Success, Vinylly

Gary Davis scored an underground dance sensation in 1979. In 2004, he heard it for the first time.

"When you do reissues, that brings up the value of the original," Gonzales says by cell from his New York studio. "A lot of people don't like reissues or whatever, but you gotta think about the kids that can't spend $200 for a record. It's all about education and passing the music on. That's what we try to do is pass the music on."

Davis is flattered by the attention: "It's telling me if you do something well, sooner or later, people are gonna discover it." More than anything, he doesn't want to be remembered as some kind of aging, one-hit footnote in the history of disco. He's been making music and movies for 25-some years without recognition; the only thing the cult cred will change is the ease by which it's done. Like Gonzales, he sees himself as a part of the musical continuum, more for the generations to come than for the ones that have already disappeared.

"I want people who are out there struggling to know: Do not depend on other people having control over your destiny. If you wanna do it, do it!" he says. "The best part is doing it, so why worry about all this other nonsense? I've always felt that way, but now I have the evidence to back up what I've been telling people all along. It gives me the credibility I deserve."

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