New York. Little Annie is back. And with her comes analog heat. The blur that arises when tape loops define the sound. It is dark and seductive here. As if the old Word Sound dub had charged itself with sex instead of sickness. Little Annie right in the middle of it, singing and reciting dangerously slowly, does not ask for much – only absolute devotion: »Would you love me if it wasn't exactly the right time and place to do such things?« The one she addresses should risk it, just as Annie risks something. Today, where dub is clear and digital, elegantly swinging in rhythm and sound, she emerges from the New York New/No/Wave/Disco hole, and her slow-mo poetry opens dub up for sex again. Sex between people with blemishes on unflattering parts of their bodies, with slightly unpleasant smells, because they had to sweat through their first night in almost airless, hot rooms before their bodies could find each other.

Annie and Legally Jammin' give dub back its analog insolence, which it got through Adrian Sherwood when he did not yet have complete control over his tape machines. On this record, people ask to be loved – tangibly and without regard – and Annie articulates this desire with her dark, experienced voice. Together with other experienced people like Kid Congo Powers, Cem Oral a.k.a. Jammin' Unit and Legally Jammin', who impressively constructed this dirty, cheap New York electronic beat atmosphere in Düsseldorf, Mexico City and, of course, New York.

Credits
Text: Werner Ahrensfeld