark, hypnotic slice of electronic body music (EBM) from Belgian industrial pioneers A Split-Second. The track appeared on the group’s second full-length album, …From The Inside, and became one of their best-known club recordings.

A Split-Second emerged from Belgium’s underground electronic music scene in 1985. Founded by vocalist Marc Ickx (Marc Heyndrickx), the project developed into a partnership with producer and musician Chrismar Chayell (Peter Bonne). Together, they helped shape the sound of European EBM, combining relentless electronic rhythms, distorted guitars, and commanding vocals into something that was both aggressive and remarkably danceable.

Their 1986 single “Flesh” is often credited with helping spark Belgium’s new beat movement after club DJs began playing the record at a slower speed. By the time “Mambo Witch” arrived two years later, A Split-Second had established themselves as a formidable presence on alternative dance floors.

And what a wonderfully sinister record this one turned out to be!

“Mambo Witch” opens up a world of pounding electronic percussion, menacing synthesizers, and gritty guitar textures. Marc Ickx delivers his vocals with a cold, almost confrontational intensity, perfectly suited to the song’s unsettling atmosphere. There is something strangely hypnotic about the arrangement. The rhythm pulls you in, while the music creates a growing sense of unease.

The lyrics only add to the tension, with disturbing images of curses, venom, knives, and supernatural forces. This is certainly not a playful Halloween novelty record. There is a darker psychological edge at work, giving the song an almost ritualistic quality.

Of course, what makes “Mambo Witch” particularly interesting for this blog is its 12-inch presentation.

The Extended Version stretches the track to nearly six minutes, giving those relentless rhythms more room to work their magic. The result is a dance-floor workout that feels both mechanical and strangely hypnotic. This is the kind of record that would have sounded right at home in a darkened alternative club, surrounded by flashing lights and a thick cloud of artificial fog.

The flip side offers the Experimental Version, which takes the music in a less conventional direction. It reflects the group’s willingness to experiment beyond the straightforward club mix. Also included is the short but appropriately titled “Voodoo Witch,” a companion piece that makes this already unusual 12-inch even more appealing.

The original single was released in Belgium on Antler Records, while Chicago’s legendary Wax Trax! Records handled the American release. For those who remember the industrial and alternative club scene of the late 1980s, the Wax Trax! name alone should bring back some wonderful memories.

Despite its uncompromising sound, “Mambo Witch” managed to make an impression on American dance floors, reaching No. 29 on Billboard’s Hot Dance Club Play chart in 1989. Not bad for a record that sounds as though it crawled out of the shadows rather than a mainstream recording studio!

The single also helped introduce A Split-Second to a wider American audience. The group followed their growing success with a North American tour in 1989, bringing their hard-edged Belgian sound directly to the clubs that had embraced their records.

Nearly four decades later, “Mambo Witch” still sounds wonderfully menacing. Its cold electronic production, muscular rhythms, and unsettling imagery capture a side of the 1980s that existed far away from the polished pop dominating commercial radio.

For me, that is part of what makes revisiting these records so much fun. The 1980s dance scene had plenty of dark corners, and sometimes the most interesting music was hiding in them.

With Halloween just around the corner, “Mambo Witch” feels like the perfect record to summon from the vaults. It may not be a traditional Halloween song, but its combination of witchcraft imagery, industrial rhythms, and sinister atmosphere makes it a natural fit for Spooky Season Spins.

After all, who says a Halloween party has to be filled with novelty records when you can have a little Belgian industrial darkness instead?

Happy Spooky Season, everyone!

SIDE A:
A1. Mambo Witch (Extended Version) – 5:37

SIDE B:
B1. Mambo Witch (Experimental Version) – 5:50
B2. Voodoo Witch – 2:07

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Wax Trax! Records – WAX 061
Format: Vinyl, 12″, 45 RPM
Country: US
Released: 1988
Genre: Electronic
Style: EBM, New Beat

CREDITS:

• Producer – A Split – Second
• Written By [All Songs By] – Ickx-Chayell
• Written-By, Arranged By, Producer – Chayell*, Ickx*

NOTES:
Producer credits are for Ickx-Chayell on the jacket and A Split – Second on the label.

