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Monsieur Van Pratt returns with a second volume of the Illegal Disco series and these sure are some naughty beats that are reimagined classics for contemporary clubs. The flame-hot 'Disco Fever' gets things going with a sleazy big sax line bringing the vibes to a strident disco beat with funky riffs and some great vocal work. 'Fanning The Flame' is another big one with funky drums and big open hi-hats all topped with another impassioned vocal and raw horns. Last of all is 'Rock It' which has a slightly more stripped-back groove but still motors onwards with organic percussion and live drums.

The popular Vinyl Only label hits release number 20 here with another sure-to-sell-out blend of funk, disco and soul. The brilliantly named Huge Disco Tits EP kicks off with a cheeky number that samples the greatest ginger-haired soul singer of all time. After that one shakes your limbs loose, 'Sock With Lube' brings swooning strings and raw, well-swung drums. 'Midnight Thing' is a percussive jam with funky bass guitar licks and 'Alright Thing' then shuts down with a vibrant blend of horns, strings and big licks. Party starting and loveable as always from this label.

"Fabulous Acid Edits Crafted by the Floorfillers. One Side With Vocals, the Other an Instrumental Journey, Delivering the Essence of a Timeless Hit That's Sure to Make You Groove."...

Leo Zero finally gets some of his much sort after edits onto the black wax, with some classic cut-ups that have all been road tested for max dance-floor detonation. On this first EP a set of classic soul / disco groovers that have been meticulously remastered and extended for the modern floor. One for the dancers and romancers, ‘Love Affair’ hits you square in the heart - a big spin at the Faith parties. Next up, a classic mid-tempo Soul weekender cut gets a nice chunky re-version. The flip kicks off with some new live drums and chunkiness added to a huge underground gem, then we head off into more bulletproof dance-floor disco territory with a souped up version that’s been given maximum wallop to compete with house cuts when played out.

Lovely Is Today (Edit) by Eddie Harris b/w September 13 (Edit) by Deodato | Galaxy Sound Co. — GSC4540, test pressing | Hot off the presses via the always-on-point @galaxy_sound_company crew. This will mark number 40 in the GSC45 series. Every release has been stellar, elevating it to the rarified “buy-it-on-site” status. If you love hip-hop, broken beats & top-class edits, anything w/ their stamp on it — you know it’s going to be top notch. They’ve got a bottomless discography full of that good ish, & here comes another addition to the cannon in the form of a pair of glorious jazz-funk nuggets.

Side A is an edit of “Lovely Is Today” by Eddie Harris, which is taken from his brilliant 68 soul-jazz LP “Plug Me In”. Chicagoan Harris pioneered the usage of amplified electric Varitone saxophones. It features a stellar line-up: Ron Carter (bass), Haywood Henry (baritone sax), Jodie Christian (piano), Garnet Brown (trombone), James Bossy (trumpet), Grady Tate & Richard Smith on drums, &, of course, Harris on tenor sax. Here the edit trims off the intro noise & extends the breaks recalling hip-hop songs it sampled: “2 Deep” by Gang Starr, “Intro” by Mobb Deep, “It Ain’t Hard To Tell (The Stink Mix)” by Nas, “What’s My Name Yo?” by MC Lyte, among others.

Side B is an edit of “September 13” by Deodato, taken from his self-titled jazz-funk 73 LP. Deodato, aka Eumir Deodato De Almeida, is a Brazilian artist known for his range of production work for Kool & The Gang to Björk, as well as TV & film scores & collabs w/ Milton Nascimento, Ithamara Koorax & Marcos Valle. Heads will know this one as the source for heaters like “In The House” by Pete Rock & C.L. Smooth, “Park Joint” by Camp Lo, “Epoca” by Gotan Project, “Don’t U Know” by DJ Rels aka Madlib & “Track 13” on Beat CD #2 by J Dilla.

