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Soul Jazz Records’ new Nigeria Soul Fever is their first release to explore the vast wealth of Nigerian music recorded in the 1970s. The new album comes with introductory sleeve-notes by Bill Brewster (author of Last Night A DJ Saved My Life).
Packed-full with Afro-Funk, Disco and Boogie all from Nigeria, this triple album/double CD set brings together a stunning collection of diverse West African sounds. Whilst a small handful of the artists featured (Joni Haastrup, Tee Mac, Christy Essien) have seen the light of day outside Africa, this is essentially a collection of killer tracks by an array of artists completely unknown outside of Nigeria. Artists such as Don Bruce & The Angels, Akin Richards & The Executives, Angela Starr, Jimmy Sherry & The Music Agents. It’s no surprise that these records are extremely rare and expensive to buy individually so this album will save you going broke trying to find them.
These recordings were made at a time when Nigeria’s trade restrictions banned imported records. Whilst new musical trends (such as American soul, funk, disco etc) entered and influenced the country, the local music scene remained just that – local. Consequently, these recordings remain practically unknown to anyone outside of the country.

Brothers Gerard Mendes (also known as Boy Ge Mendes) and Jean-Claude Mendes display the intriguing combination of Creole Portuguese-African polyrhythms, American boogie, and Brazilian samba; the duo became massive stars among the Cabo Verde diaspora.

This LP includes the killer boogie anthem “Mitamiyo”

A compilation of highly collectable and rare Surinamese 45's and LP cuts. Compiled by Antal Heitlager & Thomas Gesthuizen this is the follow up to the Kindred Spirits released Surinam! compilation. This volume goes even deeper into the field of 70ties and 80ties funk music from the Surinamese dance floors...Recommended! Fresh Artwork by Cosmo Knex (Johann Kauth)..

Mcde: "Killer compilation! lots of favorites on there and stuff i still need to find"

Gilles Peterson: "Jammin is a salacious boogie number, cooked up with quick-fingered bass work, female harmonising and guitar solos."

"There was no internet, no cell phones. We didn't have streaming services, cable television, or even VCRs. People in Portland were out to see music seven nights a week"

In 1982, it seemed club nightlife in downtown Portland had reached its zenith. Musicians could make a living in a multitude of clubs throughout the city. And they made music on their own terms. Calvin Walker's recollection above speaks to the sovereignty of an independent community devoid of the recording industry's bottom line.

Lights Out gained traction when Pleasure wasn't in the studio or on the road. They were led by Pleasure's trumpeter Tony Collins, whose agenda involved prodding his group with gnarled fusion covers, complex horn arrangements, and masterful wardrobe flexing. "We wanted to be better at what we did," claims Collins. "Everybody grew."

But even with platinum level players holding recording contracts a la Fantasy Records, Lights Out struggled to find bookings in Portland's white-owned club circuit. "There were rules to these things and you had to play by them," remembers Walker. "They had to push up against that."

"I remember it being tough to get this band booked on the West side of the Willamette River back then," remembers bassist John Mazzocco. "When Peter Mott at Last Hurrah called to book us on a Tuesday, I was elated."

Knee-deep in the jazz fusion sound made popular throughout the city, Lights Out soon evolved into a synthesizer-fueled funk group fronted by vocalist Andy Stokes and featuring guitarist Greg "Gee Mack" Dalton. It's this era of Lights Out that made converts of the haters and annihilated 800-capacity dancefloors. It’s this era of Lights Out that is being celebrated on this release.

Recorded in 1982 at Wave Sound Studios - a facility that housed local punk acts such as The Wipers and The Rats - the material on this LP was intended as a demo for Solar Records. As a touring trumpeter for The Whispers, Collins was to pass the reel up the chain. When Solar fumbled it, Collins and Dalton left Portland for Los Angeles signaling the end of the group.

Forty years later, the legacy of this canonical Stumptown act has been remembered in devastating detail. The vinyl package includes a 12-page booklet of the band's oral history and deluxe archival photography. With tape restoration and mastering by Gus Elg, this painfully obscure recording has been waxed and buffed by one of the reissue industry's greatest.

Lights Out personnel have since made waves beyond the Pacific Northwest. Collins founded NDN Records in Atlanta. Andy Stokes has received the Grammy nod, releasing singles with Snoop Dogg and Battlecat. John Mazzocco toured with John Lee Hooker and was recently inducted into the Oregon Music Hall Of Fame. Damian Dillon went on to a successful radio career in Germany. And Greg Dalton has sessioned relentlessly, working with everyone from Patrice Rushen to Kamasi Washington to Tupac.

As Stokes puts it, "Being in this band gave me the strength to branch out. You don’t just do that by yourself. You have a family. This a family.” credits released July 15, 2022

Two seminal 12" mixes of a pair of enormous tracks from Surface. Housed in the super-rare and - until now - French-only picture sleeve of the eternal "Falling In Love", we've backed that classic with Be With's favourite deconstructed mix of the swirling electronic soul / synth-driven slow jam "Happy". These sought-after versions have never been paired on the same record before. This fresh Be With edition ensures these legendary tracks now sound, looks and feel as sensational as they deserve to. You know what to do...

American post-disco/R&B trio Surface were a New Jersey vocal group made up of Bernard Jackson, David Townsend and David Conley. The majesty of boogie ballad "Falling In Love" was their first single, released in 1983 on Salsoul Records. The mellow magic of this track is loved the world over; it's a feel-good smooth boogie jam that's forever coveted. The slick, crystal clear beat, the legendary minimoog bassline, the melody, Karen Copeland's superb vocal, the great flute solo (referenced on the cover) all of it is literally perfect and beautifully encapsulates that mid 80s international club vibe. This here is the original Shep Pettibone mix in its entirety - it's the only one you really need.

Flip for the legendary "Love Mix" of 1987 hit single “Happy". You all know the original. At least, you *should* all know it. But the "Love Mix" is a deconstructed, boldly produced mix which is the one the heads have turned to for so long. Yet, in our opinion, its hypnotic groove has flown under the radar for too many years. This killer remix begins with Jackson's spine-tingling isolated vocal, cleverly subverting expectations by actually delivering the first words of the original's second verse "You must be Heaven sent...Sent into my life...And I compliment you baby...Baby" before a heavy 808 drum kicks hard with echoey handclaps. It's super sparse and a dubbed out slow-mo boogie banger like no other. The synth bass, atmospheric synth pads and synthesized flute glide in and out with effortless style and the whole thing is a wonder to behold.

It's a slow jam, for sure, but crafted in the straight up funk tradition, using the digital tools of the day and this sparser than sparse version almost sounds like a precursor to UK Street Soul. A unique combination of undeniable funk, electro beats and an earnest, youthful tenor; it should be slamming out of every jeep forevermore.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year. Simply flawless.

