UNPUBLISH

DANNY KRIVIT

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EDITS BY MR. K STRUT
The Original Rare Disco Mixes Edits by Mr. K (Year2003)

1. Diana Ross – No One Gets The Prize (Re-edited Jimmy Simpson remix)
2. Caress – Catch The Rhythm
3. Cymande – Bra
4. Betty Wright – Where Is The Love
5. LTD – Love To The World
6. Ecstasy Passion and Pain – Ask Me (Re-worked)
7. Lenny Williams – You Got Me Runnin’ (Breakdown Edit)
8. Sly & The Family Stone – Dance To The Music (Medley)
9. The Sisters Love – Give Me Your Love
10a. Genie Brown – I Can’t Stop Talking
10b. Tribe – Koke

This unrivalled collection, paired with years of experience behind the decks of New York clubs as varied as The Roxy, playing hip hop alongside D.ST, Red Alert, and Bambaataa, or guesting at the Paradise Garage alongside Larry Levan, rightfully places Danny up there as one of the world’s elite, truly able to play out that DJ cliché of ‘taking people on a journey’ with epic sets spanning up to seventeen hours.
The latest generation of successful DJs and producers are a significantly different breed. Today’s DJ will play short two hour sets from a box of the latest big tunes and producers will make tracks that might never leave the confines of their computer’s hard drive. It’s a world away from the analogue beginnings of dance music.
“You’re taking a puzzle. Parts that someone else did and you’re re-arranging those parts, you’re using some parts and not using others.” Executed well, the resulting “remix” produced a song that would keep people dancing harder and for longer than the original version.

With this album, ‘Edits by Mr. K’, Strut presents ten of the best edits from Danny’s archive, spanning 1983 to the present day. All are gems of their time and reflect his expertise both in the studio and his experience of what works on the dancefloor. But, despite the acclaim his work has received over the years, the early transition from successful DJ to successful ”remixer” was far from easy.

DJ Booth to studio
“My first remix was for Sleeping Bag Records. It was very disappointing. The session was more than 50% wasted time with the engineer saying, ‘We can fix that in editing’ but it was soon clear that he couldn’t edit. At this point I couldn’t edit either but I did know what a bad edit was! Soon after that I did a remix for another small label and déjà vu! The same thing happened again & most of the session was wasted. By now I had learnt how to edit, but only in theory. I knew I couldn’t do any worse than this guy but I just didn’t have the nerve to jump in & fix it.
“I’d heard a lot of other edits by DJs like Francois Kevorkian and Walter Gibbons but I didn’t think I was in the same league. These two frustrating mixes were the push I needed to start playing around and try ideas.
“I had a reel to reel as, back then, it was fairly standard equipment. If you wanted to record, there were no DAT tapes or CDs. It was cassette or reel to reel. Even back then cassettes were a little dodgy – you couldn’t call cassettes a master. But a reel to reel was a master of something, whether it was music that wasn’t released or a mix that you had done. People would also use the reel to reel as an effects box. We didn’t have these little silver Pioneer effects boxes, so you’d use the reel to reel as an echo chamber. That was very common.”

Editing Influences
“In a disco you can make very abrupt changes and somehow feel you’ve segued people into that, or feel they can move with that change. What I learnt from DJ-ing at the roller rink is how important the groove is. I like to keep to a groove, not to be monotonous, but to take you on a trip. Beat on beat mixing without paying attention to the groove can really break people’s mood.

The artists on editing
“I have spoken with a couple of artists and it’s a mixed bag. When it comes to classic records, they’re usually already in a situation where they’re not seeing any royalties. Sometimes they even appreciate the fact that somebody liked it enough to give it a second life. I generally work with a lot of artists that have been forgotten so it’s not like I’m re-working Sade or Prince. I’m doing stuff that’s quite obscure and forgotten about and companies don’t give it the time of day, even in their reissue series. When I spoke to Vince Montana, he was just flattered that I might be doing something like that, but at the same time he was saying, ‘Well, if it’s worth doing, how come I don’t do that?’ At least he was in a situation to be able to do it – many people aren’t that lucky.
“The other side of it is that I’m not bastardising these things, I’m not tearing them apart with a different track and saying that the original was OK but this is completely different, & better! I’m only working on songs that I liked from the start. I’m not messing with the vocals or getting rid of things. I try to complement it by only altering it slightly, really just extending it.”

