Hip-Hop Vinyl New Releases - News

Rooted in the São Paulo contemporary art scene, Laima Leyton’s credentials in the world of music are firmly established as one-half of Mixhell alongside her husband Iggor Cavalera (Sepultura, Cavalera Conspiracy) and for her work with Soulwax.
Now the producer, musician, activist, artist, mother and teacher unites her multifaceted talents with her ambitious double-vinyl debut album ‘Home’. It will be pressed and distributed by The Vinyl Factory and released by Deewee on November 8th. Featuring two records that are designed to be played simultaneously: Laima’s vocal and synth tracks on the ‘TONAL’ disc alongside Iggor’s beats on the ‘RHYTHMICAL’ record. Syncing two records offers an unconventional way to experience the music.
Rather than passively hearing the music, the listener’s need to ritualistically sync both records makes for an immersive experience. There are two key elements that make ‘Home’ such a distinctive project. Thematically it explores how the two core contrasts that inform Laima’s life can coexist. On one hand it’s about domesticity – her love for her family and her frustration with domestic routine. Yet on the other, it’s about her creativity – her desire to express herself artistically while still tending to her role as a mother and a housewife. “It’s almost like a family photo album in another format,” says Laima. “I needed to find the balance in this dichotomy, to feel good with myself in both roles, and be aware of things that really mattered to me. To be a woman, a mum and a female producer: all of these feelings were in the music.”

Deep Gospel Soul, in the immortal southern lineage of Sam Cooke, Sister Rosetta Tharpe and Aretha. Lula Collins was a prolific singer, releasing a slew of singles from the early 70s to the 80s.

Originally released in 1977 on HSE records. Collin's seasoned voice is backed with raw funk soul guitar and backing band, and this album includes a dope version of the evergreen 'Climbing Jacob's Ladder' - but every song is gem. Reissued for the first time, remastered and in the original sleeve artwork.

Following hot on the heels of Ethbo's excursion to Russia, with Letov, Suchillin and Pillayev, Howard Williams' Ethbo swivels its telescope to Deptford, South London in 1978.

The band Alternative TV were, and remain, a radical creative force. Originally formed by Mark Perry (Mark P), and Alex Fergusson (later of Psychic TV) in the early days of punk, when Perry was editor of the pioneering punk fanzine, Sniffin' Glue.

Early rehearsals were held in Throbbing Gristle's Industrial Records studio, with Genesis P-Orridge on drums. After line-up changes, the 1978 release of Life After Life saw Dennis Burns on bass, Chris Bennett on drums, Kim Turner on guitar and Mark P. on vocals. The session was produced by prolific Trojan Records artist and producer Joe Sinclair, and released on the independent label Deptford Fun City Records.

The song presents a “conscious” lyric through an urban music form of its time. And here’s the result, more than 40 years on, the dub still rocks. Perry’s vocal, like no other from the punk era, talks of the afterlife, in a twisted nod to Nietzsche, he chants “Wake Me Up When We Are Dead”.

A Venn diagram of Mark P and Mark E Smith, leader of The Fall, would show some common ground. Both band leaders survived numerous member changes throughout the decades, had a baleful eye on the producers and consumers of their music, and expressed themselves through a poetic, existential form of lyric writing and musical experimentation. In the early days Smith cited Alternative TV in a list of favourite music - alongside Johnny Cash.

Remastered with love, pressed at RAND, with sleeve and label artwork re-jigged by Will Bankhead, there's no better way to skank yourself to Armageddon.

Excellent vocal roots.

With all his previous releases sold out and out of print E. LIVE drops this Italo boogie groover featuring CHESTA BLAKE on the A-side. The dance heavy synthwork will get the dancefloors moving. B/w "FUNKTOWN NIGHTS" an instrumental homage to the stompin' grounds of Oakland, CA. (STAR CREATURE)

Always hungry for funky soul and finding it an increasing challenge to unearth classic dancefloor dope they hadn't already heard, Mako & Mr Bristow have spent the last few years editing old cuts that either weren't funky enough or weren't funky at all.

The aim? To transform these tracks into the funkiest of soul without them overtly sounding like edits to those who didn't know the originals. Now, after four previous sell-out 7"s (two of which have been re-pressed), they return with Stank Soul Edits Vol. 5.