Another gem from the extensive Flipper Music catalog, more precisely from their Flower sublabel, "Dreams For Sax" is possibly one of the most stand-out productions from their studio ensemble Gruppo Sound, this time around featuring saxophonist Paolo Russo with keyboardists Stefano Galante and Vittorio Quattrini. First released in 1987, the songs recorded for "Dreams For Sax" are a beautiful melange of easy-listening electronic and jazzy vibes, from mellow tunes such as "Dawning" and "First Class" to some killer floor-filling italo disco bangers such as "Walking On Air" and "Dance Power". A groovy Italian library banger from the 80's now available on vinyl for the first time since its original release as a limited edition of 500 copies.

Let’s get it straight: "This is" is THE album by Ghia. It catches the band at its peak and features 10 songs, including not only their impeccable hit, "What’s Your Voodoo?" but a full arsenal of yet unheard, timeless, and soulful music without equal. The songs on the album, which were recorded between 1988 and 1991, could be considered forerunners of the downtempo genre, with one foot in the late 1980s street soul direction but sparkling with touches of synth pop and contemporary jazz-funk. Genre limitations aside, all that Ghia ever wanted to do was create music—good music—and you will hear this in the depth of the compositions.

When Ghia expanded from the dynamic duo of composers Lutz Boberg and Frank Simon to a trio with singer Lisa Ohm, it was meant to be something special. While Boberg and Simon had worked with different singers before, it was Lisa who set a new benchmark with her clear and powerful voice. Ohm had already been active as a professional musician since the 1970s and was connected with bands from the infamous Schneeball collective. While recording with Ghia at the Cottage studio, she could also be heard as the key background singer on many Georgie Red and George Kochbeck productions.

The album starts with "Keep Your House In Disorder," which has yet again become another classic song from the band’s catalog since it was featured as the B-side of the "What’s Your Voodoo?" reissue. The song is about a relationship in which the woman has trouble adapting to her boyfriend's turn in life. He tells her to "keep your house in disorder," meaning don't take things too seriously, don't stand still, and you will do better to take the sideroads in life.

"This Is" continues with the downtempo numbers "Crystal Silence" and "Close to You." Both are deep, one-of-a-kind, and previously unissued street soul ballads. On these two tracks, you can still hear the band’s roots in jazz-funk. Hence, as a follower of the band's output may have yet recognized, instrumentals of these two tracks can be found on their first LP, "Curaçao Blue." In fact, "Close to You" was one of the band’s first compositions. Earlier recordings of the song exist with different singers and different vocals, but it wasn’t perfect until Lisa laid down the final version and a choir was added. It’s difficult for us to recall any late-80s soul tune as beautiful and intriguing as this one. The final section, which begins with "so much baby we can say," sounds ahead of its time, reminiscent of mid-90s contemporary R&B.

Next up is "Eskimo," an equally brilliant and soulful downtempo composition, but with more focus on synth sounds than the previous tracks. Once more, it showcases the creative lyricism of the song writers, Boberg and Simon, imagining a train ride during a rainy and cold night: "feeling like an Eskimo in an igloo in New York."

Eskimo leads to the aforementioned classic, "What’s Your Voodoo?" Originally released in 1991 on the small Mikado label, it was reissued on our label in 2019. We already called this "one of the most wonderful and mystic slow motion synth pop tunes ever recorded"—and we still mean it! Let’s face it: this was done before British bands like Massive Attack, Tricky, and Portishead laid the foundation of trip-hop. Dare we call Ghia’s music "proto trip-hop"? As a special bonus, the digital version of the LP features a previously unreleased mix of the song, which includes added samples; this should clarify how close Ghia actually was to the sound of the mid-'90s. Here it should be mentioned that their unique tone didn’t come out of nowhere. At the time, composer and guitarist Simon was building his own effects processors to generate the sounds he had in mind. The keyboards and guitars on "What’s Your Voodoo?" were passed through a unique, privately built processor. Combined with a deep synth bassline and the exceptional haunting vocals by Lisa Ohm, it gives the track all the magic the title implies.

But this isn’t yet where the story ends. "Angel On Your Shoulder" and "L O M E" are two more completely unissued and great tracks from the band's shelved works. Being a bit more uptempo than the rest of the album, they fall between contemporary soul/R&B and synthesized pop music. And of course, another downtempo hit needed to be featured on the album: "You Won’t Sleep on My Pillow." It was the original A-side of their single release in 1991, and since then it has been featured on various compilations.

The album concludes with a really strong ballad entitled "I Haven’t Got The Power." Here we hear only pianist and keyboardist Lutz Boberg with Lisa Ohm, without further instrumentation. Basically recorded in a live session, this showcases once more the talent and ingenuity within the Ghia project.

Whether you agree or not, "This is" may easily be considered one of the best German late 80s/early 90s soul pop and downtempo albums ever recorded. Cautiously, it may even be submitted as the missing link between mid/late 80s soul by bands such as Sade, and later trip-hop groups like Massive Attack. Let us celebrate Ghia and their music, which had been shelved for more than 30 years but has now finally been released on The Outer Edge.

Archeo Recordings' rewarding relationship with Tony Esposito continues on AR027, as the label provide a remastered reissue of his transcendent fusion-pop masterpiece "Pagaia" alongside a trio of brand new reworks from Perugia's mighty Feel Fly. Whether you're looking for cosmic house, mellow acid, trancey techno or dubby downbeat, these remixes have you covered, and the original remains a true work of art. Available in all good record stores on 12th July as a 50 copy super limited edition on Solid Blue Vinyl (including gadget scarf) and limited black vinyl edition.
50 copy Solid Blue Vinyl Edition (including gadget scarf), and also limited black vinyl run "Pagaia" hails from the Neapolitan percussionist's 1982 LP Tamburo, his first release for the brilliant Bubble imprint. Though the album delights and excites from start to finish, dancing through jazz-funk, Mediterranean pop, slow disco and smooth fusion, it's "Pagaia" which is first among equals. Esposito's nuanced hand drums lay the foundation for Claudio Pizzale, Sara Borsarini and Simona Pirone's wordless vocals, a life affirming chorus which carries us onto the swell of bass, piano and horns which drive the track through four and a half minutes of emotional release. Emphatic and expressive, the track transports the listener into a state of body moving rapture, all driven by Tony's rhythmic fluency. The song found its way into Italian living rooms over the credits of TV show Domenica In, and found its way into club culture thanks to fanatical support from the likes of Daniele Baldelli, who even included it on his first official Cosmic compilation.
Following a string of essential releases for the likes of Internasjonal, International Feel and New Interplanetary Melodies, Daniele Tomassini, better known as Feel Fly, now joins the Archeo family with a trio of contemporary club translations of the killer "Pagaia". The Perugian's "Cosmical Remix" extends that familiar introduction into a deep and DJ-friendly blend of drum and voice, awash with airy reverb and augmented by additional percussion, building through the original piano and bass into the churn of a dance floor wormhole. Driven by an unstoppable sequencer throb, the interpretation skirts the dark side of space before landing in the light of the miracle, those heavenly vocals and lush keys leading the way. The "Instrumental Cosmical Remix", not entirely instrumental, but utterly cosmical nonetheless, sees Daniele serve a tense and tracky arrangement of his first rework, perfect for deep space exploration. Stripped of the joyful exuberance of the original, this variation is a complex blend of shadowy trance idents and the mature techno we'd expect from the likes of François K. Not content with soundtracking either side of the peaktime, Feel Fly serves up a third version, following the Compass Point through a musical map of club-dub to turn out an immersive interpolation of deep bass, spring reverb and stabbing keys that sits perfectly beside the Rhythm & Sound catalogue. Each interpretation is an emphatic demonstration of Tomassini's musical talent, production prowess, and stylistic range, and furthermore a fitting tribute to the lasting genius of Esposito's original.

