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Justin Time is a name behind so many old skool anthems, both as a solo artist, and as part of Triple J, but that also means that he has a selection of unreleased tracks! Thankfully he still had some of them saved on some old DAT tapes. A selection of original breakbeat hardcore that for one reason or another never got a full release. These tracks are breakbeat hardcore that featured on dubplates, and on mix tapes, but never got the full vinyl release back in the day! All 4 tracks are very Justin Time in style but the track JT Goes North has been on so many peoples wish lists for about 25 years now as it was featured on a compilation CD and nowhere else!

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

(Emmanuel Top, Tom Hades, Kony Donales + original remastered) Zolex heads up our next Bonzai Classics vinyl release with his 1993 cut, Time Modulator. New remixes come from Emmanuel Top, Tome Hades and Kony Donales who add their own unique twists to a techno classic.

Zolex heads up our next Bonzai Classics vinyl release with his 1993 cut, Time Modulator. New remixes come from Emmanuel Top, Tome Hades and Kony Donales who add their own unique twists to a techno classic. Back in the mid-nineties, Frank Struyf was churning out top club hits on Dance Opera, Circus, Frank’s own Zolex Records and our very own XTC and Bonzai Records imprints. Despite his busy DJ schedule Frank still found the time to produce his own sounds. Many years of producing quality records followed and he is still twiddling the knobs and spinning sets to this day.

The Original Mix graces the A1 slot, with its dark drums and rolling techno vibe hitting the spot. Moody and twisty, the groove becomes infectious and hypnotic thanks to a combination of blippy, bleepy sounds and relentless strings. The energy levels rise after the break, causing chaotic scenes on the floor, an absolute stomper. French DJ and producer Emmanuel Top takes up the A2 slot, delivering a fine remix with his instantly recognisable signature sound. Responsible for so many acid laden moments throughout his career, Emmanuel Top remains an inspiration to many. On the remix here, the tension mounts as 303 lines fade up alongside a hybrid drum construction and hypnotic FX. The acid effect takes hold, dominating the groove, the perfect set builder to whip up the crowd. Over on the flip, Belgian artist Tom Hades offers up his interpretation, turning the original into a slamming slice of techno for the modern dancefloor. Undoubtedly, Tom is responsible for some of the best techno joints released in recent years. Here, he employs his skills to great effect, using banging beats and minimalistic sounds that drive a solid, dark room techno vibe. This one is a must have, no doubt. To complete the vinyl, we have French artist Kony Donales on remix duties. Kony is the owner of Cayden Records which has churned out top techno tracks since 2011. He is known for his minimal style and he definitely knows how to work a track. The remix here brings the essence of Time Modulator into the 21st century with a strong contemporary groove. Nice pounding kicks and crispy percussions set the rhythm loose as metallic hits join raucous percussions and FX. Top-notch stuff once again.

Our next mixtape features a superb, tight blend of some of the very best tracks to fly out of the speakers at the Cherry Moon Club. At the helm we have DJ Ghost, spinning the grooves to take us on a journey through the ages, through the genres, from twisted acid concepts to hypnotic trance and gut busting hardcore. Ghost aka Bjorn Wendelen has been a stalwart for us at Bonzai since the very early days. He’s delivered several cuts for us over the years and has branched out with his own Ghoststyle brand with great success. The famous Cherry Moon was and remains one of the biggest names in Belgian club-life, with 30 years of embracing club culture. Since the start in 1991, they have brought the best techno, hard-trance and house to the scene. During the 90's and early 00's, Cherry Moon was the place to be for clubbers from all over Belgium, France, the Netherlands and even other European countries. Housed on classic K7 tape, this comp features a host of tracks from the likes of DJ Ghost, Insider, Body-Shock, DJ Looney Tune, Jones & Stephenson, Push, Blue Alphabet, Final Analysis, Joyrider, Dreamland and more. So, dust off your vintage cassette machine and prepare to be blown away by the sound of Cherry Moon.

Released for the first time in CD and Digital format in 2017 this is the sixth album by Luca Trevisi LTJ Xperience.

It contains some of his most played songs such as Get Down, Let There Be Groove, Put Me Down and the one that gives the title to the album Beggar Groove here in its two versions.

The release is in a limited edition double album on White vinyl. Luca LTJ Trevisi (LTJ Xperience) trained as a producer DJ in the late 1980s. Resident first at the Kinki Club in Bologna and then at Cap Creus in Imola, he is one of the first Italian DJs to program house and above all to re-propose Black Music, Jazz and Latin Bossa, all the genres that then over time gave way to Acid Jazz and Nu Jazz.

He began his work as an artist and producer with Irma Records and in the 90s also his activity as an international DJ who saw him play at the Blue Note and the Jazz Café in London, at the Giant Steps in New York and at the Jazz Festival in Montreux.

In 1999 he released his first solo album under the name LTJ Xperience. To date he has released 7 albums all on Irma Records, several compilations, many singles and remixes also collaborating with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R., Music For Dreams, Apersonal Music.