The Kero 1 remix/re-edit that took the dj world by storm is finally on 7” vinyl. “Spanish Joint” remix was featured on Okayplayer, HouseofDisco, BBC 1xtra, Soulection UK Boiler Room and many more when it dropped nearly a decade ago on Soundcloud. The track has amassed over a million streams online and spun by a slew of dj’s like Maceo of De La Soul, Dmitri from Paris, and Disclosure to name a few. In addition, the b-side remix of (Eugene Mcdaniels) “Feel Like Makin’ love” cover gets a new dance floor treatment never been heard before. Both sides are dance floor sure shots.

Loud & Clear / N.O.R.E (Buttas Remix) b/w Cherry Blossoms (Love Notes Mix) by Strictlybutters | Galaxy Sound Co. – GSC 45-038 | Summer time vibes are here & @galaxy_sound_company is back at it with another sure-shot #hiphop donut via @strictlybutters. I got my hands on an advance copy of a limited-run test pressing & it is cut loud! Ya know ya will be boomin’ in ya, boomin’ in ya, boomin’ this in ya jeep!

Galaxy Sound Co. started taking these occasional fire #hiphopinstrumental interlude breaks from their 45 edit series to shine light on the Michigan skateboarder, cyclist, sneaker-head & bedroom b-boy beat maker Strictlybutters. With the 38th donut in the GSC 45 series, he is making his 3rd appearance on the label & it is another banger.

Side A1’s “Loud & Clear” is a straight-up, warm-up boom-bap banger. It effortlessly, teases along by MC royalty with a sweet soulful piano riff rolling along MPC delights. A joyful crowd is weaved through a familiar GWJ break calling you do get up & get down. A2’s “N.O.R.E. (Buttas Remix)” teases with a buttery-soul laced rework of with a snippet from Noreaga’s “SuperThug”. The only fault here being SB only gives us a taste at just over a minute long. More please.

Side B’s “Cherry Blossoms (Love Notes Mix)” is a killer joint in the vein of 90s hip-hop love jams, with the core sample being one of my fav sweet soul songs from Detroit, 1969’s “Maybe So Maybe No” by the New Holidays (Soulhawk Records 1008). SB lets this beat breathe to perfection, rolling fa-la-la-la’s that slide into a sexy outro.

This second collection of edits from Italy's matter-of-fact Edits Collection label offers another quarter of superbly feel-good disco sounds. 'Slow Luv' has lush strings and plenty of Philly vibes, while 'Stranger Beat' layers up the jumbled percussion, sliding hi-hats and funky bass. Flip it over for 'Xpress Yourself' which is sure to weave its way into your soul with its hip-shaking groove and more funky bass frets than you know what to do with. 'Xpress Yourbeats' is a more raw and drum focused sound for amping up those energy levels on the floor.Edits Collection #2

The Havoc guys have been on an enforced hibernation through the winter due to a lurgy that had been affecting the planet. They have remained in the cave throughout this time huddling up to keep warm and exploring what had become their home away from home for months on end. One night, whilst lighting a fire, trying to find motivation for the next release (basket weaving had lost its appeal) they spotted a glint across the way – On further inspection, it was a small bottle and had a label of sorts – It looked to be medicine or smelling salts – Liquid Gold. Curious creatures they are they all took a long good sniff of this elixir. And just like that, they rummaged around the records stacked in the corner put some more coal in the old computer and began their work. Soon the A-Side of the new EP was born. Most certainly a step up in the BPM from the previous A-Side off EP1. A1 kicks off with a Germanic Proto Throb Job, that's sure to cause errr...Havoc on the dance floor. Whilst A2 is a Bassline Driven, Reconstructed Austrian Euro Pop Monster. One for late-night Discos. After a while they had stopped sweating, hearts had stopped beating quite so quick. Whilst the creative juices were flowing a few more records were dug out and a log put on the fire and a cup of fungus juice imbibed. B2 came rattling out the speakers in no time at all in all its chugging glory, the vocals take in a nod to god after the devil has done his dirty work. At this point, the sun was starting to peek through the mouth of the cave and a new day was upon them. One last record had been found, earlier, that was decided would work at this time, actually after consideration, any damn time... B2 Is like a familiar Balearic Back rub with pop-infused French vocals and beats for days...So now EP2 is complete. Back out into the world our intrepid or is it tepid threesome went... Let's only hope their wives haven't left them after all this time locked away.