What A Funky Night! Now officially remastered from the original analogue master tapes and pressed onto wax in its full length as a super sound single with the original artwork and extensive liner notes. Right in time for the 40th anniversary of this killer boogie funk tune straight outta Vienna. On the flipside you got a previously unreleased version of Marihuana that surfaced during the reissue process. This earlier version was recorded during the 'Camera' LP sessions - slower than the familiar version on the 'Tight' LP.

The killer 1981’s Nigerian funk boogie disco and reggae by Kio Amachree repressed for the first time.

Genuine underground freakiness”– Patrick Lundborg (Acid Archives)

Screaming psychedelic garage from L.A. with fuzzed out guitars, Vox organ, killer vocals, early Oriental vibes...Recorded in 1967-68 but not widely released until 1972.

File next to Music Emporium, Tiffany Shade, Seeds, Rebecca & The Sunnybrook Farmers … Formed in California in 1967, Lite Storm was the first incarnation of spiritual seekers Johnima & Kalassu Wintergate (later on Lightstorm, One…). A pioneering psychedelic band, Lite Storm played at all the hip Sunset Strip clubs, were friends with Kali Bahlu and travelled to the Orient and Far East, touring in Vietnam in 1970.
“Warning” was recorded at a four-track studio in 1967-68, first released as a custom tiny pressing before being licensed to the Beverly Hills label for a proper release. This is the first ever vinyl reissue.

Rare and in High demand Afro digital Soul EP, recorded in Abidjan (Ivory Coast) in 1981.
Originally from Martinique, Clem Marise Voltine aka Mac Gregor moved to Abidjan in 1979 searching for, what she called, her “negritude quest”. She sang about her love for her adoptive city until her death in April 2004 at CHU of Abidjan, Trechville Hospital.
A visionary composer, poet and singer, mixing Creole, French and Nouchi, she made a brilliant musical bridge between the West-Indies and Ivory Coast, backed by a soulful group of top Ivorian musicians such as the great Houon Pierre.
This unique and must have record is a pure dancefloor killer and will definitely be the next Afro Tropical Hit of the next decade!
Fully Licensed in Abidjan, remastered at Carvery Studio on a 12inch vinyl (45 RPM).

Recorded in Brazil after spending the late 70s in the US, Marcos Valle brought together his innate talent and diverse influences on this irresistible record bursting with groove. Among a selection of top musicians, the line-up features Lincoln Olivetti & Robson Jorge and Leon Ware. Includes the Brazilian boogie anthem ›Estrelar‹, Marcos Valle's biggest hit from the 80s and one of the most celebrated songs in his entire career.

The album is full of soaring disco tracks, killer vocal boogie numbers and blissing instrumentals over a well-balanced tracklist that satisfies both the listening pleasure and the dancefloor needs. Essential! Presented in facsimile artwork.

AT Home Sound is pleased to announce the release of a split 7inch single by world-renowned DJ/producer Shuya Okino and his close friend and Detroit prodigy Pirahnahead!! Both sides feature the singer Diviniti on a soulful jazzy house track!! Shuya Okino himself has been playing these killer tracks in Japan and abroad, and only its existence was known to the public. Now, it has finally been officially released!!

What's my return on love is a killer boogie track from 1983, produced by the great Donald Burnside. The B side features an inedit Tony Massera Dub Version of that song. The original release from 1983 exists only as 7" and it's extremely rare and pricy.

Soul Jazz Records’ new Nigeria Soul Fever is their first release to explore the vast wealth of Nigerian music recorded in the 1970s. The new album comes with introductory sleeve-notes by Bill Brewster (author of Last Night A DJ Saved My Life).
Packed-full with Afro-Funk, Disco and Boogie all from Nigeria, this triple album/double CD set brings together a stunning collection of diverse West African sounds. Whilst a small handful of the artists featured (Joni Haastrup, Tee Mac, Christy Essien) have seen the light of day outside Africa, this is essentially a collection of killer tracks by an array of artists completely unknown outside of Nigeria. Artists such as Don Bruce & The Angels, Akin Richards & The Executives, Angela Starr, Jimmy Sherry & The Music Agents. It’s no surprise that these records are extremely rare and expensive to buy individually so this album will save you going broke trying to find them.
These recordings were made at a time when Nigeria’s trade restrictions banned imported records. Whilst new musical trends (such as American soul, funk, disco etc) entered and influenced the country, the local music scene remained just that – local. Consequently, these recordings remain practically unknown to anyone outside of the country.

Limited edition of 100 copies on blue wax. Only available at HHV.

Disco Segreta sets your summer on fire with the official reissue of two killer obscure italo-disco masterpieces! Out of the catalog of the no longer active cult Savona-based label Disco In, this 7” released in 1985 in 1000 copies sung by the mysterious Laura Angel, is probably one of the most elusive, with original copies hardly ever showing up ! “Summer Time” carries all the fascinating stylistic elements of italo-disco: romantic struggle, summer-inspired ital-english lyrics sung by a catchy female voice, over minimal 80s drums and arpeggiated basslines; while “If You Want” is possibly one of the finest examples of that all-Italian peculiar mixture of darkwave, synth-pop and italo-disco. Two superb melanchol-italo tearjerkers, with a masterful use of three classic italo disco fetish synths: E-mu Drumulator, Juno 106, Korg Poly 61. As usual with us, the first ever 12” reissue of this 45 - in a limited edition on 180g. high-quality vinyl - will be lovingly remastered, respectful of the actual tracks’ 80s lo-fi vibe, and will feature the original 45 versions.

Welcome to the second instalment of the collaboration between THE REFLEX’ DISCOLIDAYS label and BECAUSE MUSIC in Paris, remixing gems from the ZAGORA catalogue.

Created in 1975 by producer Daniel Vangarde (father of Daft Punk’s Thomas Bangalter), the Zagora label created some of the most exciting disco music in France, ranging from cult underground artists Who’s Who and Starbow, to massive international hits by the Gibson Brothers, la Compagnie Créole and Black Blood.

On this 12’’, we’ve got two first time ever remixes from LA COMPAGNIE CREOLE, one of the most successful acts in France during the 80’s who expertly mixed tropical sounds from the West Indies with pop and disco to staggering record sales.

