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"Love Is Overtaking Me", originally released in 2008 comprises 21 demos and home recordings of unreleased pop, folk and country songs from Arthur"s vast catalogue. While much critical and popular affection for Russell"s music has come about well after his untimely death from AIDS in 1992, many fellow artists believed in his genius and were drawn to collaborate with him during his lifetime. The legendary producer John Hammond (Billie Holiday, Bob Dylan, Bruce Springsteen) recorded Russell on several occasions; a number of these recordings can be heard on "Love Is Overtaking Me". Alongside songs recorded with various incarnations of The Flying Hearts, a group formed by Russell with Ernie Brooks whose shifting line up included, by turns, Jerry Harrison, Rhys Chatham, Jon Gibson, Peter Gordon and Peter Zummo as well as Larry Saltzman and David Van Tieghem. Several other Russell projects are represented on Love Is Overtaking Me, including The Sailboats, Turbo Sporty and Bright & Early. Compiled from over eight hours of material, "Love Is Overtaking Me" reaches back further to Russell"s first compositions from the early `70s and spans forward to his very last recordings, made at home in 1991. Chris Taylor of Grizzly Bear contributed mixing, restoration and editing to the album, whose tracks were selected by Audika"s Steve Knutson, Ernie Brooks and Russell"s companion, Tom Lee. Several songs feature prominently in Matt Wolf"s film "Wild Combination: A Portrait of Arthur Russell". Extensive "Love Is Overtaking Me" liner notes by Tom Lee provide an intimate perspective on Russell"s diverse catalogue, which spanned an extraordinary diversity of styles and won the love of artistic communities that would seem utterly disparate, from Philip Glass, John Cage and Allen Ginsberg to rock bands like The Talking Heads and The Modern Lovers; the pre-Studio 54 disco-party scene of Nicky Siano"s Gallery and David Mancuso"s Loft; and DJ-producers like Francois Kevorkian and Larry Levan, among others.

Before he co-founded the legendary Sunday afternoon event Body & Soul with fellow New York DJs Danny Krivit and Francois Kevorkian in 1996, Joaquin "Joe" Claussell was the driving force behind Instant House, an eclectic production outift who released a series of uplifting deep house records, several of which were spun by David Mancuso at the 90s iteration of his influential Loft parties.

In 1993, Instant House released their deepest single, Lost Horizons, through Jungle Sounds Recordings. The A-side, ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’ is a seventeen-minute and twenty-second sojourn into the vibrant club sounds of early 90s NYC. Driven by a Latin-accented man-machine beat that marches into infinity, it comes backed by two shorter mixes, ‘Lost Horizons’ and ‘Lost Horizons (Percussion Bonus)’. Twenty-nine years later, Isle of Jura presents an official vinyl and digital reissue of this slow-burning deep cut.

The Instant House story begins in the late 80s at Dance Tracks, an East Village record store established by the businessman, DJ, and graphic designer Stan Hatzakis. Patronised by New York trendsetters like Frankie Knuckles and Larry Levan, Dance Tracks was considered one of the world's best underground dance music retailers.

During the winter of 1991, Stan got together with one of his best customers, Tony Confusione, to make music. A wall street guy by day and a keyboardist by night, Tony was also a serious DJ. Not long after their first recording sessions, they invited another Dance Tracks fixture, Joaquin "Joe" Claussell, to join them in Tony’s state-of-the-art home studio in Long Island. He brought a vibrant, percussive edge to the sample-based tracks Stan and Tony were cooking up. Emboldened, the three DJs began recording together as Instant House. That year, they released the Dance Trax EP.

In 1992, after Instant House had dropped two certified classics, 'Over' and 'Awade', for Jungle Sounds Records, Stan exited the group and sold Dance Tracks to Joe and his business partner, Stefan Prescott. Following Stan's departure, Joe and Tony headed into the studio for a special recording session. “I just remember how powerful the connection was while we were making that record,” explains Joe, recalling the creation of ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’. “It was a very spiritual encounter in the studio.”

While laying out the drum patterns, sound effects, and arrangement, Joe explained the vibe to Tony, who played the lush cosmic chords and an effortless keyboard saxophone line over the top. “That was Tony completely feeling himself,” Joe reflects. “He performed majestically.”