The appropriately-named Funky Diggin' re-imagines an obscure 70s soul-rock 45 as a dancefloor anthem for crate-diggers everywhere while Dynamic B-Boy sees monster drum breaks grafted onto a cut straight from the 70s psych-soul underground.

Ladies and gentlemen – you are cordially invited to get stank once more!

The first release of Galaxunity is packed with intergalactic grooves and plenty of love

Collapsing Hip Hop instrumentals for abstract times

Jimi Tenor and a group of friends visited twice at Edward Vesala's unique home (Sound and Fury Studio) in Korkeakoski in southwest Finland. It was winter 1998.
Matti Knaapi and Jimi Tenor has been designing and building instruments since early 80s. They brought vanful of apparatus to Sound and Fury which already had a large collection of Vesala's exotic and self built instruments.

During the two rather extreme sessions 13 songs got finished. The first part was released in year 2000. Sadly Edward Vesala passed away before the first part City of Women I was released.
Now after 20 years of calming down we are ready to evoke the second part of the sessions.

City of Woman is
Edward Vesala, drums, vocals, instruments
Jimi Tenor, flute, instruments

Iro Haarla, harp
Jimi Sumen, programming
Matti Knaapi, instrument design and construction

Here is part two of Etienne Jaumet’s dubs from his latest new album, '8 regard obliques'.

Following on from part one with DJ Sotofett and I:Cube, DJ Athome (from the Belgian 'Front de Cadeaux') turns the jazz classic, 'Caravan' into a slow 90's breakbeat oddball whilst Jaumet himself revisits his own 'Ma révélation mystique' in a more Reggae fashion.

It's been around three years since JPattersson opened up a whole new horizon of formerly unheard possibilities between the worlds of Dub and Techno. A lot has been happening ever since, and that's very noticeable on his second album. It still has all the signature elements of JPattersson: There's his dreamy, virtuous trumpet play and his witty vocals, there's his dubby delays and heavyweight beats which often line up in a Downbeat rhythm. However, besides his fanfares there's now also many folks, many musical friends who contribute to the vibe of this album. There's a track with Berlin MC Longfingah, latin-flavoured rhythms from Polish Reggae and Dancehall producer Dreadsquad as well as a stylistically wide range of remixes that reflect the symbiotic cooperation and mutual inspiration of these last years.

Seekers and FT team up for a squishy and blasted disc of digital danchall laced madness, two songs in typical mindbending SKRS formation to send out 2019. Wow!

From dark and dusty days in Tucson, AZ to Long Beach sunshine, ZACKEY FORCE FUNK is back with another collection of bonafide gangster funk. His new album '4X4 SCORPION' is an assemblage of sentiments from Zackey’s life experience that spans from the streets of Arizona to outer space.

Classic synth lines and bright funky textures drip from tunes like "Around My Way" (Produced by Brian Ellis), "Lil Dutchie" (Produced by Diamond Ortiz) and "Glide Through the Galaxy" (Produced by XL Middleton). The bumping bass lines and cracked out vocal lines in "Shakazulu" (Produced by Stephon Osae) and "Hater 3000" (Produced by Proh Mic) travel straight from the trunk and into the surrounding vicinity as the hydraulics bounce. Zackey and Producer extraordinaire Salva team up once again for a tribute to their mutual hero, The Egyptian Lover, with "Girl".

The title of the album comes from a life of crime in Tucson that had Zackey in and out of prison since the age of 17. Cocaine that moved across the border from Mexico had to be stamped with either a 4x4 or a scorpion, or else it was tainted. Herein lies the significance of '4X4 SCORPION'. After giving up that life, Zackey began to hone his craft. Years of hard work and collaborations with the likes of Lazer Sword, Lorn, Mike Gao, Inkswel, Jellphonic, Daedelus, Salva and B. Bravo, Zackey became the psychedelic future funk pirate that he is today.

Zackey Force Funk released his first collection of demos mixed by Kutmah titled 'THIS IS MY FORCE FUNK SOUND' on HIT+RUN in 2009. His debut album, 'MONEY GREEN VIPER' (containing the worldwide funk anthem "Press Play'"), was released in 2014. Since then Zackey has released four more full length albums (including 2017's slept-on underground masterpiece LINEAS with collaborator Eddy Funkster), the latest 'BODYROCK SHOTGUN’ came out on XL Middleton's MOFUNK Records in 2018.

