Newton – Sky High (US 12″) (1994)

Burning The Ground Exclusive

In the mid-90s, when Eurodance and pop covers were dominating the charts, an unexpected revival of a 70s classic found its way back onto dance floors—this time with a glossy, Hi-NRG sheen.

British singer and former firefighter William Newton Myers—better known as Newton—stepped into the spotlight in 1994 with his debut single, a remake of Sky High, originally recorded by Jigsaw in 1975.

Produced by the hitmaking team of Mike Stock and Matt Aitken—best known for their work as part of the Stock Aitken Waterman empire—this 90s version of “Sky High” trades the original’s orchestral drama for a bright, synth-driven dance arrangement tailor-made for clubs and radio alike.

Interestingly, what began as a one-off studio project had deeper ties to the original than most covers. The track actually features vocals by Des Dyer, the original voice behind the 1975 hit. He even appears in the music video, bridging the gap between eras. Following the single’s success, Myers himself was brought forward as the face—and voice—of the project, giving it a consistent identity moving forward.

And success it was. “Sky High” climbed to No. 8 in Australia in April 1995, earning a gold certification and proving that a well-produced cover could still capture the public’s imagination nearly two decades after the original’s release.

Newton would go on to build a career largely centered around reimagining familiar songs for a new generation, finding particular success in markets like Australia, the UK, and Brazil. His polished vocal style and accessible dance productions made him a reliable presence in 90s pop.

In 1998, he released his debut album, Sweetest Secret, further cementing his place in the era’s pop landscape.

While purists may always favor the original, Newton’s “Sky High” stands as a perfect example of 90s nostalgia done right—respectful of its source, yet updated with enough energy and style to feel fresh all over again. For many club-goers of the time, this was their version—and it still soars.

SIDE A:
Sky High (Radio Edit) 3:58
Engineer [Mix Engineer] – Peter Day
Mixed By – Seth & Jess Thethub
Written-By – C. Scott, D. Dyer

Sky High (Hiza Kite Mix) 6:48
Mixed By – Mobius Loop
Written-By – C. Scott, D. Dyer

SIDE B:
Sky High (Kaiser Height Mix) 6:28
Mixed By – The Red Baron
Written-By – C. Scott, D. Dyer

Up, Down Round & Round 3:51
Mixed By – Neon (15)
Written-By – J. Gingell, M. Stock, M. Aitken

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Newton: *Sky High* (1994)
Chart	Peak Position	Date
Australia (Kent Report)	#8	1994
UK Singles	#56	1994

RELEASE INFORMATION:
Label: Critique – 01624 15536-1
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1994
Genre: Electronic
Style: Euro House

CREDITS:

Engineer – Peter Day
Engineer [Assisted By] – Dean Murphy
Musician – J. Gingell*, M. Stock, M. Aitken*
Producer [Uncredited] – Stock/Aitken

NOTES:
The label mistakenly credits Peter Day as the producer, but the correct producer and Peter Day’s actual role are listed above.

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.

March 18, 2026

U2 – Discothèque (US 12″ Promo) (1997)

Burning The Ground Exclusive

When U2 returned in 1997 with “Discothèque,” it felt like a shock to the system—in the best possible way.

Released as the lead single from their ambitious album Pop, “Discothèque” saw the band diving headfirst into electronic dance music, club culture, and the glossy excess of the late ‘90s. Produced by Flood, Howie B, and Steve Osborne, the track fused U2’s signature anthemic sound with pulsing beats, distorted grooves, and a heavy dose of irony.

From the opening filtered guitar riff by The Edge, it’s clear this isn’t the same band that gave us The Joshua Tree. Instead, “Discothèque” leans into a sleazy, neon-lit atmosphere—more underground club than stadium rock. Bono delivers lyrics that flirt with decadence and spiritual longing, blurring the line between indulgence and introspection: “You can reach, but you can’t grab it…”

The single was a commercial success, hitting #1 in the UK and topping charts across Europe, while also making a strong showing on the Billboard Hot 100. In the U.S., it also became a major club hit, proving that U2 could successfully reinvent themselves yet again—this time for the dancefloor.

