Shokolokobangoshay was a collaboration between three members of Pogo Ltd. The three of us felt we were crazier than the other members of Pogo Ltd. and decided to work together on the Kosmik 3 album. Robo was worked in the graphics department of NTA Benin. He was an amazing artist, a crazy guy, he was extremely creative, he invented a musical notation language that only he understood. He was amazing, he took me to his place in Asaba and showed me his compositions, he must have had over 500 songs.

Emman Osagie was my floor manager when I was a producer at NTA (Nigerian Television Authority) Benin. We were all on the same wavelength. He was a member of Severe 7, and heavily involved in the Bini music scene working with Ehi Duncan and others. we really enjoyed making Shokolobangoshay, it’s a river of influences, a bit of this, a bit of that, but it is really our thing. The musical ideas we were playing with at the time.

Emmanuel Ogosi. 3rd March 2026.

This record is why I went into reissuing records with Odion. The feeling to sharing records that went under the radar when they were initially released, with a greater audience. Shokolokobangoshay is uniquely Nigerian in a very personal way, it makes references to the societal and political ills that plague us in Africa. It’s title, Shokolokobangoshay, references a play song, kids in Lagos and western Nigerian sing when they play in the streets. Most Nigerians can relate. The music references afro beat, country music, reggae without falling firmly on any side. This is one for the ages. Amazing production, I personally love this record for the free spirit, creativity and excellent song selection. We had to licence it, we just had to. Limited repress only 500 copies.

It is also excellently produced. Big up to all involved, from the Vinyl Rip (James Law, Fidgit Studio, South Africa), to the master production by DJ Simbad (Cape Town, SA) and the cover restoration by Angelo Mitchell (SA). I am so happy to be doing it with the boys in the motherland. Peace and appreciation to all. Special dedication to Mother Tongue for creating a great pressing. Please file under Afro.
Blessings,

Temitope Kogbe, Odion Livingstone

A1. I Don't Mind
A2. Komraid
A3. Agbakara
A4. I'm Gonna Pack
B1. Shokolokobangoshay
B2. Rain
B3. The End Is Near

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The rare and deeply funky LP "Yoga – Be An Enlightened Soul – Stay Young And Pure With Yoga" by Osunfisan Brothers & Sisters is set to return to vinyl in an official reissue, marking the first authorized repress of one of Nigeria’s most elusive spiritual records.

Originally released in limited circulation, Yoga occupies a unique place in many collectors grail list. According to Mr Femi Osunfisan, the album was conceived by his senior brother and bandleader, "We chose yoga to as a concept to channel our music, but it was not intended to practise yoga with the music". Neither pop record nor conventional boogie LP, the album is highly sought-after for the amazing production by the Sound master Odion Iruoje and for the heavy afro-disco workouts.

At a time when Nigerian music was dominated by Afrobeat, highlife, and disco, Osunfisan Brothers & Sisters charted a more introspective path—using rhythm, voice, and repetition as tools for enlightenment and personal grounding.

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70s Nigerian psychedelic soul rock to be filed next to Shuggie Otis’ Inspiration Information.
Some albums are more than the sum of their parts. This is one of them. Nothing quite explains the luscious layers of sounds. The wholesome feeling that exudes from the first note to the last. Shuggie Otis meets Grotto/Ofege is what comes to mind.
The band was a ragtag band of teenage musicians who hung around Federal Palace Hotel in classy Victoria Island, listening to the resident band, led by the incomparable Yom Yem with Papa Doe and Gboyega Adelaja on keys. Frank who had some experience stringing around studios in Lagos, approached the George Veira (Vocals, Guitar), Nadi brothers (Clifford and Gerrard) with the idea of making a record. Odion Iruoje had enjoyed massive success with Ofege and Frank knew he might be open to the idea of producing the band.
“It happened very fast, as Georges had songs already written or half completed. We started jamming with a few gigs at Surulere Night Club, which was run by Tee Mac at the time. Odion heard the material and did not need any convincing. We Then we went into the studio to lay the vocals, drums and guitars. The keys and further production was done in London.
“My routine at the time was to finish records in London, at Abbey Road Studios. It was the best way to get the sound I wanted and allowed my use London based musicians which brought a special flavour. I liked to lay the rhythm tracks and vocals at our Wharf road studio in Lagos. That was the core of the work”.
Mr Odion Iruoje
(Resident A&R exec/Producer, EMI Nigeria)

