Disco | Boogie Vinyl 475 Items

A beautiful compilation with some early New York Disco from the archives of Richie Weeks! "By Day, Richie Weeks Sorted Mail. At Night, He Was a Disco Mastermind." Declared the New York Times last year for the release of Richie Weeks first volume of the Love Magician Archive take from the incredible treasure trove of unreleased Disco songs co-produced by the late Patrick Adams and Richie from the late Seventies to the mid-Eighties. Volume 1 received critical acclaim and press worldwide and instantly floored every Disco aficionado. It also sold out instantly. So here's Volume 2. 12 songs straight from the archives, never released and absolutely mind-blowing. It's Disco at its finest with the bests in the game. A timeless compilation made with a lot of dedication and care. Curated by Past Due Records boss Jerome Derradji. Enjoy!

Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• 2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card
• Remastered audio
• Digital mockups are not an exact representation of the colors “Beach Umbrella” wax (Blue, Green)

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

Brief Encounter is an 8 piece Soul/Funk group from North Wilkesboro who is widely known by vinyl collectors because of rariity of their records. After the successful reissue of their first album (plp-6843), P-vine presents the brand new compilation album which includes all of their singles released in the 70's! come with Japanaese OBI-strip.

**Note: Silver and black vinyl may or may not have audio distortion intermittently during playback, depending on your system. This was discovered after the press had been completed and packed, so we have included a red repress without audio issues. All purchases will ship with both silver and red copies.

After a busy 2018, which saw worriedaboutsatan release a steady stream of new material, the Yorkshire based duo start the new year with the release of their fourth full length album, ‘Revenant’.

The record marks a slight departure from their previous critically acclaimed album Blank Tape, by venturing into more synthesiser heavy pieces, based around dark brooding atmospheres, and switching from the bouncing arpeggios and slow hypnotic rhythms like the 10 minute album opener ‘Skylon’, to the jittering, cinematic rush of ‘Making Your Masks’.

Six tracks recorded over three weeks in Tom’s rural Yorkshire studio. The band channelled their signature post-rock guitars and skyscraping atmospherics into something more synthetic, but without losing what makes them the band that garnered attention for soundtracking Adam Curtis’ Hypernormalisation documentary back in 2016.

• Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• 2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card
• Remastered audio

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

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).

Past Due Records is thrilled to announce the release of Midnight Blue's ''One Wish - South Carolina 1975-83,'' a compilation showcasing the legendary funk and modern soul band from Columbia. This limited edition double LP compilation is an exclusive collection highlighting the band's peak during the mid-1980s American boogie funk era. Formed in 1975, Midnight Blue blended the talents of local musicians Myron Alford, Robert Hoefer, Jr., Ronnie Amiker, and many others. Despite their underground status, their music left a lasting impact, performing alongside legends like Midnight Star and Prince. The compilation includes their debut single ''Feel It and Groove Together,'' their powerful rendition of ''I Who Have Nothing,'' and unreleased tracks recorded with Cameo's Larry Blackmon. Fan favorites such as ''All Because of You'' and ''Coolin' Out'' will also be featured. This double LP comes with a full story and many never-before-seen pictures of the band, making it a must-have for any fan of eighties funk, courtesy of Past Due Records.