A - A true top-five peak record at The Garage, this Thelma Houston burner from 1977 was "a highlight whenever Larry played it," Danny Krivit recalls... "and he played it a lot!" Danny's edit is a homage to Larry and Frankie Knuckles - in particular, a reel to reel edit that Frankie did back in the day and shared with Krivit. "Reels were problematic, & when I tried to get it again from him, unfortunately he had lost it too." The song (a clear attempt by Motown to capitalize on the previous year's monster hit "Don't Leave Me This Way"). What sets "I'm Here Again" apart though, is the incredible second half, not surprisingly also the main focus of Mr. K's edit, along with a new straight to the point intro. Over a vicious groove reminiscent of the Originals' "Down To Love Town" breakdown (Michael Sutton wrote and produced both "Love Town" and "I'm Here Again") Houston delivers soul-stirring ad libs as the band crackles with electricity behind her, the piano chasing a descending string riff so eagerly it almost trips over itself. Pure dancefloor peak energy!
B - This band was a departure from the usual Motown session guys, and was comprised of a group called the Young Senators from Washington, DC. Who later formed the nucleus of Chuck Brown and the Soul Searchers. Motown was finalizing its move from Detroit to Los Angeles, and this 1972 Eddie Kendricks session was among the last to be recorded at the famed "Snake Pit" aka Studio A in Detroit. According to Young Senators percussionist Jimi Dougans, "Girl" was recorded at three o'clock in the morning, which perhaps accounts for some of the heavy vibe and distinctly different sound than the typical Motown pop style the label was known for. In a time before 12-inch singles, this was one of those first "made for a club" proto-disco records that could hold its power and even shine on a big system. In fact, Larry Levan used it to test the sound at the Garage. When he got "Girl" sounding good, Danny says, "he knew the system was really pumping and anything else he played would sound good too." The original album cut "was typical of a lot of records, where producers fade out right when the record is climaxing," Danny says. "On a dance floor where people absolutely love the record... they'll just look at the DJ like, 'Why'd you fade it out?'" Taking matters into his own hands, Mr. K edit again aims at the climactic back half of the song, engineering a nearly 7-minute climatic dance floor filler.
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Welcome to Phonica Records' digital gift cards page.
This is a virtual gift card or voucher that allows you to buy anything on the site (apart from a few exceptions detailed below). The card or voucher comes via email to an address of your choosing, with a unique code that can only be used once.
We sell electronic gift cards in denominations of £10, £25, £50, £100 or £250. You can mix and match or buy multiple vouchers to get to the amount you want to spend. You can redeem a single gift card per one checkout transaction.
Once purchased, the gift cards cannot be exchanged for a denominal constituting their added values (e.g. 2 x £25 gift cards cannot be exchanged for a single £50 gift card).
You can personalise the gift card with your message and have it sent immediately upon completion of the order or at future date of your choosing, such as for a Birthday.
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We also sell traditional, physical gift vouchers for use at our store at 51 Poland St, London. These can be purchased and redeemed in the store but cannot be used on the website. However, if you do want to use them on the site, or want to use digital gift cards in the store, its best to contact us at the address below and we can work something out.
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Email: customerservice@phonicarecords.com
Registered in England and Wales under no. 04625246.