After the release of the Lost Horizons 12”, Joe received a phone call from Cisco International Corp. A plane flight later, he was sitting in their label offices in Tokyo, talking to a senior record executive who wanted to introduce Lost Horizons to Japan. “What they were primarily doing at the time was pressing classical records - we’re talking thousand dollar plus classical reissues - and they wanted to license and distribute Lost Horizons,” Joe remembers. Three years later, Joe and Tony released 'Asking Forgiveness', their final 12” as Instant House, before parting ways with full hearts.

In the context of his career as a DJ, remixer, and producer, Joe is known for long songs and compositions. As Lost Horizons illustrates, he’s carried that impulse with him since his foundational days. “When I produce, I don’t believe in the beginning or endpoint of anything,” Joe explains. “I really despise the rules. To me, that’s not true to the art of creation. I just believe there is a flow in creation. When we were making music in the 90s, we were restricted by format, but that record could have gone on forever.”

The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

From a previous album dedicated exclusively to Soul music by the Roman producer Nerio Papik Poggi, this new project in the artistic name 'The Soultrend Orchestra' was born in 2017. The album titlereleased that year, '84 King Street', definied the musical genre to which it is dedicated. In fact, the address is that of the legendary New York club Paradise Garage from where Disco music in the late 70s was definitively launched all over the world by deejays David Mancuso and Larry Levan in the first place. So Soul and Disco are the predominance of this first album which has had great success in the sector so much so that the band has performed live in important European festivals.

This new album entitled Live For Funk starts from where the first left us musically to enter much more on the Funk sound, especially the English one of the early 80s and the American one linked to jazz musicians such as Donald Byrd or Roy Ayers who have been re-evaluated so much in the years starting from the Acid Jazz scene from the 90s onwards.

15 songs in total, including three covers, all three already released as digital singles. The three covers are remakes of cult songs from past
years in the Disco Funk world and exactly Get Down Saturday Night by Oliver Cheatham, Outstanding by the Gap Band and Act Like You
Know by the Fat Larry's Band. In the project Nerio Poggi brought with him his historical musicians such as Alfredo Bochicchio on guitars, Peter De Girolamo on keyboards, Massimo Guerra on trumpet, Fabio Tullio on sax, Simone 'Federicuccio' Talone on percussion and Luca Trolli on drums. In addition to a dozen other guest musicians also 8 different singers among which the names of Alan Scaffardi, Al Castellana, Kenneth Bailey and Danny Losito of Kaigo stand out

With previous releases on Delusions of Grandeur, Voyeurythm and more, UK producer Ben Sun delivers a gorgeous blend of deep textures that hearken back to the golden era of NY and Chicago with his Distant Messenger EP on Razor-N-Tape.

On the A-side, Transmission has all the vibey goodness of an early Strictly Rhythm record, while Sable Sun scuba dives into Larry Heard territory with lush pad swells and squelching acid lines.

On the flip, the emotive motion of Tremors builds through hypnotic arpeggiated synths, a slow-rolling bassline and crystalline melodies, and the record finishes in proto-house territory with the Peech Boys era Larry Levan-inspired Red Light. This EP may wear its influences on its sleeve, but it looks (and sounds) classy as hell.

Aufgang is back with its 3rd album, “Broad Ways”, slated for release in November 2021

With this 3rd album, the franco-lebanese duo perpetuates its winning alchemy by drawing on the psychic and collective traumas of recent History at the crossroads between European and Middle Eastern cultures.

What more was there to prove for the Aufgang duo since their re-invention of US techno a few years ago through the means of organic instruments like piano + drums, and releases on Infiné & BlueNote/Decca ?

Maybe that they would from now on independently take onto themselves, the full conception and distribution of their body of work, supported by a collective of visual-arts creators, dancers, and emerging talent-incubators (Bi:Pole/Believe/ BigWax/Alter-K)...

“Broad Ways” could be translated as «in many ways» in the sense that there are many ways of seeing the world, and that everything is not binary and that on the contrary, our lives are shaped by the each other’s own paradigms...

In this clever mix of experimental techno, lyrical prowess and melodies in the Arab tradition, can one imagine a future that would solve the world’s current contradictions in a boiling magma so complex of which Edgar Morin would be proud... Following this unique trademark, this art of mixing influences and cultures, along the New York, Paris, Lebanon and now Sydney axis... how far will they go?

According to Pitchfork, AUFGANG “blends piano, drums and electronic music with virtuosity, with one foot in the club and the other in the conservatory.”

Rami KHALIFÉ, composer and pianist, transcends the classical heritage of his years studying at the Juilliard School in NYC and the Middle Eastern origins of his masterful family: his father Marcel KHALIFÉ is a major composer and musician in the Arab world.

