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Samosa Records dips its toes back into the Afrikano waters with Volume 3 of the Afro themed, genre-busting series and features four deadly tracks from some of Samosa’s most trusted lieutenants.

Breaking the ice as the first track of this exceptional EP is Vincent Galgo and ‘African Rebel’. Mr Galgo has clearly read the brief here – giving us a 125bpm marauder that’s a melting pot of unstoppable horns, furious rhythms and an Afro-pop style bass that is the beating heart of the track.

Track 2 is Samosa regular Frank Virgilio who introduces us to his ‘Mistress’. As a straight up jazz-infused, mid-tempo rhythmic chugger, ‘Mistress’ quickly gets down to the important business of racking up the beats and instrumentation. The generous spread of guitar riffs, assertive bass and organ stabs are expertly lifted by the layered and always rolling drums and bongos induce a trance-like state of mind, so be warned!

On the B-Side Samosa newcomer Casper Leo wears his Tribal heart on his sleeve with the enchanting and utterly captivating jangler - ‘Tom Tom’. You can never have too much Kora guitar and ‘Tom Tom’ has lashings of it, with delicious sprinkles of melodic Marimba – perfect for West African sunsets.

Closing the EP off in style is Afro beats grand master, Lego Edit and the filthy-sexy ‘El Safari’. No other producer can take the essence of the Afro beat structure and bend it to their will like Lego Edit can. Like a late night fist-fight in Club Coco Bongo, ‘El Safari’ punches its way out of the doors. A slinky, wily alley cat of a tune that digs deep with its claws and doesn’t let go and another masterpiece from Lego Edit.

Afrikano Vol.3 has done the impossible and set the bar even higher for this wonderfully diverse Samosa series. We want more. We want ‘4’. With this in your record box, you’ll come with a warning.

Ste Hendry [Black Light Disco]

Samosa Records cranks up the summer groove with another sizzling release in the outstanding (Re) Funk+Head series – a collection of juicy tracks from the Samosa back-catalogue selected and re-edited by the man himself, De Gama.

This sumptuous vinyl cut of ITALO Funk and Boogie kicks off with Mexico’s finest, The Funk District and the enigmatic ‘La Rapina’. This is pure, unfiltered Funk District chemistry from the first bar. Snake hips guitar, rolling bass and that super-solid 4-4-4 beat pound into your consciousness whilst the hypnotic chant and Latino-infused vocal tempt you into sin.

Next up on the A-side is Samosa head honcho DeGama and his deliciously refreshing ‘Piňa Colada’ - a new edit of the original 2011 version never previously released on Samosa. And what a mystery box it is. Tight beats, punchy bass, looped synth and house-tinged high-hat lead us to a haunting, melodic vocal breakdown. There’s a subtle Afro flavour to this one, definitely for sipping cocktails in a hammock or Caribbean beach bar.

On Side B Italian Maestro Paul Older takes the beats down several notches with the explosive ‘Daboom’ – the DeGama Re-Groove of Paul’s first vinyl release way back in 2019. This is a straight up, mid-tempo peacock strut down Funksville Boulevard. Possibly wearing a Zoot Suit. Imagine having breakfast with Herbie Hancock and you might get an idea of just how funky this tune is. He’s passing you the eggs and you’re buttering the toast.

The last track sees DeGama delve into his dark magic box for the mind-melting, film noir themed ‘Higher’. The tempo is scaled right back to 92bpm for this portrait of pain, joy, lust and hallucinogenic dreams. ‘Higher’ reveals a side of DeGama that we know lurks in there, but only sometimes makes it to the surface. Smokey, sassy and sultry, this is definitely one for the dimly-lit after party.

The latest episode in the (Re) Funk+Head has set the Samosa bar even higher. This simply has to be in your summer record box and don’t you dare leave home without it.

Ste Hendry [Black Light Disco]

This latest installment of Mr. K Edits focuses on two midtempo cuts for the roller skaters and lowdown groovers, with a couple of deep album tracks that are appearing on 7-inch for the first time — both with unique Mr. K edits.

First up is “Felix Leo” from Californian keyboardist Rodney Franklin. A subtle instrumental that was overshadowed at the time by the monster hit “The Groove” (also known to UK’s jazz dancers as The Freeze), “Felix Leo” is that creeper that makes its way into your consciousness and won’t let go. As he so often does, Mr. K trims the track to its leanest, meanest measures, starting directly from the menacing, hypnotic chord progression that forms the root of the composition. Proceeding at a stately leonine pace befitting the title, the song spirals beautifully, as a lush string section encourages the listener to get lost in the unfolding sonic textures.