When you sneak-a-peek at the title of this forthcoming pressing, “Justice”, you might be surprised to know that a monster boogie track, or actually a good handful of them, are hidden right beneath those 7 bolded letters. Dig This Way Records and Sleeve Records have combined forces for this one, to make the impossibile, possible: Dibson & Essody’s, “Justice”.
Originally recorded in ‘82 and stamped on the distinguished Nigerian label Wilfilms, this extremely rare, revelation of music was meant for sharing and the two labels will be doing just that.
Reworked and remastered, this 7 track dance floor masterpiece is coming to a turntable near you.

Following the 1960 Nigerian liberation from Western colonization, Nigeria began to use music to vibrate everyone into a place of harmony and community. The majority of pressings that came out from within the Nigerian state paired disco, funk infused beats with strong, political lyrical statements.
In this release from Dibson & Essody, the political undertones of “Justice” blended with the smoldering grooves of “Music Lovers” and “Let Your Body Move” classify this disco under the monumental must-haves of Nigeria from the early 1980's.

Side one kicks off with a heavy rhythmical beat, driven by funky synthesizers in a track called “Music Lovers”. Followed by a lyrically driven track, “No Ones Gonna Live Forever”, with vocals resonating over percussions and flugelhorns. Side two is packed with two goodies: “Let Your Body Move”, composed of a funky bass line and layers of percussions, and then the famous “Justice” track that combines catchy guitar riffs with memorable piano chord progressions.

Stamped under one of the most esteemed labels Wilfilms, owned by the most enigmatic figures in Nigerian music, William Onyeabor, Dibson & Essody’s “Justice” is one for the taking. Dig This Way and Sleeve Records are happy to take the reigns on this one to make sure this funky themed disco will be available for all to hear.

Neues Album des britisch-nigerianischen Avant-Pop-Sänger/Produzenten Tony Njoku, der abstrakte Elektronik, Afro-Jazz und Art-Pop zu einem subversivem Kunstgebilde fusioniert und sich in eine Reihe mit seelenverwandten Künstlern wie Yves Tumor, Thom Yorke und Young Fathers einreiht. Njoku tourte bereits mit Anna von Hausswolf, Rival Consoles, Goat Girl, GAIKA, Jacques, Ider und Kokoko!. Zu seinen Fans gehören u.a. die BBC-Radio-DJs Gilles Peterson, Tom Ravenscroft und Huw Stephens.

"Exciting blends of African percussion, falsetto croons and dark synths." - Fact
"Fusing abstract beats with his angelic tones." - Mojo
"Turning high art into sonic form." - Mixmag

The American producer Buscrates lands on Neon Finger with this magnificent 7″, showing his peculiar sound, loaded with groove that oscillates between funk, boogie, jazz or hip-hop. Acoustic drums, drum machines, synthesizers and vocoders are the ingredients of these jams. After his releases on labels such as Omega Supreme, Bastard Jazz or Voyage Funktastique, this artist has become one of the most important producers in the modern funk scene.

Ok, this one is different from the usual standard of re-edits releases on GAMM.

Swedish duo Pomona Dream from Gothenburg is no re-edit outfit but an official artist. The main track 'Blame It On the Groove' is a vocal rare groove jam which is based on Aged In Harmony's highly sought after 'You're A Melody'.

Together with catchy soul/pop vocals from Pomona Dream and tasteful additional production this simply just works...yup it's that good.

To make the case even stronger Pomona Dream got an extra treat on the B-side. 'San Francisco' got an uptempo electronic / hip hop feel that is very modern yet very timeless with its simplistic vocals and synth(ish) melodies.

It's basically a solid song with an edgy production. All in all, this a real nice 7" inch with lots of character. Check check!

Another sure fire 7" from Home Hitters, bringing 2 more pure party starters to wax - this time focussing on when hip hop meets reggae

Shot in Iceland, the video “Forever Love“ was directed by her best friend, visual artist Ragnar Kjartansson and the director, Allan Sigurðsson.

“The music I’d been writing over the years was a very personal affair, something I did for emotional and spiritual survival,” says Kristín Anna. As for the album title, “It just came to me, and then I went about my business, being an imperfect human being, my own centre, within this divine order we call the universe.”