The drummer and producer Aymeric WESTRICH has an instinctive DIY approach and infuses his music with his knowledge of urban and electronic cultures, developed with Kery James, Cassius, Phoenix and more recently Lomepal.

Taking their inspiration from multiple artistic movements and currents, from the Disco of the mythical Larry Levan to the poetry of Oum Kalthoum, these two free electrons have created their sound between Paris, Beirut and New York, in reaction to the frenetic energy of big cities, as if in an effort to prevent this energy from corroding their freedom. It’s a unique experience born from the sublime diversity of these two masterful approaches.

Here at Z Records, we believe, quite simply that the world is a better place thanks to our good friend Madam Disco. Where would we be in 2021 without Chic, Sylvester, or Donna Summer? Let alone all the wonderful underground disco releases both new and old. A world not worth thinking about in short, this is why we have collected together the finest, most exquisite collection of disco music and presented them to you here.

We have exclusive brand new remixes, re-masters, and unearthed some of the rarer cuts from the vaults of the label and disco world in this bumper package that celebrates Disco in all its forms. Highlights include a brand new Dave Lee remix of Italo disco classic Firefly 'Love is gonna be on your side' and previously vinyl only remixes from Larry Levan and Blaze. A new song 'Sensationalized' from Crackazat. Digital exclusives from Ruffneck, Masters of the Universe, and a Walter Gibbons mix of the classic 'Set It Off'. Disco is a beautiful thing.

"The art of the remix has been around for several decades, from the fervid imaginations of JA pioneers like Coxsone Dodd, Duke Reid or King Tubby to the disco enthusiasts of New York, such as Tom Moulton, who bequeathed us the modern iteration of the remix and provided a template from which most remixers still work. Moulton's first commercial remix, a reworking of BT Express' appropriately-named `Do It 'Till You're Satisfied', which stretched it from three minutes to a luxurious five, assisted the band in securing its first Billboard R&B Number One, as well as providing a pathway for remixers like Walter Gibbons, Larry Levan, Richie Rivera and Tee Sott, to completely reinvent the concept of a remix (and in some instances, deconstructing the idea of what comprised a song). It has subsequently been used as a marketing tool, a dancefloor-devastator, a gimmick (both cheap and expensive) or even as a way of reaching a different audience (think Tori Amos' `Professional Widow'). Khruangbin are no slouches when it comes to the remix themselves. They've been reworked before, in 2016, with the highly collectible EP on Boogiefuturo. But this time, they're taking it a step further with an album dedicated to the art. Entering the tight-knit world of a Khruangbin song can be a little daunting. They have created this entire universe in which the trio seem to function telepathically in the way the music is composed, arranged and played. To mess with their delicate eco-system can invoke feelings similar to that of an unwanted guest crashing a good-time party. "We write our music to be interpreted; this is another wonderful interpretation of the music," reassure Khruangbin. "There is something very vulnerable about letting others work on your music. But through the correspondence with the different artists, we gained a bigger connection to the songs themselves." The choice of remixers for this album is neither arbitrary nor accidental. They're not names picked randomly out of a hat or chosen via a throw of the dice. All have some connection to the band, sometimes personal friendships, musical connections, or simply mutual musical appreciation. Harvey Sutherland and Ginger Roots have both toured with the band, Kadhja Bonet and Ron Trent had their own mutual fan club going on, Knxwledge sampled `White Gloves' on a recent mixtape, Natasha Diggs and Soul Clap's Eli's are recent buddy-ups, Quantic is a mutual friend of Bonobo (crucial in the KB origin story), while I've known Laura for number of years; plus she is also godmother to one of Felix Dickinson's kids. Doesn't get much more intimate than that, right? Some of these remixes were specifically made so you can dance your ass off while getting down to the Khruangbin sound, while some might better be appreciated horizontally with headphones on, wearing fashionably loose clothes. The choice is yours. But all were made with love and respect for Khruangbin. "A good remix deconstructs, recontextualizes, or simply extends a good time," say the band. Amen and out." - Bill Brewster

Cult status for those new york disco cuts #10 pioneered by legendary djs such as Larry Levan, Franckie Knuckles, Junior Vasquez, David Morales. Ltd Edition