How do you breathe new life into a treasured, classic track? Answer: let Danny Krivit loose on it! Who better to inaugurate our Mr Bongo Edit Series than one of the bosses of the art of the edit. More than just simple re-touches or loops to make the track easier to mix, Danny works his magic by employing all those years of studying and working with music as a remixer, producer and DJ. He has been honing his craft since the art form began and he seems to have a natural intuition for what works on the dancefloor. When we asked Danny if he would be interested in reworking some tracks from Mr Bongo's back catalogue we knew the edits would be special, but Danny has outdone himself with these beauties, and arguably they are more than just edits. By sheer chance, Danny had already worked on a rough personal mix of Sabu Martinez's 'Hotel Alyssa-Sousse, Tunisia’, a track taken from the treasured 'Afro Temple' album originally released in 1973. Danny just needed to freshen and tighten it up to a standard he was happy with, and the result is pure Latin fire. The Belgian / Dutch orchestra leader Nico Gomez's 'Lupita' from 1971 is an undisputed banger, this underground Latin-crossover favourite has been causing mayhem on dancefloors for years. Here Danny takes it into another sphere adding extra drama and build-ups, adding and overlaying fresh percussion which sounds like it could have been taken from lost outtakes. Even those who may have heard 'Lupita' countless times, are sure to be impressed by the new lease of life that Danny has breathed into it. 2 huge tracks and 2 killer edits from a master of the craft.

Samosa Records continue their hot streak with ‘The Difference EP’ - a superb four tracker from a producer who is all about the funk, Gledd. This wonderfully constructed EP kicks off with the first track on the A-side - ‘I Don’t Know’. From the get go, this is a slinky, catchy funky number. The warm, all consuming bass line jogs along, aided by subtle guitar riffs that light up the melody. The chugging train suddenly breaks for an outrageous blues vocal - deep growls and female backing singers take control before the track launches straight into the stratosphere. A guaranteed dance floor bomb. Next up on the A-side is ‘Amapola Sunrise’, a latin infused 125bpm slice of heaven. Gledd knows these rhythms inside out - and this hypnotic ‘love dance’ of a track proves it. You can only imagine the sunrises and sunsets this will provide the soundtrack to. It’s a deep, glorious journey into hedonism - let the lead guitar and sax take you by the hand to the rug-pull breakdown. Gledd at his incomparible best. Meanwhile, over on Side B, De Gama is setting out the party stall early with his ‘Re-Groove’ of Muni. When De Gama masters the grooves in the ‘Re’Groove’ workshop, the flames can be seen for miles. African horns, organ stabs and Mali-inspired guitar riffs combine with the superb vocals. It’s a tribal, ethereal and very spiritual funk dream, which is De Gama’s trademark. Closing off this excellent EP is B.2 - ‘Japan Lips’. In no time, we’re off around the seedy back street bars where gifted but washed up bass players hang out to find work. The bass line is as clean as a whistle as it kicks against the snares and cymbals of the beat, and the melody wraps around you instantly with rhythm guitar, jazz flute and breaks. Another mesmerising piece from a man who knows how to mesmerise. The perfect topper to this thoroughbred release. ‘The Difference EP’ is a welcome Samosa debut for Gledd and is sure to be a hit with lovers of the groove. This has to be in your collection. Ste Hendry [Black Light Disco]

Let’s Dance – 08pm – by Reda Saiarh is a 10” release on AM Records. Four oddball “New Beat – not – New Beat” tracks produced by this young dj from Geneva (of the duo Ramin&Reda) for renewed appetite for dancing after the lockdowns… title track Let’s Dance is Reda’s 2021 take on the classic Bowie song, followed by an original new production Quinz Lord, in which he samples his girlfriend’s cat. On the flip he worked with Thomas Lavanchy on E-O, a song constructed around traditional Gabonese chanting before finishing off with an ode to Yello medley, mashed up to the deepest kick of the record! Super heavily cut 45rpm!

