I would pretty much bet my soul, first born and everything else on the fact that had this truly amazing and well produced record gotten as much hype, talk and promotion as Iio's Rapture that it would have been equally as big, if not more. I have never played this record at a club and Not had a packed dance floor filled with people obviously enjoying what they're hearing. It's just that good.

Oh my GOSH how I love this record. The tune sticks in your head for hours after you hear it. I still prefer the Original Extended Mix, never did really have much of a use for any of the other versions - either on this release or on any other release.

That little rhythm guitar thing during the "Eis-baer" part, I swear it sounds like it was sampled from The Go-Go's "Our Lips Our Sealed" intro.

This was a bargain bin find for me if there ever was one - probably the best 2 fillers in my record crates during in 1998.

'Shake Your Body Down' is a Hip House-esque track built mainly on samples, most notibly from Pat & Mick's 'Use It Up, Wear It Out' (hence the "Shake Your Body Down" title).

I actually preferred the B-Side, 'Nobody Else' - a simple but effective piece of filler built around a heavy funky house bassline, The Spinners' classic "Body Language", and Loleatta Holloway's "Love Sensation" acapella. Stellar!

This release was probably the best kept DJ secret of 1994-95, as most people like me, who usually skip over the dubs when listening to new vinyl. But that means you'd miss out in learning that The Supa Hungah Dub is actually *full vocal* - and by far the best and heaviest mix on this single production-wise. It's got that trademark Basement Boys sound, not unlike Crystal Waters' 100% Pure Love. I'd play it today in any vocal house set.

I love this 12" - The Basement Boys did a fantastic job with the song - the Proper 12" Mix has a bit of a 'gritty' feel to it, mainly brought on by the distorted vocoder effect used on Lenny's voice, which goes oh-so-well with the rhythm track.

What really got me though was the XXX Rated Dub - Hilarious!! Have a listen! It sounds inspired by Sweet Pussy Pauline, I'm just curious who did those vocals! I wouldn't be surprised if it was Lenny himself, with the Basement Boys pitching it up afterwards. "ooooooh boy, this is a happy pussy..."

Fans of 90's Rollo & Sister Bliss / Faithless / Our Tribe, etc productions should love the Kiss Mix, remixed by Sunrise (whoever that is). It has a fantastic intro, and a pure stadium house feel to it. I used to mix it with the Tuff Mix of Faithless's Salva Mea, just before the beat fades out and Maxi Jazz starts talking about the ground disappearing - makes a great overlay to compliment the great intro.

I never understood what was so good about the Creamer & Stephane K remix, I always thought it was dull as dishwater in every way. In my 4 years since the track's release working at the same club at least 3 nights a week, I never played it once - it was all about the Riva Remix which always packed the floor regardless of how late or early it was. Maybe cause it was the first one I heard - I'll never forget when my buddy came in after a trip to Europe in late 2001 & brought that record into the booth, he was like "here's a gift, play it often". It was also a reasonable 134 BPM which made it suitable to mix into most anything. Late at night I would pull out the Paul Van Dyk or AVB mixes which worked just as well.

Great song as usual from Ru, but this has seriously got to be one of the stupidest 12 inch releases ever. They completely omitted Kupper's Extended Version (the main mix) in favor of 2 Radio Edits? Rhino is usually really good with their releases but this decision was just dumb, and probably cost this song some popularity and US Club play since most DJ's back then were still relying on having the best mix on vinyl. Thankfully the promo release had it, but it was only released to specific pools. On the bright side, Kupper's Dub was pretty good, but for little else than filler.

Great song with somewhat decent remixes, but they were a major pain in the a$s because of their shortcomings.

The Extended Mix was useless, as it was too laid back for club play, except for maybe as a closing track. Still, might as well just play the LP version for that purpose.

The Cappella Club Remix was obviously created with the mindset that it would get played based on the "Cappella" name since they were so big at the time. The production value is fine and it definitely has the Cappella sound, but overall had very limited appeal for a commercial dance floor as it is 95% instrumental and too techno-ey for anything other than a 4 AM warehouse party in 1993. Cappella were great at working with their own material but not with others', as I have yet to hear a Cappella remix I enjoy.

The Hey Mix was a step up from the Extended Mix - Good breakwork and more uptempo, but at 118 BPM it didn't mix well with a lot of other big records at the time. Also lacked energy, and only really worked as an early night filler.

Speaking of energy, the Microbots Remix was by far the best one of the bunch with its catchiness and great energetic melody, but it was an absolute nightmare to beat-mix. The extra 1/2 bar in the chorus only added to the programming headaches - and that ending sounds like the whole mix was accidentally truncated and that there should be a lost 'part 2' floating around somewhere. Sadly this is untrue.

Thankfully we had Remix Services at the time. I know it's 15 years too late but it you're looking for a much easier version to program, look for Direct Hit Issue 8 - They put it as part of the Euro Megamix II, which is a three song mix. For Always, they used the breaks from the Hey Mix, brought the tempo up, and added them to the Microbots Remix so you can actually beat-mix it properly now. Exactly the kind of thing Remix Services were so good at doing - making corrections, and picking up where the original producers left off.

Check out the "Start-Stop" mix - totally epitomizes what made Roulé such an amazing and ground-breaking label. I have yet to hear another track like this. If you could get past having that crazy intro play tricks with your mind while guessing at whether or not the first break will hit at the right time in your mix, then this great piece of filter house was definitely a treat. Its shorter length made it useful as a changeover track and / or filler, but those crazy breaks certainly got the dancefloor's attention. I'd love to find out how they emulated that "Tech-1200 platter-creeping-to-a-stop" sound.