Disco | Boogie Vinyl 260 Items

The masterful, supergroup of Phreek lead by Patrick Adams, sees three of its sought-after masterpieces, two of which have never been on a 12 inch, officially reissued and remastered on a label that’s fast becoming a go-to for in demand reissues, South Street Disco.
A pure classic, ‘Weekend’, was born back in ‘78 written by Leroy Burgess and James Calloway and produced by Patrick Adams and Burgess, they lead an expertly curated troupe for this massive Paradise Garage staple and Larry Levan favourite. That late ‘70s sound where synthesisers rose to prominence, sees a combination of cosmic keys, freakish strings and power-play funk guitars, tied together with tight percussion, bold basslines and Christie Shire’s lead vocals, that whole heartedly captures the spirit of disco. Famously remade into a house anthem 10 years later by Todd Terry, ‘Weekend’ is a timeless slice of celestial magic.
In a similar fashion ‘Everybody Loves A Good Thing’ does another blast around the cosmos - a Universal Robot Band feel emanating from the buzzing synths and awe-inspiring vocal prowess of Leroy Burgess, coupled with ‘Shining’ star, Venus Dodson. As uplifting as it gets, complete with a killer piano breakdown to draw out every ounce of anticipation.
Flip it over and a whole side is devoted to the greatness of ‘I'm a Big Freak [R*U*1*2]’. A mesmerising, fast-paced, disco workout with sensuous groans, sleazed up, supernatural keys and a heavy bass that just goes and goes and goes! Favoured by the biggest and best out there, from Ron Hardy to Theo Parrish, it’s got the power and energy to light up even the most demanding of dancefloors.

Second up on our Bobby Boyd unreleased recording we have some dope mid 80s material from Bobby, 'I Like What You Do To Me' is Boogie / Proto House joint that is totally my bag, feels like it should be in a 80s movie weightlifting montage (in a good way) it just works on the dance floor so well.
On the flip things get even stronger with the proto-house banger 'Girl Like You' a sick soulful number with with a biggest swinging kick drum I have ever heard, both proper club material.

If your not a rare soul or disco collector Bobby's name might not be a name your familiar with but as one of the founder members of Lafayette Afro Rock Band you will have experienced his music and influence which is far reaching.

Yet another highly in-demand 12" from the Philadelphia International stable and an artist whose records never go out of date! This is a killer double-sided beauty with the frenetic and jazzy "Life On Mars" from his debut 1976 album on the top-side and the mellow all-time classic and soul boy anthem "The Sweetest Pain" from 1979 on the flip.
Two very different sides of a great artist, both of which show the level of diversity that he was capable of producing. The last legitimate release of this was back 1999 and a Mint copy will currently set you back circa £50, if you can ever find one.
Fully remastered on limited edition 180 gram heavyweight vinyl.

Continuing our policy of re-issuing some classic double-siders and even some previously 'never released on 12"' titles, it's give us pleasure to unveil a pure double-sided 'must-have'!

Topside is Melba's Philly anthem, the bubbling McFadden and Whitehead penned and produced "Standing Right Here" which put Melba on a more credible path after her early hits and is now an underground anthem. Mint original copies of the U.S. 12" are currently around the £20-30 mark.

Stick with the real deal from the original masters! The flipside has NEVER BEEN RELEASED ON 12" BEFORE.

Yes, Melba's stunning version of the Curtis Mayfield penned classic "Make Me Believe In You" (originally done by Patti Jo) finally gets it debut release on 12" vinyl - the full 7.03 album version.

Limited Edition for Record Store Day 2018! Two seminal cuts from Norman Whitfields standout project, The Undisputed Truth. Remastered and reissued on 180g vinyl.
If you’re not familiar with “You + Me = Love”, well that bass synth intro will have you hooked from the off. “Sandman” on the B side is a funk bomb nestled on the Smokin’ LP….must have!

A trio of Harvey Mason classics reissued on 12 inch - 'Groovin' You' and 'Till You Take My Love' capturing the heyday of the New York discotheque, alongside the emotive, blissed-out 'Modaji' which features Hubert Laws' flute melodies that power it's jazz dreaminess.
Remastered for 12" audio power.