A three track 12” running at 45 rpm throughout. Limited 300 copy run pressed to 180g (+/- 5%) virgin vinyl, clear outer bags, cover and label, deluxe antistatic sleeve. Custom special marble vinyl.

A little known release on Scott Diaz’s now defunct Connectd records makes its first appearance on vinyl! Anyone that knows Caserta knows his affinity for '90s r&b. For (M) he snags a vocal from one of the most underrated and under appreciated vocalists of that time period. With two mixes featuring the keyboard stylings of the incomparable Yuki 'U-Key' Kanesaka the Dub version gets top billing on the A Side. Smooth keys by the aforementioned Kanesaka with a stripped down arrangement are sure to keep you 2 stepping no matter where your are. On the B Side Caserta uses the same set up but this time with the classic 909 Drum Machine to keep take things to the next level!

With the promise of brighter days on the horizon when we can come together at our favourite clubs, parties and festivals Tropical Disco Records are ready to help define those exciting days ahead with the next volume in their hugely cherished vinyl series. Tropical Disco Records Volume 21 is a 12” packed with warmth and musical depth featuring four timeless dance-floor moments. The EP opens with a huge slice of organic jazzy US influenced garage in the shape of ‘Nothing Is The Same’ by the superbly talented Dominic Balchan. He’s a new name who has been making big waves recently. If you caught Domenic’s recent offering on TDR LTD 002 ‘A Touch of Jazz’ you will know what to expect. ‘Nothing Is The Same’ has a wonderfully classic feel which recalls the early days of the legendary Soulfuric imprint. A huge bassline is front and centre here providing the drive. It’s backed up by powerhouse keys and some wonderfully hooky vocals. Add in guitar licks and huge trumpet solos and this is one of the finest cuts you are likely to catch this year. Domenic is a talent to keep a close eye on that’s for sure. Next up is Da Lukas, a highly rated producer hailing from Italy, a country which is currently serving up some of the finest disco and house out there right now. ‘Get Disco Vibes’ keeps the energy levels sky high. Featuring another unstoppable bassline it’s packed with brass stabs aplenty which will cause all sorts of dancefloor mischief. Laser synths, loopy vocals and club ready drums complete a track which has floor filler written all over it. Co label head Moodena is up next keeping his golden 2021 run flowing nicely with the laid back groove of ‘Who Got The Key’s’. This one is a DJ’s dream with its effervescent keys, bubbling bass and 80’s synth stabs. It’s a track which has more than a touch of jazz running through its DNA creating a powerful and enticing sound. Expect this one to be a summer soundtrack at all the right parties. Closing the EP out is Welsh producer Toby O'Connor. While Toby is another relatively new name on the scene he’s clearly a producer on a mission with a string of excellent releases landing over the last 12 months which have picked up some serious DJ support. ‘Low & Slow’ is every bit a Balearic gem with its wah guitars, hypnotic bassline and dreamy sax licks. It’s a track with 90’s jazz funk fusion running through its veins and is perfectly placed as the more organic edges of the genre come flooding back to entertain a whole now generation. Tropical Disco Volume 21 takes you on a wonderful musical journey fusing classic US garage vibes with warm jazzy disco touches and plenty of sun soaked groove. It’s everything that club music needs to be right now as we head back to the dancefloor and look to renew and reaffirm our scene. Expect a colourful explosion of musical warmth which sees no boundaries as it unites sounds and scenes from across the musical globe.