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A uncompromisingly afro psych-rock testament.
Christening themselves War Head Constriction, the trio started playing shows, flaunting a gutsy, dark proto-metal sound that refracted Black Sabbath and Deep Purple through an afro-rhythmic prism. In no time, the group was snapped up by the progressive record label Afrodisia and they cut a single, ‘Graceful Bird’ b/w ‘Shower of Stone,’ released in early 1973. Alas, the War Head gleeful discordance might have been a tad too progressive for the commercial audience; the record died on the vine, precipitating a crack-up within the group. War Head Constriction managed to play their biggest show, opening up for Fela & the Afrika 70 at the National Stadium, Lagos before calling it quits. Still, there was no time to mourn the old group, as new ones were constantly forming at St. Gregory’s.
“At Greg’s I started jamming with Soga Benson, my cousin Skid, and Ben Bruce,” Amenechi says. “We all just used to jam, write, explore and perform where we could.”
“Martin and I were kind of rivals since he was in KC and I was in Greg’s,” Benson remembers. “But when Martin came to Greg’s, we became very, very close.”
Soga Benson
(lead guitar, vocals)
Benson kept pursuing the hobby and remained busy as a guitar for hire, joining Ofege for their second and third albums in 1975 and 1977. Yet, his main group Grotto had still not yet been in a recording studio until EMI Records—the premier label for afro-rock—took an active interest in 1977.
“Odion Iruoje was the A&R manager at EMI at the time,” Benson says, “and he auditioned us, liked he material and signed us.”

“I remember the Grotto audition, they were a bit cocky, St Gregs boys, they had some material that they thought was great but I felt otherwise. Grotto was a rock group but we needed to get them somewhere original. That was the challenge, not to sound like Ofege or some British rock group, but for them to sound like their authentic self. I was into youth bands at the time; I felt they offered something fresh. Most pros were into reggae, which I hated (not as a genre but in the way it was aped) and youth bands allowed me to experiment; I gave them something and they in turn gave me something, which I could take to the next project. They made me in a way. EMI Nigeria did not really get the emergence of the youth market, they thought I was fooling around with kids’ bands”.

Mr Odion Iruoje
(Resident A&R exec/Producer, EMI Nigeria)

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This album was the vintage rock heads response to the contemporary sounds of Jazz Funk, Fusion and Boogie.
Adapting to the tastes of the times - as well as their own maturing musical sensibilities - Grotto started transitioning from psych rock towards sleeker, more dancefloor-friendly grooves.
“As I grew older I think I got a bit jazzier,” Benson says. “I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.”
“Hard rock was the content of the first album,” Amenechi agrees, “and funk / jazz / R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.”
The group’s second album, ‘Grotto II: Wait… No Hurry’ (released in 1979) reflected the growing sophistication of its members’ musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines; space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs.
A favourite of DJs worldwide.

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Fresh from touring with Hugh Masekela (“The Boy’s Doin’ It”), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.

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Humphrey Aniakor started Duomo Sounds after a trip to Milan. The idea was to produce a new sound for the emerging generation. A sleek funky but refined, Nigerian disco sound. This compilation captures all of that intention with a broad array of artistes. The music is sometimes sung in local Nigerian languages and sometimes in English but always with an African Accent. Modern grooves for an African market.
After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.
There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.
And he would call it—what else?—Duomo. Duomo Sounds Limited.
This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.

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A truly essential piece of early Detroit Techno history here, Octave One's original white label "Octivation" EP from 1990 has long been a sought after and coveted slab of wax. This 5 track journey charts the Burden brothers mood from sinister, spacey, acidic Techno jams ("Sonic Fusion") to deeper, more melancholic mid-tempo cuts ("Nicolette") and along the way manages to usher in a new wave of Detroit Techno sounds.

Steeped in soul and depth "Octivation" was hinting towards the epic style Octave One would shape with their various projects in the following decades and releases. The earliest glimpse (Their 1st release) into a long and fruitful career that is still continuing today. This EP was a game changer and it's influence can still be felt in contemporary House and Techno right now.

Now, finally made available again to be re-discovered and experienced.
Re-mastered, re-pressed and re-issued with all the original 430 West white label and sticker artwork intact, in conjunction with the Burden brothers / 430 West Records.