Rarely does an artist pay homage to the classics like Dimitri From Paris. The Grammy nominated producer, remixer, composer and DJ has made every one of his repertoire of reworks sound effortless; no mean feat when the original tracks are by the likes of Disco’s greatest musicians. In 2018 he released his “lifetime achievement” on Glitterbox, with the strictly limited pressing of the ‘Dimitri From Paris presents Le Chic Remix’ boxset. Now the 12’s have their own separate outings, bringing greater focus onto the individual productions, as each vinyl features two of the incredible Dimitri remixes, along with their respective instrumentals on the B-Side. On this record, Dimitri continues to get to the heart of why CHIC’s music remains so universally relevant, underlining the enduring cultural significance of dance music in its most unabashed form with his careful remixing of CHIC classics ‘My Forbidden Lover’ and ‘I Feel You Love Comin’ On’.

Thandi Zulu known as T.Z. Junior was a young girl from Soweto. She started her musical career with Peter Moticoe who produced "Love Games" with The Young Five on Heads label in 1984. Then, Peter Moticoe brought her to Phil Hollis at Dephon Entertainment who then teamed them up with Attie Van Wyk who was the producer for Yvonne Chaka Chaka at that time.
Phil Hollis started Dephon Promotion (Dephon Entertainment) in the late 70's and developed into the largest independent record company in South Africa. He describes himself as the only person who has been involved in recording of major hit songs in nearly all genres of music in all the languages in South Africa. Phil Hollis was involved in all aspects of the Entertainment industry from production of recordings, recording company, distribution, marketing and promotion, events management, staging major events and filming.
"Sugar My Love" and "Are You Ready for Love" were produced and arranged by Attie Van Wyk. “Back in the 80's I was a songwriter for a band called Ballyhoo when I got an offer from the Dephon Record Company to join them as a music producer. So I quit the band and joined them, producing records mainly for music targeted at the black market in those days,” he says. Between 1982 and 1992, Attie Van Wyk produced over 120 albums, including many for Yvonne Chaka Chaka.

Brazilian mid tempo boogie double header. We’ve been playing these two out for the last couple of years and they are firm favourites.
‘E Novamente Mas Que Nada’ is the opening track from Reseda’s 1979 album on Som Livre. An ultra catchy vocal hook, boogie guitars and synths lead into a piano and cuica breakdown and horns to finish. One of the finest in the genre in our opinion.
‘Ginga’ is taken from Robson Jorge & Lincoln Olivetti’s self-titled masterpiece, reissued on Mr Bongo. Arguably the most immediate and club friendly track from the album, it always turns heads. Another premium example of Brazilian boogie from the masters of the sound and producers for the likes of Rita Lee, Erasmo Carlos, Don Beto, Marcos Valle, Tim Maia, Gilberto Gil, Gal Costa, Sandra Sa, Painel de Controle and many more.

DaM-FunK is the kind of guy who seems like he’d make great company: laid-back, affable, personable. But to truly get the guy, to really understand him, is to know a deep love of music like no other. Dam’s contribution to the DJ-Kicks series gives you an opportunity to do just that. It’s a snapshot view into the mind of the pioneer of Modern-Funk music… DJ-Kicks invites you to get to know the man behind the shades.

Dam makes a lifetime of digging and absorbing music that feels as laid-back as the Santa Ana breeze. Years ago, he coined the term ‘Modern Funk’ to give context to his music. The elements of the synth-heavy and multi-layered style are gloriously displayed on DJ-Kicks. “Modern-Funk is a combination of all the sounds on the mix,” he explains. “Funk, Boogie, Electro, House, Modern-Soul, Ambient tones… a push and pull of nostalgia and progressiveness…”

At a satisfying 19 songs, DâM-FunK’s DJ-Kicks lets grooves breathe. This is a mix to happily get lost within; a document in vibe. Unexpected contemporary joints mingle with lost gems from unlikely places. The exclusive DâM-FunK production “Believer” makes its debut on DJ-Kicks, an extensive instrumental composition that on it’s own could only be classified as signature Modern-Funk. The mix also includes Dam’s excellent collaboration with Nite Jewel, as ‘Nite-Funk,’ on “Can U Read Me?”

A Danny Krivit and Harvey favourite, as sampled by J Dilla and Glenn Underground – a dubby disco cover of the Gamble & Huff penned O’Jays classic. This sound was later pioneered by the likes of Arthur Russell and Larry Levan. Replica original 7” artwork, official Mr Bongo reissue, mastered from our original DAT copy.