Record Store Day 2021 Release. Mr. K takes on two different disco moods in the latest in his long-running series of edits on 45. Danny Krivit’s edit of Tony Orlando’s “Don’t Let Go” was released in Japan in 2012 and immediately became a sought-after, impossible to find rarity. Orlando’s version of “Don’t Let Go” was released at the height of the disco era, but the song itself was already a well-worn pop standard, having been covered by numerous artists before the pop singer tried his hand at it, switching things up with a percolating disco groove. “I never expected to rave about a Tony Orlando record,” wrote Vince Aletti in his Record World column in June of 1978, “but this one’s really terrific… My pick for a summer refresher.” The Jimmy Simpson mix on the original 12-inch follows the vocals with a long instrumental section that teases the various elements provided by the Muscle Shoals band (guitar, vibes, strings, and above all a sinuous synth) back in over the relentless bass and drums. Danny’s edit, which he’s trimmed down for its debut on 7-inch, works with this instrumental break and more than lives up to Aletti’s description as an addictive warm weather jam. From the moody instrumental sound of “Don’t Let Go” we move to the bright uptempo vocal track "I Fall In Love Everyday." In spite of the relative obscurity of this fabulous but lesser-known cut, it comes with a sparkling pedigree. “I Fall In Love Everyday” was written by Jay Graydon (whose credits also include “Turn Your Love Around” for George Benson and “Breakin’ Away” for Al Jarreau), produced by Motown ace Mickey Stevenson (who wrote “Dancing In the Street”) and arranged by David Foster, who was just making the transition from session keyboardist to the superstar songwriter/arranger he’d become. The backing track was first used for singer/TV personality Jaye P. Morgan’s version of the song a year earlier, but you certainly can’t blame the team for reusing the music when the band included studio heavyweights like Harvey Mason, Lee Ritenour, Ray Parker Jr., and Kenny Loggins. Danny’s creative edit fashions a clean, DJ-friendly instrumental intro where none existed on the original, and gives new life to a track that’s sure to bring some sunshine to dancefloors. As always, these unique selections from Mr. K’s personal stash are cut on a loud, club-ready 7-inch pressing.

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!).

What a Serve! First release, straight ace. While the longline passing shot on A will for sure burn down every dancefloor with its funky disco groove, B returns a glossy afro disco topspin backhand. Game, set, match

The latest from Mr. K and Most Excellent Unlimited pairs lowdown and stomping disco from an unlikely source with a funked-out floorfiller from some very familiar voices. Minnie Riperton’s 1977 single “Stick Together” was an outlier in her catalog of smooth modern soul, an intentional nod in the direction of the prevailing disco sound. Co-written with Stevie Wonder, “Stick Together” in its original single release was divided into two parts, the first a fairly conventional uptempo cut with all the catchy qualities you’d expect from Stevie and the husband and wife team of Richard Rudolph and Minnie. It was the second half of the song that caught the ears of DJs who played for funkier dancefloors, however. Freddie Perren, a former member of Motown’s legendary Corporation collective of songwriters and producers, and a man then red-hot off his success with Tavares’ “Heaven Must Be Missing An Angel” and the Sylvers’ “Boogie Fever,” was on production duties, and the song clearly benefits from his disco-friendly touch. In Mr. K’s epic edit we are treated to a lengthy exploration of the second part of “Stick Together,” featuring keyboardist Sonny Burke (veteran of Marvin Gaye’s band and fresh from playing on Candi Staton’s disco smash “Young Hearts Run Free”) working out an irresistible Jingo-esque piano part, Riperton’s sensual ad-libs, and, as if that wasn’t enough, a cameo appearance by Pam Grier on finger snaps! Krivit’s 8-minute-plus edit passes way too quickly to get enough of the hypnotic groove — rewinds are called for! Our flip side, “Body Language,” originated as an album cut on the Jackson Five’s last album of original material for Motown, Moving Violation, recorded before Jermaine left to go solo and the remaining brothers joined Epic Records in a new incarnation as the Jacksons. For such an obvious heater it’s puzzling why the label never released it as a single; but regardless of that apparent misstep, “Body Language” has long been a sure shot in many DJs’ bags. With his new edit, Mr. K presents the track in its ultimate form, loud, remastered, stretched out and rippling with energy over a full six minutes. With an iconic bass line that just doesn’t quit, and Michael and the boys in fine form, it’s impossible to imagine a situation where this wouldn’t set the room on fire.