25TH DELUXE ANNIVERSARY EDITION OF AMERICAN BABYLON FEATURING LIVE TRACKS WITH BRUCE SPRINGSTEEN Grushecky and his band had been a club fixture in the Northeast for nearly 25 years when they released American Babylon in 1995. The Pittsburgh band had proven themselves to be the consummate bar band with occasional flirtations with national success. American Babylon found them teaming up with Bruce Springsteen, who handles production, plays on several tracks, and wrote two songs for the album. The title track is an uptempo rocker detailing the disintegration of societal mores. There are plenty of songs outlining love gone wrong and the struggles of common folk, all delivered in Grushecky’s warm, well-worn voice over a barroom mixture of blues-based traditional rock. However, delivered with such earnestness and spirit makes American Babylon a worthy contender and an enjoyable listen for fans of Mellencamp, Seger, and, especially, Springsteen. The 25th anniversary deluxe reissue edition will include LIVE tracks from the Houserockers’ legendary October Assault Tour recorded at an enthusiastic hometown show that same year. “American Babylon is an impassioned, sharply-etched portrait of working-stiff triumphs and travails.” -Rick Reger, Chicago Tribune “As the leader of the Pittsburgh-based Iron City Houserockers, Joe Grushecky hammered out four heartland rock albums in the late 70s and early 1980s. These won over more critics than fans, so he became a special education teacher to support his family. Still, he maintained a close relationship with Bruce Springsteen, and in 1995, they teamed up for American Babylon. The two remain tight and play together at least once a year, but this album remains their greatest joint accomplishment.” -Rolling Stone “At a time when rock had splintered into grunge, industrial, alternative, and more, Joe Grushecky planted a defiant flag in the soul of rock and roll with American Babylon--one of the very best and undeservedly overlooked albums of the 1990s, and one that sounds just as fresh, vibrant, and relevant 25 years later. Bruce Springsteen may have helped bring the album to life, but his contributions only elevate a collection of songs that in another time would have been radio classics on their own.” -Ken Rosen, E Street Shuffle

New York-based Synthwave/Italo disco duo, Bunny X, will release their highly anticipated first full-length album, ‘Young & In Love’, on October 5, 2021 through Aztec Records.

Taking inspiration directly from 1980s John Hughes classics such as The Breakfast Club and Sixteen Candles, Bunny X (Abigail Gordon and Mary Hanley) created ‘Young & In Love’ as a concept record oozing with nostalgic and youthful themes such as young love, first crushes, teen angst and anxiety.

“We wanted to take our listeners back to a time when music connected with us in a passionate and relatable way,” says Abigail. “These tracks pay tribute to what made 80s music so special — the fact that it was delivered in an earnest and unironic way.”

The Retrowave 10-track list of “Young & In Love” brings Bunny X together with Synthwave stalwarts Sellorekt/LA Dreams and Don Dellpiero, NYC-based producer Gosteffects and GRAMMY Award-winning engineer, Tony Lake.

Bunny X has been electrifying stages with their live performances in NYC and beyond for nearly a decade. The duo have released Italo disco and 80s-inspired music throughout their career, including two EPs and numerous singles. This is their first LP-length collection.

There is nothing quite like an evening under the rhythmic spell of the legendary David Morales. Stepping on the dancefloor while he's behind the decks requires full trust and surrender. You agree to hand the reins of your mind, body, and spirit to his intuition and ability to guide you to where you need to be at all times. It will occasionally be cathartic and intense. It will often make the hairs on your body stand on end, and make you sweat more than you ever have before. The endorphin release will be powerful. You will feel like you can touch joy and euphoria it in the air around you. As he gently brings you back down to reality, you will feel renewed and ready for anything life brings your way. This is more than a night of dancing. This is an experience at the hands of a magical maestro of music. How is this possible from a night on the dancefloor? Well, it begins with the brilliant mind of an artist at the peak of his creative power, imbued with the empathy necessary to connect with what has become a global legion of fans. "If there is any secret, it's really simple: I love what I do with all of my heart," Morales says. "I'm a DJ first. I thrive on human interaction. I am always adjusting my sets based on what the people in the room need. Each night, we form an emotional connection that inspires the music as it comes."

For Morales, "working in the studio is important, but it exists as a way of supporting the DJing experience. It's all to inform how it will work on the dancefloor."

To that end, you're reading these words as you dive into a new collection of Morales classics. Ever the collaborator, he has enlisted the input of a wide range of voices and talent. There is the diva power of fellow legend Ultra Nate, who brings her signature sass to "I Can Dream," while Michele Perera's explosive chemistry with David is all over the inspiring "Life is a Song" and "Never Give Up", as well as the impassioned "Addicted."

Morales reminds the listener of his ever-evolving musical scope in collaborations with blondewearingblack ("What Can I Do"), Lea Lorien ("Never Looking Back"), and Blakkat ("Can't Get Enough"). There's the clubland supergroup of David with Mr. V, Scotty P. and DJ Rae on "The Feels." Rounding out the set is a reunion with longtime muses Elle Cato ("I Feel Love") and British soul icon Joe Roberts ("Easy"). Just be sure to listen closely, because there's bound to be a surprise tucked between these grooves to tickle your ears and move your body.

The beauty of this sparkling new foray into electronic music is the heightened intimacy between Morales and the music. What you are hearing here is almost exclusively from the man's own fingertips. "The technology has evolved in the most extraordinary and liberating ways," he says, adding that he is now able to be far more directly hands-on during the building of each track. "Back in the '90s, I had to have more people involved, With the changes and growth in technology, I can now do it, myself. I don't even have to be in the studio anymore. It's smart, financially, but it's also way more fun and creative."

David adds, "I don't have to wait to manifest an idea anymore. I can just build my ideas as they come to me." In fact, he reveals that many of these new tracks were born in unique places, like planes, cars, his bedroom, and a host of other settings. "Music is always spinning around my mind. I no longer worry about losing an idea."

Surviving the highs and lows of an ever-changing world has also brought Morales back to the basic essentials of life and music. "The pandemic has brought things full circle for me," he says. "I love what I do and I still have the passion of a kid who is just getting started"

Yet, we know that Morales has been in the game for longer than a minute. He's a Grammy award-winning producer, remixer, and songwriter. He has lent his skill to countless of records by icons that include Mariah Carey, Madonna, Whitney Houston, Michael Jackson, Aretha Franklin, Donna Summer, Seal, and Jamiroquai. As a turntable artist originally from New York City, he earned his bones of credibility back in the '80s and '90s in clubs like the Paradise Garage, Red Zone, Tunnel, and Club USA. He initiated the concept of DJs touring beyond their hometowns with countless, wildly successful treks that have taken him the farthest-reaching corners of the world. As electronic music thrives on pop radium, David tops the list of every young artist and DJ as a primary influence.