Al Massrieen: Disco, Funk and modernized Arabic Pop from Egypt

In the beginning of Habibi Funk, our search was focussed on vinyl records. Around a year ago though, we got to the point where we realized that it became substantially harder to discover music, that we enjoyed and hadn’t heard before. It became apparent that it was time to start looking for other formats. Cassette tapes were the obvious alternative. These were introduced in the arabic world around the late 1970s. In some countries they took over a bit earlier, in others a bit later, but eventually they pushed the vinyl format out of the market in the 1980s. In Egypt this trend already even started in the late 1970s.

Al Massrieen was one of the first bands I learned about once I discovered the tape format for myself. They were really popular in Egypt in the 1970s and the more of their music I found on either tapes or Arabic pirate mp3 sites, the more I was becoming a fan. Only very few bands from the region can match the band’s versatility as well as their strive for innovation. Hany Shenoda is the man behind the Al Massrieen band. He is a reknown figure of the Egyptian music scene and has worked with everyone from Abdel Halim Hafez to Mohamed Mounir. Al Massrieen was his attempt to introduce his ideas of modernizing Egyptian music, heavily encouraged by Naguib Mahfouz (Egypt's only winner of the Nobel Price for literature) after discussing his ideas with him.
Al Massrieen's sound goes from lush disco like “Sah” to psych rock like “Horreya” or incredible jazz fused pop on songs such as “Edba Mn Gded”. I was shocked to realize the band seemed to be hardly known outside Egypt, even though I feel they're at least on the same level as Ahmed Fakroun. An relative obscurity which I largely attribute to the fact that their releases never have been pressed on vinyl (apart from a Greece best of LP which wasn’t a strong compilation of the group’s songs). One way or another it felt like this band and especially their composer, band leader and overall brain Hany Shenoda was in need to get some recognition outside of Egypt. The release is fully licensed from the band and comes with an extensive booklet with liner notes, interviews and unseen photos.

Classic jazz/funk/disco cut that became an instant anthem on all discerning dance floors when it was originally released, and for decades to follow. Includes the previously commercially unreleased Sax Mix of ‘Journey’, cut loud at 45rpm.
Championed by DJs including Francois Kevorkian, David Mancuso, Larry Levan and more, it’s a record that, alongside tracks like Atmosfear’s ‘Dancing In Outer Space’, become synonymous with the UK influence on US club music at the time. A sound that many forward thinking DJs in New York, Chicago etc. embraced to stand out from the crowd and bring depth to the dance floor.
Driving jazz/funk, legato bass, grooving beats, subtle keys, dubbed out percussion and guitar licks that bring you to a simple but infectious piano melody.
A collaboration between Andy Sodjka and Jerry Pike, mastered by Herb Powers.
Licensed from Chemical Discs.

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!

We thought turning five this year would be a good reason to ask some friendly DJs and producers to go through our catalogue and select their favorite track to do an edit or remix on.
The first selection by DJ Nomad from Berlin is Barbara Hernandez' 'All Nite Tonight', written and produced by Leston Paul from Trinidad. Nomad's edit drives the song's dance floor ambition even further beyond the top. As a DJ Nomad does not necessarily put a label on his style, but always expresses love for Polyrythms, Soulful harmonies and the African drums and Percussion. He's notorious for finding fresh world music dance tracks all around the globe, before they become hits, and a massive collector of Tropical Soul, Funk and Disco.
His energetic and surprising , always fresh DJ set's earned him a residency in Paris's infamous ‚Tropical Discoteq’ Parties among the best Dj's of the genre. He is the founder of ‚Vulkandance’ Parties, Blog and Label in Berlin .. He's together with Edna Martinez cofounder of ’El Volcan’ - The first continental European Colombian Pico Soundsystem. As a Producer he's breaking ground and travelling the world together with Dirk Leyers and the transcultural Project Africaine 808, besides working as a master Editor for other artists around the globe. Keshav Singh who is part of Trinidadian/British production duo Jus Now put his hands on Trinidad's Mansa Musa's ’Beat The Drum’.
Being a percussionist in his own right he transformed the song into a housy Soca track and pure dance floor fiah! With his partner Sam Interface, he has produced soca music with EDM influence for Bunji Garlin, Machel Montano and 3Canal. Keshav commutes between Trinidad and the U.K.
The next two tracks are taken from our upcoming compilation ’Gotta Nice Buzz - The Funky Sound of Semp Studios Trinidad, W.I.’. French DJ & record collector Waxist gives Zodiac's ’I Believe’ a proper treatment. ’I Believe’, written by Francis Escayg, is an uptempo Caribbean Disco tune with a strong Giorgio Moroder influence with Denise Plummer on vocals.
Waxist, based in Lyon, France, started his love story with records as a teenager when he bought his first reggae 7 inches. If his love for Jamaican music has survived through the years, the DJ has progressively extended his interests to different, more dancefloororiented music genres like Disco, Modern Soul, Boogie or even a touch of House when needed... Being careful with the technique, as well as with the coherency of his selection, his sets are an invite to a dancing musical journey taking the audience from Disco to Modern Soul, through more Caribbean or Brazilian sounds.