Legitimate releases
“Since the ’80s, a bunch of these versions have become legitimate. I remember in particular when I would give Francois one of these edits he would say, “Oh this is really bad, you shouldn’t do this.” And I would say, “I only edited it. If you don’t want it, don’t take it.” But I was soon getting legitimate work from them. In ’86 I was given several projects from PolyGram, I worked on ‘Touch & Go’ (Ecstacy, Passion & Pain) from Sunnyview, Nuphonic put out ‘Love Is The Message’ and Salsoul (Unidisc) put out ‘Salsoul Rainbow’ and ‘Runaway’ (Salsoul Orchestra). Most recently, Ibadan released my versions of ‘Rock Steady’ (Aretha Franklin) and ‘Sultana’ (Titanic) and Strut’s ‘Grass Roots’ compilation and 12”s featured several edits and gave out a clear picture of my personal taste & what I’m about.”

Reel to Reel vs Computers
“Lots of times I would make a mistake, putting the wrong piece in backwards or in the wrong place and it turns into an idea. A good example was with ‘Let’s Start The Dance’ in ‘Rock The House’ with a couple of mistake edits in it that sound really interesting. I thought, ‘Hey that works’, so you run in to interesting things with tape that you might not with a computer.
“I started using computers about two years ago. I completely appreciate computers. The sound quality of a reel to reel is excellent but once you start handling a tape more than a couple of times you start to hear a quality loss. Reel to reels are also very touchy and hard to maintain. I feel the computer is very dependable and there’s so much more manipulation available with the effects. At this level it’s still not remixing, but you can add a little post-production.

Simon Haggis, December 2002.

THNX to Simon Haggis, Toni Rossano www.strut.co.uk STRUT
The Original Rare Disco Mixes Edits by Mr. K

1. Diana Ross – No One Gets The Prize (Re-edited Jimmy Simpson remix)
2. Caress – Catch The Rhythm
3. Cymande – Bra
4. Betty Wright – Where Is The Love
5. LTD – Love To The World
6. Ecstasy Passion and Pain – Ask Me (Re-worked)
7. Lenny Williams – You Got Me Runnin’ (Breakdown Edit)
8. Sly & The Family Stone – Dance To The Music (Medley)
9. The Sisters Love – Give Me Your Love
10a. Genie Brown – I Can’t Stop Talking
10b. Tribe – Koke

This unrivalled collection, paired with years of experience behind the decks of New York clubs as varied as The Roxy, playing hip hop alongside D.ST, Red Alert, and Bambaataa, or guesting at the Paradise Garage alongside Larry Levan, rightfully places Danny up there as one of the world’s elite, truly able to play out that DJ cliché of ‘taking people on a journey’ with epic sets spanning up to seventeen hours.
The latest generation of successful DJs and producers are a significantly different breed. Today’s DJ will play short two hour sets from a box of the latest big tunes and producers will make tracks that might never leave the confines of their computer’s hard drive. It’s a world away from the analogue beginnings of dance music.
“You’re taking a puzzle. Parts that someone else did and you’re re-arranging those parts, you’re using some parts and not using others.” Executed well, the resulting “remix” produced a song that would keep people dancing harder and for longer than the original version.

With this album, ‘Edits by Mr. K’, Strut presents ten of the best edits from Danny’s archive, spanning 1983 to the present day. All are gems of their time and reflect his expertise both in the studio and his experience of what works on the dancefloor. But, despite the acclaim his work has received over the years, the early transition from successful DJ to successful ”remixer” was far from easy.

DJ Booth to studio
“My first remix was for Sleeping Bag Records. It was very disappointing. The session was more than 50% wasted time with the engineer saying, ‘We can fix that in editing’ but it was soon clear that he couldn’t edit. At this point I couldn’t edit either but I did know what a bad edit was! Soon after that I did a remix for another small label and déjà vu! The same thing happened again & most of the session was wasted. By now I had learnt how to edit, but only in theory. I knew I couldn’t do any worse than this guy but I just didn’t have the nerve to jump in & fix it.
“I’d heard a lot of other edits by DJs like Francois Kevorkian and Walter Gibbons but I didn’t think I was in the same league. These two frustrating mixes were the push I needed to start playing around and try ideas.
“I had a reel to reel as, back then, it was fairly standard equipment. If you wanted to record, there were no DAT tapes or CDs. It was cassette or reel to reel. Even back then cassettes were a little dodgy – you couldn’t call cassettes a master. But a reel to reel was a master of something, whether it was music that wasn’t released or a mix that you had done. People would also use the reel to reel as an effects box. We didn’t have these little silver Pioneer effects boxes, so you’d use the reel to reel as an echo chamber. That was very common.”

