Secret-weapon late-70s mix; more light-footed, upful and optimistic.

Pure fire.
Leroy Brown’s killer detournement of Bobby Bland’s classic Ain’t No Love In The Heart Of The City, plus Clint Eastwood’s storming deejay excursion.
It’s a shame there’s no room for the stunning dub on the original Stagesound release of the Clint, but you can’t have everything.
It’s a must.

Dazzlingly brilliant, pioneering dub from 1975, laden with genius, fresh air, good humour, and strangeness.
Woman’s Dub is astounding, still — a dub of Jimmy Riley doing Bobby Womack’s Woman’s Gotta Have It. ‘She’s gotta know she’s not walking on shaky ground,’ run the lyrics — amidst an awesome musical evocation of the far end of the Richter scale.
Hotly recommended here at HJ for decades.

With Intrusion / cv313 remixes.

Surprisingly the first time on 12” for this brassy, string-laden, modern/Northern crossover classic, more Philly than NYC. Beautifully written by Thom Bell, expertly remixed by Tom Moulton.

Remastered direct from the original master tapes, with previously unreleased outtakes and rarities — including Patti’s 1975 RCA audition tape.

Total murder.
Bernard Brown, Carlton Gregory, and Noel ‘Bunny’ Brown (from the Chosen Few), originally on the April imprint out of NYC in 1978.
Steppers paranoia par excellence.

Ravishing black harmony roots; cheerfully apocalyptic, rhythmically swinging and buoyant, with bubbling horns and stripped dub. It’s a must.

Superb, under-the-radar, late-seventies roots. Beautifully sung, punchy, serious-minded; but under-stated and natural.
‘The world is getting dread… dreader dread… so stand up, and look up… for the time is so hard… harder times to come.’
Crucial bunny.

Last of PU’s cheeky threesome of early-seventies soundtracks for the noirish erotica of Luigi Scattini, with lots of electric piano, wah wah and vocalese, drama, melancholia and sleaze, shot through with spaced-out jazz, true Umiliani style.