Disco | Boogie Vinyl 352 Items

L.A. Nights, their new EP on Hi & Fly is a new milestone in the band discography, setting it to a next level. The title track is a cover of the famous Yasuko Agawa’s track (itself based on Light of the world’s “London Town”) inspired by strong Zapp and West-Coast influences. Fat basslines, tight horn riffs and funky talkbox parts galore!
“Break Droppin’” and “The Battle” are infectious medleys played by the band with an extended line-up including extra brass, strings and percussions. In “Breaks Droppin’”, you’ll find a carefully selected mix of cuts, ranging from the Hawaiian Hal Bradbury’s “You win, I Lose”, to Julius Brockington’s “This Feeling (Freedom)”, passing through CTI and other sampler friendly tracks.
“The Battle” is a b-boy style up-tempo selection, mixing Latin influences with some classic battle cuts and evolving to a Disco finish, with a cover of the great Brothers’ break “Under the Skin”. It is 10’ long, the beats & percussions are heavy and the extended band is in top condition. It won’t let some rest to your feet for sure!
Last but not least, it's also the comeback of Hi & Fly, a French diggers' reference since 2000. So, one reason more to have a listen… Enjoy!

Limited to 300 copies. Exclusively available at HHV.
Here comes a new member in the highly acclaimed Wamono series! 180g presents an exceptional collection of Disco and Boogie tunes released on the legendary Nippon Columbia label in the late seventies and early eighties. Are you ready? Put your dance shoes on, and enjoy!

● 180g heavy vinyl pressing, reverse board jacket.

● Fully licensed Nippon Columbia masters

● Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

● Signature artwork by Nker.

In the mid-seventies, discotheques were booming in Tokyo and all over Japan. When the Fatback Band topped the 1975 US charts with their infectious “Do The Bus Stop” hit, Japanese label Victor put out the following year the first Japan made Disco tune with “Sexy Bus Stop”, released under the mysterious name Dr. Dragon & Oriental Express, a pseudonym for successful Japanese pop composer Kyohei Tsutsumi. “Sexy Bus Stop” became an instant hit in the country and, taking this opportunity, various Japanese record companies started releasing Disco music. From 1976 until the early 1980s the music was often recorded by skilled studio musicians, rather than by computer input, providing a really solid sound to the dancefloor. Disco music was also spreading into TV series, commercials and anime. From Godiego’s monster hit “The Birth Of The Odyssey - Monkey Magic” to Pink Parachute’s obscure (and excellent!) “Disco Great Tokyo” tune, this selection explores some of the finest Disco and Boogie music released on the legendary Nippon Columbia label in the late seventies and early eighties. Are you ready? Put your dance shoes on, and enjoy!

Here comes a new member in the highly acclaimed Wamono series! 180g presents an exceptional collection of Disco and Boogie tunes released on the legendary Nippon Columbia label in the late seventies and early eighties. Are you ready? Put your dance shoes on, and enjoy!

● 180g heavy vinyl pressing, reverse board jacket.

● Fully licensed Nippon Columbia masters

● Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

● Signature artwork by Nker.

In the mid-seventies, discotheques were booming in Tokyo and all over Japan. When the Fatback Band topped the 1975 US charts with their infectious “Do The Bus Stop” hit, Japanese label Victor put out the following year the first Japan made Disco tune with “Sexy Bus Stop”, released under the mysterious name Dr. Dragon & Oriental Express, a pseudonym for successful Japanese pop composer Kyohei Tsutsumi. “Sexy Bus Stop” became an instant hit in the country and, taking this opportunity, various Japanese record companies started releasing Disco music. From 1976 until the early 1980s the music was often recorded by skilled studio musicians, rather than by computer input, providing a really solid sound to the dancefloor. Disco music was also spreading into TV series, commercials and anime. From Godiego’s monster hit “The Birth Of The Odyssey - Monkey Magic” to Pink Parachute’s obscure (and excellent!) “Disco Great Tokyo” tune, this selection explores some of the finest Disco and Boogie music released on the legendary Nippon Columbia label in the late seventies and early eighties. Are you ready? Put your dance shoes on, and enjoy!