Editing Influences
“In a disco you can make very abrupt changes and somehow feel you’ve segued people into that, or feel they can move with that change. What I learnt from DJ-ing at the roller rink is how important the groove is. I like to keep to a groove, not to be monotonous, but to take you on a trip. Beat on beat mixing without paying attention to the groove can really break people’s mood.

The artists on editing
“I have spoken with a couple of artists and it’s a mixed bag. When it comes to classic records, they’re usually already in a situation where they’re not seeing any royalties. Sometimes they even appreciate the fact that somebody liked it enough to give it a second life. I generally work with a lot of artists that have been forgotten so it’s not like I’m re-working Sade or Prince. I’m doing stuff that’s quite obscure and forgotten about and companies don’t give it the time of day, even in their reissue series. When I spoke to Vince Montana, he was just flattered that I might be doing something like that, but at the same time he was saying, ‘Well, if it’s worth doing, how come I don’t do that?’ At least he was in a situation to be able to do it – many people aren’t that lucky.
“The other side of it is that I’m not bastardising these things, I’m not tearing them apart with a different track and saying that the original was OK but this is completely different, & better! I’m only working on songs that I liked from the start. I’m not messing with the vocals or getting rid of things. I try to complement it by only altering it slightly, really just extending it.”

Legitimate releases
“Since the ’80s, a bunch of these versions have become legitimate. I remember in particular when I would give Francois one of these edits he would say, “Oh this is really bad, you shouldn’t do this.” And I would say, “I only edited it. If you don’t want it, don’t take it.” But I was soon getting legitimate work from them. In ’86 I was given several projects from PolyGram, I worked on ‘Touch & Go’ (Ecstacy, Passion & Pain) from Sunnyview, Nuphonic put out ‘Love Is The Message’ and Salsoul (Unidisc) put out ‘Salsoul Rainbow’ and ‘Runaway’ (Salsoul Orchestra). Most recently, Ibadan released my versions of ‘Rock Steady’ (Aretha Franklin) and ‘Sultana’ (Titanic) and Strut’s ‘Grass Roots’ compilation and 12”s featured several edits and gave out a clear picture of my personal taste & what I’m about.”

Reel to Reel vs Computers
“Lots of times I would make a mistake, putting the wrong piece in backwards or in the wrong place and it turns into an idea. A good example was with ‘Let’s Start The Dance’ in ‘Rock The House’ with a couple of mistake edits in it that sound really interesting. I thought, ‘Hey that works’, so you run in to interesting things with tape that you might not with a computer.
“I started using computers about two years ago. I completely appreciate computers. The sound quality of a reel to reel is excellent but once you start handling a tape more than a couple of times you start to hear a quality loss. Reel to reels are also very touchy and hard to maintain. I feel the computer is very dependable and there’s so much more manipulation available with the effects. At this level it’s still not remixing, but you can add a little post-production.

Simon Haggis, December 2002.

THNX to Simon Haggis, Toni Rossano www.strut.co.uk

MAESTRO

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https://youtu.be/GsmxlPu609k

4 years in the making for the first time in a motion picture 
The Movement that became dance music of today. 

starring:
Larry Levan, David Mancuso, Frankie Knuckles, Nicky Siano, Francis Grasso, Francois K., “Little Louie” Vega, Danny Tenaglia, Jellybean, Tony Humphries, Danny Krivit, Joaquin “Joe” Claussell, Richard Long, Alex Rosner, Keith Haring, Derrick May, Kenny Carpenter, Jose Padilla (Spain), Sven Vath (Germany), Mr. Mike (Switzerland), Dimitri From Paris (France), Boyd Jarvis, Fantastic Plastic Machine (Japan), Mark Oliver (Toronto), Frankie Bones, Danny Rampling (UK), Albert Assoon (Toronto), Alex Neri (Italy), Pete Tong (UK), Gregory Gray (Chicago), Bobby (UK), Fabrice (Italy), Ralf (Italy), Ron Carroll (Chicago), Craig Loftis, Benji Espinoza (DJ International, Chicago), Nori (Japan), Tony Desypris (Montreal), Ivan Iacobucci (Italy), Yukihiro Fukutomi (Japan), Billie (Artist), Robert Ouimet (Montreal), Steve D’aquisto Alan Thompson (UK), Antonio Ocasio, Patricia Field, Mike Stone, Ricky L & Sauro (Italy), Cosmo, Original Loft And Garage Dancers, Rene Hewitt, Smokin Jo, Robert Clivilles (C&C Music Factory)