Following a limited 7” vinyl release of SunPalace edits in 2020, BBE Music finally delivers the full-length versions of Moodymann and Kenny Dope’s ‘Rude Movements’ remixes, alongside brand new interpretations by François K, Frankie Feliciano and OPOLOPO, plus a special edit by Phil Asher.
François Kevorkian needs no introduction to fans of House and electronic music. Featuring keys by Eric Kupper, his ‘SATS Dub’ and ‘TradMix’ versions of ‘Rude Movements’ are simply classic works, summoning House music’s golden era forward in time, to the here and now.
Bonus spaced-out ‘Flerken Space Bubbles’ and beat-less ‘Atmosphere’ revisions are also included in the digital version: both invaluable tools for DJs. Ricanstruction label founder and
long-time champion of the good groove, Frankie Feliciano delivers a slick and faithful update of ‘Rude Movements’, with a slight Latin soul twist. Swedish mix-king OPOLOPO turns in a typically live-sounding, funky and dancefloor-ready jam (ready whenever the dancefloor is,
anyway) The full, extended version of Moodymann’s remix retains the original ‘jammed’ feel of Rude Movements, adding stellar flute, sax and piano solos to that hypnotic vibe. Kenny Dope’s Afro-Latin inspired ‘Dancefloor Powder’ version is joined this time by a rough’n’ready, street tough ‘O'Gutta’ mix; calling all b-boys and b-girls! For the expanded digital package, we are also including a special edit by our sorely missed brother Phil Asher, created for his
own DJ sets and now available to all.
Made famous by David Mancuso at his New York Loft Parties, ‘Rude Movements’ was an obscure Brit-funk b-side recorded in the home studio of Mike Collins. The track’s unique sound, coupled with pristine sonics and production values caught the audiophile ears of
Mancuso, and the rest is history. Soon the track found its way into the hands of Loft Party denizens Larry Levan, Nicky Siano, Frankie Knuckles and Danny Krivit and continues to influence House and electronic producers through to this day.

Strut present the definitive edition of a 1977 classic, Plunky & Oneness OfJuju's 'Make A Change' album featuring the international hit 'Every WayBut Loose' and five previously unheard studio takes. Recorded at Omega studios in Maryland, the album marked a transition forthe band with lead vocalist Jackie Eka-Ete recording her last sessions withPlunky and Virtania Tillery taking over lead vocal duties. "'Make A Change'was always designed as a slightly more commercial entry in our discography," says Plunky. "We approached the sessions in the same way that we had approached all of our music since the early '70s. We played extended jams because we would always find something within those explorations. The songs had enough organic qualities to be considered R&B and enough rhythm to be Afro funk." After catching fire in Washington DC clubs through local record pools, the dancefloor favourite 'Every Way But Loose' famously became an anthem for Larry Levan at New York's Paradise Garage, kick-starting international success for the track. Other album cuts like funk workout 'Higher' and the wistful stepper 'Always Have To Say Goodbye' have remained staples among soulful DJs worldwide. "The songs and lyrics on this album have come back around full circle," continues Plunky. "With songs like '(Family Tree) Make A Change' and 'Every Way But Loose', we don't have tochange one word for them to be relevant all these years later. The positive messages are universal and timeless." This definitive edition of 'Make A Change' features the full original album alongside five previously unheard studio takes, all remastered by TheCarvery from the original tapes. Bonus tracks include extended studio versions of 'Every Way But Loose' and 'Always Have To Say Goodbye'and a previously unheard version of 'Time'. Package features brand newliner notes by bandleader Plunky Branch.

Worldwide Award winners First Word Records are pleased to welcome back Souleance; a duo that have been releasing music with us for a decade now, and triumphantly returning to the fold with some brand new music for 2020.

This vinyl / digital EP, 'Les Mouches', is their first release for First Word since the acclaimed beat-tape 'French Cassette' from early last year.

Expanding on the original Normand-Parisian super-duo of Fulgeance and Soulist, the Souleance crew now includes Vincent Choquet on synths and Guillaume Rossel on drums as part of their live outfit. Whilst sonically their style remains unchanged, the formation into a full band sees the Souleance sound become bigger, more realised and more formidable than ever.

The title track 'Les Mouches' sets off the EP in a playful disco manner - a chugging bassline, assorted synthesisers, disco claps and a four-to-the-floor drum track, inspired by the likes of Larry Levan and Candido. Meaning "flies", Les Mouches was a legendary Manhattan club that existed around the era of Studio 54, and was infamously a hangout spot for Imelda Marcos. The club itself was named after a play by Jean-Paul Sartre.

