Pop & Rock Новости

An electronic record label, discovering cities and producers through a various LP.

Follow Me, Why Don't You Follow Me...
If Peace, Love, Unity And Freedom Are Some Of The Pillars Of House
Music follow Me' Is A Call To Action. This Vocal Driven Cut
Instantly Become An Anthem And One House Music's Most Revered
Songs. Although They Did Not Release More Than A Dozen Singles,
Aly-us Made Their Greatest Impact With The 1992 Single "follow Me."
Produced By Kyle Smith And Written By Smith With Vocalists Eddie
"super" Lewis And William "kaylin-x" Jennings, The Deep And
Uplifting Track Became An Early-'90s House Classic And Continues
To Be One Of The Most Memorable Tracks Out Of The Vast Strictly
Rhythm Catalog.
Original Mix On The A, And Dub On The B-side. Available For The
First Time As A 7´´.

Soulful Disco Jam And Paradise Garage Classic From The Producer Of Hits Like Taana Gardner's heart Beat' & Gwen Mcrae's funky Sensation'

Although Coming From A Family With A Music Background, It Wasn't Until Later, In 1979, That Kenton Nix Started To Make Moves In The Industry. Kenton Had A Test Pressing Of This Song Of His, A Song He Called "work That Body". The Record Didn't Have Vocals Yet, But He Brought The Record To The Legendary Paradise Garage And Gave It To The Even More Legendary Larry Levan In The Dj Booth. Larry And The Crowd Loved The Record And Kenton Asked Larry If He Couldn't Help Him Get The Record To Salsoul Records. Larry Said, "no, We're Not Gonna Go To Salsoul This Is A West End's Record, We Gonna Give This To West End." And Since Mel Cheren, The Owner And Former Of West End Records, Was Part Owner Of The Club - Kenton Got To Meet Him, It Hit Off And The Rest Is History. The First Of His Songs On West End Records Was "work That Body", There Was Now
Vocals Added To The Song From This Young Lady Called Taana Gardner. This Disco Workout Was Followed By Other Hits For Taana Like "when You Touch Me", "no Frills" And The Song That Would Become West End's Biggest Hit & Most Sampled To This Day - "heartbeat".
Similar To Kenton's Other Productions For Taana Garder, there's Never Been (no One Like You)' Is A Classic Disco Jam Which Paired With Larry Levan's Mixing Style, Gave West End Its Signature Sound. This Record Has Been Very Influencial In Dance Music. If You've Ever Heard Ten City's thats The Way Love Is' You Can Probably Notice The Similarities In The Arrangements And Vocal Stylings. Essential West End Release Available Now On 7'

Repress from space-disco LP from 1983/1984 by Argentinian group led by keyboardist Bruno Carlos Musso.

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Carefully remastered by Fabrizio Martina (Jolly Mare), who also produced the bonus track (a disco-club oriented remix).

Tobago Bay Tobago Night / No quiero casi ni pensar / Será felizcerca de ti / Verano largo sin final"

Ever dreamt to travel to Trinidad&Tobago

Disco Segreta makes this dream come true with its 6th release: the muchawaited officially licensed reissue of this tropicalo-disco synth bass boogie atomic bomb, from the original analog masters.

Written in late 1983 by Mario Baldoni aka Miro (of Real Life Games' LP(1977) and Brina's Stranamore' (1984) 7' fame, was originally released in July 1984 on the small Pineapple label - a sublabel of Armando Sciascia's Vedette' - with close to no success and a pressing fault: a glitch on the vocalversion, that affected all copies.
This tropical summerish blend of italo and boogie, along with the male/femalealternate spanish/english singing, turned into a true classic of the genre over the years, slowly making the playlists of the most respected DJs and diggersworldwide.
The 4-tracks 12" features the original vocal and instrumental versions in theiroriginal lenght, carefully dubbed from the analog stereo masters and takenback to new life through Disco Segreta's usual respectful mastering. Also, twonew remixes are featured.