Kristín Anna is a founding member of the band múm. In 2006, began performing her piano songs along with more experimental electronic music under the alias Kría Brekkan. Living and working in her native country Iceland since 2010, her creative outlet took the shape of performance and visual art, where she collaborated with Shoplifter and Guy Maddin, performing and composing for their installations. In 2012, she performed in Ragnar Kjartansson´s acclaimed video installation The Visitors, and has since worked on many of his pieces, variably composing, performing or acting. Most recently, they wrote the song “On Death” for Sophie Calle’s LP and art project Souris Calle. In 2015, Kristín Anna released HOWL, an improvised vocal ambient album and art work created in Mojave desert.

Ragnar Kjartansson, founder of Bel-Air Glamour adds, “Kristín Anna is an artist like no other. Kristín roams the earth weaving a thread of her life, her loves, her dreams into this confessional gem of an album. The music is a reflection of life lived away from the norms banging old pianos and celebrating a conflicted lust for life. I Must Be The Devil is a cycle of songs written in the last 15 years and recorded in the last four years. This is a big record full of deep truths, suffering, irony and beauty. Unique songs by a unique artist. Yes this is real, this is good old mysterious talent. The record was produced and financed by her friends in the music and visual art scene. She is an artist’s artist.”

This is some serious top shelf material out of Baltimore and a certified masterclass in sweet symphonic soul. Optimistics was originally released in 1970 on Turbo and it’s every bit as essential as The Chi-Lites, The Delfonics and The Moments yet nowhere near as known. Those original copies are ridiculously rare and, of course, the prices are equally ridiculous.

Optimistics is a killer LP throughout, beloved of discerning hip-hop producers worldwide and routinely championed by the legendary Pete Rock. The genius George Kerr has handled the production on what is an album of beautiful, naïve soul for mind and body. It’s bursting with goodness and, like the best of its genre, it radiates a heart-breaking ambience that cuts right to the core.

The band of Billy, Harold, James, Charles and Jerome are described on the back cover as “five young, black knights who have embarked on a musical crusade and they're gonna slay a lot of dragons along the way”. We’re not entirely sure how many mythical serpents were dispatched during the making of this album but we can certainly attest to the sense of evangelical drive.

Evergreen opener “You Put Something New In My Life” is a heart-stopping ode to a transformative love. A ballad with spine-tingling chord changes and melodic switch-ups to spare, its sweeping strings and precise drums complement the falsetto delivery perfectly.

It’s followed by the equally beguiling “Let’s Love”. Another string-drenched harmony ballad, it revolves around delicate piano and distinctive guitar lines, crying out to be recontextualised by the best sampling technicians. Closing out the A side, the wonderfully restrained “Love Is God Almighty” is harp and horn-driven, barely-there soul from a higher plain. Heavenly.

Ushering in the flipside, “Should I Let Myself Go”, sampled recently by Knxwledge, is sensational guitar-soul with a yearning that could bring the most hardened soul to tears. It’s followed by the uptempo, Temptations-funk of “Man” and quietly-great “If I Could Influence Man”, where the competing vocals ride a chugging, funky breakbeat and delicious guitar licks. The refreshing, groovy “Say It Baby” is an appropriately positive, upward looking closer. Its sentiment and feel speaks directly to both the band name and the title of this, their only album. Truly optimistic.

The whole LP is a winning blend of slow, spine-tingling ballads and joyously upbeat tracks. It’s a case of A+ vocals, melodies and harmonies over beautiful playing and arrangements. It deserves to be canonical.

This fresh reissue has been mastered with the usual care by Simon Francis and cut by the legendary Pete Norman. The artwork has been lovingly reproduced by the Be With team.

Optimistics should be known to a much wider audience. We’ve hopefully gone some way towards rectifying that.

'CHARMER' is the debut artist album from CLAPTONE. In the last few years, Claptone has become known for releasing big tracks primed for late nights and packed clubs all over the world. Charmer however fuses his signature house sound with a more eclectic aesthetic, featuring guest appearances from Peter, Bjorn & John, Nathan Nicholson (The Boxer Rebellion), Young Galaxy, Jay-Jay Johanson and Clap Your Hands Say Yeah amongst others.

'Charmer' will drop following a packed Summer touring schedule which reaches all corners of the globe and follows the run-away success of Claptone's remix for Gregory Porter, a tune which has become this Summer's biggest Ibiza anthem! 'Charmer' will be released via Different Recordings - the label that launched the careers of Crystal Castles, Tiga, Crystal Fighters and Vitalic.

Monchan worked on Barbara Mason unpopular early 80's boogie jam for 7inch. Side B is Instrument dub.

