WOW! After a break of about 30 years, I played this album today. Talk about a hidden gem! Side 1 particularly hits the mark, combining solid UK house and Chicago-style house grooves. The first 3 tracks are absolute belters - classics in fact. Play with the volume up - impossible not to shake something in the process. Jealousy & Lies is an absolute gem. Todd Terry features his trademark production skills for both Can You Party? and A Day In The Life Of. Make no mistake, these two tracks are absolute house-killers, worth buying the album for alone. Finishing off is a slightly unknown effort - Number Nine - featuring that slow, throbbing kinda groove with an echo based, gravelly voiced male, and uh-uuuh, woo-woo girlie vocals. What the relevance of the number nine is though, isn't clear, other than following the announcement of it, the line "it's 'time for house' " is repeated in that deep "I'm advertising a film" type low-low vocal. Side 2 has less impact, but is still interesting. Starting with Don't Turn Your Love, we have a vocal chant-led lyric and plenty of fancy keyboards on show over a basic throbbing back beat. Then halfway through a flute intersperses matters - yes - a flute! It's at this point you realise this is quite a neat track combining all sorts of tricks, but needed to be a shorter mix to really hit the spot. The mid point track is Magic, and is quite odd in some respects. After starting with what sounds like the Salsoul Orchestra, bongo's a plenty, it then settles into a Joe Smooth style groove with a non-stop male chitter chatter carrying it along. "It" is magic, so we're told. The man wanting his woman etc ... then the lines "You handcuffed me to your heart, I don't think we will ever part" and (weirder) "Your sweat tastes like honey, I want to drink it". Not the usual lines in this sort of music! Concluding the album - And The Break Goes On - is another one that's not quite sure what it wants to portray. Blame Tommy Musto I say! It's got a sort of low-raw-chugging do-do-DOO-doom-doom-a-doom rhythm, with horns punctuating the air in between male "grunts", and has the feel of Brass Construction on acid. Then halfway through, the surprises ... a neharrrrrrrrr, neharrrrrrrrr, neharrrrrrrrr, neharrrrrrrrr, chant that wouldn't be out of place on a mid-90's Goa track, (where'd that come from?) followed by a female moan moan (I'm having an "O") for half a minute. Then it's more Move Your Body (repeat ad-infinitum), and neharrrrrrrrr's whilst all the while in the background it sounds like Ian Levine and Fiachra Trench located their Hi-NRG bongo/drum posee in to finish it all off. The 'fun' is Side 2. The 'seriously great' Side 1.