Deep Deep Down Inside!
With The Masters At Work Name Under Contract Elsewhere At The Peak
Of Their Career, Kenny Dope And Louie Vega Had Little Choice But
To Work Under Other Names For Their Strictly Rhythm Projects.
Hardrive Became Popular, Largely Thanks To The Iconic 'deep Inside'
Whose Vocal Hook (from, Barbara Tucker's 'beautiful People') And
Bass Line Helped Made The Track Become One Of House Music's Most
Memorable Hits. sometimes A Record Just Manages To Capture And
Distill The True Essence Of What This Is All About And 'deep
Inside' Is One Such Record, It Bears All The Hallmarks Of Golden
Era Masters At Work, All The Signposts Of What Was Happening In
Nyc's Clubs In The Early To Mid 90's Were There Within It's
Grooves. You Know A Record Is Good When It's Still Being, Quite
Literally, Hammered Nearly 25 Years Later'. It's No Surprise Even
Kanye West Would Sample This Classic To Make Another Chart Topping
Track! This One's A Straight Up Essential For Any Self-respecting
House Music Aficionado. Availble For The First Time As A 7'.
Original Mix On The A, Dub On The Flip. You Know What To Do!

You Got Me Luv Dancin'... Luv Dancin' Is An Absolutely Essential Record. The Underground Solution Was One Of The Monikers For Roger Sanchez, One Of The Most Prolific House Music Producers In The 90s. This 1990 Anthem 'luv Dancin' Is A Nyc Deep House Benchmark. Based On Arthur Russell's Disco Classic 'is It All Over My Face' And With Elements Of 'the Bottle' Interspersed With A Deep, Rolling Garage Bassline, Dreamy Keys And Pads, The s' Man Crafted A Timeless Piece Of Dance Music That Still Inspires Today And Is Often Imitated Yet Obviously Never Bettered ! A Side Is The Remix Version Featuring Jasmine On Vocals, While The B Side Is The Sought After in Deep Mix' From The Original 12'. As With All Our Ny House Classics, First Time Available On 7'

Here's one for all the hardcore Disco and Soul lovers out there, one of the finest and rarest manifestations of the legendary writing, arranging and production team of Randy Muller and Jeff Lane (Skyy, BT Express, Brass Construction, Aquarian Dream, Spiders Webb and many more!). First appearing as a 'Columbia Records Disco Series' promo 12" in 1976 this is a wondrous example of that mid to late 70's uptempo Soul sound morphing into Disco, and boy are we glad it did! Drenched in pure Philly vibes 'I'm Ready To Give Up My Life' is a real beauty, clocking in at over 9 mins of pure dance-floor joy with soaring strings and a driving rhythm. Pure class all the way and one for the aficionados for sure. Beautiful Soul music that will certainly deliver the goods in the club indeed. As per the original 1976 promo release this 12" features the same program on both sides.

This underground Disco classic has been legally reissued by Above Board distribution in conjunction with the legal rights holders - Sony Music Entertainment. This high quality repress features original Columbia white label Disco 12" artwork and has been remastered from Sony's original sources by Optimum Mastering, Bristol UK.

Offical re issue 2018 Ultra-rare proto-house vibes from Chicago courtesy of Still Music.

This one's long been coveted by followers of the jacking beat, the apostles of WBMX.

Produced by Mike Macharello & Duane Thamm Jr this is a truly unique record and one that is very hard to obtain.

If you dig the earliest grooves from the Windy City, or you have a passing interest in Italo or Freestyle then this is for you!

A fully legit 12" reissue, taken from Still Music's recent, comprehensive overview of the 'Let's Dance' label this is unmissable.

In 1982, a group of friends deep into post-punk, jazz and dub got together in Mad Professor's studio and lay down their youthful interpretation of a NYC disco cut. Their unique take included trombone, vibraphone, piano, and an ital dose of tape delay. They called the song Trouble and released two versions (vocal and dub) on their friend Tony McDermott's !Drum! label with artwork inspired by Russian Constructivism. TIP!
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The group, comprised of Justin Langlands, Chrysta Jones, John Schofield, Tom Dixon, and Dave Killen, decided to call themselves A-Team, having no idea that Mr.T and Co. would make them almost totally ungoogle-able 30 years later. The result of their adolescent studio idealism sounds akin to otherdisco misfits like Arthur Russell, Maximum Joy, Talking Drums and wouldn't sound out of place on legendary NYC label 99 Records. Remastered with an extended Club Dub formaximum dance-floor action.

Series 4 of East Village Edits which is getting known as the essential fire starter records for DJs. As always DJ Monchan spices up the Dollar bin records with juicy hip shaking cuts, at the same time, he picked abstract tracks to turn them into happy floor friendly tunes.