“In Love” is a very early Prince track, in fact it’s the very first cut in which we hear Prince play instruments on his debut album, released in 1978. And play instruments he does, every single one of them — drums, bass, guitar, and above all, those creamy ARP and Moog synth lines that power this tune. Bouncing along on a rhythm that blends a solid four-on-the-floor stepper’s groove with a hint of the staccato upbeats of reggae, this one’s an easy warmup for dancers and a perfect tempo for skaters. Mr. K’s edit gives us the extended mix the album never did, adding nearly two minutes to the LP timing without ever feeling strained or repetitive.

“I learned both of these songs for roller skaters in my early Roxy days,” Krivit says, referring to the legendary downtown NYC roller rink, “both had those grooves that stood the test of time.” We think this exclusive 7-inch will do the same!

As always, these are mastered and cut to vinyl with both home hi-fis and club systems in mind, and the sound is unmatched.

Paul Older is the man behind the Disco Mind Records and after something of a short break, he and it are back with a bang. These two superb cuts are the result of him going on a deep digging record trip and unearthing two marvelous old gems that have been expertly restored for modern dance floors without losing any of the grit and realness that makes old tunes so appealing. 'The Venetian Girl (Marisa)' comes on strong with huge horns and big Philly percussion that reminds immediately of the legendary Studio 54 and then 'Up' is a big-time party pumper with funky elements to get the floor going.

This is the second of two releases from Emotional Rescue that looks to the music of the Eric Calvi who headed up the collective Exo Fender, a project that brought together a bunch of friends, producers, and studio amigos. This one is a live boogie jam 'Music In My Mind' with Brooklyn DJ and producer Steve D'Aquisto. He was a regal at The Loft and a friend of Arthur Russell so all that bears out in the music - a loose-limbed disco groove with languid percussion and big vocals. A Justin Van Der Volgen edit rounds out the 12".

The always hard working Emotional Rescue now unveils the electronic disco project Exo Fender, helmed by esteemed New York producer Eric Calvi and featuring the legendary Steve D'Acquisto. The remastered songs 'Big Mood' and 'Music In My Mind' span two new EPs, with updated edited versions by NYC producer Justin Van Der Volgen. Calvi's journey from Paris to New York's music scene in the 1980s when he engineered hits for artists like Cameo and Africa Bambaataa, and laid the groundwork for Exo Fenders. Inspired by clubbing friendships, the project's infectious grooves and tongue-in-cheek nature gained club play and collector's acclaim, with Van Der Volgen's remix enhancing their timeless appeal for today's dancefloors.

É Soul Cultura captain, originator of Manchester’s legendary Electric Chair and definitive people’s champion, Luke Una taps into a lifetime’s worth of musical discovery for the second volume in our Mr Bongo Edits series. A cosmic coming together that sees two of Luke’s secret weapons, re-edited and re-contextualised by the man himself to provide optimal dancefloor euphoria. A stalwart of the underground for nearly 40 years, Luke has become an appointed leader of the late night disenfranchised, with an unquestionable ability to pick records that make minds tick. Not least through his two É Soul Cultura compilations released on Mr Bongo over the past two years. A taste that traverses genres as much as it does emotions and decades, who better to give an insight into the tracks he has chosen to edit, than the man himself. “I've been an avid collector of afro-beat house, techno and underground black heart disco since before the basement soul days of Electric Chair 30 years ago. Both these bombs were very much holy grail finds, plucked from the last four decades of digging in random crates of dusty vinyl all over the world.” First up, Thandi Zulu & The Young Five’s interpretation of Pure Energy’s early ‘80s disco power play – ‘Love Game’. With a distinctive South African synth bass and killer keys combo, Luke explains the original has this “bonkers alchemy of heavy machine soul, uptempo rawness and a majestic disco evangelism”, making it ripe for a re-edit. On the B side, Lionel Pillay’s Jazz dancer ‘Plum’. “The original was a relentless 18-minute raw jam”, Luke states, “which despite its late ‘70s South African origin kinda reminded me of a 1986 Chicago piano House record”. “These edits strip the tracks back and rebuild them, giving them more sonic weight with that looped up drum jacking militancy from the days of Chicago, combined with a boosted sense of transcendental, psychedelic, cosmic disco. They have always had such an explosive reaction on so many dancefloors including the heavier electronic club, so it felt only right to reshare them”.

Dickie Landry’s saxophones have challenged, soothed, and blown minds around the world in his lengthy career as a jazz and avant-garde blower of the highest regard. He was a founding member of the Phillip Glass Ensemble and (according to Wikipedia lore) introduced Paul Simon to zydeco, one of the indigenous sounds of his native southern Louisiana.

Rarely, though, does Dickie’s saxophone make you want to get up and dance like a crazy person.