SYNOPSIS
Maestro, a feature documentary, tells the story of how a group of people found refuge and a call for life outside the mainstream, what evolved was a scene that set the ground work for what was to come in dance music culture worldwide.
A film 4 years in the making, a rare insight into the underground world as it was.
It’s the first time this story is told in a motion Picture, included in the film are pioneer dance music DJs and producers, ”founding fathers”, its center being Larry Levan, as well as high-profile DJs of today.
It vividly portrays the world that spawned today’s dance music from 2-step, to the eclectic sounds of tribal, to pop artists. Parties from Ibiza to Philly, all are influenced by the quintessential elements that made New York City’s Paradise Garage and The Loft such a powerful cultural force in people’s lives.
DJs Larry Levan (Paradise Garage) and David Mancuso (The Loft) continue to be revered today as the leaders of dance music culture worldwide.
This seminal movement—encompassing dancers, patrons, artists, DJs, sound designers, and more—gave birth to DJ pioneers in the film and contemporary dance club parties across the globe.
Most film documents of this historical movement have fallen short of its true story and impact to the world, providing us with a glossed over account of the time. Opting for a more personal and candid approach, MAESTRO shows the true history of the people through a realistic creative aesthetic. Tracing the underground’s dance origin, MAESTRO brings out a real understanding of this intense lifestyle, and the lives they lived and died for. It is far from mere nostalgia, this film is like the music and experiences it chronicles.

THNX to: Gaia Somasca (2003)
www.maestro-documentary.com

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THICK AS THIEVES

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DJ SPUN & BEN COOK > THICK AS THIEVES > NOID RECORDINGS (Noid LP 004)

Noid recordings recently acquired the rights to the entire works of disco super-group, Emerson, Terraldi and Fuquido. And after lengthy discussions with the groups’ LA law firm, the original 8-track masters finally arrived in London. Of course, this caused uproar amongst the Noid artist roster.

The chance to get their greasy paws on such classic hits as ‘The Freakout’, ‘Lovely Day’ and ‘Body Karate’ was too much to take and it was ‘Larry Levan mixes at 20 paces’ as the disco kids fought for the right to remix. Naturally being such a bunch of utter vinyl junkies, the only way to decide such a serious matter was a disco quiz (with Noid Directors Dan & Conrad Idjut playing the part of Bob Holness of course). Well suffice to say that it was a frightening ordeal for any non-disco-aficionado that turned up at the Funkstar & Firkin that cold September evening. The run-of-the-mill Tuesday pub quiz had been hi-jacked by the Idjuts and, unless you knew the average penis length of a Studio 54 doorman, you’re chances of winning were somewhere between none and fuck all. It was a close contest, but after a sudden death quick-fire round, the Deep Fuzz production team of San Francisco won through, their ability to name the type of soap used in the Paradise Garage toilets putting them head and shoulders above the rest. So the master tapes headed back stateside.

There Deep Fuzz, headed by local waiter, dj and record dealer Ben Cooke, twisted the original disco grooves into a heady cocktail of nineties dancefloor madness. Look out for some more re-issues of classic Emerson, Teraldi and Fuquido kit as Noid continues to plunder the past for its daily dollars. Sincerely, Terry Fuckwitt & Hugh Janus Deep Fuzz are ben cook and gavin duffy who live in san francisco. having previously recorded on the idjuts noid label they released their debut album ‘body karate’, an album which compiled of a mix of their own music, disco cut-ups, alcohol and possibly some smoking. ‘Thick as Thieves’has them delivering more of the same.

This double vinyl doozy will work as a dj tool for people like paul murphy, ashley beadle, nick peacock and gilles peterson. Essential.

Taken from www.kudosrecords.co.uk (Year 2001)

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Leo Young – The Magickal Childe

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The Magickal Childe was recorded in studios in London, Oslo, Rome and Reykjavik and reflects Leo’s diverse DJ style as well his roots in Italy’s early house scene.

From the 70s funk infused “American Hero” to the trance of “Mega Therion”, to the tribal beats of “Evil Dildo” this album will appeal to all lovers of deep dance music. And silly song titles.