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A 90s house staple from Nu Groove pioneer Rhano Burrell as Aphrodisiac, ‘Song Of The Siren’, is rereleased alongside three new edits and remixes from industry tastemakers. First up on this four-track vinyl package, British underground leader Bushwacka! adds his production expertise to the iconic record, followed by two transformative remixes; the first from Japanese hip-hop DJs Dazzle Drums and the next from Girls of the Internet frontman Tom Kerridge’s electronic project The Gospel of Thomas. Rounding out this must-have collection is Rhano Burrell’s original Mediterranean Mix, ensuring audiences are reintroduced to ‘Song Of The Siren’.

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Four years after Nuova Napoli, Nu Genea are back with Bar Mediterraneo, a new album and journey, which projects the
sounds of the Neapolitan duo formed by Massimo Di Lena and Lucio Aquilina even further.
Nu Genea's Bar Mediterraneo is an idea of a shared place where people meet and fuse together; a space that leaves its
doors open to travellers and their lives, always exposed to the whims of fate. Some of this can be experienced through the
multitude of sounds that come together in the tracks, layers of different acoustic instruments, voices and synthesizers
merging in a unique musical blend.
Opening up to the voices of many different people, separated by languages but united by the sea and the music, Nu
Genea's hometown, Napoli, becomes a true place of encounter.
You can hear this all along. In "Gelbi", a gorgeously deep and propulsive Ney flute plunges into murky waters of the
melancholic Tunisian dialect sung by Marzouk Mejri. In "Marechia'", unbridled happiness and sun ooze from the delicate
vocals of Célia Kameni and create an acrobatic bridge between French and Neapolitan language. In "Straniero", your
soul is arrested from the moment the slow spell-binding mandolin ignites the hypnotic patterns recorded by the legendary
Afrobeat drummer Tony Allen. In "Bar Mediterraneo", the title track, bittersweet guitar’s riffs, analog waves and choirs are
overwhelming the song giving you what you would like to hear on a boat trip along the Amalfi Coast.
Nu Genea couldn't afford to overlook their firmly anchored roots into the Neapolitan culture and its dialect with "Tienaté",
where the power of neapolitan language (interpreted by Fabiana Martone) supports those quarter-tone strings and the
uncessant folk-disco groove that spreads to the entire song. In "Praja Magia", repetitive mandolin riffs lead the song,
giving space to a choral yet tight vocal line that speaks of Varcaturo, a village close to Napoli. In "Rire", a volley of poetic,
deceptively laidback, lyrical fury interpreted by Sicilian Marco Castello intimately combines with a highly musical, multitextured
instrumental backbone and the swoon of a chanson in its heart. In "La Crisi'', the lyrics of a Raffaele Viviani’s
poem from 1930 have been adapted to a laidback jazz-funk groove in full NG style. In "Vesuvio", revaluing the evocative
verses and powerful mantra of Vesuvio, Nu Genea re-adapted to the dancefloor a folk song by the working-class band E’
Zezi from Pomigliano D'Arco, combining the voices of a school choir with Jupiter-6 arpeggios and bold percussions.
Bar Mediterraneo is the place where people constantly return to transform curiosity into participation, tradition into
sharing, unfamiliar into familiar. When travellers come through its “doors”, carrying their treasures of words and emotions,
they aren’t strangers any more. They take part in a shared experience, enriching themselves and others by leading to
unexpected musical journeys.

TRACKLIST:

A1. Bar Mediterraneo
A2. Tienaté
A3. Gelbi (with Marzouk Mejri)
A4. Marechià (with Célia Kameni)
A5. Straniero
B1. Praja Magia
B2. Vesuvio
B3. Rire
B4. La Crisi

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Glitterbox resident Dimitri From Paris and remixing pioneer Tom Moulton present their retouched mixes of Ron Hall & The Muthafunkaz modern day soul classic ‘The Way You Love Me’ now available on 12” vinyl. Initially released in 2006, Marc Evans provides velvet-smooth vocals complimented by background harmonies and timeless disco production. For his iconic T.S.O.P. remix Dimitri From Paris enlisted the help of Salsoul Orchestra founder Vincent Montana, Jr. for fresh strings as well as a new full orchestra arrangement in his version, and here he gives it an update with his previously unreleased ‘Dim’s T.S.O.P. Version - Dimitri from Paris Glitterbox Retouch’. Tom Moulton’s retouched sweet-sounding ‘Philly Re-Grooved Remix’, previously released on Harmless in 2013, comes laden with guitar riffs, dreamy harps and xylophone for even more instrumental glory. Two disco legends come together under one stunningly soulful Glitterbox release leasing new life into this timeless record.

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Repress!