Official Mr Bongo reissue of the ultra-rare Nigerian disco-boogie, 'Viva Disco', album from 1980.
Originally released on the Afrodisia label, this one is unknown to even the most knowledgable collectors out there.

Tunde Mabadu recorded two albums in the 70's - 'Viva Disco' and 'Bisu' as Tunde Mabadu & His Sunrise. Perfect examples of golden-era Nigerian disco & boogie that still hold their own today.

Cedar Sound Workshop, Bradford James And Monchan, Who Respectively Have Been In The Music Industry Well Over 30 Years, Cultivated The Duo In 2017. A Side Features A Csw Remix Of Chicago House Maker Jordan Fields Track Entitled "the Art Of Dancing". Original Track Has A Classic Acid Bass Line On Minimum Machine Rhythms. Csw Transforms It To Their Deep House Fantasia. B Side Features Two Funky Driven Disco Edits From New York City's Son Of Lee.

Another much welcomed reissue of the late 70's funk laden, disco two tracker from Splendor. The A side 'Take Me To Your Disco' is emblematic of disco records from that golden era where big bands and big budgets were rife. Yet there's an interplanetary twist to this one, with the mysterious, eerie, spacecraft sounding intro paving the way for a tale of extraterrestrials wanting to get down at one of planet earths discos. You can tell this came from an era were disco really was taking over Flip it over and you've got the mighty Special Lady. With Philip Bailey, of Earth, Wind and Fire fame, on production his style comes through strong in the vocal arrangement with the level of feeling and power he squeezes out of each voice. A chance to add these two anthems to the collection!

Infusing tropical vibes and electronic grooves to reflect the vivid ever evolving Latin American soundscape is the fresh musical excursion 'Electropical' as synthesised by London based producers, Juantils a melting pot of authentic Latin anthems, jazzy grooves, disco infused songs and Balearic sounds all processed in HD for an immersive experience which explores the colourful influences of the Caribbean, vast Amazonian dimensions and beyond. Its heart-warming journey is a highly seductive experience that further enhances the mood with repeated play.

'Electropical' sees Juan Laya & Jorge Montiel (best known for their Los Charlys Orchestra albums and tracks) re-imagine some of the most emblematic tracks from the Latin music world including ''Manduco' and 'Fruta Fresca' as well unveiling new material including an awesome jazzy Latin Disco version of the millennial summer anthem 'Pasilda'. Playful sounds and organic grooves are carefully balanced with a subtle 'Electropical' touch to forge a natural expression of fusion - a perspective that has characterised the work of Juan & Jorge for more than a decade now.

From the impressive folk-inspired Todd Terje favourite, 'Cumbanchero' (included on his Radio 1 Essential Mix) to the raw percussive style of 'Tambor Urbano' 'Electropical' elegantly weaves into its textures the primal drums, rippling jazz guitar, undulating bass and unique sounds such as vibraphone, Peruvian pan flute and congas conjuring the roots of Latin music in 'Electropical' style. This unique sonic landscape forges an intimate connection.

Flag-bearers for contemporary Latin-infused sounds London/Venezuelan production duo, Juan Laya and Jorge Montiel, celebrated their 10th anniversary in 2017 by joining forces with the soul legend, Omar on 'It's So/History' alongside classic cuts such as 'All Around The World', 'Everlasting Love' & 'Sunshine'

Credits

Angelica Rincon - Vox, Alejandro Martinez - Congas, Andre Espeut - Vox, Carlos Saldana "Kentiqena" - Perubian Flute, Eikel Venegas - Trumpet, Grahan Mushnik - Accordion, George Malamas - Bass, Jon Desbrulais - Drums, Kiris Houston - Keys, Maria Rivas - Vox, Matheus Nova - Bass, Marcelo Andrade - Flute & Sax, Raphael Delfino - Guitar & Percussion, Zeu Azevedo - Accordion, Xantone Blacq - Vibraphone.

Produced by Juan Laya & Jorge Montiel.

2LP+CD 180g

Quarion is back on Drumpoet with an enchanting new EP that leaves nothing to be desired. Cobblestone takes the dancer on a deep sensual journey, builds up continuously and subtly into a truly emotive peak. Sunday Night Pt. 2 tops it by captivating with rhythmic chords, which remind of the early 90ies. Jamaican Morse is a driven drum track, spiced with dubby sounds and a higly addictive beat. Once again, Quarion proves his outstanding quality.