Leo Young Bio:

With his first release on Tummy Touch mere moments away (the diablo-funk-groove melange that is The Magickal Childe), it seems appropriate to offer up some background on our most unusual Italian friend to date, Leo Young.
Stamped through with all the hallmarks of a spiral-eyed, baby-eating loonball, Leo’s history is nothing if not colourful.
I mean, just check this out: Kicking off his DJing career through the unlikely medium of catholic church radio stations in his native Italy, Leo Zagami (aka Leo Young) found himself under the spotlight as the youngest broadcast DJ in his country after playing his own show at the tender age of 13 back in 1983.
By ’86 Leo had achieved national prominence through regular exposure on commercial networks countrywide, before taking up a residency in the once infamous London celeb haunt Legends in 1987 (apparently no less a figure than Mick Hucknall honed his party-hopping ginger wankster skills there by hitting on scared young girls with that awful beaming orange face of his).
The following year saw Leo reach the DMC national finals and shift further into the burgeoning rave scene that would consume him for the following decade. Recognised as the man responsible for organising Italy’s first rave in Rome back in ’89, L’Impero Dei Sensi was a three day non-stop extravaganza that galvanised Leo’s subsequent musical activities.
Further parties lured Detroit originators Underground Resistance and Juan Atkins to Europe for the first time, while he also takes the credit for giving The Prodigy their first gig outside the UK.
By 1991, Leo had initiated the seminal Friday Uonna club in Rome – another first in his country, combining as it did art exhibitions with an eclectic stew of house, disco and Detroit techno sounds – before opening The Underground in the catacombs of Constantine.
Soon after, controversy blew up around Leo’s reclaiming of a catholic church as the venue for his Sunday Morning Cosmic House events, which went on to run for six heady months before intervention of a non-divine nature led to the plug being pulled.
With some thirty records already released since 1987 on a brace of quality imprints from MBG to Tresor, and a DJing reputation built on countless world-wide performances and legendary 12 hour sets – perhaps most memorably at Berlin’s Tresor, where Leo was a fixture between ’95 and ’96 – the man’s contribution to dance music is significant to say the least.
As a footnote, Leo is also generally considered to be as mad as an upside down clown, renowned for a reckless penchant for ludicrous coiffeuring, questionable neo-pagan mystical interests, threatening verbal behaviour and convincingly delivered allusions to a bloodline of eccentric castle-dwelling Italian aristocrats. So what about it then?

www.TummyTouch.com

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Chicken Lips

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Chicken Lips are Andy Meecham & Dean Meredith also known as Sir Drew (Kingsize) and Psychedelia Smith (P.I.A.S.); together they are also Bizarre Inc. who recorded for Vinyl Solution having 3 top 10 hits in the early nineties with “Playing with Knive”, “Such a Feeling” & “I’m Gonna Get Ya” and travelled the world on tour.
They DJ together as a pair and have there own unique style of twisted funky deep house. They ran their own night in their home town of Stafford for a number of years which they recently re-launching under the name “Rude Rhythms”.
They have play regularly in the UK and have been djing at various European festivals as well as completing a recent short tour of California/Nevada.
Production wise so far they have had five singles as Chicken Lips:”Shoe Beast” (NME single of the week, shortlisted “Pete tong’s Summer Selection” album, Coolcuts chart).
“Git Back/Master Jammin” (No. 3 Beats chart, Buzz chart, Radio 1FM – Pete Tong, Steve Lamacq, Kiss FM radio – Matthew Kershaw).
“The Big Legs EP” which also received radio support from Norman Cook on Radio 1 and was the Breezeblock bomb on the Mary Anne Hobbs show, it also appeared high up in the Buzz, Cool Cuts and Beats charts.
“Jerk Chicken” the single that accompanied their debut album.
“Unreleased Dubs” which was mase up of 2 remixes they had carried out, including a remix for Bentley Rhythm Ace which was licensed back from EMI.Chicken Lips have had major support from DJ’s in the UK and overseas including Idjut Boys, Andrew Weatherall, Wiseguys, Jon Pleased Wimmin”, Josh Wink, James Lavelle and Norman Cook to name just a few. Their production style has been likened to ESG, the New York band, and encompasses live bass and keyboards, programmed beats and loops and crisply blended dub fx and filtered madness.

They have recently completed remixes for Nigo (Mo”wax), Bentley Rhythm Ace (Parlophone), Utah Saints (Echo), Stereo MCs (Island), Organic Audio (Tummy Touch), Playgroup (Source/Virgin) and are lined up for mixes for Groove Armada and Kinobe. We have also recently licensed one of their tracks to a new Linx advert!