Multi-instrumentalist SaiR and MC Puppy Smooth join forces to shape this dancefloor hit! An ode to disco-rap invoiced four decades after his heyday.

Discom proudly presents Du Du A- Du Du Archive 1984-1989 LP, a collection of previously unpublished and rare tracks of Belgrade's cult band Du Du A. Discover the music of the group whose leaders Dejan Kostic and Zoran Zagorcic primed for their never-released second album and find out why they earned a cult status among DJs and collectors worldwide!
Du Du A was formed in the early '80s, in NYC, by Dejan Kostic during his sound production studies. The first line-up in Belgrade included saxophone player Vuk Vujacic as a co-author. In 1982 they released a 12" Maxi Single: Ja Tarzan, Ti Dzejn "Jungle Rap"/ Afrikanac Iz Beograda for RTB, the first ever rap music record in the former Yugoslavia. The next year, they released an LP album called Primitivni Ples (eng: "Primitive Dance") with Zoran Zagorcic as co-author, vocalist, synthesizer player and percussionist featuring some of the most creative musicians of the time: Sasa Habic (the author of Bebi Dol- Mustafa), Goran Vejvoda (known as guitarist of Kozmetika and Rex Ilusivii's collaborator), Bebi Dol, Dragan Mihajlovic (one of the founders of Katarina II) and Nebojsa Antonijevic (the founder of Partibrejkers). This album brought an unusual mixture of styles such as funk, reggae, rap, and dance, all flavored with excellent musicianship and humor. The band was also active in 1984, performing various excellent concerts and releasing one SP Romance/Irie for Jugoton, as an introduction to the new album. However, that year Dejan Kostic went to Kairo to perform in clubs along with Bebi Dol. After returning to Belgrade, they recorded just one song Pustinjska Tajna (A Secret Of The Desert) with Zoran Zagorcic as an author, vocalist and keyboard player. Dejan and Zoran agreed to compose and record songs separately, and to bring them together for the new album. After they completed the tracks, the country's major labels RTB and Jugoton, both declined to release them. They left the band and Dejan Kostic formed Du Du Ah with new crew of musicians, who played some of the songs planned to release on that album (later they have released album "Ritual" with completely different songs). Zoran Zagorcic, along with members of Electricni Orgazam, formed the band "Fetish" which also played some of the songs intended for the album. The compilation Du Du Archive 1984-1989 LP contains 5 previously unreleased songs composed by Dejan Kostic, and 3 previously unreleased songs composed by Zoran Zagorcic, with 2 songs that were published in Zoran Zagorcic's private CD-R edition.

Sensational – that’s Frank Hatchett! These words can be found on many of the 16 albums credited to the legendary NYC jazz dancer, choreographer, and teacher to the stars - Madonna, Brooke Shields, Olivia Newton-John, and Naomi Cambell. In the highlights compiled on this expansive double LP set, the sounds of Hatchett’s albums run the gamut from disco and funk in the 1970s to electro and proto-techno as they glide through the ’80s. Most tracks clock in at a brisk 2:30 – the ideal length for Hatchett’s classes or his students’ recital performances. Fans of library music will find a similar focus on immaculate performances, while the tightly coiled drum breaks, Afro-Cuban rhythms, and thumping 808s will send rare groove collectors into a state of head nodding bliss. Hatchett’s name and photos may appear on the sleeves of his records like Dance Crazy, Jazz Power, or Vop Style, but he is nowhere to be found in the music contained within. Instead, these albums dating back to 1974 were recorded by studio players under the guidance of musical director Don Tipton or arranger Zane Mark. Performers include: keyboardist Fred McFarlane (Madonna, Keith Sweat, Evelyn “Champagne” King), drummer Bernard Davis (Steve Winwood, Ryuichi Sakamoto, Kool & The Gang).