Almost three decades after he put out his first record as one half of Tummy Touch twosome Tutto Matto, Paulo Guigliemino continues to produce effortlessly brilliant music that joins the dots between vintage disco, boogie, proto-house and sun-kissed Balearica. For proof, just check the heavyweight dancefloor sunshine that is 'Bella Topa', his first release on Leng Records.

Slow, sensual and blessed with all manner of delay-laden drum machine percussion hits, the track fixes the producer's usual colourful, boogie-era synth flourishes and ear-pleasing instrumentation (think fluid electric pianos, fluttering flutes, eyes-closed jazz guitar solos, lilting saxophones and spacey electronic chords) to a chugging, head-in-the-clouds groove reminiscent of Lindstrom and Prins Thomas's early collaborative work. 'Bella Topa' cleverly shifts shape several times throughout, utilising jazzier rhythms and bolder melodies to light up key moments.

Remixes come from Guigliemino's old pal Federico Marton, a producer best known for being one half of sometime Get Physical, Superfiction and Snatch Recordings artists Italoboyz. He lays down two distinctive revisions, starting with a 'Slow' club reconstruction that adds additional percussive heaviness and sparkling electronics to Super Paolo's twinkling, sun-baked original.

His other version, a 'Fast' club reconstruction, drags Guigliemino's track towards peak-time dancefloors kicking and screaming. Making the most of his friend's killer groove and finding sufficient time and space for each life-affirming musical element to sparkle, his mix bobs, weaves and eventually soars for 12 mesmerizing minutes. The mix, like his slow version, makes use of additional percussion and wisely gives more prominence to the A-side's spacey electronics and boogie-influenced synthesizer flourishes. The results are little less than breathtaking.

Strong n´ Funky RnB with a touch of Soul
by Afronova & Tony Allen

Original Candian Pressing. Shipped From Unidisc, Canada.

Huge Garage And Loft Classic On Super Heavy-duty Unidisc Repress 12".
Famously Sampled On Warp Records' Perennial Rap Anthem - Dj Mink 'hey Hey Can You Relate'. This One Has That Funk In Buckets!

vinyl 12' COLOURED BLUE / hand-numbered 500 copies limited edition

Originally Released In 1983 Stop Bajon (primavera) Became A Favourite In Rimini Discotheques, Balearic Islands And Even Chicago During The Early House Days.

It Was An Anthem On What Went On To Become The Italo Disco Movement. The Vocal Mix Is Still Revered And Played To This Day By Dj's Such As Dj Harvey At His Mercury Rising Night At Pikes, Ibiza. This Special Limited Edition Release From Best Record Italy Features For The First Time The Original Acapellas (tracked Down During Tape Restoration) Plus The Song Stadera That Was Available Only On The First Italian Pressing And Of Course The Original Extended Club Vocal And Instrumental.

By the time the Jungle Brothers rapped about it in 1988, House Music had been bumping in NYC Clubs for years. Even though the genre would go on to become a global phenomenon, House music had humble beginnings in predominantly gay and black clubs in Chicago. Musically, House Music was inspired
by the eclectic dance records played by DJs Frankie Knuckles and Ron Hardy at Clubs like The Warehouse' and Muzik Box'. With a growing club scene, labels like Trax Records and DJ
International played a major role in the development of the genre. Founded in 1984, Trax was an important outlet for house music in its early days, releasing many classics including "No Way
Back" by Adonis, Larry Heard's "Can You Feel It," and the first so-called house anthem in 1986, "Move Your Body" by Marshall Jefferson. This latter tune gave a massive boost to house music,
extending recognition of the genre outside of Chicago. Adonis recorded many innovative and influential dance tracks. Born and raised on the West Side of Chicago, Adonis was introduced to music at a young age. He played bass guitar with several jazz and funk bands and was eventually introduced to House music by Gary B. After listening to Jesse Saunders' "On and On", Adonis felt the drive to make better-produced music than what he had heard and began recording. Despite his formal training and lack of clubbing experience, Adonis made waves on the ancefloor when he recorded several of the best Chicago house singles of the 1980s, including "No Way Back," "Do It Properly" and "We're Rockin' Down the House." He was 19 years old when he made the dystopian classic "No Way Back," one of Chicago house music's most iconic tracks. "No Way Back" was a smash hit for the Trax label, according to some estimates, the single sold over 100,000 copies. The lyrics —"Release my soul / I've lost control / Too far gone / Ain't no way back" — seemed to perfectly encapsulate the feeling of being lost in music with no ay out. Adonis' cold, minimalist vocal delivery — no ornamentation, or obvious emotion — made "No Way Back" sound effortlessly cool, and utterly terrifying. The stripped-down track, devoid of extraneous flourishes, still
sounds ruthlessly modern.