With tapes thought to be long lost, a chance find of stems from two of their songs not only makes this release possible, but also perfectly showcases two sides of the band with ‘Le Bal Masqué’ which was a huge hit commercially in 1984 and ‘La Nuit Des Requins’ which is probably their least known and most underground track, both masterminded by songwriters DANIEL VANGARDE and JEAN KLUGER.

‘LE BAL MASQUE’, now devoid of its cheesiest sections, puts the focus on that infectious groove adorned with percussions and electronics but with its singalong chorus intact and stronger than ever. A guaranteed tropical disco floor filler at 122bpm, regardless of your knowledge of the French language!

‘LA NUIT DES REQUINS’, an ode to session musicians found regularly in Paris studios back in the day, gets a complete overhaul by putting the exhilarating drums and killer bass line of the original to the fore into a brand new 124bpm version that is destined to rock the most discerning dance floors the world over.

Released on 180g vinyl with custom artwork on card sleeve designed by AL KENT / MILLION DOLLAR DISCO.

2020 white vinyl repress.

Just in time for summer! Some serious heat from the darkest corners of the TK Disco vaults, dug up, re-mastered and brought back to life for your listening and dancing pleasure! To say Trama's sole LP is a rarity is an understatement! Released on TK offshoot CAT Records in 1977 it's swaggering street-funk attitude, tight ass rhythm section, blistering arrangements and stellar vocal performances from a young Donna Allen has left beat digging, Soul, Boogie and Disco freaks hot under the collar for over 3 decades! Often selling on-line for tidy sums (£250 +) this LP is a true gem, now is your chance to own a %100 legit, TK Disco sanctioned, vinyl copy of this killer Soul LP. Re-issued just the way it originally came out in 1977, no tricks. Essential!

For the second release of the Back to Back series of Stolen Goods goes for two stables of the scene: label manager and old school pillar of the Italian scene Lele Sacchi and Italo Spanish beat master Bawrut.
After B2B1 saw the funky deep sound of Rogue D feat Joe Le Groove and the raw house grooves of Ruff Stuff got played by Laurent Garnier on his show and by peeps like Jamie Jones and Oliver Dollar in their sets and chosen by Beatport in most of their weekend picks here we are ready for two bangers for clubbing prime time! Bawrut's fame goes a long way back to in the best of Europe's crossover of electronic dancefloor music and indie and urban flavours. An album on Ransome Note, hits for Life & Death, Correspondant and tracks supported by Dixon, Jennifer Cardini, Ricardo Villalobos Sven Bath and playing B2B with Kink and Skream in festival and clubs like Sonar, Nuits Sonores, Fabric, Sub Club, Nitsa, etc. and now this massive hands in the hair, goosebumps in the back monster of retro future rave piece of music!
Lele Sacchi is known to have an ear for bangers having been behind the decks all over the world for nearly 30 years, so whenever and with various aliases he turns into producer is quite normal to find his music out on labels like Snatch, Soul Clap, Nervous, Internasjonal, Crosstown Rebels, Pokerflat, Rebirth and more and more classic underground dance stables. This time he keeps his know funkier deep groove but adds a kille stab in the breakdown to represent a vein of peaktime monster attitude.
Again a message 'From Clubbers to Clubbers' as we love to say here at Stolen Goods records.

Massimo Morini, has been technical director and conductor of San Remo festival for over 30 years. On his conducting debut in 1995 he was only 26 years old. Before his big hall music adventure started, back in 1985 he formed his first italo disco group – J.F & Hitwave, later to be transformed into Love Kills (I want to Become). A forgotten and highly demanded among obscure 7″ italo collectors tune titled “Dance Floor Girl” is now brought back to the light of day on a 12″ vinyl. The reissue contains previously unreleased 12″ version as well remixes by Flemming Dalum, Italoconnection and Also Playable Mono.

This is a carefully curated reissue. Originally recorded in 1981, this album is best known for its tropical boogie bomb 'Let's Talk About It'. Having drawn attention from diggers for quite some time, it's finally available again on vinyl. Besides this killer boogie tune a selection of five other tracks from the album that have remained unknown to most people complete this French boogie / reggae / zouk re-issue.

A few copies arrived with a damaged Cover. We're therefore selling it on a reduced price.

What A Funky Night! Now officially remastered from the original analogue master tapes and pressed onto wax in its full length as a super sound single with the original artwork and extensive liner notes. Right in time for the 40th anniversary of this killer boogie funk tune straight outta Vienna. On the flipside you got a previously unreleased version of Marihuana that surfaced during the reissue process. This earlier version was recorded during the 'Camera' LP sessions - slower than the familiar version on the 'Tight' LP.

A UK boogie lost gem from 1982 / Brit Funk era, recorded by singer Tony Crockett and Ralph Lewars' band "Pastiche". All in their early to mid 20's and born in London of Caribbean descent. The group were short lived, working on material for just a few years with the "Queen of Hearts" 12-inch being their only release. The track immediately demands the listener's attention with it's jazz piano, thumping drums, heavy bass, guitar licks and laced with funky flute, synth stabs, spacey sound effects, then dropping into soulful silky vocals and slinky rap - bringing together this killer boogie groove. Now finely re-issued for the first time by Diggers Dozen, giving this incredible rare record a more deserved chance to be heard and loved!

Exclusive edition on golden vinyl limited to 100 copies worldwide. Only available through hhv.de

Killer disco-boogie-funk from 1982! Featuring Italo-Disco legend SANGY (Firefly) and co-produced by Tony Valor.
Originally released in the US on the Chaz Ro label with generic sleeve, here’s the first ever vinyl reissue with new artwork.

In 1982, a group of friends deep into post-punk, jazz and dub got together in Mad Professor's studio and lay down their youthful interpretation of a NYC disco cut. Their unique take included trombone, vibraphone, piano, and an ital dose of tape delay. They called the song Trouble and released two versions (vocal and dub) on their friend Tony McDermott's !Drum! label with artwork inspired by Russian Constructivism. TIP!
The group, comprised of Justin Langlands, Chrysta Jones, John Schofield, Tom Dixon, and Dave Killen, decided to call themselves A-Team, having no idea that Mr.T and Co. would make them almost totally ungoogle-able 30 years later. The result of their adolescent studio idealism sounds akin to otherdisco misfits like Arthur Russell, Maximum Joy, Talking Drums and wouldn't sound out of place on legendary NYC label 99 Records. Remastered with an extended Club Dub formaximum dance-floor action.

EPS023 is the second Mantis 45rpm on Epsilon Record Co.
This is a sensational previously unissued double sider from 1976.
Do We Have Love is a beautiful sweet soul side with killer vocal from Rocky Whitaker.
Click on play and put on your dancing shoes!

Remastered reissue of a double A-side classic by LAMA a studio project from 1983. Both tracks here are killer electro/italo tracks well worth their weight in gold. Love On The Rocks is a electro-fied cover of Lucio Battisti's original disco smash "Il Veliero."
On the flip we have the dark apocalyptic feel offered by "Nineteen Ninety Three".