The second single from the Cultures of Soul compilation, Boogie Breakdown: South African Disco 1980 to 1984, Benjamin Ball's "I Just Keep Dancing" is a synth and drum machine-fueled track that also reveals Ball as one of South Africa’s earliest rappers.
Boston-bred DJs, Soul Clap provide an excellent rework of the track adding some big room club flavor to the track for DJs around the world. Soul Clap are the globe trotting DJ duo of Eli Goldstein and Charles Levine who've done everything from headlining clubs in Ibiza to creating DJ mix albums for Fabric and DJ Kicks to making records with George Clinton, Sly Stone, and Robert Owens. Licensed directly from the artist and housed in a custom disco sleeve this edit won't be available anywhere else.

"Hot recordings from the golden era of the Italian sexy comedy film scene"! Early Sounds Recordings, in collaboration with the historical Italian label "Eleven" and A. Dallera, puts together a compilation of some of the rarest and sought after disco and funk records inspired by the Italian sexy comedy era.

Few years before the international hit “Uptown Top Ranking”, made with his friend Donna, Althea Forrest recorded “Hey Mister” for famous producer (and singer) Derrick Harriott. Mid 1970's, Derrick Harriott is the best reggae-soul producer in Jamaica. He's made tons of US soul cover with Jamaican artists. “Hey Mister” was recorded at Federal studios (Tuff Gong nowadays) and didn't get an international audience, not even in Jamaica, probably because it was not a cover! For the first time since 1976, “Hey Mister” is now available on a Maxi vinyl 12'' to offer the best sound quality. Thanks to Derrick Harriott's master tapes and to the original artwork, now you can play this tune in the perfect condition.

A multi genre-busting release that has transcended most dance scenes from Modern Soul, Rare Groove, Crossover and Boogie to become perhaps the most in-demand '80s record on the current collectors scene.
The popularity of "Don't Send Me Away" was recently confirmed when a YouTube clip of Garfield himself, performing "Don't Send Me Away" at a Paris record stall in late 2018, went viral with over 2,000,000 views to date.

40 years after the beginnings of the Italo disco movement 'Milano Undiscovered' leads us to discover the first ferments of the Milanese post-punk dance scene.In the early 80's future producers began to veer towards a form of dance music not yet defined, what once seemed like an experimental form, today sounds like a cornerstone for future development in the club scene of key city as Berlin, Paris, Stockholm and Amsterdam. Italo disco was first mistreated, then exalted, forgotten and rediscovered a thousand times and today it is one of the most respected genres in club music. Fred Ventura, musician and producer - here curator of the compilation - has selected 11 key tracks from the local scene. Get ready for such unreleased gems – or alternate version – of future dance penned by Modo, Atelier Folie, Fred Ventura, LA Maison, 'lectric Workers, Actor's Studio, Fogli & Riva and Maurizio Marsico. Fred Ventura's career began in 1979, first as a drummer in punk and new wave bands (An Incoherent Psyche, Le Jour Prochain), then as a singer for State Of Art, a seminal group of the Milanese scene of the early 1980s. After State Of Art he was immediately associated with the Italo Disco scene with his productions and record projects. In 2008 he began collaborating with Spittle Records releasing the essential compilations' Milano New Wave 1980-1983 ',' Italia New Wave ',' Italia Synthetica 'and' Milano After Punk ', as well as the fundamental collection of the State Of Art' Dancefloor Statements '. The songs featured on 'Milano Undiscovered' were produced and mixed between 1982 and 1986 in Milan, mastered and edited by guru Alden Tyrell.

Second 2016 release from Disco Modernism, Milan! This is a collection of unreleased
tracks from the solo project of Stefano Tirone, formerly a member of State Of Art and Der
Blaue Reiter and later known as S-Tone Inc.
In 1982 he started experimenting with electronic dance music using analogue keyboards
and drum machines and here is a selection of these experiments.
Among the tracks, “Yes or no” is the instrumental demo that led to the influential Italo
classic “Yes no family” by Jock Hattle.
“Another place in the sun” features Fred Ventura on lead vocals and “No time of no
emotion” is a vocal track with the distinctive sound of Roland 808 drum machine and TB
303 bassline. Four more instrumental tracks complete the session, a couple of which with
a slightly post new wave attitude.
The release is strictly limited to 300