They say that good things come in threes… it must be true and Favorite Recordings also proudly presents the third edition of its acclaimed French Disco Boogie Sounds compilation series.
Like on prior volumes, the complete tracklist is selected by label head honcho, Charles Maurice (aka Pascal Rioux), who’s unearthed 13 more forgotten and hidden tracks, all produced whether in France, in French, or by French artists between 1977 and 1987.
With most of these titles now very hard to find in their original edition and unknown by many, this compilation should be a must have for any Disco-Boogie-Funk music lover and collector.
Fully remastered from originals at The Carvery Cut (UK), French Disco Boogie Sounds Vol.3 (1977-1987, selected by Charles Maurice) is presented by Favorite Recordings in a gatefold vinyl double LP and as CD.

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.

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.

For the 7th release on his label,Temi Kogbe compiles Willy Nfor's greatest songs from his solo works. The session player (bass) was involved heavily in the African boogie / funk scene with a impressive credits list.
Willy is little-known master bass player who left his country for Nigeria at 20, formed the Mighty Flames with made a name for himself as a session player played with Bongos' The Groovies, William Onyeabor (Crashes in Love), Odion Iruoje at Phonodisk where he played on several releases, left for Paris, became a sought-after session player, formed Ghetto formed Ghetto Blaster
(with Fela Kuti's Egypt 80 alumni), joined Mory Kante band toured the world on the back of the Global Hit record, unfortunately, he died before the world could really know him.
This compilation (from three rare Nigeria-produced LPs; Mighty Flames' Willie Nfor, Feel So Fine, My Turn) capture Willy's vision of a free world where love, music and breaks migrate freely. His afro-boogie nods to Bootsy Collins and Louis Johnson (The Brothers Johnson) but it invariably afro and inalienably Willy's music, a space funk with deeply rooted rhythmic grooves that has made these LPs highly sought-after by music aficionados and selectors worldwide.

Salsoul classic back on wax - nobody knows how long!

Back IN Print 2022 Edition - Limited Edition of 300 copies Recorded Live in Hyattsville, MD 1975-2015. George really had no interest in releasing this record. "Seeing Is believing, they don’t need records, trust me I did that, today they getting it live". So this record is that, live tapes from the house, recorded on a government issued cassette recorder from National Library Service for the Blind. George calls these his practice tapes for songwriting, and performance warm-up, and never beyond his ears were they intended to travel. "You just got to see me live if you want to really see me.. so when we get there just plug me in, and point me at that crowd". Last time I saw George they had him wired to the club system. He unplugs his Yamaha keyboard, licks the tip of the power cord and taps a beat on it, finally plugging in, synth lights up, tones all at zero, beats at zero. Then he builds from there, counting blind through a preset one hunderd factory tones and rhythm patterns. "I gotta start off at zero, and go from there." After the Marshmellow Band disperesed, he got this Yamaha keyboard, same one he’s been playing since 1990, endless scrolling over the same presets, trying to make them fit, tempo down, tapping while telling the story and asking if that feels right to you. "This always gonna be different live."Some selections on this album are original material from home sessions prior to George’s 1980 self- released LP. The rest, just a sampling from the Smallwood mind’s library of classic song writers. - Andrew Morgan (Peoples Potential Unlimited)

Original founding members of New England's premier reggae band, The I-Tones; Jon Gorr (Keyboardist), Tony Allen (Drummer), and RAM (Vocalist) released their side project "It's No Lie" in 1983 on Massmedia Records.