The Ep You Have In Your Hands Belongs To The Time That The Catalan Composer Joan Lluís Moraleda Spent In Estudios Carbonell In The Mid 70s, With Amazing Songs Made Of Magic String Arrangements, Pedal Fuzz And Awesome Synthesizers And Moog. You Can Feel The Influence Of Disco Music And Even The Spaghetti Western Soundtracks.

Joan Lluís Moraleda Was Born In Santa Maria De Palautordera (barcelona) In 1943. At 12, He Decided To Focus Only On Music And He'd Never Leave This Path. He Learned To Play Piano And Oboe, And Won The Maximum Prize In The Conservatory. His Hobby Was To Spend Hours Listening To The Radio Classical Songs, But Also The Hits Of Frank Sinatra And Barbra Streisand. He Checked Every Musical Arrangement In Those Songs.

In The Mid 60s He Worked For The Spanish Label Belter As Temporary Substitute Of Adolfo Ventas And Joan Barcons, The Principal Arrangers.

He Also Occasionally Contributed To Odeon, Vergara And Edigsa.

In 1975 He Was Hired By Estudios Carbonell As Musical Director Replacing Francesc Burrull. This Firm Was Specialized In Jingles And Library Music For Advertising. It Was The Golden Era Of The Advertising, With Healthy Budgets. Moraleda Composed The Music For Some Of The Spanish Most Famous And Remembered Commercials In The 70s And 80s, Such As Turrón Suchard, Avecrem, La Masía, Barbie, Seat Or Kas. From 1980 To 1995 He Worked In His Own Studio.

Vol. 5 in the PARIS EDITS series, and two more classics get the Parisian overhaul...
As with all Young Pulse productions you always get a well crafted product and this release is no exception.

Philly's Instant Funk are one of Salsoul's most well-known and respected groups. Appearing on the legendary TSOP label in 1976 the outfit was renowned for their ultra-tight musicianship and for backing Disco icon Bunny Sigler as his group. The late 1970's saw them sign to NYC's Salsoul label and this is the point where this compilation comes to life. 'I got my mind made up' was the groups opening shot on Salsoul and was a huge hit for them, helped in part by a super long, stripped back and funked out remix by Paradise Garage jock Larry Levan. This track and a whole host of others feature on this amazing compilation and snapshot of one of Disco's toughest rhythm sections, boasting all their hits and some stellar mixes from Levan, Tom Moulton, John Morales, Francois Kevorkian, Shep Pettibone and more! This whole selection features the mixes in their 12" glory, unedited, end to end, as intended.

A truly essential package for the die-hard Disco aficionado or for those who are exploring this most important movement in dance music for the first time. Curated with the full input and backing of Salsoul Records and carefully selected to reflect the truly timeless nature of the music contained within. For listening, for dancing, for turning on a party!

Remastered by Optimum Mastering. Artwork & design by Million Dollar Disco. Fully authorised and approved by Salsoul Records.