Even with such a staggering legacy, Morales never looks over his shoulder.

"That is how you stumble and fall," he says. "If you get all caught up in the past, you're going to lose sight of what is right in front of you. You lose the excitement of discovery. That is what gets me off; taking what I know and combining it with what I don't know as I learn it. There is nothing better than experiencing how it all comes together. It's different every time."

And that is the ultimate secret to that extraordinary spell that David Morales casts over us all every single time.

Four Flies' new record series, ITALIAN LIBRARY SONGBOOK - Masters of Cinematic Music Reimagined into Song, hopes to build a bridge between the modern and the contemporary. Producers and songwriters from today's music scene put their spin on hidden tracks and outtakes from the catalogues of Italian soundtrack maestros, reimagining them into new, previously unheard songs poised between pop and club culture – a sound nestled somewhere in between Balearic, downtempo, and organic grooves.

Volume I focuses on Alessandro Alessandroni, a composer whose trajectory is emblematic with respect to Four Flies' journey as a label and publisher. Despite being best known in his lifetime for his unmistakable whistle in Ennio Morricone's soundtracks for Sergio Leone's spaghetti westerns, Alessandroni was way more than that. He was a refined composer and multi-instrumentalist, and one always ahead of his time. Partly thanks to Four Flies and its contribution to the rediscovery of the Maestro with releases such as the EP "Afro Discoteca" and the compilation album "Lost & Found", this has become unquestionably clear in the past few years, which have seen his name climb to the top of collectors' want lists and gain recognition in the international music industry.

This release goes back to one of Alessandroni's lesser known film scores, Sangue di sbirro (written for Alfonso Brescia's 1976 poliziottesco Cop's Blood), where he created his own version of the soul-infused jazz-funk music typically found in 70s Blaxploitation movies.

More specifically, Neapolitan producer pAd and London singer-songwriter Jessica Duncan reimagine the original "Philadelphia", which appears on Side B and whose title clearly refers to the city that, back in the 70s, saw the birth of (mellow) disco. The result of their collaboration is "Do You Wanna Get Close?" on Side A, a downtempo, jazz-funk and Balearic gem pervaded by warm, sexy and elegant pop-soul vibes that make it a perfect club track to enjoy the night until the early hours of the morning.

To ensure maximum audio quality, the mastering was done by Fabrizio De Carolis at his Reference Mastering studio in Rome's Prati neighborhood (the same neighborhood that was once the epicenter of Roman library music) while the vinyl cut at the The Carvery, the multiple Grammy-nominated London studio behind some of the best organic grooves records of the past decade. The result is a deep, full, rich and three-dimensional sound that enhances the beauty of both tracks.

The series and volume artwork is by graphic designer and calligrapher Luca Barcellona, an artist used to working with analog tools such as ink, brushes and pencils. He drew inspiration from the world of literature, imagining each release as one of the volumes in an elegantly bound classics book series - an analogy that reminds us of the tactile element that makes vinyl records so unique and precious, while also suggesting the cultural value of a music that aims to connect the legacy of the past and the creativity of the present.

* taken from the digital version of bio-rhythm 3 and not included on the vinyl version of the album.

Network’s two groundbreaking bio-rhythm albums in 1990 were each accompanied by much loved 12” preview samplers of tracks from the iconic compilations.

For the third release - a mere 31 years after the first sets - Network have added a fresh twist. The sampler this time around contains 2 tracks from the bio-rhythm 3 vinyl release and 2 that will only be otherwise available on digital format.

It makes the sampler a must have for all electronica vinyl junkies.

Nexus 21 “Silicon”, a mainstay of the duo’s much acclaimed live sets, was recorded in 1991 but not released at the time. Memories are thin as it why such a gem was ignored but the most probable explanation is that the transformation of Nexus 21 into Altern 8 took attention away from the track. After being found in the tape vaults it has been remastered for the bio-rhythm 3 project.

It is joined on side A by the Octave One remix of 10th Planet “Strings Of Life” - which is not on the album vinyl. There is a proper labyrinthe story behind this remake of the Rhythim Is Rhythim classic of classics. Kool Kat, the predecessor to Network, arranged for Rhythim Is Rhythim to play live supporting Inner City at a London Town And Country Club concert in September 1989. The label recorded the show which featured Derrick May and his guest Carl Craig.

Fast forward to 1995 and the tapes were handed over to Ashley Beedle to reconstruct and remix for a release on Network under Ashley’s 10th Plane moniker, . On to 2003 and Network’s Neil Rushton was running the suSU label where an attempt to record a vocal of Strings Of Life with none other than Shara Nelson on vocals was made using the 10th Planet parts. That never came to completion, but at the time Neil was working with Octave One and they conjured up this recreation, which has only ever been previously released as a track on a suSU compilation. FIRST TIME ON VINYL ANYWHERE FOR THIS AMAZING VERSION OF “STRINGS OF LIFE”.

“Neurosilence” - Doggy is previously unreleased recording by Birmingham’s Peter Duggal. His bleep classic “Labyrinthine” would have been totally at home on Kool Kat/Network and in recent months both label and artist have both been shaking their heads as to how it didn’t happen. The release of the stark “Neuroslince” finally sees an 0121 alliance bond together.

The 4th track “In The Presence Of Beauty” is taken from the digital release of bio-rhythm 3 and is a truly beautiful “Reprise” take on the version on the vinyl album.

DeLaChaud is the home and record label of krewcial.