Straight from the northwest 1980, Freeway was the band you could catch any weekend playing gigs in Portland and Seattle.. Their coveted AOR boogie debut 7" on Nebula Circle "Get The Feelin" is what originally started this project with PPU records, Mark J (keyboardist/songwriter/vocalist) had some original copies in the safe deposit box.. Nebula Circle was a local Oregon label that released Shock and Nu Shooz's first recordings! Freeway had another vinyl LP debut in the 80s, but it only made limited local waves, impossible to find today, so Mark J went back in the studio and pulled all these recordings from the archives, and luckily found other solo projects featured on this LP.

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Repress!



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Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark.
Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground and after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega and many more. Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time. Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City. A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from Armand Van Helden, Logic, Roger Sanchez (Underground Solution), Photon INC and more all feature on part 2 in their unedited, 12" mix glory.
Track Listing
A1. Logic - The Difference (Vocal Mix)
A2. The Underground Solution - Luv Dancin' (In Deep Mix)
B1. Armand Van Helden - Witch Doktor (Dark Ages Mix)
B2. Photon Inc. - Generate Power (Wild Pitch Mix)
C1. Aly-Us - Follow Me (Club Mix)
C2. After Hours - Feel It (The Salso Mix)
D1. Phuture - Rise From Your Grave (Wild Pitch Mix)
D2. Joint Venture - Master Blaster (Turn it Up) (Tha Wild Pitch Mix)


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Volume 1 of this expertly curated project of 90s Italian House - put together by Don Carlos.

If Paradise was half as nice… by Fabio De Luca.

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy.

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Repress!

The Dancefloor Records reissues on Emotional Rescue comes in the form a true House classic. Produced and released by the Chicago legend Andrew Komis, It’s You is an original Deep House bomb and an education to those increasingly misusing the term today.

Essentially a cover / updated version of the all-time early House classic in ESP’s Its You, this 1989 update shows how much the scene was progressing in just 3 years with a tougher, heavier and deeper 12” that was all about rocking club sound systems.

Coming out on Komis’ own (Dancefloor subsidiary) Big Shot Records, this might not of been as big as Dionne’s Come Get My Lovin’, but has long been an ‘in the bag’ record for the likes of Derrick Carter and Solar. Just one listen spread across the time-defining “Mixes” and it’s clear why.

The stepping bass of the New York – London Mix was so indicative of the time. As the latter’s ascent as a clubbing capital took hold, ears were pinned to what was emanating from across the seas, especially the clubs of NYC and ‘Windy City’. Trademark Komis bass and hats ride are all here to allow the breathy vocals space to do their magic.

However it is the Free House Mix that really shows where things were at. Skipping hats, electro-meets-Belgian bass and a dark synth line pull the track down before acid touches take the song to a much deeper place and has long been the favourite version for the discerning DJ.

Ending with what was indicative of the time, the title says it all with the NU Style Mix. A drum heavy work out, taking in elements of successful records of the time, we get Break 4 Love percussion arranged around a NYC influenced Konder’s style quick cut-up editing for a more 'freestyle' mix to round out what is simply, an underground bomb and therefore, worthy of what this label has always been about, bringing great records to new ears.

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Sonlight were originally known as The Elements, formed at Patrick Henry Junior High school, Cleveland, ohio. in the late 60s. The Band leader was Mark Anthony, with members Ulysses Barnes, Enos Scott, and Ronald Sims. Mark sang and wrote most of the songs with help from the band members. They cut their first single for Del-Nita Records in 1970 after which moved to Soul Collector favourite Saru records, recording a few nice singles for the label. In 1974 they released "Spinning Top" on Atlantic Records under the band name Moving Violation, after which a another name change leads us to Sonlight and this single which was originally recorded released on the Spearhead label. Modern Soul, Disco heads have always coveted this rare single, reissued here for the first time, in hand made sleeve for this press only.

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LIMITED EDITION WHITE VINYL REPRESS. A defining moment in dance music history was the day that Roy Davis Jr. teamed with vocalist and writer Peven Everett in 1997 to create this deep, ethereal, soul-music gem that helped launch an entire musical movement known affectionately as Speed Garage. The "Live Garage" mix is the most popular but the other mixes have grown in popularity over time. It is hard to believe that this record is almost 20 years old yet it still sounds as fresh today as it did so long ago. Truly a classic that deserves to be celebrated by a new generation of dance music lovers. Gabriel Play! A1 Gabrielle - The Scroll Mix, A2 Gabrielle - Tamborine dub, B1 Gabrielle - Words To Give By mix, B2 Gabrielle - Live Garage Mix


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More