Jacket made in Canada

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-Ject Tube Box DS2
Phono 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
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: 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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

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Happy Tuesday, everyone!

I’m taking a little break from my regular posting schedule today to take care of a few personal things. However, I didn’t want to leave you empty-handed, especially with Spooky Season in full swing!

Instead of spotlighting a particular 12″ single, I thought it might be fun to explore something that has always fascinated me. The connection between Halloween, 80s music, and those glorious extended remixes that we all know and love.

When we think of Halloween music, the usual suspects tend to come to mind. Michael Jackson’s “Thriller,” Ray Parker Jr.’s “Ghostbusters,” and Rockwell’s paranoid classic “Somebody’s Watching Me.” All three helped give the decade its unmistakable Halloween soundtrack.

But venture a little deeper into the 80s musical landscape, particularly the world of New Wave, Synth-pop, Gothic Rock, and Industrial dance music, and you’ll discover an entirely different kind of darkness.

This was music that didn’t necessarily need Halloween to sound spooky.

Haunting synthesizers, icy electronic rhythms, mysterious vocals, and lyrics exploring everything from obsession and isolation to fear and the supernatural were already part of the musical landscape.

And what better way to experience those sounds than on a 12″ single?

During the 1980s, the 12″ single became more than just an extended version of a popular song. It offered producers, remixers, and DJs the freedom to experiment. Songs could be stretched, rearranged, stripped down, or transformed into something almost unrecognizable.

For music with a darker edge, those extra minutes could make all the difference.

A haunting introduction could slowly build into a hypnotic rhythm. Strange electronic effects could creep into the mix. Echoing vocals and pounding drum machines could turn an ordinary dance record into something that sounded like it belonged in a horror film.

Just listen to Ministry’s “(Every Day Is) Halloween,” Dead or Alive’s “Something in My House,” or The Cure’s “Lullaby.” Each approaches darkness differently, yet all demonstrate how wonderfully the sounds of the 80s could lend themselves to the season.

And then there were the record sleeves, the artwork, the mysterious B-sides, and those extended mixes that occasionally took the music into even stranger territory.

That’s one of the things I’ve always loved about collecting 12″ singles. You never quite knew what you might discover when you flipped a record over or explored a remix that wasn’t available anywhere else.

Of course, not every song needed ghosts, vampires, or things that go bump in the night to fit the Halloween mood. Sometimes all it took was a sinister bassline, a chilling synthesizer, or a particularly unsettling vocal performance.

The 80s had plenty of those!

That’s part of what makes putting together my Spooky Season Spins selections so enjoyable. There is an enormous amount of music from that decade that fits the atmosphere, even when Halloween wasn’t necessarily what the artist had in mind.

So while I’m away from the turntables today, I thought I’d leave you with a little food for thought.

What 80s song or 12″ remix immediately puts you in the Halloween spirit?

It doesn’t have to be an obvious Halloween record. In fact, the more unusual your choice, the better!

I’d love to hear what spooky treasures are hiding in your record collections.

Thanks, as always, for stopping by, sharing your memories, and keeping the music alive.

I’ll be back with more Spooky Season Spins soon!

Until then, keep those turntables spinning and watch out for things that go bump in the night! 

I thought I would throw everyone another curveball today! We have lost so many great artists this year, and there are still quite a few I haven’t had the opportunity to pay tribute to here at Burning the Ground. Today, I want to shine the spotlight on one of the most unforgettable entertainers of our time, the legendary Tim Curry, who passed away on August 25, 2026, at the age of 80.