Of course, no discussion of “Discothèque” would be complete without its unforgettable video. Directed by Stéphane Sednaoui, the clip features the band dressed in outrageous costumes—most notably their appearance inside a giant mirrorball—poking fun at both themselves and club culture excess. It perfectly captured the era’s playful, anything-goes aesthetic while reinforcing the band’s willingness to take risks.

For longtime fans, “Discothèque” was initially divisive. Those expecting another With or Without You or One were instead met with a bold stylistic pivot. But in hindsight, that’s exactly what makes it so compelling. Much like their earlier reinvention during the Achtung Baby era, this track showed that U2 refused to stand still.

On the 12-inch and CD single formats, “Discothèque” truly came alive. Various remixes expanded the track’s club appeal, stretching its hypnotic groove into extended dancefloor workouts that fit perfectly alongside the late ‘90s electronic scene. The US 12″ promo that I am featuring today is especially noteworthy, as it includes the “Discothèque (DM Tec Club Mix),” which, as far as I know, remains exclusive to this particular release—making it a must-have for collectors and completists.

Nearly three decades later, “Discothèque” stands as one of the most daring singles in U2’s catalog. It’s a time capsule of late ‘90s experimentation, excess, and transformation—and a reminder that even the biggest bands can still surprise you when they’re willing to take risks.

SIDE A:
Discothèque (DM Deep Club Mix) 6:59

SIDE B:
Discothèque (DM Tec Club Mix) 7:20

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – U2: *Discothèque* (1997)
Chart	Peak Position	Date
US Billboard Dance Club Songs	#1	1997
US Billboard Hot 100	#10	1997
US Billboard Mainstream Rock	#6	1997
UK Singles	#1	1997
Scottland Singles	#1	1997
Norway	#1	1997
New Zealand	#1	1997
Ireland	#1	1997
Italy	#1	1997
Finland	#1	1997
Canada Top Singles (RPM)	#2	1997
Canada Dance/Urban	#1	1997
Canada Rock/Alternative	#1	1997
Australia	#3	1997

RELEASE INFORMATION:
Label: Island Records – PR12 7398-1
Format: Vinyl, 12″, 33 ⅓ RPM, Promo
Country: US
Released: 1997
Genres: Electronic, Pop
Styles: House

CREDITS:

Decks [Original], Loops [Original], Recorded By [Original] – Howie B.
Mastered By [Original] – Howie Weinberg
Mixed By [Original] – Conal Markey
Mixed By [Original], Recorded By [Original] – Mark “Spike” Stent*
Producer [Original] – Flood
Recorded By [Original] – Femio Hernandez, Rob Kirwan
Remix – David Morales, Satoshi Tomiie

NOTES:
For Promotional Use Only – Not For Sale

“Discothèque” contains samples from “Fane” by Freeform. Courtesy of Skam Records.

Mastered at Masterdisk – New York

Buy the 12″ at DISCOGS

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

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

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

March 17, 2026

☘️ St. Patrick’s Day Special: Irish Artists Who Shaped the Sound of the ’80s

For today’s post, I wanted to do something a little different. In honor of St. Patrick’s Day, I thought it would be a good time to take a look at the impact Irish artists had on the sound of the 1980s. While Ireland is often associated with traditional music, the decade saw a wave of bands and performers who helped shape everything from post-punk and alternative rock to atmospheric pop—leaving a lasting mark on the music many of us still spin today.

Leading the charge were U2, who emerged from Dublin with a sound that fused post-punk urgency with arena-sized ambition. With albums like War and The Joshua Tree, they didn’t just dominate charts—they brought a sense of purpose and social consciousness to mainstream rock. Tracks like “New Year’s Day” and “Pride (In the Name of Love)” became defining moments of the decade.

Equally impactful, though sonically very different, were The Cranberries’ predecessors in atmospheric and emotional expression—most notably Sinéad O’Connor. Her late-80s work, including The Lion and the Cobra, introduced a voice that was both haunting and confrontational, setting the stage for one of the most distinctive careers to follow in the next decade.

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On the darker edge of the spectrum, The Virgin Prunes pushed boundaries with avant-garde performance art and experimental soundscapes. Closely associated with the early Dublin scene that also gave rise to U2, they offered a more confrontational and theatrical take on post-punk.

