We Build Love Steppin’ Out by Flower Blossom: A Garage House Gem That Still Kicks
Alright, let’s get real for a sec. We Build Love Steppin’ Out is one of those albums that sneaks up on you, like when someone drops bass so heavy it rattles your fillings. Released in ’89 under Movement Soul and Data Base Records, this thing screams UK-US late-night vibes with its raw garage house energy. And yeah, Gary Michael Wade was all over this project—writing, producing, arranging, mixing—you name it, he did it. Tony Smallios handled the engineering, but honestly? This feels like Wade’s baby from start to finish.
Now, I’m not gonna sit here and pretend every track slaps equally because they don’t. But two cuts stand out hard enough to make me wanna break something—or dance wildly, whichever comes first.
First off, there’s "We Build Love (Steppin’ Out) (Junior’s Mix)." Oh man, this tune hits different. It’s got that classic garage shuffle, crisp beats punching through like fists at a bar fight, and these swirling synths that feel like neon lights melting into each other. The vocal chops are chopped just right—not too much cheese, just enough soul to keep you hooked. Every time this track drops, I swear my heart skips a beat. Like, how does something from 1989 still sound fresher than half the crap getting released today? Junior knew what he was doing; no doubt about it.
Then there’s "We Build Love (Steppin’ Out) (Club Dub)." This version strips everything back to basics—a proper workout for the speakers. No frills, just pure rhythm section domination. You can practically hear the sweat dripping off the dancers as this one plays. It builds slow, teasing you with little tweaks here and there until BAM—it locks into a groove so tight you could bounce quarters off it. If you ain’t moving during this part, check your pulse. Dead people probably move more than you would.
Look, I’ll admit, some tracks lean repetitive, and maybe the whole “Don’t Do Acid Or Dope Mix” thing feels kinda preachy after a while. But who cares? When an album delivers THIS much heat, minor gripes fade fast. Plus, let’s be honest: the fact that this came out in the same year as Back to the Future Part II makes it even cooler. Imagine Marty McFly vibing to this while cruising on his hoverboard. Iconic.
Here’s the kicker though—what really sticks with me isn’t just the music itself. It’s the way albums like this remind us where electronic music started before TikTok DJs ruined everything. Back then, it wasn’t about algorithms or streaming numbers—it was about making people MOVE. Pure, unfiltered passion poured into wax.
So yeah, if you’re looking for perfection, go somewhere else. But if you want grit, groove, and a taste of what made garage house legendary, cop this album ASAP. Screw nostalgia—it’s timeless anger wrapped in beats.
