SOUNDS OF BLACKNESS - The Pressure (FRANKIE KNUCKLES Lullaby Mix) (Red Text, sleeve corner slightly bent)

The fabled Frankie Knuckles Lullaby Mix finally surfaces officially, stripping 'The Pressure' back to Ann Nesby's stunning vocal and Terry Burrus' piano with Satoshi Tomiie's synths suspended in pitch-bent celestial zephyrs – a devastatingly emotional, percussion-free take that more than justifies its legendary reputation.

For the self-professed (and the genuine) aficionados, the Sounds of Blackness are synonymous with reverence. With origins at St. Paul, Minnesota’s Macalester College in 1969, the group grew to encompass all forms of Black American life, both the divine and the secular, with a community ethos that led the choir and orchestra to gain a fervent regional following. After eventually signing with Perspective/A&M Records at the insistence of Janet Jackson and Jam & Lewis, the group released their debut major LP The Evolution Of Gospel in 1991, which is where ‘The Pressure’ first appeared as a uptempo, contemporary house track split into two parts. Frankie Knuckles’ ‘Classic’ mix followed the same year, clearing the clutter of the original to showcase Ann Nesby’s stunning performance. This mix would grow to fabled status amongst the true house heads, as anyone who frequented the Sound Factory, or had the blessing of hearing the likes of David Morales or Danny Tenaglia spin, will passionately attest.

Yet despite the myriad of mixes—‘The Pressure (Pt. 1)’ 12” release boasted 6—rumors grew over the preceding decades regarding an unreleased Frankie Knuckles’ iteration previously only heard live: a devastatingly emotional mix which stripped the original to its essentials, sans any percussion, and included an unabridged vocal. This take, here presented as the debut promotional single from our forthcoming The Atheists Guide To Gospel Music Vol. 2, is finally available officially as Frankie Knuckles’ ‘Lullaby Mix’ of ‘The Pressure Pt. II’. Clocking in at just under 6 minutes, this miraculous version includes previously cut verses, placing added emphasis on the aforementioned Ann Nesby vocal, along with Terry Burrus’ gorgeous piano playing. Satoshi Tomiie’s drum programming is forgone, with his synths suspending the song in pitch-bent celestial zephyrs, with key stabs and bass also included in the dance. Its a special mix, one that more than justifies its legendary reputation. The lone conceit here being, if this is a lullaby, how could sleep follow from such a spiritual deluge? What type of dreams await?