Disco | Boogie Vinyl 398 Items

Limited to 500 numbered copies. Originally released in 1982.

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.

Limited 10" vinyl. The Broensgebuzzes are common themes in the work of De Beren Gieren. It is a small nostalgic piece of music, an invitation to long-gone memories.Celebrating their 10 year anniversary as a trio, these miniatures are now transformed into a narrative mini-album.

The first in a new collaborative series between Theo Parrish & Prime Direct Distribution unearthing some of Theo’s most sought-after edits, backed with the fully licensed original, both remastered and cut loud on either side of a 12 inch. Kicking things off we have one of Theo’s most treasured cuts, his ‘Ugly Edit’ of Made In USA - Never Gonna Let You Go, bootlegged endlessly in the past and racking up prices of up to £144 on Discogs it’s a high time an official reissue came around.
As iconic an edit as they get, ‘Never Gonna Let You Go’ encompasses everything great about Theo’s energy behind the decks - extending grooves for longer than anyone else even dare, working the EQ’s like a god and throwing in a bit of that raw magic that only he knows how. Taking the original’s sumptuous breakdown, Theo works it into a spirited, high energy disco workout looped into a near 10-minute stomper, big on the bass and brass fire whilst leaving the vocals at the door.
On the B side the original ’77 Made In USA version is laid out in all it’s glory. Funk powered, horn-laden disco goodness with breath-taking vocals from the Stateside troupe.

The first official reissue of ‘Good Lovin’’ – a modern soul dancer with a killer groove, heavy low-end, delectable string & horn trade-offs and the husky tones of the inimitable Al Mason, that blew up on the scene in 1980 and now commands eye watering prices between collectors. This dinked 7 inch comes backed with ‘We Still Could Be Together’ off the original promo 12 Inch, with both tracks fully remastered and officially licensed for the first time since its original release.
‘Good Lovin’’ stormed dancefloors back in the early ‘80s taking Al’s undeniable, raspy vocal prowess and stirring it up with an energetic combination of funk guitars, full frontal basslines, on-point harmonies and a perfectly arranged string and brass section. It’s been a rare treasure on the second-hand market with original copies trading hands for £400 so an official reissue will be music to many an ear.
The B side, ‘We Still Could Be Together’, is an emotive ballad filled to the brim with Mason’s tangible passion alongside smoky pianos, cinematic strings and velvety backing vocals. A slow stepper with a bittersweet message behind it.

"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.

The O'Jays, The Futures, Jean Carn, The Jones Girls. The legendary partnership of NYC's Disco godfather Tom Moulton and Philadelphia International Records has long been documented. A truly explosive collaboration that yielded endless classic tracks for dancers and deep listeners alike, Moulton seemed to be totally in tune with the labels output and the direction it should go in. Luckily we've been enjoying the fruits of this labour for the last 30+ years with a lot of these PIR classics becoming ingrained in the psyche of the modern day music fan as the building blocks of House music.

Limited repress of 250 copies!