Laxmichand ‘Babla’ Shah began his career and a drummer and percussionist on Bollywood soundtracks composed by his older brothers Kalyanji V. Shah and Anandji V. Shah, and then made history through Babla’s Disco Sensation, the adventurous disco and synth-pop recasting of popular film hits released by Polydor in the late 1970s. This rare beast kicked off the ‘Disco Dandia’ craze and is a total killer from start to finish, the sitar funk grooves and eastern melodies clashing with all kinds of Moog madness. It’s a crate-diggers special that was sampled by Metro Area and others – grab your copy now and play loud for best effect!

We’ve watched the movies, seen the photos, heard the stories. As in all of New York City, crime was as
rampant in the subway as it was on the streets. Thefts, robberies, shootings and killings were a frequent reality
throughout the 1970s. In 1979, a group of angered residents led by Curtis Sliwa began taking crime prevention
into their own hands, donning red berets – looking very much like a gang and calling themselves the Guardian
Angels. This funky track produced by the Legendary Patrick Adams and uptown empresario Peter Brown is
an ode to what was hapenning at the time. Like many of the P&P records of the time, this wasn’t dance music
for flashy downtown clubs, it was the real uptown funk!
“With bass as heavy as rolling stock, and field recordings from the subway tannoy echoing along almost
empty train carriages late at night, Margo Williams's vocals supply the inner city funk menace with some
almost ethereal soul.” At a crossroads between funk, soul and an emerging Hip Hop culture this track apealled
to both the disco crowd and the bravado of the uptown b-boys.

Killer rendition of the classic Led Zeppelin stomp, arranged by famous dj & producer Massimo Barsotti. Programmed by none other than Maurizo Dami aka Alexander Robotnick, this robotic version is delivered with alien vocals and cold as ice synth lines. Still a favorite for many international djs.

The Emotional Rescue reissue series of Noel Williams aka King Sporty working with other artists and singers on the Konduko label's roster comes to completion with the deep funk disco of The Prolifics' Boy Child.

Formed in 1970 as part of "Senator" Nolan Jones' New Orleans soul and funk label Hep' Me Records, the bands early deep southern soul saw them release a series of 7"s for Hep' Me and Avco, plus an Xmas single for EMI and the minor hit A Place Called Home, recorded at the infamous Musle Shoals studios, backed by the Rhythm Section band who, from the early 60s, turned out hit after hit, from When A Man Loves A Women to Brown Sugar.

Landing on the newly inked Drive label, set up in '72 by Henry Stone as a sub label of his burgeoning T.K Records empire, their developing move in to funk saw them featured alongside Funky Nassau, Jimmy Castor and Peter Brown. It is here the connection with Noel Williams was formed. While putting together the "Konduko Six Pack" showcase album, the band were invited to the Miami Sound Studios for sessions that brought us both title cut Boy Child and the accompanying You Got Me.

All brass and claps, Boy Child is as funky as Williams got, backing the groups soul vocals, a story of first born's energetic path in life and a mothers love. The backing from Deep Rockers band bring the swing, the trippy keys and wide bottom end has made this a secret drop for many. You Got Me on the other hand is true King Sporty, a driving 9-minute disco boogie cut, where the warm harmonies lay down this uplifting, killer dance floor stop.

To close, the flip is again given over for reinterpretation, welcoming back Felix Dickinson to expertly cut, loop and dub. A special personal song for Dickinson, his subtle extension teases the intro for DJ play, before letting things fly - "the little show-off" as the song notes. With a near 30-year DJ and production career in place, his Discomix is a fitting way to complete this cycle of reissues of this benchmark label, for now.

Here the Cosmic Discotheque team temporarily gives up with the pure 70s Disco mark of the previous releases and, while remaining in the same decade, the spotlight will move on the Rock scene. Those who have followed the series, know that the Cosmic-compilations are based on great selections of European singles (often B-sides) and lots of bizarre productions, mostly unknown and sometimes rare; and so it will be for Elephant Stomp too! Killer Drum Breaks, Tribal Freak Rock, Stomper Junkshop Glam, Instrumental psych rock, proto-Disco... those are the explosive ingredients of this unique compilation. So no long and useless solos or empty virtuosity here, just lots of groove and rousing tracks, in other words the best food for you party animals and digging maniacs!

Remastered reissue of a double A-side classic by LAMA a studio project from 1983. Both tracks here are killer electro/italo tracks well worth their weight in gold. Love On The Rocks is a electro-fied cover of Lucio Battisti's original disco smash "Il Veliero."
On the flip we have the dark apocalyptic feel offered by "Nineteen Ninety Three".

Two all-time George Duke greats, ‘I Want You for Myself’ & ‘Brazilian Love Affair’, get the official remastered, reissue treatment. First up, ‘I Want You For Myself’ Duke’s 1979 jazz funk, R&B tinged gem has got all the ingredients of classic from his illustrious catalogue. A funked up guitar and exuberant percussion, compliment Lynn Davis’ fabulously soulful vocals perfectly to make this a love song that’s sweeter than most. A Duke classic wouldn’t be complete without a killer, keys solo and ‘I Want You For Myself’ shows off his talents in abundance. The infamous Tom Moulton takes on edit duties splicing it into a 10-minute exploration of this fusion powerhouse, extending and enhancing elements in the mix, alongside adding an epic breakdown in a way that only he knows how. On the B side, the stone-cold killer ‘Brazilian Love Affair’ is a Latin American, jazz funk classic. Recorded in Rio de Janeiro, Duke drafted in a host of greats to guest on the track, each bringing something unique to the table. From Airto Moreira’s expert latin drumming, to Byron Miller’s heavyweight bass and Roland Bautista’s overdriven guitar. Duke supplements this to a tee with his blissful vocals and an otherworldly Rhodes solo. Much sampled, much loved, this is a masterpiece that needs a place in the collection.

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.

Two sizzling South African boogie tracks from Kabasa’s Tata Sibeko. A killer producer, arranger and bass wizard, Tata channels the gloomy current affairs landscape of 1985 into a glimmering Afro-synth nugget. As South African pop embraced 1980s synth sounds, Maxi Singles on 12-inch vinyl became a new canvas of expression with wider grooves for fat beats and extended mixes that suited dancefloors.
The supergroups of the 1970s fragmented into solo recording artists with the likes of Harari’s Sipho ‘Hotstix’ Mabuse releasing his seminal “Burnout” single in 1984. Former Kabasa frontman Tata Sibeko dropped “It’s A Mess” in 1985, addressing the world’s Cold War climate with an appeal to “learn to love each other” and “save ourselves from catastrophe.” The B-side “Afro Breakdance” marked the evolution of Tata’s Afro-global sensibilities from “Afro Funkin’” that had appeared five years earlier on Kabasa’s self-titled debut in 1980. Tata Sibeko (RIP) passed away in 2017 after approving the restoration and reissue of this single. This release is dedicated to his kindness, charm and creative zeal.