Twenty vinyl releases is a strong landmark in any labels life most especially in these ever unpredictable days. Tropical Disco Records have reached that number with some verve. Over the last three years they have had a succession of chart-topping, sell-out releases fusing their love of the Jazzier edges of house music with contemporary disco and plenty of sure-fire club hits. So successful has the label been that they have in a short space of time that they have quickly become one of the most established labels releasing across the disco spectrum. As you would expect Tropical Disco Records have put together a very special collection of tracks to celebrate their twentieth edition. Uniting Italian producer Paul Older with England’s Tung-Sol, Greek disco don C. Da Afro and London’s label head Sartorial the EP marks all points on the European compass. It’s an EP which shows the clear impact that Disco has had across the continent and indeed that we are all united by the power of music. The opening move goes to Paul Older with his delightful track ‘Nothing’ and it’s the perfect feel-good moment. Wonderfully warm vocals, layers of Saxophone, guitar licks aplenty and some tight drum programming give it an energetic live feel as if Salsoul’s band are playing this in the corner of your club. ‘Nothing’ is a track which transcends pigeon holing and as such is perfect for a variety of situations from sun soaked day parties to peak-time dance-floors. Tung-Sol’s ‘One for Frida’ is packed with layers of brass giving it a truly enigmatic feel. It’s a track which has discernible African overtones but as seen through the lens of American funk and transcribed by a disco loving auteur. Its effervescent feel is hammered home even further with the addition of Jazzy keys. ‘One For Frida’ is as multicultural a track as you will find in the Disco pantheon and as such will see this picked up by a multitude of genre hopping DJ’s. ‘Shiva’s Chant’ see’s label co-boss Sartorial adding Eastern influences to what is already a globe trotting selection of sounds on Volume 20. Its smooth keys and brass stabs give it an undeniable charm which will see it in heavy demand with sun worshiping DJ’s and for summer playlists alike. Sitars, guitars and trumpets combine here for an intoxicating mix of sounds which help this track stand out from the crowd. Closing the EP out is perhaps Disco’s most prolific producer C. Da Afro. His sure hands deliver yet another club smash in the shape of 'Street Jam'. Powerful strings immediately establish this as a track which has no intention of letting you do anything other than dance with abandon. It’s a straight to the dance-floor combination of percussion, guitar licks and delightfully effusive vocals. Combining the best moments of 70’s disco he’s crated a sensational club jam. With their twentieth release Tropical Disco Records continue to redefine the notions of what disco is in 2020. With releases this exciting we can’t wait for the next twenty.

Hot on the heels of their precursory release, Tropical Disco Records make a bold return, this time being the first outing to not include label head honchos, Moodena and Sartorial. The opener from Javi Frias is an effortlessly enchanting elision. 'Push me' pairs bolshy drums and brass, with an infectious vocal line, sure to demand any dancefloors immediate attention. Frias' is the booker and resident DJ for Madrid's infamous disco and boogie hub, Discotizer, and his ear for producing unrestrained party bombs clearly echoes this.