CHART PERFORMANCE (1979–1980)

For many of us, Tim Curry will forever be remembered as the outrageous Dr. Frank-N-Furter in the 1975 cult classic “The Rocky Horror Picture Show.” Others may remember his memorable performances in “Annie” (1982), “Clue” (1985), “Legend” (1985), or his terrifying portrayal of Pennywise the Clown in the 1990 television adaptation of Stephen King’s “It.” But beyond his remarkable acting career, Curry was also a gifted singer with a powerful voice, a wicked sense of humor, and a theatrical style that made him unlike anyone else.

While his acting career often overshadowed his musical endeavors, Curry released three solo albums for A&M Records: “Read My Lips” (1978), “Fearless” (1979), and “Simplicity” (1981). Each album gave him an opportunity to explore a different side of his musical personality, blending rock, pop, and theatrical flair with his unmistakable vocal delivery.

In 1979, Curry released his second album, “Fearless,” produced by Dick Wagner and Michael Kamen. The album became his most commercially successful, reaching No. 53 on the Billboard 200. Its standout single, “I Do The Rock,” became his biggest U.S. chart hit, peaking at No. 91 on the Billboard Hot 100.

Co-written by Curry and Michael Kamen, “I Do The Rock” is a wonderfully eccentric slice of late-’70s rock filled with sharp humor, clever wordplay, and a dizzying collection of pop culture references. From John Travolta and Farrah Fawcett to Albert Einstein and Friedrich Nietzsche, Curry name-drops his way through the song with the kind of sarcastic wit and theatrical delivery that only he could pull off. Backed by a driving rock arrangement, the song is equal parts satire, attitude, and pure Tim Curry.

Although “I Do The Rock” barely cracked the Billboard Hot 100, reaching No. 91, and fared only slightly better on the Cash Box Top 100 at No. 85, the record found a much more enthusiastic audience overseas. In 1980, the single climbed all the way to No. 9 in Austria, spending six weeks on the chart. It also reached No. 26 in West Germany, where it enjoyed an impressive 14-week chart run. Not bad for a record that received relatively little attention on American radio!

It’s interesting that European audiences seemed to connect with Curry’s unusual brand of rock more than listeners here in the States. Perhaps his theatrical personality and offbeat sense of humor were simply better appreciated across the Atlantic. Whatever the reason, “I Do The Rock” remains one of those wonderfully strange records that could only have come from an artist like Tim Curry.

For today’s post, I am featuring the 1979 U.S. promotional 12″ single released by A&M Records (SP-17093), titled “Specially Edited Selections From Fearless.” In addition to “I Do The Rock,” the record includes “Paradise Garage (Edited Remix)” and “Charge It (Edit).” This promotional pressing is an interesting piece of Curry’s recording history and a nice collectible for fans who appreciate the more obscure corners of his discography.

While “I Do The Rock” may not have set the American charts on fire, it certainly demonstrated that Curry’s talents extended far beyond the stage and screen. His recordings captured the same fearless personality that made his acting performances so memorable. Whether he was playing a flamboyant mad scientist, a sinister clown, or delivering a tongue-in-cheek rock song, Curry always knew how to command an audience.

With Halloween just around the corner, it also seems especially fitting to remember the man who gave us not one, but two of pop culture’s most unforgettable characters, Dr. Frank-N-Furter and Pennywise. Few performers could make us laugh, sing along, and scare the daylights out of us quite like Tim Curry.

His passing is another heartbreaking loss in a year that has already taken far too many beloved entertainers. Thankfully, he leaves behind an incredible collection of films, television appearances, stage performances, and recordings that will continue entertaining generations to come.

Rest in peace, Tim Curry (1946–2026). Thank you for the music, the movies, the laughter, and all those wonderfully strange characters that made you one of a kind. You will be greatly missed.

I hope everyone enjoys today’s unexpected selection. If you’ve only known Tim Curry from his acting career, give this one a spin. You might just discover another side of this remarkable entertainer!