Such is the effect of “Hang The Rich,” a nugget of slinky, ecstatic punk-funk that was until recently completely lost to the sands of time. Recorded in 1986 (or thereabouts) in New Orleans and featuring vocalist Evelyn Erhard, percussionist Billy Ware, drummer Ricky Sebastian and Dickie himself on saxophones and a Roland Jupiter 4 synthesizer, it’s the kind of song that compels you to move any which way you can, drunk on indignance and the power of satan’s music.

The track came to DFA via LCD Soundsystem’s Korey Richey, who knows Dickie from back home in Louisiana. After a lengthy search, we located the original tapes in a storage locker somewhere in the Southeast and finally were able to get a clean, quality transfer done here at DFA HQ.

From there, we only had one person in mind for a more DJ-friendly edit: Glasgow’s JD Twitch, one half of Optimo and a selector of similarly puckish spirit. Twitch’s ability to contextualize these older, skronkier sounds for a modern dancefloor are in full display on his version, which hits hard and jagged but then opens up into those ineffable rapturous moments.

Hi Quality Records hit the grounding running with their first release, a spellbinding, full frontal, double disco workout of original material from More Amour.

A melding of the minds of two longtime friends, Artwork and Jon Solo, More Amour kick things off with the peak time cosmic warper ‘Nightshift’. A cross-Atlantic cocktail of intergalactic synthwork, beefy drums and celestial pads with an extra shot of disco in there to keep you grooving till the early hours.

Flip it to find a Balearic boogie beast in the form of ‘Don’t Look Down’. Full of brain-spangling synths and blissful chords that will have your mind riding off into the sunset before that keytar solo blasts you into another dimension.

Package includes free peel off kiss-cut sticker.

Roaring re-edits from Krewcial as he unleashes Discosaurs Vol Two. Pumping disco heat, given a fresh DJ friendly touch for the modern mind, body and soul.

Mr. K transports us to the golden era of the Loft with two disparate, but equally heavyweight classics from the Mancuso oeuvre mastered and cut loud, deep, and clear for club play.

First up is an edit of a track that embodies the spirit of early ’80s downtown New York City. Released in 1982, “Konk Party” was the band’s calling card and first hit, and represented their multicultural, no wave, hip-hop/disco hybrid perfectly, the opening sax riff itself a sly nod to Wild Sugar’s breakbeat classic “Bring It Here” that the Beastie Boys would later sample. A Loft staple — the video was even filmed there — “Konk Party” was also played widely across the influential clubs of the day, becoming an instant staple at Danceteria, Mudd Club, and other hot spots. The easy-going groove, heavy on the percussion and low-slung bass, complimented by bilingual lyrics from Angel Quiñones, has dated well, and sounds especially ready for action in this new edit from Mr. K, largely inspired by the original 12-inch’s choice Uptown Breakdown Mix. This is the first time “Konk Party” has been available on 7-inch.

The heavy percussion backing is perhaps the only similar element that links our A-side to its flip, but that only goes to show the breadth of styles that coexisted in the audio landscape of the Loft. “Hold On To Your Mind,” first released in 1970 by Northern Irish rock group Andwella, is a heavy, psychedelic tour de force that more than lives up to its cautionary, heady title. Mr. K has outdone himself with his new mix, a supercharged blend of extended percussion breaks — absent on previous 7-inch mixes — driving vocals, and fuzz guitar. For those who have never been able to track down the original single, an expensive proposition, and even for those who have, this new edit is certainly the definitive version.

From the mind of Caserta comes a brand-new imprint. God Hour picks up where Bridge Boots left off putting Caserta right back to work doing what he’s come to be best known for; turning old school joints, usually not meant for the dance floor, into modern day heaters. 'Playa' takes a '70s ballad about the one who got away and makes it a little less heart wrenching and a lot more danceable! The A side features the full vocal surrounded by the driving bass, drums and horns any good disco record should have. With lush Rhodes, strings and synths to warm things up and make you wonder where things went awry even while you’re 2 stepping the night away. For those of you who cant come to grips with the fact that that special someone is gone or just plain hate lyrics then flip-er on over for a classic Caserta Dub.

Respect003 serves up two certified anthems that have blown the roof of many a dancefloor before, re-edited for the modern mind, body and soul.

Just when you thought that lockdown fatigue was getting the best of you, Sirs comes correct with another four tracker of edit wonders to rework your mind from dreary to cheery in the drop of a needle. With Lovebirds taking listeners on a blissed-out, sun-kissed Balearic trip for the last record, Sirs leads you into the night with four Italo pumpers that put the ‘u’ in euphoric.

Next up from Mind Fair is a crafty cover of cosmic classic, That Thing, by That Thing. Originally released as a currently scarce 12 on AVI in 1977, That Thing was a one-off synth-pop project produced by Dutch musician Geertjan Lacunes – who worried the outer limits of various European hit-parades during the ‘70s and ‘80s under the alias Jerry Rix. German label Jupiter picked up the quirky curio and repressed it as 7 for wider distribution, no doubt envisioning that they’d licensed a novelty monster the scale of Chicory Tip’s Son Of My Father - which alas was not the case.