Meanwhile, The Boomtown Rats, fronted by Bob Geldof, had already made waves at the tail end of the ’70s but continued their influence into the early ’80s. Songs like “I Don’t Like Mondays” carried over into the new decade, blending new wave sensibilities with sharp storytelling.

Of course, no discussion would be complete without Clannad, who bridged traditional Irish music with modern production. Their ethereal sound—especially on tracks like “Theme from Harry’s Game”—introduced a global audience to a uniquely Irish sonic atmosphere that would later influence artists like Enya, herself a former member of the group.

And then there’s Thin Lizzy. While they peaked in the ’70s, their influence carried strongly into the ’80s, particularly through the legacy of Phil Lynott. Their twin-guitar sound and storytelling approach would go on to shape countless rock and metal acts throughout the decade.

From politically charged rock to atmospheric pop and experimental art rock, Irish artists didn’t just participate in the 1980s music scene—they helped define it.

So this St. Patrick’s Day, whether you’re spinning a 12-inch remix or revisiting a classic LP, raise a glass to the Emerald Isle—a small country with an outsized impact on the soundtrack of a generation. ☘️

-DjPaulT

March 13, 2026

Georgio – Lover’s Lane (Europe 12″) (1987)

Burning The Ground Exclusive

Released in 1987, “Lover’s Lane” by Georgio became one of the standout singles from his debut album Sex Appeal. Issued on Motown Records, the track perfectly captured the sleek, synth-driven Minneapolis funk sound that was dominating dance floors in the mid-to-late 1980s.

A Minneapolis, Minnesota native, Georgio emerged during the era when the so-called “Minneapolis Sound”—popularized by artists like Prince and Jimmy Jam and Terry Lewis—was reshaping R&B and dance music. Blending crisp drum machines, glossy synthesizers, and sensual vocals, “Lovers Lane” delivered a smooth yet club-ready groove that resonated strongly with DJs and dance audiences.

The single became Georgio’s biggest hit, climbing to #2 on the dance chart published by Billboard, while also crossing over to #26 on the R&B chart and #59 on the Billboard Hot 100. With this success, “Lover’s Lane” marked Georgio’s third consecutive Top 10 entry on the Billboard Dance Chart, further establishing him as one of the era’s notable club music artists.

Driven by its hypnotic rhythm and seductive atmosphere, “Lover’s Lane” remains a prime example of late-’80s Motown venturing into the contemporary dance and electro-funk landscape. The song’s shimmering production and romantic late-night vibe helped it become a favorite in clubs and on mix shows, solidifying Georgio’s place in the dance music scene of the decade.

Today, “Lover’s Lane” stands as a reminder of a time when Motown was embracing the electronic pulse of the dance floor—delivering sophisticated grooves that kept DJs spinning and dancers moving well into the night.

SIDE A:
Lover’s Lane (New After Hours Vocal Mix) 6:06
Remix – Bruce Forest, Frank Heller

Lover’s Lane (Club Mix) 6:51
Remix – Bruce Forest, Frank Heller

SIDE B:
Lover’s Lane (Georgio’s Love Dance Mix) 7:19
Remix – Georgio (2)

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Georgio: *Lover’s Lane* (1987)
Chart	Peak Position	Date
US Billboard Hot 100	#59	1987
US Billboard Hot Dance Music / Club Play	#2	1987
US Billboard R&B / Hip-Hop Songs	#26	1987

RELEASE INFORMATION:
Label: Motown – ZT41612
Format: Vinyl, 12″, 45 RPM, Maxi-Single, Stereo
Country: Europe
Released: 1987
Genre: Electronic, Funk / Soul
Style: House, Synth-pop

CREDITS:

Written-By, Directed By, Arranged By, Producer – Georgio (2)

NOTES:
MAXI-SINGLE 12 INCH

In Album: “Sexappeal”

Printed in Germany by Topac – Imprimé en Allemagne par Topac

Made from masters of Motown Record Corporation

Buy the 12″ at DISCOGS

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

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!

Password: burningtheground

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