Next up is the single 'Aquarelle' (meaning watercolours), which contains more layers than a Bob Ross painting. With its various elements splayed across its aural canvas, sprinkled with some subtle scratches, it's four minutes of funk presented in Souleance's inimitable way.

'The Bounce' follows and enters a more soulful side of the dance, dropping the tempo a touch and inviting in a huge bassline, squelchy keys and intermittent vocal hooks.

'Mont Maudit' takes more of a latin jazz direction with big drums and cymbals rocking throughout, whilst an infectious piano hook cruises throughout, and an ethereal gospel choir switches up the proceedings mid-way.

Things get deeper still with the epic broken beat-esque 'Maneuevers'. Crunchy rhodes dominate this slightly tweaked-out rhythm, a delectable piece of heads-down nujazz fused with Souleance's unmistakable funk once again.

'L'Opuleance' closes out this EP with some more traditional Souleance fare - the tempo a little more head-nod, this one is comprised of some deliciously wobbly bass, chopped samples and hefty breaks.

This EP is essentially a set of grooves marinated in nostalgia whilst managing to sound entirely current. Analogue synths, live bass, sleek cuts and intoxicating drums. This is another round of sure-shot dancefloor fire from our favourite French family.

Previous support has come from OkayPlayer, Bill Brewster, BBC 6 Music's Gilles Peterson, Tom Ravenscroft & Huey Morgan, and various DJs on Worldwide FM, NTS & Le Mellotron,

Washington collective, The 3 Pieces, privately-pressed Iwishcan William on their own DL Records in 1982. The 12 has Discogs, for one, confused. Is it soul, rap, jazz, go-go, funk, electro, or educational? By nature of its birthplace and date of birth, it`s all of those.

Synths shimmer in harp-like glissando. The bass grumbles, rumbles, machine-made. The beat pops and locks. The whole thing grooving and exuding positivity. One part the cosmic funk of say Cloud One`s Patty Duke. Another, the balearic chug of Will Powers` Adventures In Success. Like Brother D it looks to “agitate, educate, and organize”, and stirs in the sentiments of Razzy`s I Hate Hate. Imagine if the Last Poets jammed with sister Sarah Webster Fabio. Keys parp like car horns, a real trumpet blows a Don Cherry solo, but the track really revolves around its sweet Sesame Street call-and-response chorus:

“I wish love. I can love. I will love. I am love.”

Swiss gentleman DJ and Phantom Island resident, Lexx, produces a killer remix - smoothing out the OG`s jerky edges, upping its sophistication. Making clear the contributions of Lexx` new bubbling electronics. rescuing a clipped guitar, previously lost deep in the mix, and moving the children’s voices to the fore. Ensuring you’ll remember that

““I am” is the glory of a wish come true.”

Idjut Boy Dan Tyler then ties up the package, well he actually kinda sends it out into space - expanding everything in echo. NYC Peech Boys-esque delay. The result is a mind-blowing, psychedelic, almost ambient, Larry Levan-like, Paradise Garage dub. Where fragments of song fly at you from four corners. Trippily pan from left to right. The horn blasts now paying tribute to King Tubby`s Hi-Fi. François Kevorkian going bang!

All carefully mastered with love from the original master tapes by Sam Berdah at The Wall studios.

Four intergalactic cuts from Natasha Kitty Katt on Ghetto Disco Records.

Kosmic Oscillations

A deeper Kosmic vibe from Natasha, Kosmic Oscillations puts your head in space. Designed to transcend the dancefloor and take your mind on a Kosmic trip.

Larry’s Code

Paying homage to the one and only, Larry Levan, this dancefloor number is guaranteed to set floors alight. With heavy synth use and a funky bassline, this is one to make you move.

Up There?

An upbeat number centered around the idea of UFOs and glitterballs. A feel-good mover that’s out of this world.

Katt Nip

This bizarre, yet wonderful Italo trip has everything from cat sounds to a thumping bassline. Perfect for the dancefloor, this number is sure to turn a few heads and move feet.

The original, the inspirational, the bombastic, the never bettered, the one.
'Don't make me wait' is all of the above and so much more. Classic to the core. Huge earth shattering record right here.
OK, so the scoop, for the uninitiated is this - the Peech Boys were Larry Levan's group, we're talking early 80's NYC here, 1982 to be precise, around the height of the Paradise Garage as Larry was making the transition from superstar DJ to producer. He brought a sparse, dubbed out, narcotic late night feel to the overall sound of this record. This was a short-lived project, but the influence is still felt today, the Peech Boys DNA is inside the veins of modern dance music, as is Larry's. There is no underestimating what an impact this record had. 7+ minutes of electronic bliss, trailblazing stuff, and don't get us started on the dub. Do yourself a favour, BUY this classic if you don't own it already, you'll keep coming back to it time and time again. Guaranteed. This essential 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.