A young veteran in the game, krewcial released solo albums on PlayItAgainSam and UK’s BBE in the early 2000’s. With longtime friend Lefto, he sampled jazz’s greats for a beatdriven album on the legendary Blue Note label. He's also released records on Nervous, Lumberjacks In Hell, We Play House, Mysterious Works, Midnight Riot and GAMM.

krewcial's DJ-sets reflect his broad musical tastes: centered around disco and house and adding touches of latin, funk, boogie, hiphop classics and afrobeat anthems into the mix. As long as it’s soulful and keeps the dancefloor in motion, there’s a chance he’ll play it. He has shared decks with disco legend John Morales, Marcel Vogel, Mr Mendel, Lefto, DJ Suspect, Mr. Leenknecht and opened for Hiatus Kaiyote, Sergio Mendez, Angie Stone, Cassandra Wilson, Common, Jill Scott, and many many more.

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 2, Southern Soul: From Memphis to Muscle Shoals, features covers of Al Green, Percy Sledge, Bobbie Gentry, Ann Peebles, Tony Joe White & more. It is scheduled for a July 9th, 2021 release.

Hold onto your hats! The Allergies are back in the building. Yes, the UK beatmakers have got an absolute one-two punch with this new 7" single, as both sides are fire-in-the-hole, future classics in the making, ready to soothe your soul and ignite the party.

Leading the way is the vintage funk and beefed-up breaks bomb, 'Love Somebody'. A mix of crazy up-tempo grooves and loops, snatches of reworked soul samples, deft scratching, and dancefloor energy up the wazoo. It's that unique Allergies signature sound, with a whole new splash of club-rocking polish smothered on top.

Oh, my… And holding its own on the B-side of this release is the title track from that feverishly anticipated full length album, 'Promised Land'. This beaty, meaty, Moby meets Fatboy Slim-style anthem, will have your loins stirred, and feet tapping with its next-level sampling skills, and hugs-all-around, end-of-a-festival wonderment.

The legendary soundman and record producer, Lloyd Coxsone, began his career in the 1960’s soon after arriving from Jamaica. He was one of the first soundmen to play at West End clubs where a generation of British pop stars like the Beatles and the Rolling Stones first heard music from Jamaica. Sir Coxsone sound then dominated the seventies, when Bob Marley & Dennis Brown were among his greatest allies, as heard on unforgettable dub-plates from that era.



He formed the Tribesman Label and issued King of the Dub Rock before recording the likes of Fredlocks, Willy Stepper & Jimmy Lindsay. King of the Dub Rock 1 & 2 are recognized as reggae classics. They not only feature Lloydie’s own productions but also riddims by Jamaican producer Gussie Clarke and heavyweight dubs by mix master Scientist. On King of the Dub Rock 3, Lloydie teams up with Jahsolid Rock Music, who’s albums with Brinsley Forde, Apple Gabriel and Earl 16 were regularly heard on Sir Coxsone playlists. This album features exclusive dub mixes and vocal tracks from these artists plus brand new tunes by Mutabaruka, Chezidek, Micah Shemaiah, Var & Ras Teo.



King of the Dub Rock 3 is an essential companion for all Coxsone fans wanting to complete the trilogy. It delivers such a high standard of musical quality that it promises to be a modern day classic!

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

Offering a multi-faceted LGBT+ experience, this stellar 1LP, pressed onto rose coloured vinyl, brings together old and new for the most fabulous musical accompaniment to your 2021 summer. £1 from each unit sold, will be donated to Stonewall in support of their work towards LGBT+ equality.

Side A, entitled ‘Queer Club Classics’, provides the perfect throwback snapshot of all your favourite queer tracks, including worldwide hits such as Cher’s “Believe” and Chaka Khan’s “I’m Every Woman”.

Whilst Side B, entitled ‘New Age Anthems’, is an assortment of the best music from more recent years. This collection combines tracks from LGBTQ+ artists such as the indie-legends Tegan and Sara, and pop pioneer L Devine, as well as popular songs within the LGBTQ+ community such as Lizzo’s charismatic feel-good bop, ‘Juice’.

After missing out on Pride celebrations in 2020 and with the summer of 2021 set to be the start of a long-awaited celebration of freedom, this vinyl release is a surefire way to keep up your spirits right the way through to summer 2022.

Southern soul singer Z.Z. Hill was Kent/Modern's main artist in the latter half of the 60s. In 1967 the company recorded him on an LP of soul classics and rightly chose Bettye Swann's hit from only a few months before as one of the tracks. The label may have missed a commercial trick as his male-angle on the marvellous song gave it a new dimension and would surely have fared well as a 45. The UK licensors Action Records spotted the song's potential and it was well received, although the much smaller UK soul market of the time could rarely achieve big sales. Since its release more soul fans have become aware of its quality and at last it is available again for discerning collectors.

Peggy Woods' classic Northern Soul stomper was first on 45 in 1988 as a 100 Club anniversary single. With only approximately 400 pressed it was inevitable this and other such singles would become sought-after. Here is Peggy in her original glory singing her Kent/Modern masterpiece.

The established favourite Nicolas Laugier AKA. The Reflex has been a crucial name in the fabric of electronic music, and is widely praised for his masterful production style which has gained the seal of approval of heritage artists such as Nile Rodgers, Giorgio Moroder, Nina Simon, Kid Creole, Kathy Sledge, Noel Gallagher, Bono and Paul Weller - morphing some of the world classics into contemporary; certified rave anthems. Loved by tastemakers alike including Rob Da Bank, Gilles Peterson, Craig Charles and Mistajam, The Reflex is responsible for unleashing some of the best remixes to date.