SIDE A:
A1. I Do The Rock 4:45
Written-By – Michael Kamen

SIDE B:
B1. Paradise Garage (Edited Remix) 4:00
Written-By – Bob Babbitt, Charles Collins, Dick Wagner

B2. Charge It (Edit) 3:58
Written-By – Dick Wagner

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: A&M Records – SP-17093
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1979
Genre: Rock
Style: Classic Rock

CREDITS:

• Mastered By – RL*
• Producer – Dick Wagner, Michael Kamen
• Written-By – Tim Curry
• Mastered At – Masterdisk
• Pressed By – Columbia Records Pressing Plant, Santa Maria

NOTES:

Promotion Not For Sale

From the A&M Album “FEARLESS”

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-Ject Tube Box DS2
Phono 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
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: 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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

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By 1988, British pop group Eighth Wonder, fronted by actress and singer Patsy Kensit, was finally enjoying the commercial success that had eluded them during their earlier years.

The group’s big breakthrough came with “I’m Not Scared,” written and produced by the Pet Shop Boys. The single reached number 7 on the UK Singles Chart and became a major hit across Europe. With their profile on the rise, Eighth Wonder followed it with another infectious slice of dance-pop, “Cross My Heart.”

Released in June 1988, “Cross My Heart” was the second single from the band’s album Fearless. Written by American songwriter Michael Jay and produced by Pete Hammond, the song combined bright synthesizers, an irresistible chorus, and Kensit’s distinctive vocals. It was exactly the kind of polished pop record that seemed made for the summer of 1988.

Interestingly, Eighth Wonder wasn’t the first act to record the song. Tracie Spencer had already included “Cross My Heart” on her self-titled debut album earlier that year. Martika also recorded a version for her 1988 debut album. Three different female pop artists recorded the same song in one year. Apparently, Michael Jay had a pretty good feeling about this one!

Eighth Wonder’s version became a hit across Europe, reaching number 13 in the UK, number 6 in Switzerland and Norway, and number 2 in Spain. In the United States, the single peaked at number 56 on the Billboard Hot 100, making it the group’s only Top 75 hit on that chart. However, the song found an even more receptive audience in American dance clubs, reaching number 10 on Billboard’s Hot Dance Club Play chart.

CHART PERFORMANCE (1988–1989)

And that brings us to today’s record.

For the American market, WTG Records enlisted New York DJ and producer “Little” Louie Vega to give “Cross My Heart” a serious dance-floor makeover.

Long before becoming one half of the legendary house production duo Masters At Work, Vega was already developing his sound on the New York club scene. His remixes of “Cross My Heart” take the polished British pop production and give it a distinctly American club flavor, with a stronger rhythmic foundation and a healthy dose of late-1980s house music.

The remix sessions took place at Right Track Recording in New York City, with Hugo Dwyer handling remix engineering, Jeff Abikzer assisting, additional keyboards by Mac Quayle, and edits by the late Chep Nuñez.

The commercial US 12-inch, released on WTG Records (41 07894), features three versions of the song. The 6:50 Club Mix takes up the entire A-side, while the flip contains the 7:29 House Mix and a 6:00 Dub Mix.

Unlike the European 12-inch, which featured the original Dance Mix and the B-side “Let Me In,” the American pressing concentrates entirely on Vega’s club treatments. A separate US promotional 12-inch also included an edited version and a Bonus Beats track, making that pressing another interesting variation for collectors.

What I especially enjoy about records like this is hearing the meeting of two different dance music worlds. The original recording has that unmistakable late-1980s British pop sound, while the American remixes reflect the growing influence of New York house music. It is a combination that worked particularly well during this period.

Eighth Wonder’s time in the spotlight was relatively short. The group disbanded in 1989, and Patsy Kensit returned her attention to acting. Still, songs like “I’m Not Scared” and “Cross My Heart” remain wonderful reminders of a time when European synth-pop and American club music were finding plenty of common ground.