Out of the social unrest and revolutionary times of the early 1970s a new musical art form emerged on the streets of Port of Spain, Trinidad & Tobago. A group of young guys started to combine poetry with drumming and created the musical art form that is known today as Rapso.
Poets known as much for their fiery verses as they were for leading protests were at the vanguard of the 1970s Black Power revolution. There was a new consciousness building in the Trinidad and Tobago arts scene. The two most influential characters were Cheryl Byron and Lancelot Layne.
Lutalo ‘Brother Resistance’ Masimba and others would play basketball during the day and come back out at night, ‘liming’ and playing drums. Other people from the block would join with instruments and Brother Resistance would perform his poetry on the rhythms. The prestigious boys school that Resistance attended refused to acknowledge his attempts at creating verses that reflected the rhythm of the Trinidad and Tobago creole. ''They said it wasn't poetry. They didn't want to put it in the school magazine.''
Resistance and his friends toyed with other words to describe their style. They came up with 'rapsody' but one night during a show in Santa Cruz somebody in the audience shouted out ''How you could rap so!'' And the rest is history.
They recorded their first album ‘Bustin Out’ in 1980. More albums followed and they started to work as producers. In 1986 the band performed at ‘Caribbean Focus’ festival in London and toured the U.K. which helped to lift their reputation internationally. The same year Brother Resistance decided to produce his first solo album and went to England to record ‘Rapso Take Over’. This album contains the highly acclaimed tracks Ring De Bell, Dancing Shoes Rapso and Star Wars Rapso. An unreleased take of Wars In Rapso is featured on this Cree Records 12''.
The band wasn’t too impressed with the ‘English’ production and they decided to record a new version of the song. Junior Wharwood recorded the guitar tracks. Resistance came up with the idea of Tonight Is De Night. The more or less improvised song became a big carnival hit in Trinidad and he went to perform it live with bands like Sound Revolution, Shandileer and Charlie’s Roots.
At the time, these tracks received little airplay in Trinidad and Tobago, but they're undeniable hits that continue to be in demand dancefloor bangers. For this 12'' we have selected four of Brother Resistance's most in demand tracks. Long live Kaiso – Rapso take over!

Saft is proud to present a re-release of a sought after disco classic from 1979. Carlos Romanos' 1-2-1 is without a doubt one of the highly regarding dancefloor classics from the heydays of the genre. With a length of 5.30 this brass infused stomper is club friendly, positive and drenching with Latin influenced percussion sounds.

Two years ago, Ferdi Schuster was a young multi-instrumentalist and producer
daydreaming of releasing his music on Claremont 56, one of his favourite labels.
Now he’s set to release his stunning debut album, “All One”, on Paul Murphy’s
long-running imprint.
It’s been a long time between drinks for the German producer, who last graced
C56 with his superb double A-side single, “Little River/Befreit”, in the autumn of
2017. Fittingly, it’s “Little River” – a babbling brook of audio bliss rich in sambainfluenced
drums, soothing acoustic guitars and spacey synthesizer licks – that
kicks off “All One”, a seductive set in which every drumbeat, piano note, guitar
riff, synthesizer flourish and fireside-warm bassline was played by the man
himself.
Throughout, it’s easy to see why Murphy decided to snap up Schuster and
push the producer to record a debut album. Check, for example, the dubbedout
shuffle of “Thinking of You”, where ghostly chords, soft-focus guitar solos
and ethereal vocals drift across the soundscape, and the slowly unfurling bliss
of “The Good Fight”, an effortlessly Balearic workout rich in sun-kissed guitars,
bubbly synth lines and chords so snugly they could probably be used as a
comfort blanket.
Schuster’s greatest strength is undoubtedly the evocative and enveloping nature
of his instrumental music, which draws on a variety of complimentary influences
but never sounds anything less than original and fresh. Some listeners may be
enchanted by the loose and languid pulse of “Fading Away” or the lo-fi reggaejazz
of dusty closing cut “Night Talk”, though others may prefer the stoned funk
shuffle of “Interaction” or the spacey vibrations of “Pulsa”, where intergalactic
synthesizer lines wind their way around heady bass guitar and sparse, off-kilter
deep electro drums.
“All One” is that kind of set; an atmospheric and musically accomplished
collection of cuts capable of muting the mundane and distracting from the stress
of 21st century life. As debut albums go, it’s something of a stunner.

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.

