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contains a portion of "Boogie Wonderland"

sehr geile discohousescheibe !!! die abgeht !!!

dehr geiler French House Track !!

4 Tracks !! very Groovy Disco House !!

follow up von Infurno !!

fetzige discohousetracks

lizensiert vom Robbier Rivera Label US !!!

by David Chong !

Disco House Cover auf den Klassiker !!

inkl. Robbie Rivera Mix !!

Groovestar Records mit einer Disco House Nummer inkl. Dub Mix !!

discohouse call speed garage

richtig fette discohouse scheibe

mit einem Sample von "That's the way i like it" und auf der B-Seite mit einem "Alcatraz"-Sample !!

klingt wie eine Milk & Sugar !! FETT !!

fine rise discohouse track

mit "Life is Life" von Opus !!!

mit Oliver Cheatham "Saturday Night" !! FETT !!

incl. Remix by DJ Peran !!! Klubbheads Style !!! FETT !!

B1 erinnert etwas an "Spinal Scratch"

vocal disco house back to the 70's

Mr.Oizo vs. Renegade Master !

im Stil von Stardust !

eine Kombi aus "Get Down Saturday" (O.Cheatham) mit "Thuggish Ruggish" Samples !!

Disco House Teil mit Daft Punk "909"

der Oberknaller aus den UK Clubs !!

Bootie auf Bob Sinclair !

Cover auf "Ain't no stoppin' us now"

mit Vocal Samples von Todd Terry's "Weekend" !!

mit Sister Sledge und Ten City Sample !!!

faz i - u got me, azzetto & crazy house, vocal disco house

original + clubheroes mix

inkl. Remix by Arc en Ciel

incl. Robbie Rivera Remix !

inkl. Wackside Mix

Disco House Brett mit Sharp, Skinky Pink und Orginal Mix !!

ep track 1 discohouse auf "me myself & I,

oberhammer ink fettem olav basoski mix !!!!!!!

Disco House Nummer mit Anita Ward Vocal Sample !!

produziert von den Milk & Sugar Leuten !!! Disco House Brett !!!!!!!!!!!!

inkl. Mixes by D'influende und Bamboo !!! Cover auf Chic "Le Freak" !!!

abgefahrender discohouse mix + version a la "i can't stand it"

Two years in the making, with tunes recorded in 4 different countries, Can't Help It aims to be a modern prototype for further directions in future r&b and soul music. The brain-child of Los Angeles born globetrotter Brian Gibbs. Born in 1978 to a Motown-addicted single mother. Gibbs absorbed the music of Marvin Gaye, Ray Charles and Sam Cooke before he could even walk. Growing up in California led to a deep rooted and abiding love for Disco, P-funk and ultimately Hip Hop. On discovering bebop and then free-jazz, Brian swore to apply the improvisational techniques to modern technology. Early works included eerie sonic predictions of things to come in the now globe conquering 'west coast beat' scene - including, on the infamous PCH label, a 13 minute opus that took us from latin jazz, to afro cuban funk and banging downtempo rhythms. Later Gibbs would move to Tokyo, turn to techno influences, and begin to release 12 vinyls at a frenzied pace! Since 1999 his projects have been diverse and undefinable, yet remained consistent and unmistakably original. June 2012 brings Echo Park's 'Cant Help It' - the first ever full length album on Disfigured Dubz. Currently relocating back to the United States from Chile, Brian himself describes the current Echo Park direction as 'freaky bass driven hip hop and soul music with a touch of 'Nintendo noir'.

Repress

Following their blistering 2017 'Trants' EP, Brame & Hamo return to their own B&H imprint with an irresistible follow-up, 'Club Orange', delivering another trio of spirited tracks that encompass warm-hearted house, trippy analog-textures and a general crowd-pleasing attitude that's nonetheless never short on charisma. For the first of the three cuts, the Irish duo honour a fellow countryman, the joint-most successful Irish footballer of all time, Mr. 'Roy Keane'. Although not known for his love of joyous, blissfully filtered house anthems, the infamously dour midfielder and prawn-sandwich sceptic would surely offer a stern nod of approval from the sidelines as this hi-NRG, hi-spirits crowdpleaser works it's undeniable charm in sending both local and national league discoteques into some kind of rapture. As they like to say out on the terraces; "Goal!