The track was however a firm favourite of pioneering Italian DJ, Daniele Baldelli, since its wonky bass riff can be heard spinning in and out of a multitude of his legendary mixtapes - where it`s twisted, almost inverted, by the maestro’s use of EQ. Back in 2020, Mind Fair have fashioned a faithful but you-betcha beefed-up reworking. The crazy lyric - care of Chicken Lips cohort, Johnny Spencer - and cowbells accompanied by un-MIDI-ed Moog and modular synth twitches, italo arpeggios and fuzzed guitar tones. Fabrizio Mammerella delivers a remix that's like a meeting of NYC’s Emergency Records, and Belgium’s Antler and Subway. Chris Barbosa and Morton, Sherman and Belluci. ‘80s New York and ‘90s New Beat. Dropping the chorus into devastating delay, chopping Johnny up into percussive Pop Muzik snippets. Sealing the psychedelic deal with a deft dose of analogue acid. In comparison, Eric Duncan’s re-imagining, initially comes across as kinda muted, but that’s just to catch you off guard. While pitched down, and the drums for sure more sedate, it’s definitely the trippier of the two revisions - with all sorts of strangeness throwing abstract shapes deep in its detail. That 303 now sounding severely stoned. It’s like that cat at the afters, the one who commandeers the drinks table in the kitchen and then bends any and every unsuspecting ear - spontaneously connecting the disparate dots in the universe, seemingly without stopping to draw breath - while endlessly shaking folks’ cocktails. The kind of nut that everyone knows, but can never work out how they make it home. Tongue-in-cheek weirdness worthy of Eric’s Rub N Tug partner, Thomas Bullock, and his mate, DJ Harvey, too slow to disco, too high to stop dancing, it’s quality psyche gear for the experienced, discerning, dimensional traveler. There’s a dub for those that can’t quite handle the vocal (lightweights!).

Three reworks, three classics, three chances to transport your mind, body and soul to somewhere with a little more sizzle and spice.

A treasure trove of edit wonders from none other than the Turkish master and esteemed digger’s digger, Jonny Rock, released on the ever-dependable Orange Tree Edits. Four cuts, taking you on whistle-stop tour around the inner workings of Rock’s mind, from electro to new wave, with a slice of Serbian soft rock in there for good measure.

2” debut release for Homies Cuts imprint. 3 tracks ep with a classfull sexy vintage disco edit, a thug cumbia psychedellic trip and a swedish classic funky boogie . Homies presses in vinyl all their musical universe to be heard in their monthly house parties at the legendary Pikes Ibiza or in any of their itinerant house parties. An edit collection of gems that crossover genres under a balearic state of mind to fullfill the dancefloors and make love to your ears.

That's A Steal quite rightly enjoy cult status amongst the diggers and seekers of the lost classic. The fourth outing from this mysterious label continues their established themes: Crossover sounds from all over the world united by an open-minded approach to the dancefloor.

Born out of a desire to share a selection of personal DJ focused, dancefloor edits, that have been exclusively test run and hammered by DJ Harvey and Lovebirds for the past few months, SIRS kicks off this new label offshoot with four, slick, sweltering and powerful reworks that ooze class.
Secret weapons of the highest order, each edit reimagines it’s original from the mind of the DJ – anticipating the moves of the club and harnessing the power that deft touches, reshaped structures and expressive effects can make to the force and energy of a record.
As appropriate soundtracking the crescendo of a club night, as they would be scoring the backdrop to a hazy sunset these edits are a must have in any DJs record bag.

Gator Boots returns for lucky 13. Three edgy edits from Italian outfit Blue Mondays. Including longtime favorite White Wedding and other unexpected dance floor excursions.

Two of the world's most seasoned disco editors, Michael The Lion and Jay Airiness have renewed their Franco-American alliance for another split-sided EP. The long-time friends and collaborators were last seen together dropping gems in 2016, and now they've reunited for a double-barreled sure-shot DJ-crate sure - four diverse cuts for all times of night.
Philadelphia-based Michael, best known for his work with Soul Clap Records and Razor-NTape, lets loose on the A-side with two secret weapons from his DJ sets - the aggressive, anthemic disco funker "Direction NYC" and the loopy burner "Don't Know”.
Jay, one of the hardest working producers in France is fresh from new efforts with his famed Venice Beach and DJ Moar projects. Jay brings a live session of jazz horns and woodwinds to the fore with “Jazzy Mind”. On “Disco Dance”, he rides a tight piano groove right out of the canon of French disco onto the modern dancefloor.