Keni Burke’s signature hit ‘Risin’ To The Top’ gets an official remastered, reissue alongside the 12 inch mix of his ’81 killer jam ‘You’re The Best’.

"Another Italo Disco Pearl, Vega Synthauri! One the most spontaneous and genuine tracks of the first half of 80s. The song, written by composer Daniele Pace (co-author Corrado Conti), is a futuristic and galactic dance floor piece with a heavy rhythmic focus where the main melodic line has a classical music feel to it. A lovely combination! This track by Donna Laser is one of the most significant electronic tracks of the entire Italo-Disco scene even beyond the mid-80s, was arranged by the talented Mark Owen (aka Marco Colucci). His synthesizer skills are a true art! This release was mixed at the renowned Trafalgar Recording Studios of Rome by Gaetano Ria, one of the most accredited technicians of the country in that period. "Grace Kelly's Song" on the flip is a very beautiful quiet nostalgic piece, that could fit perfectly into an Italian dramatic film of the late 70s or early 80s, a cute and delicate track to unwind after the monster killer on side A! Masterpiece created by the young visionary DJ Marco Marati. Stunning release!"

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

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.

Two incredible 70’s soul cuts from The O’Jays get the reissue treatment for 2018. The A side contains the mighty ‘For The Love Of Money’ a near 7 minute cautionary tale to the dangers of greed and exploitation. "For the love of money. People will lie, Lord, they will cheat. For the love of money. People don't care who they hurt or beat." As pertinent now as it was in the 70’s if not more so considering current affairs. A much sampled record, loved by many!
On the flip, ‘Darlin' Darlin' Baby (Sweet, Tender, Love)’, the second hit single off the O’Jay’s album ‘Message In The Music’, is a romantic soul serenade with that killer Gamble and Huff production – Philly’s finest!

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.

An absolute killer here from Research ! Shades of early 80's downtown NYC, channeling James White / Liquid Liquid & Dinosaur L 100 Copies - Don't snooze !

Favorite Recordings presents Faché, a new long awaited EP by Voilaaa, including 3 brand new tracks from the Afro-Disco maestro, and tasty exclusive versions. This is also a first taste of the upcoming 4th album, which is planned to be released in September this year. The EP opens with “Faché”, and it includes all the elements of Voilaaa’s famous style and skills: killer Afro-Disco production with heavy bass, hot percussions and playful horns and keyboards, coming with French spicy vocals by longtime partner Pat Kalla. A dub version is provided then. Next track is “Trouble Travel”, which is displayed in a “Garage Version” fully exclusive to this release and perfectly tailored to kill any dancefloor. It features upraising singer Nai-Jah collaborating for the first time with Voilaaa. On the B-side, you’ll find a surprising and blowing version of Jamiroquai’s “Too Young to Die”. The classic hit taking a new life in a Tropical perfect suit, with stunning Creole vocals by Olivya (Dowdelin). Voilaaa is back and ready to delight your summer!!

New Parisian label, Disques Messager, presents its first release and not the least. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which begins rather well, with the official reissue of these two stirring titles by Brazilian singer and composer Cristina Camargo. Native of Rio De Janeiro, Cristina Camargo had quite a short career, releasing only 2 albums in 1980 and 1981, but still enough to collaborate with some of the best composers, musicians and producers at that time. Her first self-titled album was therefore produced by Robson Jorge & Lincoln Oliveti and recorded with some of the finest musicians. “Moral Tem Hora” comes from this same LP and is a perfect example of the unique alchemy that emerged when the Disco and Boogie invaded the Brazilian music scene. A quite hard to find Boogie killer, composed by famous brothers, Marcos and Paulo Sérgio Valle. On B side comes “Minas Do Rei Salomão”, a more chilled-out title extracted from Cristina’s 2 nd album, Santa Maravilha. With its funky slapped bass, airy keyboards and the sweet vocals of Cristina, the song seems made to sip a nice cocktail at Ipanema.

Reissue number seven for Heels & Souls Recordings sees them look back to the sounds of South Africa’s townships in 1991, cherry picking four of Tashif Kente’s finest cuts from his sought after album A Boy And A Dream, giving them space to breathe on a 12" pressing. Clearly influenced by the flavours bubbling over from the UK and US in the late ‘80s and early ‘90s, from R&B through to boogie, proto house to new jack swing, Tashif’s productions are a melting pot of ideas and influences, laced with a distinctive South African flavour. Born in Soweto, Mzwandile ‘Tashif’ Kente, cut his teeth with Harari for a brief period, a group that birthed greats like Condry Ziqubu, Sipho Mabuse and Alec Khaoli, before going solo in 1984 and releasing just one album as Tashif Kente, 1991’s ‘A Boy And A Dream’. An album that speaks of love, lust and longing, produced by Kente and Selwyn Shandel with Marc Rantseli also joining the fold, it has that signature South African synth bass, drum machine and killer keyboard combo of the Bubblegum and Kwaito scenes, topped with Kente’s buttery vocals. Heels & Souls Recordings take four favourites from the LP and press them loud on either side of a 12”. On the A, the audacious new jack, dancefloor bubbler ‘Tell Him I Became Your Lover’ leads into the lovestruck, boogie-tinged grooves of ‘Somebody’s Got My Love’. Flip it over to find a jealousy jam of the highest order with the synthy soul number ‘Who’s That Boy’, before ‘I Like The Way You Love Me’, a lights down low, R&B flavoured lovesong rounds off the EP. Licensed from Gallo, who transferred the original ¼ inch tapes for their archives, Heels & Souls have enlisted the expertise of Justin Drake to remaster these South African beauties for a new generation of listeners.

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.

Land Of Hits by name, Land Of Hits by nature, this downright delectable 12 inch from Fly Guy, with the aptly named Fly Guy Rap, on Peter Brown and Michael Campbell’s NYC label commands prices of over £750 on the second hand market. A super rare cut that was been crying out for a reissue for many a moon and those prayers have now been answered. Killer breaks, funk stylings, and one of the most infectious raps you’re ever likely to hear. Essential business produced by P&P bossman Peter Brown that deserves a spot in every collection.

2021 repress. Candido Cameron was a Cuban percussion maestro who had played with luminaries such as Dizzy Gillespie, Buddy Rich and Count Basie throughout his illustrious musical career which started in 1952. Fast forward to 1979 and Candido finds himself caught up in the Disco boom that had engulfed his adopted New York City. Feeling he could add his trademark quick-fire Conga and Bongo playing to Disco's straight 4 x 4 syncopated rhythm he cut some records with legendary NYC label Salsoul. The fruits of this partnership were 2 full length LP's and a handful of 12" singles that changed the face of underground Disco."Jingo" is an all-time classic dance record, sampled, edited, re-configured and coveted by too many names to mention! It's a killer funky Disco version of master Nigerian drummer Olatunji's 1969 percussion suite of the same name, Salsoul style, while over on the flip we have one of the deepest Disco records of all time; "Thousand Finger Man" a testament to Candido's percussion prowess and a spacey, beautiful voyage that has left more than an indelible mark on modern House music, often being cited as a huge influence by artists such as Masters At Work and more. Essential stuff basically, every collection should have a copy!