Endlessly sampled across the board, for those dreamy guitar licks, killer Rhodes keys and luscious strings, Goody Goody ‘It Looks Like Love / Super Jock’ is a 1978 masterpiece of disco gold. Original copies of the Atlantic Promo 12” sell for upwards of £65 so it’s about time a remastered, officially reissue landed.
Produced by Vince Montana of MFSB and The Salsoul Orchestra fame, ‘It Looks Like Love’ was a Larry Levan / Paradise Garage classic and still commands dancefloors the world over. Flowing flutes, sultry vocals and xylophone twinkles open up proceedings, as those iconic, funk-flavoured staccato guitars and rising strings step up to the plate. Combined they produce a glistening groove that captures the feel-good factor of NYC’s disco apogee.
Delectable disco, fuelled by an undeniable funk that continues to be harnessed, chopped and sampled by some of house music’s biggest players from Nick Holder and Armando, to Tom Trago and Glenn Underground.
On the B side, soul-searching cosmic fluctuations via ‘Super Jock’, with interplanetary vocal refrains stretching out above a full-bodied bass, tight drumming and spacey Rhodes. Montana’s world class arrangement sees bongo-led percussive interludes and dancing keys solos take listeners to a mesmerising galaxy, far far away.
A double dose of that good stuff!

Limited to 500 copies.

Rain&Shine proudly present Steve Elliott’s first album -True Image (1981). After failing to find musicians with the same direction and devotion to music he had acquired, Steve taught himself to play eleven different instruments and move from hometown of Pasadena, California to Denver Colorado.
Eager to express his musical ability, Steve became a DJ on KDKO radio, and would then go on to compose, arrange and perform True Image on September 20th 1981 with a collection of drum machines, synthesizers, and contributing musicians on rhodes, flute, guitar and vocals.
Mr. Elliott’s philosophy is “You hold in your hand a dream, a dream come true by a man whose only objective was to express the love he contains, the love we all contain within through music.”
On many collectors want lists, passing for a median price of $450 online.

From The Independent Uk Label Six Nine Records Ltd, Based In Newcastle Upon Tyne, Randy Hall Is Back With Two New Stunning Tracks On This Double A Side Single! Definitely Not To Be Missed As It Is A Limited Uk Press With Small Hole And Full Colour Printed Picture Cover!

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.

Since 2019 the collective of Parisian partygoers, Pardonnez-Nous, have decided to launch their own label. Just like their parties, their goal is to shine a light on dancing music.
Constantly looking for new tracks to enlighten the dancefloors, their outings are in line with the vision of deejaying defended by its founders. Finding forgotten pieces that are the geneses of dance music and mixing them with more contemporary sounds. Re-editions, edits, remixes or original productions the label doesn’t just stick to one style but aspires to represent all the music of partying!
Mexico, Peru, Surinam, and of course Sweden: in 1986, musicians from around the world responded to the Swedish composer, arranger and multi-instrumentalist Torbjörn Langborn’s invitation. His idea was to bring together the two groups he played with: a jazz quintet, and his salsa ensemble.
The cocktail was explosive: after several days recording at the Humlan studio in Stockholm, Torbjörn Langborn & the Feel Life Orchestra produced an eponymous album, combining, in Langborn’s words, “disco and funk with congas and Batá percussions.” The B side was a three-part gem nearly seven minutes long titled “Feel Life”, where he gives free rein to his talent as a jazz pianist. Thirty years later, we asked the famous remixer Dimitri from Paris to express is talent to produce a new version of this classic music track. "Pardonnez-nous", here it is.

Massive crossover hit from the American Gospel star Kirk Franklin, marrying Patrice Rushen's classic with R&B and hip hop leanings to create this uplifting, inspiring and infectious feel-good sensation.
A true Tony Humphries, Southport and soul collectors favourite finally getting a full single release.

Harbans, Steve and Mark met and recorded library music a few times prior. Steve and Mark were from Coventry and Harbans, Frank and Jaki were in Birmingham. Everyone was involved with the scene at the time playing jazz/funk and soul music with various acts.
Harbans had played with the popular disco/funk band The JALN Band. Frank played with the Cissy Stone Band who had a great following. Steve and Mark were in a popular jazz/rock/funk outfit called Pzazz. Jaki was singing in various bands and drawing a great deal of attention, of course we all know she went on to some great pop success. These songs were recorded sometime around the 1980's, during that explosive time of uk jazz funk, where it had a massive following up and down the country.