Returning off the back of his latest revision of Norman Doray and Darren Crook's 'Sweet Freedom', which has so far gained nearly 150 worldwide radio spins since it's release on 6th November, The Reflex now puts forward an incredible 2021 revision of two time Grammy award winner Nile Rogers' 'Do What You Wanna Do'. A modern disco anthem, the track has since been remixed by producers like MK, Eats Everything and Rob Da Bank. With an already established repertoire of essential remixes and re-edits, the London based producer combines his unique Disco and Soul blend with his acclaimed musical initiative to create what will be an intricate and exceptional upgrade, and a key selection of an already impressive arsenal of releases.

A percentage of the royalties from this release will be donated to Nile Rodgers' 'We Are Family Foundation' - who collaborate with forward thinking organisation who believe in youth and together, build creative programming and content, empowering young people to take humanity forward.

The Shapeshifters’ studio mastery and dedication to his craft has resulted in singles that stand up alongside golden era disco records as much as they sound fresh on dancefloors today. His rich relationship with Glitterbox has yielded instant classics that epitomise the label’s ethos for preserving disco’s mission to uplift and empower, especially with his latest release and debut collaboration with the Grammy, Tony and Emmy Award-winning Billy Porter, ‘Finally Ready’. Now this special 2 x 12” vinyl package includes an array of remixes from some of dance’s most esteemed artists. A real record box essential, the first disc features the original, as well as previously unheard versions from The Shapeshifters and two remixes from disco master and Glitterbox regular Dimitri From Paris. The second disc features housier, club-friendly versions from long standing friend of Defected David Penn and ubiquitous Polish duo Catz ’N Dogs, as well as Dimitri’s ‘The Sound of Paris Remix’ and the Acapella, an essential DJ tool. This is a stand-out package, with remixes you will want to keep hold of, securing ‘Finally Ready’ a position as a modern-day disco essential.

Rarely does an artist pay homage to the classics quite like Dimitri From Paris, whose illustrious repertoire of original productions and remixes effortlessly capture the essence of the disco greats. After releasing his acclaimed collection of CHIC remixes on Glitterbox Recordings in 2019, Dimitri now partners with NYC singer-songwriter Fiorious, an artist who represents the dawning of a new era in dance music talent, to release ‘Music Saved My Life’ on the label.

With Fiorious’ previous Glitterbox releases including powerful call-to-resistance anthem ‘I’m Not Defeated’ and re-work of Aly-Us’ 90s classic ‘Follow Me’, his impassioned vocal paired with Dimitri’s meticulous production make for a perfect match. A celebration of music’s ability to provide sanctuary and liberate, ‘Music Saved My Life’ encapsulates the ethos of the disco golden era and its modern-day equivalent, Glitterbox. Beautifully brought to life by an international ensemble of over twenty world-class musicians, this is a truly exceptional release from a pioneer of dance, and a future star of the scene, that stands up alongside the disco greats.

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory once again with a second limited 45'. This release delves into some modern soul and jazz, flipping some new age cult classics to club friendly future anthem

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.

Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.
Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

These two contrasting unissued late 60s soul sides were first made available on Ace CDs. Gigi & the Charmaines’ ‘I Don’t Wanna Lose Him’ was written by Dale Warren and Gigi’s husband, Herman Griffin. Herman was responsible for many Detroit soul classics and Dale Warren made his name arranging and writing at Shrine Records. A stomping yet subtle dance number that captures the energy of 1966, its only vinyl presence was on the 100 Club Anniversary 45 of 2006, now a much-coveted item.

Walter Jackson’s ‘Forget The Girl’ is taken at a more sedate pace, but is no less dynamic, with a full Chicago orchestra backing Walter’s luxuriant vocal on a Clint Ballard ballad, another stunning recording.

As one of the early pioneers of NYC’s unground dance movement Victor Simonelli channelled that New York house sound via range of labels he oversaw in the ‘90s. One such outlet was Big Big Trax and to provide a little light in these testing times, Victor has provided the keys to some of the label’s most treasured cuts, remastered for a new generation of listeners.

Classic’s from Afrimerican Coalition, Fibre Foundation and Insatiable featuring Mone with mixes from the man himself, all under one, conveniently 12 inch sized roof.