Another classic Cosmic Chronic from a few years back, rounding out the end of an era for the Miami imprint. Re-mastered by Stan Getz. Machine Gun Boogie b/w Sophia.

Gorgeous electro boogie, nothing less then you would expect from PPU!

Circuitry is... Electro Wayne & Lo Joe

Written, Composed, Produced and Arranged by Circuitry for Circuit Shock Productions.
Recorded Live at: Short Circuit Studios 1985-1987
Drum Machines: Roland TR707, Roland TR808, Oberheim DMX,Kawai r50e
Keyboards:Roland Jx10, Yamaha Dx7 & Dx 5, Roland Jx-3p,Oberheim Matrix.

PPU's first long-play LP highlights some of the early beginnings of one of our favorite producers, Uku Kuut. Written and recorded at Uku's home studio in Los Angeles and Stockholm between 1982 & 1989. Some tracks co-written with Maryn E. Coote, famous jazz vocalist who had her beginnings in 1960s Soviet Union. "That's my mom" recalls Uku, "I remember when I was little, sitting under the mixing board at her sessions". Growing up in studios, Uku's love of music production began early, and over the years he has amassed a vast collection of domestic and soviet electronic gear. In true PPU style this LP is a mix of Uku Kuut's raw cassette demos, forgotten masters and unreleased magic.

Limited Edition for Record Store Day 2018! Two of Jean Carn's seminal hits combined. “Was That All It Was” is a big hitting disco exploration with hints of Jean’s gospel choir background coming to the fore.
The flip houses the classic “Don’t Let It Go To Your Head” – covered on many an occasion since it’s release back in '78.
Pressed on 180g vinyl.

The debut album from the legendary Brazilian group, Os Novos Bahianos. Official Mr Bongo reissue.
Originally released by RGE in 1970 in Brazil, ‘É Ferro Na Boneca!’ features 13- songs composed by Luiz Galvão and Moraes Moreira. This record shows the roots of the group, moving through psychedelics, edgey pop, rock and Tropicália.
After writing ‘É Ferro Na Boneca!’ their music began to move towards MPB due to the influence of João Gilberto, who began working with the group. In 1972 they released their incredible ‘Acabou Chorare’ LP, which came top of Rolling Stone Magazine’s list of 100 Greatest Brazilian Records (published in 2007).

Limited to 500 handnumbered copies.

2023 Repress

Two seminal 12" mixes of a pair of enormous tracks from The Whispers. Both boogie/street-funk flavoured, these sought-after versions have never been paired on the same record. Side A features the notorious anthem "Keep On Lovin' Me" (the one with *that* life affirming video) whilst Side B houses the outstanding, semi-slept-on "Turn Me Out".

New label Smiling C starts off with a compilation LP of released and unreleased works by the Arabic rapper, Shams Dinn.
For their first ever reissue, Smiling C connects with the Arabic rapper Shams Dinn to release a compilation his best songs, including the hit "Hedi Bled Noum". The compilation covers his entire career of with songs made between 1985-1990, most of which went unreleased at the time. One of the few Moroccan rappers to ever be recorded on vinyl back in the 80s, Shams Dinn was a pioneer of Arabic flow. Starting his career because he wanted to be a positive light for the Arabic immigrants living in France. He earned his status participating in freestyle competitions, and performing in small clubs around Europe. His career came to a turning point when he was asked by a major label to record a full LP. Unfortunately, the label decided they didn't want to promote Arabic music (largely because of the Gulf War) - and asked Shams to translate the Arabic to French. Shams Dinn wouldn't stand for that, and he was dropped from the label. The following years he worked at a school, teaching kids how to rap and express themselves through words.
The reissue comes with newly imagined art, and an inner sleeve with interview and photos.

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.

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.

Two seminal 12" mixes of a pair of Michael Wycoff heavy hitters from 1982. One a two-step favourite and one a Loft classic, these sought-after versions have never been paired on the same record.