Favorite Recordings proudly presents Voiciii, the 3rd and new album by Voilaaa, an immersive dip into its Afro-Disco universe spread across 14 tracks. Needless to say you’ll find in this new LP all the ingredients that made him famous: strong dancefloor-friendly festive bangers, irresistible funky arrangements and an undeniable sense of humor and irony. Bruno “Patchworks” Hovart, behind Voilaaa, is as often surrounded by amazing vocal featurings from previous LP’s regulars (Pat Kalla, Lass) but also new voices you may already have heard on its recent EPs (David Walters, Rama Traore, Ayuune Suule), as well as the saxophonist Boris Pokora. The LP is also an occasion to pay tributes to major artists of the African sound, such as Fela Kuti (on “Water No Get Enemy”), or Manu Dibango (“Manu Écoute Ça” and “Tenor Jam For Manu”). Since the release of Voilaaa’s previous LP’s Des Promesses and On Te L’Avait Dit and their massive international support, the Voilaaa Soundsystem did travel through the world to deliver its message of infectious joy and groove, from Equator to Thailand, from Kazakhstan to the infamous French “Fête de l’Huma”. Now you know: Voilaaa is everywhere and Voiciii (“here it is”) their new album.

Crown Ruler Records returns with a slab of unreleased disco-funk from Miami musician, Aaron Broomfield. HEAVY tune, in two mixes.. TIP.
“Boomerang” was first recorded in 1979, when the Broomfield Corporate Jam leader was attempting to plot a solo career. It was the first cut Aaron Broomfield recorded under his own name – Initially, at the family band’s home studio, Kilimanjaro, and later at professional studios in L.A and Miami – but it was never released.
“I always wanted to be able to share ‘Boomerang’ with my fans some day – I didn’t release it back then because I thought the time wasn’t right,” Broomfield explains. “It was so different to what was considered commercial then and felt ahead of its time.”
Before deciding against releasing it, Broomfield had two test pressings made. It was the accidental discovery of the one remaining record by digger Arun Brown (the other perished when Broomfield’s Kilimanjaro studio was damaged by a fire in 1996) that set in motion the chain of events that finally led to its release.
The jacket boasts a written essay by Broomfield himself, telling the remarkable story behind the song. The wax features the two versions of Boomerang, of which both were meticulously restored and re-mastered by celebrated Australian sound engineer, Dan Elleson.
Head to side A for the “test press” version, a cosmic, starry-eyed chunk of elastic Miami disco-funk where the Broomfield family’s killer instrumentation – all rubbery bass, deep space synths and crunchy Clavinet motifs – arcs around the sound space like a boomerang in flight. The vocal arrangement, in which Aaron Broomfield’s conscious lyrics come through loud and clear, brings it home. On the flipside, you’ll hear how dynamic the band was through the “Demo Version” - a relaxed, loose and spacey groover that sounds as ahead of its time in 2018 as it would have when it was recorded in 1979.

Soundway Records present a new compilation of twenty rare and mostly unavailable tracks from the slick and sassy world of Nigerian pop music and club culture of the early 1980s.

Buoyed by an explosive oil boom and a return to democracy after a series of military dictatorships, Nigeria’s economy in the years of the early ‘80’s was mirrored by its recording industry as countless young artists and groups hit the airwaves and dancefloors of the capital and beyond.

It was a glossy, brash new form of pop music born out of ashes of late 1970s disco and funk and, just as in America, was the soundtrack to a new generation for whom money, style and flirtation trumped the overblown psychedelia of the previous decade. Eager to sound as American as possible with no hint of the fervor for afro-beat, afro-rock and afrocentric thinking that the 1970s had thrown up, a new generation of young artists and performers turned their backs on their cultural roots in music and sought a new kind of stardom and fame firmly connected to the glossy, snazzy world of the 1980s that was erupting in the USA and Europe.

Eddie Pendergrass presents Love Cryme’s 45rpm 12-inch “Electric Lady" and "Under The N Fluence” .
This great boogie/new funk releases contains the vocal and instrumental versions.

Love Cryme is back with another club-ready pressing of their signature Sacramento based boogie funk sound. This is the much anticipated follow up to their sought after 2013 debut on RysQue’ Records, and is Eddie Pendergrass Present’s first 12-inch offering.