Chicken Lips debut album, Echoman, was released in November to excellent press response. The guys also had mixes aired by Annie Nightingale (XFM), London Xpress (XFM) and James Hyman (XFM) to coincide with their album release.

CHICKEN LIPS NEWS*

Kingsize Records are very pleased to announce that Steve ‘Fella’ Kotey will be joining forces with the Chicken Lips Collective. Steve will taking the Chicken Lips sound around the world fulfilling the majority of the Lips international bookings . Founder members Andy Meecham and Dean Meredith will continue with UK gigs but their recording schedule and personal commitments are making it impossible to be continually travelling abroad with DJ bookings and the guys feel, quite rightly, that the music must come first. Steve, who has previously remixed for the Lips will also be working with Andy and Dean in the studio on some new material and there are plans for UK Chicken Lips parties at which all 3 members will be be playing.

For those of you not familiar with Steve he is also the owner of the Bear Entertainment/Big Bear imprints and records and produces for his own labels as well as for Discfunktion, additionally he has remixed for Nuphonic, Kingsize, Tummy Touch and Strut to name a few. His personal DJ’ing career has so far seen him as a regular guest at UK venues including Fabric, Back to Basics, Cargo etc, he has also taken his DJ set to the US, Italy, Japan and Norway.

A new Chicken Lips DJ mix from Steve will be available to promoters who would like one, expect the Chicken Lips blend of disco, house, electro and anything with that Lips twist. New group press shots will also be available within the coming weeks.

For further information please contact Richard or Julian at the label.
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Leroy Hanghofer – WHITE TRASH

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Leroy Hanghofer – WHITE TRASH – 2LP Gomma

bathroomboogie
klon (your body)
the favorit song
das pi
traumerei
dumm 1 – 2
h-boy
pling plong
the wei
klon (your body)
hippie spick

Gomma Gang / Munk production (1999-2002)
I like it! Different sound; this music is without time!
Style: electro, boogie, funk, afro, pop with happy voices: give UP your floor. TIP! dax

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Pastaboys – Daylight In The Invisible World

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Pastaboys Daylight In The Invisible World (Irma Unlimited)

Free Your Mind feat. Wunmi
Pasta E Salsa
O-Zone
Fallin’ feat. Wunmi
Mama Marimba
Rame Goes Cuban
He’s African
On & On (It’s The Way)
Red In The Mood
Babalawo feat. Wunmi
The Chant
Chimes Of Freedom feat. Osunlade

Influenced by disco, jazz, Latin and Afro, Pastaboys (DJs Uovo, Rame and Dino Angioletti) have remixed for the likes of Strictly Rhythm, NRK and MAW in the past. Their finely crafted, much anticipated debut album includes contributions from Soul II Soul vocalist Wunmi, Osunlade, Ohm Guru, Maestro Garofalo, Cristian Lisi, Banda Favela’s Roberto ‘Red’ Rossi and singer Jovin.

Pastaboys are three DJs from Bologna: Uovo, Rame and Dino Angioletti. Artistically born in the mid-nineties, they started producing for Irma Records under different guises, until they came up with the Pastaboys moniker for the release of their “Tortellini EP” on their own Instinctual label in 1995. The three partners are residents at the most popular Bologna House club Kinky, but constantly touring Italy and abroad. As House producers, they are influenced by sounds like disco, jazz, latin and afro. They have been remixing for labels such as Strictly Rhythm, NRK and MAW. Together with the Italian duo Bini & Martini they created the project Goodfellas. Pastaboys have been working on this debut album since 2002. The project involves names like:
– Osunlade, DJ/artist/producer spearhead of the spiritual/tribal House movement with his Yoruba label. Together with Pastaboys they form Atelewo, included in this album with the track “Chimes of Freedom”, released as a single on Unlimited in 2003.
– Shawn Cristopher, singer responsible for various House hits over the years. On the album she is featured in a re-recording of “On & On”, which originally appeared on “Tortellini EP”. – Wunmi, singer and dancer initially known for being Soul II Soul”s front woman on their legendary first album. Later became involved with Masters at Work and Bugz In The Attic, among many others. She wrote and sang three songs on the album: “Free Your Mind”, “Babalawo” and “Fallin”.

www.pastaboys.com
www.irmagroup.com

(Year 2004)