Taken from his 'You Might Be Surprised' album from 1985 and produced by James Mtume with additional help from Tawatha & Philip Fields (of Aurra & Mtume) as well as David Frank (of The System), this 12 inch has long been sought after by Roy Ayers fans with the release changing hands for over £100 regularly on Discogs.

This mid-tempo joint with forward thinking lyrics, a great 808 beat and beautiful chords is sophisticated, yet hood. Reissued for the first time, don't miss this
opportunity to own this slice of mid 80's Roy Ayers.

Limited edition vinyl!
Finally opening up the garage after 8 months of deep winter, Chandeliers are hopping in the black Chrysler LeBaron convertible, and rumbling down Western Ave to a bubbling, dark and sensual soundtrack called "High Diamond". A gothic synth-funk house beat pumps the blood of this diamond, brooding and mood-altering, evoking a feeling that there is something menacing going on just blocks away, but for now, we are here, and we will dance. The flip side "Snake Bomb", is a wicked, reptilian instrumental, where the promises of our new snake democracy lies in the power of those with their hands on the synthesizers and drum machines. With a trapped-out drum kit pushing us into the future, and industrial metallic synth bombs being hurled over our newly shed skins lying on the sand next to us, "Snake Bomb" spins us at 45 revolutions per minute into some distant but oddly familiar past, when we were still trying to escape from our lizard leaders.

Cultures of Soul is back! This time it's with a new set of 12"s - the Carib Boogie Synth series. Featuring the iciest synths, the slickest basslines, and other '80s-sounding vibes from the Caribbean islands, all of the tracks are fully licensed. First up in the series is the killer Junior Byron track "Trying To Hold On," written and produced by Wild Fire's Oliver Chapman and originally released on the Wild Fire label back in 1985. The A-side includes the original mix as well as the Version. On the B-side we've got the epic "Megamix." The track was reworked by Gerd Janson, who created the mix old-school style with two copies of the record, a mixer, and an EFX box. Adding the final touches to this track is mixing and mastering engineer LOPAZZ, who mastered many of the best techno tracks in the Get Physical catalog and released the seminal dance-classic "I Need Ya" on Output.

A bonafide dancefloor invitation, this classic cut by Chain Reaction was originally released in 1980 on the P&P affiliate label, Sound Of New York. A project between keyboardist Dwight Brewster (of The Imperials) and percussionist Harold Sargent (of Wood, Brass & Steel fame) Dance Freak provides one finest moments in the entire catalog. A funky disco track with all the elements of a party anthem, it’s no surprise it’s been a favorite of veteran Deejays like Kenny Dope and Danny Krivit. There are many reasons why this track is a must-have for Disco DJs. Outstanding percussions; check. Funky Guitar & Bass lines; check. Catchy chorus; check. Brass accents; very welcomed. Using a synth as a percussive instrument; incredible and most likely lifted from the Patrick Adams Handbook “How to make a hit record”.

Vinylmania: As classic disco came bounding through the late ’70s and into the electronically orientated sounds of the ’80s, New York was one of the undisputed frontiers for the latest developments in dance music culture, nightclubs and the art of DJ-ing. At the center of this seminal time for vinyl culture was a store called Vinylmania, set up by Charlie Grappone in the heart of Greenwich Village, Manhattan, just as the culture of 12-inch singles and promo copies was taking hold. From supplying Levan, Tony Humphries and many more with the latest imports to championing the emergence of house music in the mid-’80s, Grappone and his staff played a significant role in New York’s own dance music story. Through the ’90s and up until closing in 2007, Vinylmania was a store that catered to DJs from across the complex mixture of racial, social and sexual demographics that made up New York and its legendary nightlife. Man Friday: As the NYC Peech Boys came to an end, Man Friday became Larry Levan’s newest production project. Fronted by Kofi Morny and Brodie Williams, their debut single “Love Honey, Love heartache” was released by Vinyl Mania in 1986 with Larry Levan at the helm of the mix. Love Money: In the spirit of most dance music borrowing elements from other sources,
“Love Honey” was heavily inspired by another Paradise Garage & Loft classic from 1980 and its remix in 1981 by UK Outfit Funk Masters / TW Funkmasters. A dubbed out track big in the Jazz-Funk scene in the UK, it became a hit among underground Deejays in Both NYC & Chicago. Love Honey: No matter what list you look at. ‘Love Honey’ is always attached to Larry Levan’s tenure at the Paradise Garage. All the elements of a Garage Track are here; Dub Echoes, Synth Basslines, Percussions that linger, FX -that one can only dream of hearing on a Richard Long System- and an Organ, because after all, they say the Garage was like going to Church.