Brazilian composer, producer and multi-instrumentalist, Rafael Arosa produces a pop dance sound without giving up sophistication in harmonies, arrangements and melodies.
Admitting to have one foot in the present and one foot in the past, Arosa has a strong influence on the synth disco and AOR / westcoast styles that were striking in the early 1980s.
In his debut album, Arosa features the participation of experienced musicians from Rio de Janeiro. A prominent partnership was the participation of Donatinho, who in 2017 released the album "Sintetizamor" with his father, João Donato (one of the big names in Brazilian music). Donatinho co-produces 3 tracks with Arosa and has built layers of synthesizers on various tracks.
Another prominent partnership was with Pedro Guinu, a talented keyboardist who co-produced 2 tracks and sings on the "Vertigem" track.
Among the experienced musicians who participated in the recording are also André Vasconcellos (Ed Motta, Djavan), Alberto Continentino (Ed Motta, Gilberto Gil), Pedro Mamede (Natiruts), Adam Nitti (Kenny Loggins) and Leo Mucuri (Anitta, Jorge Vercilo).
The album was mixed by Latin Grammy winner Fabricio Matos and mastered at Metropolis Studio London by Stuart Hawkes. Mastering of the track Stellar Smile was performed at Sterling Sound Studio by Chris Gehringer.
Besides musician, Rafael Arosa is a geography teacher and this activity is somehow reflected in some lyrics.

Rare boogie joint time, Isabr'm or his real name Isaiah Lanes obscure and expensive. Recorded at Starlight Sound in Richmond, California (The same studio when many of the Digital Underground tracks were records as well as Alexander O'Neal) the record has remained obscure due to its price and rarity. Straight dancefloor boogie fire all the way on 'If I had you, flipped with a wonky drum machine balled 'Nothing At All' which I kind of love.

Limited repress of 250 copies!

(Prins Thomas remix) Delightful Sounds to Boogie kicks of it's first release with this three track EP. Combining two different artists to bring you one record filled with joyful sounds and dancefloor ready rhythms.On the A side there is a diskomiks from the well known Norse producer Prins Thomas. Upcoming Amsterdam producer Perdu completes the B side with some quality dancefloor tracks.

Parisian label Chuwanaga is really proud to present In The Red Vol. 2 (A Britfunk Selection by Saint-James), almost a year and a half after the first compilation being released. This second volume still focus on the Britfunk genre - or British Jazz-Funk - mainly produced in London between the end of the seventies and the eighties. It defines a unique mix of Jazz-Funk & Disco including Reggae & Dub techniques from Afro-Caribbean communities who were at the heart of the movement.
Parisian DJ, activist and producer Saint-James has again selected the most exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing.
Back in the days, these young musicians gave their music a unique British flavor and raw energy pushing the needle "In The Red". Almost four decades later on these powerful tracks are again ready to burn up dancefloors. The compilation features an insert with pictures and a few more words about the selection. The compilation is also available as digital download and CD along with Volume 1.

Following the successful slow tempo masterpiece "Just A Moment" by Liquid Mask, we have here another chill Italodisco treasure called "Dancing" by La Troupe, originally released in 1984 via Drums Edizioni. Urgently worthy of a reissue the tracks are fully remastered from the original master tape, courtesy of Gero Merella.

Having spent exactly ten years living off the small change and 45 adapters of each others pockets, Finders Keepers/Cache-Cache Records co-founders Andy Votel and Doug Shipton spread their wings and pool their DJ bags for a new series of sporadic various artists compilations focussing on the global punk and makeshift electro records that have kept their beer soaked dance floors and distorted sound systems moving in recent years. Meet the younger sarcastic sisters of some of the classic Finders Keepers family and their spotty friends then watch what happens when jazz punk underdogs cock their legs to their overqualified elder brothers.