Following successful disco excavation from the Caribbean to South Africa, Boston-based label Cultures of Soul booked a first class ticket to Narita to bring you the latest release, Tokyo Nights: Female J-Pop Boogie Funk: 1981 to 1988. This compilation presents 12 of the most memorable and sought-after songs of the era recorded by female artists. The music is a reflection of the unbridled optimism, technological achievement, excess and exuberance of Bubble-era Japan. More than catchy melodies and funky baselines, these are reflections of a time when Japan was the center, and futureof the world. The Bubble can be characterized as an endless, extravagant party where personal and corporate wealth soared through the explosion of real estate and stock prices. Scores of young Japanese men and women moved to cities in search of affluence, transforming them into neon wonderlands. Changes in morals, values and gender roles followed suit. Prosperity leads to indulgence, and the taste for nightlife, from flashy restaurants to glitzy discotheques, was unquenchable. A soundtrack to this new, lavish lifestyle was necessary and the latest sound, City Pop (urban pop music for those with urban lifestyles), epitomized these attitudes. While influenced by American R&B and boogie, elements of fusion, YMO style Technopop, and adult-oriented rock (AOR) are front and center. Sung primarily in Japanese (with a word or two of English sprinkled in), City Pop is Japanese music for Japanese people. Producers like Tatsuro Yamashita, Toshiki Kadomatsu, and Haruomi Hosono were quick to embrace the latest studio equipment and technology. Synthesizers like the Yamaha DX7, Roland Juno-60, ARP Quadra, Moog Polymoog and Oberheim OB-8, as well as drum machines like the Linndrum, were prevalent. Digital reverb was applied liberally. Compiled by Eli Cohen (Alliance Upholstery) and Deano Sounds (Cultures of Soul), Tokyo Nights includes tracks by Hitomi Tohyama, Junko Ohashi, Mizuki Koyama, Kaoru Akimoto, Aru Takamura, Mariko Tone, Rie Murakami, RA MU, Kikuchi Momoko and Yumi Seino. Each selection celebrates the unique traits and meticulous production that define the sound. Think sandy beaches and metropolitan skylines, illumination and romance. Embrace the feeling of movement, from a coastal highway stretching towards the horizon or the city sprawling into the future. Turn on the hi-fi and slip into these Tokyo Nights.

There's a reason why so many of house music's early releases have endured over the decades. The best
of them have a quality that defies logic. Early house records like Heard's own "Washing Machine," or
the "No Way Back" by Adonis, still have the power to stun listeners and drive clubs wild. They sound
alien and beautiful, simultaneously ingrained within us and so unlike everything that followed. And
few sound as beautiful, or as alien, as "Can You Feel It."
By 1986, Heard—who was born and bred in Chicago and been playing in bands as a drummer—had already
proved to the world that he was a master of poignant, enthralling house. The previous year's elegant
Mystery of Love,' originally released on Alleviated Records, had featured an insistent ascending
bassline repeating under a plaintive, swooning analog synth, with a gentle, conga-led rhythm setting
the pace. It was soon rerecorded in a slightly more fleshed-out style, this time featuring frequent
collaborator Robert Owens on vocals—'There's a moment in our lives when we all must try the mystery of
love'—and rereleased on D.J. International.
The song helped to set the Larry Heard template: A hollowed-out bass underlies percolating percussion,
while a deceptively spare instrumentation lays out a wistful, yearning melody, all blanketed with
ethereal ambience. But Can You Feel It,' released by Trax Records the next year on an EP that also
boasts the equally dreamy Washing Machine,' took that mold and refined it into exquisite, crystalline
form. As with most house of the era—the components of Can You Feel It' are few. There's a throbbing
kick, tuned so loosely as to make it feel like the head's in danger of falling from the drum, cascading
hi-hats, shivering and shimmering, a three-chord synth pattern that flirts with melancholy, occasional
distant pads and crisp countermelody, and most of all, that angular, acidic low-end. With this track,
along with Washing Machine,' Heard had perfected his signature bass sound: an alien signal, caving in
upon itself, that's simultaneously soothing and a little bit disconcerting. In 1986, it seemed like a
beacon from the farthest reaches of the galaxy, even today, it's one of the most identifiable tones in
electronic music.
Heard himself has claimed to have little distinct memory of making Can You Feel It,' saying it was
merely the result of fooling around with some newly acquired gear. But apparently, Can You Feel It'
was first laid down on tape in 1984, the same session yielded a much slower, 110-BPM prototype of
Mystery of Love.' Roland's Juno-60 polyphonic synthesizer provided the bass and melody, while the
drums were courtesy of a TR-909. A friend came up with the song's title, Heard has admitted in
interviews that he's not adept at naming his own work. The track ended up in the hands of the
influential Chicago DJs of the era—Frankie Knuckles, Ron Hardy, et al—and eventually made its way to
Trax Records' Vince Lawrence. A few years later, alternate versions of Can You Feel It' surfaced, many
of these with Vocals Samples that detracted from something that was already graceful and full of
feeling. And really, how could anything improve upon the transcendent '86 Trax release, a song that
feels like a blissful caress

Only 1x per customer

PP Regulation Copy. Bubble Prevention. Safe Investment.