This is the first in a series of remixes of tracks from Dubkasm’s acclaimed 2018 LP, Rastrumentals. The 10” opens with Alter Echo and Zam Zam/Khaliphonic label head E3, who have an impressive list of previous collaborators including Lee Perry, Pinch and The Bug. The Portland, Oregon duo have taken the driving roots energy of ‘Lei Áurea’ and used pounding drums, flurries of aggressive foley and veering synth attacks to flip it into an apocalyptic dancehall banger.

Side B comes courtesy of recent Bristol arrival Om Unit, a truly unique producer and DJ, headlining shows around the world, and collaborating with artists as diverse as Goldie, Joker, and Machinedrum. Always impossible to classify, his remix of LP opener ‘Eco do Jongo’, , dives deep into dub territory, its ethereal, stripped-back nyabinghi drumming, crystallised synths, and a slipstream of horns bringing Ras B’s righteous message to the fore

This release has been expertly mastered via 1/2” tape by Lewis at StarDelta, and is backed and distributed by Unearthed.

Smooth & groovy cuts from diggin' fanatics Obscure & Obsolete featuring space disco, french boogie, german cheesecake, and calypso steel drum madness. Limited pressing!

The avant-garde composer and conductor Pierre Boulez was a titan of post-War experimental classical music. Born in the small cheesemaking town of Montrbrison in central France in 1925, Boulez studied at the Paris Conservatoire with the composer and organist Charles Messiaen and received private tuition from pianist Andrée Vaurabourg; after moving to the Marais district in 1945, he briefly studied with Schoenberg disciple, René Leibowitz, and further influence came from immersion in Balinese gamelan, Japanese classical music and African drumming, among other sources. Earning money by playing an early electronic keyboard called the ondes Martenot on theatre productions, Boulez soon became music director of the Renaud-Barrault theatre company (led by actor/direction Jean-Louis Barrault and his actor wife, Madeleine Renaud), leading to tours of Belgium, Switzerland, Britain and both North and South America. American composer John Cage became an ally, though they subsequently clashed over Cage’s commitment to the role of chance in his compositions, paving the way for an intense and lasting friendship with the German composer, Karlheinz Stockhausen, who arrived in Paris in 1952 to study with Messiaen. In July of that year, the pair attended the International Summer Course for New Music in Darmstadt, leading to contact with Italian composer Luciano Berio and other noteworthy figures. Then, in 1954, with backing from Barrault and Renaud, Boulez began staging a series of concerts of experimental music at the Petit Marigny theatre, titled Le Domaine musical. The pieces collected on this album are all taken from performances staged for the 1957 Domaine musical season, beginning with Berio’s “Serenata I,” conducted by Boulez, which debuted in Paris in March of that year; arranged for flute and fourteen instruments, Berio said that the idea behind the piece was for the solo flute to be confronted by continuously interchanging elements, rather than mere accompaniments or oppositions. Boulez’s own “Sonatine,” composed in 1946 for flute and piano, is a 12-tone piece that evidences Messiaen’s influence, with shades of Asian classical music in places; then, Stockhausen’s monumental “Zeitmasze” or “Time Measures,” a serial composition for five woodwinds, played in different combinations of tempos and speed, was partly inspired by Webern’s principles of homogenous and harmonic textures. Finally, Messiaen’s 1949 work “Cantéyodjayâ,” delivered by pianist Yvonne Loriod, takes it shape from the classical Hindu rhythms of ancient India, as with much of the composer’s oeuvre.

EA Wave (short for East African Wave) consists of Nairobi-based DJs/producers Ukweli, Sichangi, Hiribae, Nu Fvnk and Jinku. They’re getting noticed by all the right people in the West - Boiler Room, Red Bull Music Academy, 1Xtra, and Worldwide FM - as well as securing stacks of African coverage. This debut outing on vinyl presents new sounds from their native Kenya. We’ve listened to the tracks a lot, and concluded that Contemplative House is a good descriptor. Expect beautifully crafted beats, hazy synths, and inch-perfect bass, constructed for the dancefloor when bodies need to get a bit closer. Things are only going to get bigger for EA Wave in 2020, so get on it now. Stand out track: Nu Fvnk’s ‘Happening In The Grey Area’.