It was 1977, there may well have been “knives in West 11”, but at a student’s hall of residence in Leicester, a packed room of cross legged intellectuals were about to witness the debut of The Disco Zombies; Andy Ross on vocals and guitar, Geoff Dodimead on bass, Johnny ‘Guitar’ Hawkins on guitar and Andy Fullerton on drums. They were loud, fast and they had some witty one-liners.
The four-piece became five with the addition of Dave Henderson from The Blazers, a chirpy power pop punk quintet, who were part of a burgeoning scene in the city that included The Foamettes, Dead Fly Syndrome, Wendy Tunes, The RTRs, Robin Banks And The Payrolls and many more. Wine bars, canteens and bowling alleys in pubs were the home of this phenomenon until Subway Sect and The Lou’s arrived for The Great Unknown Tour. They needed a local band for support and the Disco Zombies obliged.
Record Shop owner - and now Mayor Of Mablethorpe - Carl Tebbutt was keen to ride the punk rollercoaster and decided to launch Uptwon Records with a Disco Zombies EP. Recorded in Chester in one four hour session, it included The Blazers’ ‘Top Of The Pops’ and Andy’s ‘Time Will Tell’, ‘Punk A Go Go’ and ‘Disco Zombies’.
Carl had done a deal with a one-stop music production company who went bust almost immediately and the record was shelved. Unperturbed the band pressed on and recorded a session at the local radio station, ‘TV Screen Existence’ being the only track that survived. A tour of Leicester – five pubs in five days – was the end of that era and the band without Johnny ‘Guitar’ who had another year to do at Uni, relocated to London taking with them The Foamettes’ guitarist Steve Gerrard who wisely returned to Leicester and become part of The Bomb Party. Steve was replaced by Mark Sutherland in what was to become the recognised line up of The Disco Zombies for several years, playing lots of London gigs from The Hope And Anchor to The Moonlight Club, North London Poly to the Scala.
By 1978, there was an eruption of small DIY indie labels and Andy Ross launched South Circular Records to release the band’s debut single, ‘Drums Over London’ - an ironic stab at people’s hostility to the arrival of other cultures, a piss-take of Spear And Jackson-wielding Tory attitudes. John Peel played it regularly until Rock Against Racism complained even though Peel explained that it was actually supporting their views. Ho hum. South Circular wasn’t to last but Dave Henderson launched Dining Out. Dave and Andy journeyed to Ipswich to record the debut EP from the Peel-approved Adicts, the plan being to follow it with a Disco Zombies’ single and regain momentum. ‘Here Comes The Buts’ was the second Dining Out release, featuring the breakthrough Dr Boss drum machine; it was greeted with great enthusiasm in some quarters, although strangely it was likened to The Cramps meets Neil Young in NME.
Dining Out was always just one step ahead of going out of business and even though the follow up had been recorded - ‘The Year Of The Sex Olympics’, backed with ‘Target Practice’ and ‘New Scars’ – it never saw the light of day as the money finally ran out.
Somehow, Dining Out had a second lease of life and Andy wanted to record a new track for a new release amid 45s from The Sinatras, New Age and Spit Like Paint. By now, the Zombies had been through their dark post punk phase and ‘Where Have You Been Lately Tony Hateley’ was a clever upbeat anthem which told the tale of the nomadic footballer. The test pressing gained many Peel minutes but by the time it was ready to release, the band had finally split up. It eventually saw the light of day on the Cordelia label’s ‘Obscure Independent Classics’ album. Very fitting.
So, it was 1980: Mark Sutherland opened a studio in Bow, Dod got a day job, Andy Fullerton already had one. Andy and Dave went a bit experimental in Club Tango; Andy eventually discovering Blur for Food which he started with The Teardrop Explodes’ David Balfe, while Dave flirted with Worldbackwards.
In 2011, the drum machine line up descended on Mark’s studio, rehearsing for a show at the Bull And Gate. They recorded two of their lengthier tracks – ‘Night Of The Big Heat’ and ‘LHO’ powered by a waning Dr Rhythm – these were pressed as an extremely limited edition ten-inch. A few years later Andy Fullerton returned to the fold recording three more originals ‘Hit’, ‘Lenin’s Tomb’ and ‘Paint It Red’ for an even more limited edition ten-inch in 2018 and a show in October that year at The Dublin Castle.
Since then, meandering lunchtime discussions in restaurants that were popular in the ‘70s (Joe Allen, Café De Pacifico, etc) have led to arguments about the lost tracks – ‘Man From UNCLE’, ‘I Need You Like I Need VD’, ‘Throwaway Line’, ‘I Thought You Were Only Joking’, ‘London Nights’, ‘Cosmetics For China’, ‘When Doo Wop Hit Hampstead’. It’s only a matter of time. Until then.....

A Berlin based collective of music aficionados launch a limited and lovely 7" platform for club-ready flipped classics.

Simple, effective
Floor food for all moods...TIP !

By 1995 Kwaito was already a well established and distinguishable sound compared to the International House Remixes that preceded. The tempo was slowed down, Soulful vocal samples were replaced by catchy and repetitive hooks and versus sang in vernacular. The new hit sound had a template and studios worked around the clock to pump fresh releases into the demanding market.

After the successful 1995 release of Import mixes Vol 4, The Groove City team behind the productions now decided to venture into the territory of Mid Tempo. They would craft an album for a young frontman with the help of Kwaito pioneer Oscar Warona, and without much trouble, the team had their first hit on their hands. Filling the boots of their cars with copies of the cassettes and taking the stock to various townships around Johannesburg the tape quickly circulated and sold out every new batch that was printed. Demand was high for the release but as with much of the music at the time, the fast paced demand for the music moved on. Without a follow up release Scotch failed to ride the momentum built by the debut and remained largely unknown although he is still in the music industry to this day.

Even with their first artist release being a success, the following years proved more difficult in reaching such a large audience for the Kaleidosound studio. With popularity for the genre growing, the simple templates for early classics were changing as Kwaito fused with hip hop. Rapping took over as the preferred vocals for the masses. Mysterious production teams and labels that served as guides for music lovers were eclipsed by frontmen and groups that could draw crowds. The fight for fresh sounds continued as the airwaves became the main battleground for artists and the more club oriented music was pushed back underground, eventually evolving into some of the earliest examples of Deep House seen on the continent. The Kaleidosound production team would finally strike gold again in 1997 when reviving Groove City for vol. 5 which acted as the debut for the newly formed group Chiskop. The group would become superstars of the new commercial era that followed, sparking solo careers for the members and creating some of the biggest hits the genre knew.

To this day Scotch remains one of the best albums to come out of the golden era of Kwaito. Although it was outperformed by other groups from the time it has a special place for those who knew it and can still be found as a treasured piece in many collections. The various people involved created a one off fusion of sound that has remained fresh for 25 years. Playful lyrics over floaty grooves resulted in favourites like “Jam Alley” which uses catch phrases from the beloved TV show and “Bafana Bafana” guaranteed to get the boys on the dance floor. Here you have these two tracks taken from the album pressed on a club ready Maxi Single for the Deejays

Craig Charles has been a soul & funk fan since his teenage years in Liverpool, going to see local heroes The Real Thing live, and wearing out his shoe leather dancing in the city's many underground clubs. Craig has been sharing that passion for the music via his 6Music and BBC Radio 2 shows and DJ nights for nearly 20 years. His brand new 'Trunk Of Funk' compilation series, blends up-tempo club classics, with fresh music from the cream of the crop from the contemporary soul and funk scene, and will be Craigs very first vinyl release - a beautiful, double vinyl gatefold LP and he's certainly excited about it, stating; "I can't wait to bring you big beats, bass lines and booga-bloomin-loo! Presenting The Craig Charles Trunk Of Funk Volume 1 as my first ever vinyl release has put a proper wiggle in my walk!" This collection of 21st century disco, soul, funk & afro grooves from includes tracks from contemporary heroes of the scene such as Monophonics, Amp Fiddler and The James Taylor Quartet, it's also peppered with some old school classics and rare grooves from legends such as Roy Ayers, PP Arnold, Miriam Makeba and Patrice Rushen. Craig has personally selected and sequenced this collection to take the listener of a musical journey, the closest thing to having Craig visit and personally DJ for you in the comfort of your own home! It also includes two 'Trunk Of Funk Edits' that are 100% exclusive to this compilation and not available anywhere else.