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!

12 track vinyl compilation featuring the roots of modern dance music, on 180g heavyweight double LP. P&P was producer and Harlem hustler Peter Brown’s production company. He created some of the greatest moments in underground African American dance music, across a handful of labels in the 70s and 80s.

A few years ago, Melodies family members Floating Points and DJ Red Greg got their hands on a couple of original 70s obscurities. While these standout records shone brightly in their own right, the two DJs saw the potential to create their own edits behind the scenes, finely attuning the original versions to modern-day dancefloor standards. Of these new recordings, they cut only five copies for themselves and a few DJ friends of theirs.

Today, Melodies International is very proud to bring you MEL006 and MEL007. Fully licensed, lovingly mastered to the highest possible standards and carefully edited to dial up that dancefloor enjoyment, these two ‘You’re A Melody’ classics weren’t originally meant to get official releases. But due to popular request, they are now available to play and share in very special moments at parties around the world.

From the original Vinylmania Records !!! First time on a 7" single !!! The Paradise Garage classic "Love Honey, Love Heartache" Produced by legendary DJ Larry Levan. Writtren by Brodie Williams. Edited DJ Monchan A side and a B Side Acapella

Limited vinyl edition!
Coming at you hard with a brand-new release, that’s moved away from or usual unissued releases. DJ Rude Lead played Super Disco Edits a demo he and Tom Noble from Superior Elevation cooked up whilst Tom was in Denmark deejaying.
They approached in in-demand vocals of Jay Nemor from the states., who laid over some killer sultry lyrics and tones.
The song was only in demo form, so Super Disco Edits in house engineer Matt Fletcher and Owner of Super Disco Edits Russell Paine gave the song the boost and heaviness it desired! We really are pleased with the result, that’s cut super loud and sounds awesome over a big system.

You probably don't know this disco banger, I think there is about 4 or 5 known copies on 7", everyone who has a copy has been keeping it quiet. I first heard it from David Haffner about 4 years ago and had been after it since then. After a lot of research I came to the conclusion the everyone involved had passed away, but months after giving up after I spotted Benita's full name on another related LP credited as a backing singer. I was then able to track down Benita who was alive, well and surprised and very happy to hear from me. This one is a beast and will fly out (I find myself saying this far to often).

Soundway Records delivers a beautifully remastered reissue of Brazilian duo Grupo Controle Digital’s only album, “A Festa É Nossa”. First released in 1988, the album is now housed in a tip-on heavyweight sleeve and restored artwork.
With the title track “A Festa É Nossa” having circulated the last few years in the DJ sets of influential tastemakers, the album has become highly sought after by electronic fans and collectors alike. Lo-fi synths and cruising bass lines permeate the record, influenced by the group’s Brazilian contemporaries at the time such as Tim Maia, Cláudio Zoli, Secos E Molhados, and rock outfit Made In Brazil.
Band members Billy Jaguar and Gel Valiery regularly performed in various groups in São Paulo throughout the 80s and 90s, but after Gel passed away, Grupo Controle Digital was no more - the band and the album faded into obscurity and Billy became a priest, working with gospel music. It remained that way until Brazilian DJ Millos Kaiser (from label Selva Discos, and one half of Brazilian street party organisers Selvagem) tracked down the remaining member of the group to be able to include one of their tracks on the highly anticipated Soundway compilation “Onda De Amor: Synthesized Brazilian Hits That Never Were (1984-94)”, released in July 2018.
Audio restored by Neal Birnie and re-mastered by Frank Merritt at The Carvery, London. Artwork restored by Lewis Heriz.

Considering the incredibly wide range of styles adopted by Piero Umiliani during his career, it will come as no surprise for you to know that he also produced disco. At that time in Italy disco had still an exotic appeal and was considered apt to accompany a genre of movies that was at once erotic and comic. “Discomusic” is some sort of a white version of a sound that is inherently black, a unique record within Umiliani‘s discography. The track “Discomania” became popular as the closing theme of 90° Minuto, a famous Italian football TV show.