Continuing the series of single releases from Carlton Jumel Smith's album "1634 Lexington Ave." is a beauty of a track in the form of "Ain't That Love". In soul music guitar doesn't always take lead the way it does here played by Seppo Salmi of Timmion house band Cold Diamond & Mink. You might know those tracks like Darondo's "Didn't I" or "Oh Love" by Iron Knowledge that begin with a guitar line that just freezes the heart.

And there's of course one soulful guitar man we can't leave out here. If Carlton ever put his Bobby Womack to the front, it might be the case with this mid-tempo shuffler. Carlton always sings like he's squeezing the last drops of emotion from the human race, but in this number he's really aiming for the cherry. Cold Diamond & Mink supply the right ingredients for the mix with a strong beat and mellowed out horn melodies.

If there's one single you want to pick from Carlton's album for those Autumn Sundays looking through the window or walking in the park, make it this one.

Soopasoul is most definately a name synonymous with the UK funk 45s scene and this sought after cover of the Jimmy Castor classic – It's Just Begun is one of many records that have cement his place at the top.

A record that has long been a turntablists secret weapon is given the Soopasoul treatment here with Danny dropping the drum science as well as playing the bass and his crack team of players trumpeting some serious brass action, injecting some fresh funk into this respectful cover of a classic record.

This record preceded his hotly anticipated debut album 'Twin Stix' and has long remained in the bags of the DJs in the know!

Blue curacao transparent vinyl repress!

As the title suggests 'On Flute' shows us how diverse Tenderlonious's musicianship is as he embellishes each song with his signature flute sound. 'Ghana' sets the pace of the record with up-tempo afro beats, complimented by keys, strings, a distinctive lead synth and of course a soaring flute solo. 'Autumn Leaves' follows with a more UK broken-beat flavour, revealing a darker sense of atmosphere. Side A closes with 'Oedo Bushi,' a comparatively stripped back tune, a simple conga rhythm with flute and xylophone solos weaving in and out as if in conversation with each other.

Side B starts strong and steady with 'Song For My Father', an upbeat number fusing funk and disco to create the perfect dance floor filler that builds to a climax with one of Tenderlonious's wild flute solos (one of my personal favourites!). 'In A Sentimental Mood' follows and, as the title suggests, shows the listener how this producer came by his name. Tender flute inflections and sensitive lead synths, backed by quiet whispers make this the perfect accompaniment to an intimate candle lit dinner. The EP finishes with 'Dale's Corner,' another broken feel on this one with delayed Rhodes supported by tasteful flute lines throughout - it leaves the listener feeling uplifted and wanting more.

Serious grooves from Muscle Shoals. Gritty Southern-fried Funk and sweet Modern Soul on a limited edition run of 300 copies. Hand-Stamped 7" at 45rpm cut directly from the original 1/4" Master Tapes. The origin of Three Dimension is clouded in mystery. The only remaining artifact: magnetic tape containing previously unreleased material from a 1983 session. The only thing identifying the songs are track sheets housed in a box from the legendary Muscle Shoals' Fame studios in Alabama.

SAFT is proud to present a re-release of a sought after disco classic from 1979. Carlos Romanos' 1-2-1 is without a doubt one of the highly regarding dancefloor classics from the heydays of the genre. With a length of 5.30 this brass infused stomper is club friendly, positive and drenching with Latin influenced percussion sounds.

As the original version has been available as a 7" as well as a 12" release, the new edition will appear on a 12" record only and includes a hypnotic 'Sotofett' formula dub on the B-side that spans ten minutes and maximises the percussive nature of the original to create a psychedelic voyage that builds and builds whilst generating a threatening atmosphere around the brass, vocals and perc hits of the original.

A roaring guitar gives 1-2-1 a bizarre but signature Sotofett treatment which shouldn't be missing from any adventurous record collection. 1-2-1 including DJ Sotofett's formula dub will be available from all specialised retailers from the summer of 2019.

This is the first reedit release from Bassi Maestro’s “North of Loreto” project straight from Milan, Italy. On the A-side Bassi reworks a top notch Jellybean production that needs no introduction, probably the finest Whitney track to ever touch the charts, with flipped vocals and a subtle early house groove; while staying faithful to the classic song it brings new energy out of it, a certified dancefloor banger. On the B-side, Aut Of Sait is an underrated electro-funk bomb, the NoLo version extends the infectious grooves of the original 12” keeping just the essential vocal parts in the mix for a more club oriented edit, while the second track is an early 80s obscure Czech disco track chopped up and looped to make it perfect to dance to; less vocals, more bounce.