Favorite Recordings proudly presents this new official single reissue of “Feel So Good Inside”, by Lamar Thomas. A killer deep-disco and very rare collectable single, fully coordinated for reissue by French respected DJ and Tropical rare-groove specialist, Waxist Selecta.

Groovin Recordings Starts This NEW Series Featuring Three Killer Disco-boogie Tracks Originally Released From 1979 AND 1982. Essential Tunes !

Since the release of the first volume in 2019, we knew we couldn't stop there. In 2021 we are even more excited to present the 'Drum'n Voice Remixed 2' album by the legend Billy Cobham in collaboration with Italian producers and composers Nicolosi / Novecento. As a taster to the album we are very happy to be releasing an EP containing remixes of ‘Interactive’ from the legend Louie Vega. Acclaimed as jazz-rock fusion's greatest drummer, Billy Cobham has dedicated his whole life to musical exploration and creative expression. Born in Panama, he has been surrounded by music. His father was a pianist, his mother was a singer and Billy started playing drums at four years old. Throughout his career he has collaborated with artists like Miles Davis, Horace Silver, Airto Moreira, George Benson and appeared on over 300 recordings, including icons like Peter Gabriel, Quincy Jones, Jack Bruce, Bob Weir, and James Brown, and to date, has produced and released more than forty albums as a leader. The first album ‘Spectrum’ is a masterpiece and still considered a reference album today. Billy and Nicolosi composed so many songs of the highest quality and class that we immediately wanted to get to work preparing a second volume of remixes. We are really happy to present the Louie Vega remixes of ‘Interactive’ in the run up to ‘Drum’N Voice Remixed 2’ collection that's set for a release later in the year. ‘Little’ Louie Vega does not need any introduction. One half of the Masters At Work (that are back now after a long time with their new single), he is one of the most important House Music duo of the last 30 years, even receiving a nomination in the last Grammy Awards. With the collaboration of Josh Milan (aka Honeycomb and former one half of Blaze) at the keyboards, these incredible remixes of 'Interactive' make track shine thanks to a powerful blend of funky cosmic disco and a perfect killer groove that makes us dance on Brian Auger's magnificent Hammond improvisation.

1979 Linda Williams gold from the Arista archives gets a much welcomed official, remastered reissue. With an intro that does exactly as its title suggests, ‘Elevate Our Minds’ became a huge rare groove record in the mid to late ‘80s. Produced by the late, great Richard Evans who worked with the very best in the business, from Gene Chandler and Marlena Shaw, to Ramsey Lewis and Ahmad Jamal, it’s supremely arranged, blending a Bossa Nova beat and trumpet trills with Linda’s distinctly New York authenticity that comes through in the vocals. Like a trip to the blissful beaches of Rio whilst bringing a touch of the New York disco glam along for the ride. Exotic yet familiar, all in the same breath. On the flip, ‘City Living’, a straight up New York disco killer - oozing with funk, dripping in brass blasts, off beat hats and spruced up synths, it’s a primetime ode to the hustle and bustle of the city. Williams’ glorious tones, assisted by a majestic troupe of backing singers, glisten alongside the classy drumming and polished bass badness that lays behind it.

Brit Funk at it’s finest! Tony Simmons eye-wateringly expensive ’83 jam ‘I can’t let you go’ backed with Soul Shack’s cosmic masterpiece ‘Galactic Funk’ from 1980, reissued for a new generation. Stepping up first ‘I can’t let you go’, slaps a smile on your face before you’ve even got 30 seconds in. Harnessing that raw, live instrumentation energy that made up so much of Brit Funk’s charm, a recipe for happiness via a killer drumbeat, heavyweight bassline, dazzling guitars and uplifting vocals. With originals trading hands for close to £200 this reissue will be welcome sight for many. On the flip, a cosmic kaleidoscope in the form of Soul Shack’s ‘Galactic Funk’. Slap bass at boiling point, synth lines to tingle the spine and raucous chants to send your head to another dimension. Two Brit Funk gems that you need in your life!

Record Store Day 2021 Release. Insanely catchy 1980's Disco jam from Young & Company on Brunswick. 40 years down the line it sounds as good as it did on day dot. Killer funk guitars, sensuous vocals and luscious harmonies complete with that classic Brunswick touch. Original reissue as in original Brunswick sleeves as if roller-discos never left us.

Another rare gem from Record Shack gets its first officially licensed 12” release – the absolutely killer early ‘80s jazz funk tinged, boogie bomb from The Oceans – ‘Bad Guy, Good Guy’, fully remastered for maximum audio pleasure.
With the release only ever being a whitelabel there was much confusion over the correct titling due to the stamp simply stating ‘Pacific Dream’, however the actual track titles are those housed on this release - ‘Bad Guy, Good Guy’ and the instrumental ‘Synth Good Guy’. Those original whitelabels command prices of up to £120 and it’s no surprise when you hear those infectious guitar riffs blended with buoyant synth flurries and sensuous vocal harmonies. For those that would rather leave the vocals at bay, the B side houses the instrumental mix in all its glory. A radiant release that still sparkles as bright as it did back in 1980 – an essential buy!

Daughter of the mighty George Kerr, Sandy set the scene alight in ’82 with the explosive classic, ‘Thug Rock’. Badass slap basslines, zapping synths, ethereal pads and Sandy’s iconic rap were a timeless recipe of pure ‘80s, boogie-infused power that’s blasted from many a boombox, sung on all manner of club systems and sound tracked endless open road cruises over the years.
Released on the South Carolina label Catawba Records, two prolific duos blessed ‘Thug Rock’ alongside Sandy and co. Her father, who produced for the likes of Alice Clark and The O’Jays and Sugarhill wizard, Reggie Griffin, headed up the production and arrangement, with ever-dependable M&M aka John Morales & Sergio Munzibai taking the reins on the mix. Their combined talents can be heard in the tangible weight of the track, each element getting the space it deserves to facilitate that crystal-clear clout - from the huge bass riffs and sublime keys, to the punchy drums and Kerr’s infectious rap. An earworm if ever there was one!
Take to the flip to find the much in-demand dub version, echoing out choice snippets of Sandy’s rap to focus in more on that killer boogie-funk groove. Original copies are tough to come by in the UK, so an official reissue will be music to many an ear.