A Berlin based collective of music aficionados launch a limited and lovely 7" platform for club-ready flipped classics.

Simple, effective
Floor food for all moods...TIP !

We Release Jazz is delighted to announce the official reissue of Ryo Fukui’s final album, the very personal contemporary jazz offering, A Letter from Slowboat, sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD.
Known for his miraculous albums Scenery (1976) and Mellow Dream (1977), legendary Hokkaido pianist Ryo Fukui, with the help of his wife Yasuko, opened his very own jazz club in Sapporo in 1995, Slowboat. This is where Ryo Fukui spent the latter half of his career, playing again and again, welcoming peers for unforgettable sessions, and perfecting the craft he lived for: jazz.

A Letter from Slowboat is a poetic, soulful, and honest love letter to Hokkaido, to Fukui’s jazz club, and to endless hours of practicing artistry in a place called home. Backed by longtime collaborators Takumi Awaya on bass, and Ittetsu Takemura on drums, Ryo Fukui flows through classics and originals with natural class, fluidity and absolute precision, expressing a smooth balance between skills and heart. Slowboat, full of breathtaking solos and exquisite moments of clarity, is another crucial piece in the career of one of the most fascinating jazzmen to ever grace the piano. It was released in 2016, sadly the year Ryo Fukui passed away, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still happens to this day.

This is reissued in conjunction with Ryo Fukui’s Ryo Fukui in New York (1999), also available via We Release Jazz.

NYC's legendary West End record label has contributed a fair few classics to the disco cannon and continues to influence dance music today with it's forward looking releases. 'When you touch me' is no exception, recorded and released in the golden year of 1979 and featuring the breathy, sensual vocals of a young Tanaa Gardner who had previously worked as a backing vocalist for numerous other projects until the label released her (other) stone cold solo classic 'Work that body' the same year on 12".
Both cuts featured on her self titled debut LP and boasted the combined production and studio talents of Kenton Nix, Bob Blank and of course - Larry Levan. Now, that's a serious line-up to have behind the boards (& in the clubs!) and of course 'When you touch me' was a classic with it's slow, elongated intro that calls to mind a sleazier version of Donna Summer's 'Love hangover' before launching into a full-on disco assault that you won't forget in a hurry! Yes, the record surprises you, Tanaa leads us into a false sense of a 'slow jam' and then - Boom - We're off!
Backed with the incredible instrumental version the 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

Bonzai Records - The Mixtapes Volume 1 - The Sound of TGV (Bonzai Classics) (2 x CASS)

From the success of our very first release on cassette tape in 2019, we’re excited to present the next offering in the classic format. For Record Store Day 2020 we’ve got an exclusive 2 x 45-minute cassette pack from one of our legendary, original DJ, producers – Bountyhunter. The Mixtapes Volume 1 – The Sound Of TGV is truly authentic, packaged in a vintage slipcase, it will be just as if you purchased the tape at your favourite club back in the day. Prolific artist Stefan Melis aka Bountyhunter started his career in 1990 in a very small after club called TGV. During this time, he recorded his first record with a sample from the Star Wars movie and Bountyhunter was born. Released on the brand new up and coming label Bonzai Records in 1992, this single would go on to be a huge success and help in shaping the sound we all know and love today. Many more releases would follow including Woops, Demilitarized Zone and The Return to name a few. These releases would make a big mark on the Bonzai imprint and propel him into the big time and ensure that when people speak of Bonzai, then the name Bountyhunter is always mentioned.

Lonnie’s 1975 jazz-funk masterpiece is released on 180g black vinyl in a nice thick card gatefold sleeve. Former Miles Davis and Pharoah Sanders keyboardist Lonnie Liston Smith saw all his musical ideas coming together for this, his third album. The title track is one of the best-known jazz funk classics; its influence on several generations of clubbers cannot be underestimated. It is a glorious amalgamation of jazz players and the tenor voice of Lonnie’s brother Donald. However, the track’s success has resulted in the album becoming rather overlooked and its other six pieces underappreciated. ‘Desert Nights’ and ‘Voodoo Woman’ give vent to Lonnie’s improvisational skills over a modal base. ‘Summer Days’ and ‘My Love’ are based around Latin rhythms, with the latter proving another great vehicle for Donald Smith’s voice. Donald is also the singer on an inspired take on Horace Silver’s ‘Peace’. “One of dance music’s most significant records” – Gilles Peterson.

REPRESS NOW IN

Played By Theo Parrish, 2 Deep Disco Classics on 45 for the first time.

Brand new master from Sony cut at Timmion Cutting Lab, Finland.

"G.Q" stood for "good quality", they were not joking. As well as a few top 10 hits G.Q also had a wealth of brilliant disco bangers across their 70s output. Here we present 2 favourites of my own,k 'Lies' and 'is It Cool?' . Not only of mine buy clearly Theo Parrish's also as he featured both on 'Ugly Edits' over a decade ago, great as it saved me from playing the LP in clubs and fighting the feedback. These track have always sat next to the best rare modern soul and Deepfunk classics with ease, they are some of the best records in the Genre.