Plastic Dance presents ten unacquainted and elusive slices of synthetic squat pop, angular funk, teapot kosmische and fraudulent disco from self-propelled imprints and global co-ops. Named after Günter Bernas obscure DIY anti-band this ongoing series combines rare, unknown and untravelled wax nuggets of night club punk, art school Zeuhl and quasi-political pop united by soldering irons, C-60s and sarcastic synth tones. Featuring a cross section of unobtainable unreleased unknown and unwanted reluctant punk and snide synth pop with sleeve-notes by respected DJ/Haç hack/Situationist addict John McCready and artwork by airbrush legend Terry Pastor (Ziggy Stardust/Soft Machine/Arthur C. Clarke) Plastic Dance becomes flexible under heat.

Thelma Houstons' unreleased Soulful AOR tracks from 1980!
After Thelma ended her contract with Motown, she went to work with Terry Woodford to record a set of tracks for her next album. Unfortunately it didn't happened and the tracks was shelved for 36 years. Until now.
Smooth breezy soulful AOR with the Wishbone inc signature sound, (Byrne and Barnes, Robert Byrnem Mac McAnally and others) remastered and released on vinyl for the first time.
Coverart by Yoko Honda - Limited to 500 worldwide!

Originally arranged & released by Jamaican producer Ralston "Stamma" Haughton on his SOMB (Sound Of Montego Bay) imprint, "My Music" is sung by Jamaican artist E.T. Webster and features a dub mix to the vocal on the flip. The music is provided by a high quality band of session musician, including Leslie Butler or Paul Hurlock.

The career of Patience Africa Spanned over 40 years. After almost a decade of success on a major label with her Zulu Disco sound, and a few years in the early 80s experimenting with a more soulful sound, the funky synths of the 80's would force her to stay relevant in the quick changing times. It would be in 1987 that she would sign to the independent Ream Music which with the help of their tight knit in house production team had released hits for upcoming disco artists Makwerhu, Ntombi Ndaba, Sunset, Athena, Percy Kay and more. The label's success in the traditional market made Patience a perfect fit and could have been their first crossover artist.
With the help of owner's Danny Antill and Clive Risko they would cut a 4 track EP that like many others of the time ended up being lost in to the hyper saturated market of the emerging Bubblegum demand. Two tracks would be written by Patience, including the title "Wozani La" Musically these were more aligned with her sound of the 70's accompanied by a purely digital production, but it's the two songs written by label boss Danny Antill that appear on this release. These two songs are unlike anything heard at the time. Embracing full commitment to the digital studio and some extensive and risky experimenting the trio managed to slide heavy house bordering electro pop and a haunting swing beat groove alongside the compositions of Patience to complete this EP for both markets. Although the album had great potential, poor promotion and low sales led Patience to feel cheated and after not earning a cent for the record left the label and took her first break from music since the early 70's. She would later return to her original sound recording up to til 2006 when she released what would be her final album before her death the following year. Still loved by her fans and those who knew her, she is remembered through the Patience Africa Foundation. Founded by her son Mangaliso in 2017 to help create a better South Africa in our lifetime.

Emotional Rescue and HMV Record Shop (Japan) end their Disco Reggae Lovers 7" series with reggae legend Sugar Minott and this utterly unique UK soul-boogie rarity, I Remember Mama. Reggae star, vocalist, producer and sound system operator, Kingston JA born Minott released over 50 albums and hundreds of singles for the likes of Studio One, Wackies, Suffering Heights and his own Black Roots label. His distinctive soulful voice pioneered the Dancehall style and following his UK hit "Hard Time Pressure" he moved to London in 1980, adopting the rising Lovers Rock sound. On a visit to Wackies' offices in Soho he met Steve Parr, who had recently opened a studio next door. Keyboard player for the likes of Desmond Dekker and Geno Washington, Parr moved into composition, mixing, sound engineering and production, before setting up the Sound Design Studio in Dean Street. Principally a studio, the meeting with Minott hatched the idea to create a label to showcase their capabilities. Produced by Parr, he played all the instruments except the distinctive sax by friend Andy MacDonald. With Minott's heartfelt lyrics, this marriage created a one-off, a ground-breaking synthesised 4/4 rhythm track with funk groove and soulful vocals. Released on 7" and 12", the versions noticeably differ and is the perfect closing to the Disco Reggae Lovers series.