Husayn's "Changes," for example, revisits the same synthesized optimism elements as Stevie Wonder's Talking Book (1972, Tamla/Motown).
But while DFA rules the indie-dance world through a distribution deal with international entertainment conglomerate EMI, Sa-Ra languishes, forced to license projects with modest albeit sympathetic companies. Husayn explains that his group is waiting to partner with a powerful company (ostensibly a major label) before it presents the full Sa-Ra experience.
"Any time Sa-Ra puts some music out, it should be a big deal," he says. "But you can't know if it's a big deal if you don't even know it's available." Well, now you know.