Matasuna Records presents another treat with its latest release: an official reissue with two songs of the US funk band "Calender". Both tracks are available on a 12" Maxi-Single for the first time. In addition to the mastered original versions, this EP features great reworks by two of our favorite producers: Mexican disco edit king "Hotmood" and the highly acclaimed Matasuna artist "Voodoocuts".
The band "Calender" from New Jersey was founded in the 70s by Paul Kyser. Besides his activities as songwriter, arranger and producer he set up his label Pi Kappa Records. The band's only album "It's a Monster" was released on this label in 1976 and has grown into a legendary status over the years and is appreciated by fans and collectors alike.
The opener "Hypertension" is a disco banger par excellence. Kyser's sophisticated arrangements merge thrilling grooves, elegant strings, varied funk elements and soulful vocals to a great and unique joint for every dancefloor. It's very pleasing that the song doesn't get overloaded or cheesy, as it's often the case in disco music.
Hotmood transfers the track, which was created more than 3 decades ago, into the present time. His great disco edit focuses on the instrumental parts of the original. Thanks to his clever arrangement, a tension curve is constantly built up without seeming repetitive.
On the flipside, "Ritmo Latino" takes a different musical direction. As the name suggests, there are all kinds of Latin American influences to be heard: the brass section, rhythm parts, piano sounds and the grooving bass line, which goes straight into the veins. Nevertheless, the song is also strongly rooted in funk & jazz and inspires its listeners with its unique character.
Voodoocuts rework comes up with a monster broken beat and gives the song a dancefloor friendly structure with its new arrangement. Especially the killer break part in the middle of the song will not only make B-Boy hearts beat faster! Additional instruments, samples and effects give the rework an individual and autark touch and prove once again impressively that Voodoocuts is setting the bar higher and higher with his productions.

We weren’t too familiar with this 1984 Release on Sleeping Bag Records until reading Tim Lawrence’s Book Hold On to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973-1992. What we learned, was the “behind the scenes” drama that went on during the recording of this single. Arthur Russell and DJ Nicky Siano contemplated working together once again after their first collaboration in 1978 lead to a successful 12” single called “Kiss me Again” on Sire under the Moniker Dinosaur where David Byrne even played lead guitar. Their second collaboration “Tiger Stripes” came as the result of Siano convincing the father or a then girlfriend to fund the venture. Arthur wrote the lyrics, and while Siano remembers remembers the Demo tracks being promising, problems began to emerge as Studio time began ticking. Russell became annoyed by Siano’s hyperactive personality in the Studio, while the former Gallery/Studio 54 DJ grew impatient of his collaborator’s constant changes and money spent in studio time. However according Author Tim Lawrence the feud escalated when Arthur wanted to introduce a drum machine after the session drummer could not keep the time. As a result, he ended up scrapping the original tracks which included vocals recorded by Evelyn Thomas. However the nail in the coffin came when Siano assumed the role of lead vocalist at which point Russell quit appalled by how terrible he sounded. Although a perfectionist, Russell also suspected Siano had been using the project as a platform for himself as a vocalist. In any case their project went on with Siano as lead and newly recorded backup vocals by Maxine Bell. Released on Splash Records in 1984, Siano is credited as the artist and sole-producer while Russell only agreed to be credited under the alias Killer Whale. Not too long after, Sleeping Bag released a 7” promotional copy of “Tiger Stripes” featuring only Bell as the sole vocalist, a different B-Side and Felix as the artist name. Although Russell did not credit himself by his real name, he credited the Killer Whale alias for all the writing and production on the single. There is a 12” on Sleeping bag which credits Siano for production on Tiger Stripes” but it’s clear from the release of the 7” that Russell wanted to make a statement. Beyond this peculiar story however, the music itself is worth the note. In a 2014 piece for The Vinyl Factory, Peter Zummo, one of Arthur Russell’s closest collaborators best describes this release: Side A: ‘Tiger Stripes’, is a crazy editing job with lots of disparate elements. The opening beats give little sense of what key it will be in. Side B: ‘You Can’t Hold Me Down’, is drum machine and conga, rhythm guitar, keyboard, female refrain and lead vocal, and male chant on “bad little kitten – pounce on you.” There’s no real bass. I like it not only for the way it sounds but also that it shows that you don’t have to follow the rules.

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.

Sons Of Slum released three singles on Stax and Gamma in the 1970s. They were reputed to be Chicago's finest live band of their time, the band broke up in 1978. 'Music Is Message' is a high octane funk and soul crossover jam which which has the potential to be a future classic. On the flip the tempo is lowered and a rasping horn supplements the killer groove with a smoothing vocal delivery. Cordial Recordings will release an album of previously unreleased songs that were recorded back in the mid 1970s in 2019.

Here's a brand new EP for the italo lovers. Released for the first time
in 1982 on Full Time Production off-shoot Good Vibes, 4 M
International's "Space Operator" is repressed on hand-numbered limited
edition vinyl on Mr Disc Organization!
This special EP includes the Techno producer Donato Dozzy cadillac
rhythms reshape and the vocal and instrumental versions of the record.

Spaced out disco electro. The mysteriously named 4M International was a
side project of the production team behind the Italo group Trilogy ("Not
Love", "Black Devil" etc). "Space Operator" is the only record the
outfit recorded and is an ultra spacey, pitched down, cosmic anthem with
a wealth of killer sound FX, synth washes and sinister vocoded voices
inviting us to join them in some intergalactic space travel!

Favorite Recordings proudly presents this new official single reissue ofMusic MadnessbyBeckie Bell: A killer disco anthem produced in 1980 by famous French producer,Pierre “Berjot” Jaubert. Pierre Jaubert has been one of the great producers from the Funk and Disco French music scene during the 70s and 80s, mostly known for his work with the group ICE, who he then transformed into Lafayette Afro Rock Band. “Music Madness” is a brilliant disco track from Beckie Bell’s rare album,In Need Of…After highlighting it in an extended version, on the compilationFrench Disco Boogie Sounds(2015),Favorite Recordingsdecided to reissue this killer song on a proper 12inch single. The package including the original album version and two hot remixes byTom NobleandVoilaaa.

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

Emotional Rescue and Jamwax end their Capo Disco series by returning to Glen Adams and his cover of Bob Marley’s classic. The early 70s Lee Perry produced original raw sound is taken to the disco reggae dancefloors of the early 80s with a bottom heavy jam, while his Capo Crew works a killer dub flipside.
“Fussing & Fighting” was originally released on the 1971’s Soul Revolution album and for many came during the pinnacle of Bob Marley & The Wailers output, before the smoothing out of their sound during the later “Island” years. Whichever, the guidance and collaboration with Perry transformed the Wailers from a successful Ska / Rocksteady group towards a visionary, conscious, crossover phenomenon.
Perry’s in-house band, The Upsetters, lent so much to this early period, the brothers Aston and Carlton Barrett creating a perfect drum and bass bedrock. With Glen Adams on organ, the original version known simply as is an incessant, rumbling message and in that light, Adams return to it over a decade later makes justified and righteous sense.
Actually released on both Capo Disco and Marley’s own Tuff Gong, Adams’ vocal marries a disco-dub and guitar groove, dropping, in the latter half, right down to tambourine into perfectly stretched Discomix.
Things get even more laid out on “Mad Blank” aka the version. Riding the desk, “Capo” lets each instrument time and space, dropping to just a kick and dubbed piano before slowly coming back with hats, guitar and then when the bass comes, the Gospel purity of dub reggae shines, all before the teasing fade calls for a rewind. Rest and rise, Glenroy “Capo” Adams.