For today’s post, we’re spinning the original US commercial 12-inch, complete with all three of Louie Vega’s mixes.

Patsy Kensit, a catchy pop chorus, and a little New York house magic.

What’s not to love?

SIDE A:
A. Cross My Heart (Club Mix) 6:54

SIDE B:
B1. Cross My Heart (House Mix) 7:34
B2. Cross My Heart (Dub Mix) 6:04

RELEASE INFORMATION:
Label: WTG Records – 41 07894
Format: Vinyl, 12″, 33 1/3 RPM
Country: US
Released: 1988
Genre: Electronic, Pop
Style: House, Synth-pop

CREDITS:

• Edited By – Chep Nunez*
• Engineer [Assistant] – Jeff Abikzer
• Engineer [Remix] – Hugo Dwyer
• Keyboards [Additional] – Mac Quayle
• Producer, Mixed By – Pete Hammond
• Remix – “Little” Louie Vega*
• Written-By – M. Jay*

NOTES:
Remixed at Right Track Recording, New York City.

Additional production and remix for Small Wonders Productions, Inc.

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-Ject Tube Box DS2
Phono 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
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: 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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

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Today’s Spooky Season Spins takes us to Iceland for something a little strange, unsettling, and wonderfully unpredictable. The Sugarcubes’ “Coldsweat” might not be a traditional Halloween record, but its sinister atmosphere, frantic rhythms, and bizarre vocals make it a perfect addition to our October playlist.

Released in January 1988, “Coldsweat” was the second international single from The Sugarcubes, following their breakthrough debut, “Birthday.” Both tracks would appear on the band’s first album, Life’s Too Good, released later that year. Fronted by the unmistakable Björk Guðmundsdóttir, the group brought a wildly original sound to the alternative music scene, mixing post-punk, avant-garde pop, and a healthy dose of Icelandic eccentricity.

“Coldsweat” is a particularly strange and intense recording. Built around a driving bassline, jagged guitar work, and pounding percussion, the track creates an almost claustrophobic atmosphere. Björk’s voice shifts between delicate whispers, desperate cries, and explosive outbursts, while fellow vocalist Einar Örn Benediktsson adds his own peculiar spoken and shouted passages. The lyrics, filled with disturbing images of flesh, blood, and physical obsession, only add to the song’s uneasy feeling. It’s the kind of record that sounds as though it could unravel at any moment, yet somehow holds together beautifully.

For today’s post, I’m featuring the 1988 US 12″ single released by Elektra Records (0-66746). This four-track pressing includes the “Meat Mix” of “Coldsweat,” which expands the original album recording into an even more unusual listening experience. Also included is an instrumental version that allows the song’s strange musical textures and restless rhythms to take center stage.

Rounding out the record are two additional tracks. First is the Icelandic-language version of “Birthday,” offering another way to experience the song that first brought international attention to the band. The final track, “Delicious Demon,” is presented in its original LP version from Life’s Too Good.

Despite the growing attention surrounding The Sugarcubes, “Coldsweat” was only a modest commercial success, reaching No. 56 on the UK Singles Chart in February 1988. Nevertheless, the single helped establish the band as one of the most unusual and exciting acts to emerge from the late-’80s alternative scene. The Sugarcubes would release two more studio albums before disbanding in 1992, leaving Björk free to begin her remarkable solo career the following year.

There’s also a fitting connection to our Spooky Season Spins theme. Before The Sugarcubes, Björk and several future bandmates had performed in the Icelandic post-punk group KUKL, whose name translates to “witchcraft.” Considering the wonderfully weird music they would go on to create, perhaps that’s not entirely surprising.

“Coldsweat” isn’t about ghosts, vampires, or things that go bump in the night. Instead, it delivers something a little more unsettling. Its nervous energy, dark imagery, and off-kilter performances make it an excellent choice for anyone who prefers their Halloween soundtrack with a healthy helping of post-punk weirdness.

