Salsoul Records officially release the Pangaea’s mix of “Stand Up,” a rendition to Loleatta Holloway. Good news for those who missed the White Label 12-inch from Hessle Audio’s member that came out in early August as “Devotion 17” through Hadal and packaged with an edit of Nomad’s ‘Devotion’ on the A-side. It has been doing the rounds since, either as a soulful play on the radio or a signing DJ moment in sets. The flip-side is about to remember the leading ’70s disco diva from Chicago. A classic revisited that went sold out. A moving highlight of the year is now available.
Kevin McAuley (a.k.a. Pangaea) approaches to Loleatta Holloway’s classic with reverence bringing up a bit of suspense. It takes a minute and a few seconds before her full-bodied gospelized vocals irrupt in tremendous energy. If you have forgotten this is a re-edit, heavy-bass points the intro to clarify what you are about to listen is a respectful time capsule from current sound perspective. He compassed a nitid way that belongs to the tradition of UK bass artists, bearing his dubstep signature credited from the beginning in 2007 all through his career to “In Drum Play,” his debut in the album format back in 2016. If there were hard-hitting percussions, this time around Pangaea flourishes an in-out Brazilian-style percussion loop to reach Loleatta’s soulful and timeless workout.
All the Loleatta’s whoops and shouts come from an acapella, the breaking part of ‘Dreaming,’ a song included in the album “Loleatta” (Gold Mine Records, 1976). Like the original, the re-edit placed her in a central position. She is the meaning of the track, flanked by stripped-back rhythm from both sides, at the beginning and the end and contrasting with the tech-treated reimaging speech in the middle. Sparse and minimalistic beat that acts elliptically, like the omission parts of a sentence or a statement, a sequence of dots for the updating.
Pangaea’s rework makes me think of the origin of House music where re-edits created new versions of soul and funk classics in reel-to-reel tape to play differently every day. Those that distinguished the dance-floor sound of Music Box from the one in Power Plant, the two Chicagoan clubs fronted by Ron Hardy and Frankie Knuckles respectively. Those pioneers shared almost nothing in music style but friendship and Loleatta Holloway in their respective charts.