To top it off we got a new perfect master from Sony and cut the 45 at Timmion cutting Lab in Finland and its sounds great. A personal favorite, im delighted to be able to put this out with the care it deserves. "See that there's a party going on……"

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory for his second instalment of the "Snips Edits" series. This time cleverly turning a handful of Hip Hop classics into club ready anthems over Snips' original productions.

The outstanding 1971 debut by piano player and arranger Osmar Milito features his amazing cover of Herbie Hancock's Cantaloupe Island plus several classic Brazilian songs by Marcos Valle, Jorge Ben and Ivan Lins among others. Fierce samba jazz and bossa all the way through! The line-up of performing artists could hardly be more impressive: Quarteto Forma on vocals, Luis Ea, Marcos Valle, Pascoal Meirelles. This brilliant album is up there with the best work of Arthur Verocai and Marcos Valle. Presented in facsimile artwork and pressed on 180g vinyl

During the 90s, a walk around London’s Camden Market inevitably meant listening to the music with groove that the most popular DJs had made fashionable at the time: soul jazz instrumentals and Brazilian music targeting the club dancefloors. Among all those songs that ended up becoming classics of the scene was the amazing cover version of Herbie Hancock’s ‘Cantaloupe Island’ that Osmar Milito had recorded in 1971. This song was probably the main reason that made his LP for Som Livre one of the most sought after Brazilian records by collectors from all over the world. Now we finally have a new opportunity to enjoy this album, reissued on vinyl for the first time.

Along with the aforementioned version of Herbie Hancock’s song, this first album by piano player and arranger Osmar Milito is full of versions of Brazilian classics, from Marcos Valle to Jorge Ben or Ivan Lins. Fierce samba jazz and bossa all the way through! Note that Milito spent the first years of his career as a member of the backing band of big artists such as Elis Regina, Jorge Ben, Nara Leão... and after two years working with Sergio Mendes in the United States, he returned to Brazil and recorded his first LP.

The line-up of performing artists on this album could hardly be more impressive: Quarteto Forma on the vocals, Luis Eça, Marcos Valle, Pascoal Meirelles (what an amazing drummer he is!)... and both sides of the record hide a seamless sequence of solid tune after solid tune with similar doses of instrumental and vocal tracks. Just listen to the magnificent ‘Garra’, ‘Que bandeira’ or ‘Rita Jeep’, or the sweet samba that gives its name to the record, and you will see why this LP should be up there, next to the best works of Arthur Verocai and Marcos Valle.

The PPF are now back in full voice it seems...
It's been 15 years since their beautifully packaged series of EP's found their way into the world's best record crates
And after two recent & very well received releases on Hot Peas 'N Butter, we get four more certified floor-fillers from the vaults.
Constructed as club-ready reworks for their own sets, this pin sharp selection appears here as a one-off limited vinyl release.

A 4-way of their most wanted secret weapons for the faithful, these re-tailored & timeless classics are the sonic manifesto for preserving those good ol' Dirty Basements.

Rarely does a record so perfectly encapsulate the essence of Hawai‘i.

During the 1970s and 1980s, Hawai‘i’s live music scene was at its peak. Countless clubs, lounges, and bars filled the islands. Musicians embraced and experimented with all manner of ideas.
Among them were Steve Ma‘i‘i and Teresa Bright, a harmonizing guitar-and-bass duo that floated somewhere between nostalgia and an unassuming island sound. They could fill a concert hall or bring the family together at a backyard kanikapila with their music.
Both singers share backgrounds rooted in native Hawaiian culture; Steve once the bassist for musician/ activist George Helm, and Teresa the daughter of hula dancer Carol Bright and musician Daniel Bright. Together, they crafted a refreshing approach to jazz standards, traditional Hawaiian tunes, and hapa-haole classics.
Steve and Teresa enchanted every listener they encountered, including engineer Rick Keefer, who convinced the pair to record at his Sea-West Studios in nearby Hau‘ula.

A Berlin based collective of music aficionados launch a limited and lovely 7" platform for club-ready flipped classics. Simple, effective
Floor food for all moods...TIP !

Good For You present a special Paradise Garage inspired 12 Inch sampler from the upcoming ‘Paradise Garage : Inspirations’ compilation, featuring two of Kenny Summit's collaborations with the Director's Cut duo, and Godfathers of House, Frankie Knuckles and Eric Kupper. Neither of these tracks have ever been pressed to vinyl, so this is your chance to own these masterful tracks cut loud and proud on either side of a 12 inch.

The A side houses the last ever Frankie Knuckles production, a project Frankie and Summit worked on with Eric Kupper - remixing 'You'll Never Find Another Love Like Mine' by the legendary Lou Rawls – pure soulful house brilliance from the very first second. On the flip you’ll find a further Kenny collaboration with the dynamic duo entitled ‘Loving You’ – the trio teaming up to deliver a stunning Motown inspired dance floor stomper with an uplifting vocal by the one and only Yasmeen. Two certified anthems that have had heavy rotation with DJs like Cajmere, Grant Nelson, Sonny Fodera, Quentin Harris, Robert Owens, Tony Humphries, Danny Rampling, John Morales, Graeme Park, Pete Tong and still continue to get played the world over.

These tracks form part of a wider compilation, ‘Paradise Garage : Inspirations’ that contains unreleased remixes of iconic club tracks like Loves Last Episode‘s remix of Deee-Lite‘s ‘Power Of Love’, and seminal club classics like the Masters-At-Work remix of Todd Terry‘s anthem ‘Sume Sigh Say’ and Francois K’s “Time & Space.”

Both this sampler and the full compilation feature a masterpiece of cover art designed by Alexander Juhasz, the artist behind the award winning films The Little Prince and The Babadook.