Like a fine wine which matures each year Samosa Records steps into 2020 with a beautifully rounded fuller flavour release in the shape of Funk Purpose Vol. 3. In the same way as its predecessors the label has assembled an impressive team of heavy hitting producers to create an eight track EP which will surely cause serious mischief on dancefloors across the globe. As per Vol. 2 the release will be split into two separate four track 12”s which will be released a week apart.
Introducing the first 12” are Irish producers Get Down Edits. Their track ‘Coming At Ya’ sees a new electronic tinged direction for the label. Still harnessing bags of funk and soul it has a decidedly peak-time edge. This is a track which will perfectly fit for a wide range of rooms from straight up house floors courtesy of the frenetic kick to more adventurous disco floors. A golden start!
Next up and one of a raft of supremely talented Mexican producers who have deservedly broken through recently is Monsieur Van Pratt. His track 'U.F.O.' sounds like a 70’s space odyssey re-imagined for the 2020 dancefloor. Wonderfully laconic, its lazy funk draws you in beautifully.
Souldynamic harnesses a powerful but velvety smooth 70’s diva vocal on ‘Better’. Dripping in soul, its smooth strings add a wonderful warmth. Engaging and fulfilling it’s another peak-time moment.
Closing out the first 12” co-label boss De Gama is on familiar percussive ground. This is a producer who took 2019 by storm and if ‘Groove On’ is anything to go by 2020 had better watch out too. Hypnotic organs, bags of layered percussion and ass shakin’ breakdowns all come together for a track which will be a long-time DJ weapon.
First up on the second 12” is well loved Italian producer Moplen who keeps the percussion going strong with ‘Ain't No Dub About It’. Laser Synths, huge basslines and wonderfully expressive synths all combine with a monster funk guitar for a classic groove. Another 70’s-esque masterpiece as glanced through the sharp focus of the 2020 dancefloor lens.
German duo SoulBrigada are up next. Taking things down a couple of notches BPM wise with ‘Gonna Do’ they have created a lazy engaging groove which will see many a dancefloor off into a heaving mass.
Yet another Mexican Connection who came storming through the ranks in 2019 The Funk District is up next with ‘Anywhere You Like’. It’s got a decidedly Tequila soaked tinge to it. Packed with guitars, flutes and hypnotic vocal loops it’s another beautifully imagined slice of left-field disco.
Finally closing out the EP is Italy's DJ Rocca an artist so prolific in 2019 we were unsure where he managed to sneak a few hours of sleep in. Thankfully he also keeps the quality sky-high and so it is with ‘Da Lion Groove’. This one is a funk fuelled disco groove which is heavy on the brass licks and with enough energy to keep everyone dancing until the sure-fire arrival of Funk Purpose Vol. 4.
With a series this brilliant we can’t wait!

The boys from Munich are back on RNT with a 4-tracker of serious flavor! 'Express Lane' launches the 12” on the disco highway for a wild ride of cheeky vocals, horn stabs, and vocoded synths, then veers south for some North-African New Wave with 'Libyan Sun'.
The B side kicks off with the Afro-disco monster 'Don’t Oho', already a staple in RNT sets and then finishes with the minimalist electro-soul bounce of 'Emergency Loop'. Sure-shots, the lot of 'em!

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.

G. Markus - recently revealed as Ben Gomori of Monologues Records and Sterns Edits—returns with the fifth volume of his vinyl-only edits series.

Universal Cave unleash the 10th release in their catalogue with the Universal Cave wizards and dynamic duo Superprince sharing the re-edit duties.

Universal Cave provide the goods for the A Side firing off a percussion heavy, Latin flavoured bomb in 'Lambada' - just wait for those epic fills, sure to whip any crowd into raptures. 'Take Your Time (Universal Cave's 909 Rubdown)' then lays up a hip house vocal flavoured, 909 enhanced 80's bomb.

Flip it over and Superprince take the reigns with 'Your Kind Of Love' - funked up disco goodness, reworked with an extra helping of devilishness. The last slice of gold, 'Hang High' takes the tempo down to
a string swelling, souped up, cosmic swagger.

Two sides, two artists but four entrancing edits to add
to the Universal Cave repertoire.