Collecting orders for repress

PP020 Toot Toot Beep Beep! Ladies and gentlemen, hold on to your hats - 'cause this ain't no Lightrail! All aboard THE B.T. EXPRESS for a trip through space and time with your conductor, Rohan Bell-Towers. Feel the locomotion. Let the tracks take you there. You've got to get on to get off!

The group Shake was the brainchild of the elusive soul and funk singer/producer Lenis Guess from Norfolk, Virginia. It is now considered one of the great overlooked funk bands of the late 70s Virginia scene - a tight little combo with a warm style that's just right for the dancefloor! The VA groove of the time was a different take on the styles being used up north in Philly and New York - as the groups were often more traditionally funk-based, especially in their instrumentation - but played in a mode that was upbeat and soaring, perfectly suited for the disco-era dancefloor, yet handled with the sincerity of an indie soul group. Shake communicate a heck of a lot in their music - moving through some great original tunes written by producer Lenis Guess, done with some nicely personal touches that maintain the indie spirit of the set, even though the group's overall sound is tightly professional. Originally released on Guess records, it includes the Kon & Amir favourite 'Lost In Space', but the whole album is just great.

Dies ist die erste Zusammenarbeit im Jahr 1979 mit dem legendären Giorgio Moroder (der derzeit Daft Punk unterstützt). Obwohl es in den UK-Charts nur zu Platz 73 reichte, war das
Album weit über seine Verkäufe hinaus für viele Künstler ein Meilenstein. Die Sparks definierten das Synthi-Duo Format, gefolgt von den Pet Shop Boys, Erasure, Bronski Beat und vielen anderen mehr. Phil Oakey von Human League (der später mit Moroder zusammenarbeiten sollte) zitiert begeistert: "Wirklich großartige Singles einer meiner Lieblingsgruppen."
Die LP enthält Smash-Hits wie "The Number 1 Song in Heaven" (UK # 14) und "Beat The Clock" (UK # 10), Sparks erfolgreichste Singles seit Mitte der 70er Jahre und immer noch Karriere-Highlights bis zum heutigen Tag. Remastert für Vinyl !

Hello Sailor Recordings 5th release features two edits by Tom Noble and label's captain Renata do Valle.

On this collaboration we navigate through West Africa, exploring sounds from Cameroonian singer Marthe Zambo - 'Alu' and Nigerian musician Sonny Okosuns - 'My Ancestors'.
These edits are subtle works and an homage to these artists, keeping the music true to its originals.
Do Valle often likes to explore African sounds on her HS releases which are a big influence on Brazilian music, it's origins and roots.
Tom Noble is an avid collector, selector, producer and the man behind the great Superior Elevation Records in NY

SMBD aka Simbad is back with the second volume of his seasonal themed reworks on GAMM.

On side A we get a big dance floor bullet where Mike Lowrey & SMBD fuse John Coltrane with Craig Mack. Trust us, this one works perfectly!

On the flip SMBD drops his disco shit with two full on 70's bangers...Stompin’!

- A selection of Prince's Greatest Hits, as nominated by NME, performed live on TV broadcasts from the early nineties.
- Legendary live performances at the Tokyo Dome, Japan and Estadio Maracana, Brazil.
- Includes two incredible versions of the popular The Most Beautiful Girl In The World performed at Prince's Glam Slam Club in Miami.
- Digitally Remastered for enhanced sound quality
- Includes background notes and rare images

By the start of the 1990s, Prince was firmly established as a global superstar, with a string of innovative and hugely successful releases behind him, and a reputation as an exciting and provocative live performer. In the summer of 1990 he embarked on his Nude tour, with a revamped Revolution band. The following year he debuted his 'Love Symbol' alter ego, and formed the New Power Generation. This collection of Greatest Hits, brings together live televised performances and showcases his typically precise and virtuoso musicianship. It's presented here with background notes and images, and includes two versions of his huge international hit, The Most Beautiful Girl In The World, performed at the opening of his own Miami club, Glam Slam in June 1994 during his sporadic 'Interactive Tour'.

Don Dini geht wieder an den Start! Compost's langjähriger House-Spezialist Shahrokh Dini überzeugt mit zwei wahren House Sure Shots, abgerundet mit eleganten Remixes von Karim Sahraoui, LoYoTo (Eva Be und Clé aus Berlin) und einem schön fluffigem Digital Bonus Remix von Flo Førg.