Strut kick off a brand new deal with the seminal independent black jazz and soul label Black Fire in May with 'African Rhythms 1970-1982', a comprehensive 2CD / 3LP compilation of Oneness Of Juju, led by Plunky J. Branch. Tracing their career from the band's earliest work in 1970 with South African exiled jazzman Ndikho Xaba in San Francisco, the compilation covers the band's journey to New York's loft jazz scene, forming Juju and releasing two landmark albums of hard-hitting percussive jazz on Strata-East. "I saw myself as a cultural warrior," explains Plunky. "We studied about Africa and tried to infuse our music with an African spirit." Moving back to his hometown of Richmond, Virginia during the mid-'70s, Plunky drew in a superb new group of musicians and vocalists and created the band's new incarnation, Oneness Of Juju, retaining the African influence but fusing his sound with funk and R'n'B on the classic 'African Rhythms' album. "We realised that, if we put a backbeat to the Afro-Cuban rhythms, people in Richmond and Washington D.C. could be drawn into it; it didn't change anything about our message." The change would lead to a series of enduring soul-jazz classics on Jimmy Gray's Black Fire label, including 'River Luv Rite', 'Plastic' and 'Don't Give Up' and their biggest crossover international hit, 'Every Way But Loose' in 1982, later famously remixed by Larry Levan. The band received renewed interest in their music during the mid-'80s as Washington D.C.'s go-go innovators cited the band as a major influence and rare groove DJs revived their albums for London dancefloors.

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.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world.

Having conducted the first and set of major interviews with David Mancuso of the New York City Loft, Lawrence started to host Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In February 2004 he published the first of three published three pioneering histories that have excavated and championed the previously overlooked foundations of contemporary party culture: Love Saves the Day: A History of American Dance Music (1970-79), Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene (1973-92), and Life and Death on the New York Dance Floor (1980-83). Since 2018 Lawrence has hosted and DJed at the community audiophile party "All Our Friends. Paper Magazine describes him as the “reigning authority on the history of dance music in New York”.

With knowledge to share, and a readership as well as a dance floor to feed, Lawrence released Life and Death on the New York Dance Floor as the debut imprint on Reappearing Records. A year in the making, a compilation featuring rare and iconic tracks that appear in his much-loved and heavily-thumbed classic Love Saves the Day amounts to the follow-up. The collection features several tracks selected regularly by Mancuso, the party host who exerted a prophetic and unparalleled influence on New York City party culture, as charted by Lawrence. It also includes choice picks from groundbreaking DJs such as Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan and Nicky Siano, whose expressive contributions are faithfully recorded in Love Saves the Day. The compilation traces how disco grew out of the record collections and intuitive sensibility of these and other DJs, offering a unique survey of the era’s expansive sonic palette.

THE definitive collection of one of dance music's most enduring and infamous left-field anthems, across 2 x 12"s and 1 x bonus 33rpm 7"!

The collaborative team of Arthur Russell and Steve D'Acquisto crafted some of the best wonky disco not disco cuts during their short lifespan and 'Is It All Over My Face' is one of their crowning glories. Collected here, to celebrate the 40th anniversary of this gloriously weird record, are all the best versions from then, and now. Even a quick dig in the archive yielded some treats with the male and female acapella appearing for the first time EVER, featuring on a specially 33rpm cut 7" alongside Larry Levan's promo 7" mixes. Also, the instrumental version has never been released before, but it is here for this very special limited package in it's full, unedited glory. This is one for the heads, an essential do-not-miss RSD special edition for those who are still 'love dancin' 4 decades later, housed in a classic special West End disco-bag. Don't sleep!

Produced in collaboration with Sony / Above Board distribution, 2020.

Cult status for those new york disco cuts pioneered by legendary djs such as Larry Levan, Franckie Knuckles, Junior Vasquez, David Morales

From the original Vinylmania Records - Their first time on a 7" single.

The Paradise Garage classic "Love Honey/Love Heartache" - Produced by legendary-DJ Larry Levan. And written by Brodie Williams. Edited DJ Monchan: A-Side and B-Side as an Acapella Version.