Volume 4 "Sound of the Summer EP " from Tropical Disco Edits crew brings in the summertime with 4 expertly crafted cuts, each perfectly tailored for the discerning disco dance floor.
Tropical Disco Edits are pleased to present their latest member of the family, Moodena who premieres on the label with his summer groove "Strawberry Jam" a jazzy disco fusion with tinges of George Benson, sure to sweeten up any dance floor. Tropical Disco Edits boss Sartorial comes in with two jazz funk rollers in "Feel It" and "Electric Lane", with both tracks having his signature sound that just makes you wont to shake your booty! Finally, "Got You the Floor" sees Simon Kennedy team up with Sartorial to produce a classic groovin Tropical Disco track - a real favourite with in the Tropical Disco family!

The Mighty Zaf & Phil Asher present ’80s, their new edit label specializing in disco & boogie, and strictly vinyl only. Their second releases continues their strive for edit heaven with three scintillating selected cuts. Best not to sleep on this because the first sold out fast!

Mr. K returns to the 12-inch format for the latest in his series of edits for Most Excellent Unlimited, making the most of the long-playing wax with two contrasting cuts. First up is Ike Strong's "Boogie Land," an obscure side that was originally released in 1981 and saw plenty of action at the Paradise Garage. Krivit's edit is inspired by Larry Levan's technique in running the tune, focusing as Larry did on the late-song breakdown before dropping into a stripped-down rendition of the undulating main groove, a boogie bomb to be sure!
Don't let the name fool you — the enigmatic Boogie Man Orchestra, stars of the flip side, are all about disco. The instrumental "Lady, Lady, Lady" first appeared in DJ sets in the summer of '75, the prime breakout year for disco, making its way from Chicago all the way to clubs on both coasts despite having no national distribution. Pre-dating the introduction of the 12-inch single, the song never saw release on the larger format, until now. Krivit's edit takes advantage of the extended playing time by easing into the Philly-style orchestral groove and letting it breath for a dramatic, building dancefloor moment.

G. Markus returns with two fresh edits after his first G-Edits release sold out and enjoyed heavy support from all sorts of discjockeys. '70s soul/disco is the flavour here with a legendary diva getting the treatment, with one big peak-time banger and a slo-mo chugger for good measure.
Danvers helps thickens things up in the bass department with some live electric bass on both tracks.

Limited edition for Record Store Day 2017!

London/LA producer Kenny Dickenson crafted his stunning remix of Ned Doheny’s “Labor Of Love” to mark the Be With Ned tour in March 2015. The gentle disco re-rub was leaked by influential blogs and has been wreaking elegant havoc on both sides of the Atlantic ever since, setting a new gold standard for AOR remixes. Beloved of everyone who’s heard it, we’ve been inundated with requests for a physical version.

As RedKen, Dickenson came to prominence with his cult edit of Steve Perry’s “She’s Mine” – an instant hit on the AOR Disco scene – whilst his double A Side Fleetwood Mac 12" with Psychemagik was number 1 across Juno, Piccadilly and countless others, gaining him further notoriety. Here, taking Ned’s stellar version and creating new melodies by twisting original sax solos inside out, Kenny’s remix is elevated further with the introduction of his sophisticated keyboard work and additional white-hot production.

Completed the day of Ned’s penultimate show, Kenny bounded up to Pete Fowler – on DJ duties – and handed him the demo. Ever the showman, Pete played it seconds after Ned finished. Momentarily mortified at the chutzpah involved, we realised we were listening to something sensational. The key element would be Ned’s opinion. He aired it the next day, breaking a drained silence as we boarded a flight to Berlin: “There was a remix of my song played last night.” Heart in mouth, we were in for a deserved dressing down. “Pretty good; I liked it.” And with that, we were determined to commit this wonderful reimagining to vinyl.

After two years of major label wrangling and artist nudging, Be With Records are delighted to finally present this as an officially authorised, one-sided 12". Enhancing the package, the record comes appropriately adorned with striking new artwork from Pete Fowler himself and liner notes from all parties involved. Limited to just 500 copies, these are sure to fly.