House- und Hoflieferant der DJ-Spitzenriege Shahrokh Dini erfuhr in seiner langen Karriere schon immer breiten Support als DJ und authentischer House-Produzent. Bereits in den 90ern hatte er Releases auf Strictly Rhythm und mit etlichen Releases auf Compost Black Label geriet er seit jeher in die Plattenkoffer von Âme, Ron Trent, Jimpster, Dimitri From Paris, Rainer Trüby, Sasse, Laurent Garnier und vielen mehr.

Übrigens ist Shahrokh nicht nur House Produzent und -DJ. Er betreibt auch Clubs und Venues seit Mitte der 90er, promotet von Zeit zu Zeit große Musik-Events, hat mehrere DJ-Residencies und besitzt auch seinen eigenen Laden - Monk in Karlsruhe.

* Compiled by Alan Perrott and John Baker (WHO)
* Double LP, with illustrated inner sleeves showcasing the sleeves of all the original LP releases
* First re issue of Dalvanius & The Fascinations 12 inch disco mix of Voodoo Lady with Dal & the gals being backed by Tokoroa's finest Collision
* THE 12 inch mix of Voodoo Lady is unique to the vinyl version - the CD's Voodoo Lady is the truncated 7 inch version
* First time re issue on vinyl for all tracks
* Liner notes by co compiler Alan Perrott based on interviews with actual participants in the recordings in black & white booklet with tasty pics and ephemera
* Locating original copies of these records will 1:take a long time and 2: make you wish you'd won lotto
* Limited to 1000 copies worldwide

Aotearoa. New Zealand, nineteen seventy something. Bottom of the South Pacific - the largest Maori and Polynesian population in the world and ... a nation wanting to groove.
Approx 3 million people. Two islands, hot summers , muddy winters, one tv channel till 1975 and all radio was AM. Cantankerous (and sometimes not so sobre) Prime Minister Rob Muldoon was in his pomp, the economy was in the toilet, and rugby (a national sport and in many parts of NZ , a religion) was a mess played in a mud bath ... the people had to dance!
A constant supply of international soul, funk, and disco releases were available for local issue through the major labels , but things got really interesting when local artists found their soul on vinyl.

Colour, clothes and sex began seeping onto the dance floors, while back at home kids watching music clips on television were turning to their parents: Is that a boy or a girl' New Zealand would never be the same again. A new generation was taking over and they wanted to boogie.
This new group of faces were taking to the dance floors. People like Mr Funky, people who'd stepped out in style and wanted to get down with their own bad self. A funky revolution was brewing with bands that'd been mired in the middle ground now swerving into sounds more suited to the disco than a rugby club social. Other bands were emerging from cabaret and had shifted from being the show to creating the show.
These then are the songs that drove a country from black and white to technicolour, and being a scene born in total isolation it took turns that weren't heard anywhere else.
This is funk, soul and disco as it would've sounded if Studio 54 had been set up within five minutes of a dairy farm, a rugby club and a marae, and if nothing else it finally let people to dance because they simply wanted to.

Heed The Call! collects the best New Zealand material from the afrotastic days of 1973 to 1983. Artists like Mark Williams whose House For Sale became a sought after northern Soul single, The (three) Yandall Sisters (two of whom are pictured behind Mark WiIlliams on our cover), a teenage Tina Cross, Dalvanius & Prince Tui Teka, all became household names in NZ. The collection mines some overlooked nuggets from their respective catalogues alongside lesser known boogie cuzzins The Pink Family with their non-secular floor sizzler Don't Give Your Life Away, the gritty gospel soul of Sonia & Skee, The Johnny Rocco Band, Inbetweens, and The Totals. The Kaukau brothers were four fifths of Golden Harvest who hit the national charts with the number one I Need Your Love in 1978 which featured new addition 17 year old Karl Gordon fronting the band. Local 60s beat pioneer Larry Morris fresh out of the big house after a public LSD misdemeanour finds his groove on Who Do We Think We're Fooling. Funk dynamos Collision hail from Tokoroa, and in an earlier incarnation were known as The Shriek Machine, move to Australia on Dalvanius's insistence to record the showstopper You Can Dance. Early 70s Acid Rockers Ticket flaunt their funky flare(s) with their Vertigo single only release Mr Music (later covered by Collision) , and the windy city jazzmen The 1860 Band take form fitting self promoting t-shirts to the next level while re- interpreting Rita Jean Bodine's Thats The Kind Of Love