SIDE A:
A1. Coldsweat (Meat Mix) 4:12
A2. Coldsweat (Instrumental) 4:13

SIDE B:
B1. Birthday (Icelandic) 3:57
B2. Delicious Demon (LP Version) 2:41

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Elektra – 0-66746
Format: Vinyl, 12″, 33 ⅓ RPM, Stereo
Country: US
Released: Aug 1988
Genre: Electronic, Rock
Style: Alternative Rock, Electro, Post Rock, Indie Rock

CREDITS:

• Lacquer Cut By – SF*
• Producer – D. Birkett*, R. Shulman*
• Written-By – The Sugarcubes

NOTES:
Track A2 is not listed on sleeve but it is listed on record.
Track B1 is listed as “Birthday (Icelandic)” on sleeve & “Birthday (Icelandic Version)” on record.

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-Ject Tube Box DS2
Phono 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
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: 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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

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 NEW 2026 Transfer
New Meticulous Audio Restoration

Originally posted on August 25, 2014, this obscure synth-pop gem returns to Burning The Ground with a brand new 2026 transfer. It’s another entry in my “Closet 80’s” series, where we dust off those forgotten records that deserve another listen.

Baby Go Boom was a short-lived British new wave/synth-pop project that released just one single, “Life Can Be A Hurtful Thing.” Originally issued in the UK in May 1984 on Innervision Records, the song combined catchy melodies with a dance-oriented sound that fit comfortably alongside the synth-pop and electronic dance records of the period.

Despite its commercial potential, the single struggled to find an audience. The original 1984 release reached No. 104 on the extended UK singles chart, narrowly missing the Top 100. However, the story didn’t end there.

In 1986, Island Records gave “Life Can Be A Hurtful Thing” a second chance, reissuing the single in the UK, Canada, and Australia with updated mixes. American remixer John Luongo, whose work helped shape the sound of countless dance records during the late 1970s and 1980s, provided a fresh six-minute U.S. Remix. Dennis Weinreich also contributed a shorter remix, giving the song another opportunity to connect with radio listeners.

The John Luongo remix is the main attraction here. Its extended arrangement gives the track more room to breathe on the dance floor while retaining the melodic charm of the original recording. It’s a fine example of how a good remix could give an overlooked single a new lease on life.

Unfortunately, even with Island Records behind the reissue, Baby Go Boom never achieved the commercial success that might have led to a full-length album. The group disappeared, leaving “Life Can Be A Hurtful Thing” as its only single and a curious footnote in British synth-pop history.

For collectors and fans of lesser-known 1980s music, records like this are exactly what make digging through old 12-inch singles so rewarding. Not everything worth hearing made the charts or received heavy radio airplay. Sometimes the best discoveries are the ones that slipped through the cracks.

I first shared this Canadian 12-inch on August 25, 2014. More than twelve years later, I’ve returned to the record for a completely new 2026 transfer. Whether you’re rediscovering this one or hearing Baby Go Boom for the very first time, I hope you enjoy another forgotten slice of 1980s synth-pop.

And that, after all, is what “Closet 80’s” is all about!

SIDE A:
A. Life Can Be A Hurtful Thing (U.S. Remix) 6:04
Remix – John Luongo

SIDE B:
B1. Life Can Be A Hurtful Thing 2:44
Remix – Dennis Weinreich

B2. Perfect Thing 3:07

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Island Records – IS 1092
Format: Vinyl, 12″, 45 RPM
Country: Canada
Released: 1986
Genre: Electronic
Style: Synth-pop

CREDITS:

• Design – Island Art
• Photography – Mike Prior
• Producer – Liam Henshall
• Written-By – Gerrish*, Klevatt*, Sanderson*

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-Ject Tube Box DS2
Phono 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
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: 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

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal.

I appreciate your help.