40 Thieves have been part of the Leng family since 2011 during which time they have released many quality singles and EPs as well as their sole full-length album, 2014’s epic The Sky Is Yours. Even so, double A-side ‘Love Is’/’Let Me Show You’ still marks their first release on Leng for almost three years.

In keeping with their signature sound, ‘Love Is’ is trippy, hallucinatory and gently mind-altering, with psychedelic guitar sounds, echoing percussion, and a heady lead vocal courtesy of crew member and Alona, all of which rides a chunky dub disco bassline and chugging mid-tempo beats. Richard Sen, a DJ and producer known for his love of dubbed-out sonics and pulsating grooves, delivers a typically spaced-out and otherworldly rework. Rooting his revision to the dancefloor via an undulating electronic bassline that throbs away restlessly throughout, Sen stretches out the track and emphasises its more trippy elements before introducing dreamier chords and heady vocals with a brilliant interpretation.

On ‘Let Me Show You’, 40 Thieves step things up to deep house tempo while remaining firmly rooted in 21st century San Francisco nu-disco with rich, dubby bass guitar, tactile piano chords, futurist synths and knowing nods to Patrick Cowley productions of the late 1970s and early ‘80s. The track is presented in two forms: the superb ‘Vocal Mix’, where Alona’s vocal rises above the groove and intoxicating electronics, and a genuinely radical and out-there dancefloor focused ‘Dub’. Pushing the track’s wilder and more out-there elements to the max via stripped-back arrangements and a smorgasbord of effects, 40 Thieves re-wire the cut as a heads-down psychedelic disco chugger topped off with wonderfully loved-up chords.

From Long Beach, California, “A Lil Lovin Sometimes” became a significant northern soul release, and in 2004 came to the UK to perform the song live. The UK Capitol released original has sold for close to £500. The record was produced by Jimmy Mack also worked with Otis Redding before becoming an actor. “True Love” was not issued at the tape and was only part of a limited and now much sought after reissue.

This rare release by Ambar Connection is one of most sought after electronic funk hidden treasures and can be filed along other Spanishrare grooves of the genre like Josep Llobell's productions Oliver's Planet or Enterprise.

Behind the mysterious moniker of Ambar Connection hid wizard producer Ramón Farrán, who offered an impressive slice of groovybalearic discotheque magic that sees a deluxe reissue treatment, upgrading the original 7" to a 12" where the original Hang Glider parts 1 & 2 are augmented with extra extra re-edits by Mr Absolutt and DJ Enrique.

500 copies only that will fly like a blue bird, don't miss this opportunity to grab yourself an amazing floor killer - vintage and modern sounds in one cool maxi single!

The first reissue of seminal early 1980's electronic recordings from the British Electric Foundation (B.E.F.), aka HEAVEN 17 / ex-THE HUMAN LEAGUE's Martyn Ware and Ian Craig Marsh, with Adi Newton (CLOCK DVA / THE FUTURE), and John Wilson (HEAVEN 17), originally a cassette-only release (1981).

Following two groundbreaking albums ('Reproduction' and 'Travelogue'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory.

B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled 'Music for Stowaways', with 'Stowaways' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. 'Music for Stowaways' was intended to be listened to on such a device. The cassette was followed by a seven song LP, 'Music For Listening To', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17.

This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as 'Groove Thang' - an instrumental version of the debut single by Heaven 17 - and 'The Old At Rest', which derived from a version of 'Wichita Lineman' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s 'Music of Quality and Distinction, Volume One' covers album in 1982.

Supporting musicians on 'Music For Stowaways' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track 'Uptown Apocalyse', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on Groove Thang.

The innovative sounds heard on 'Music For Stowaways' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the '50 Greatest Lost Albums of All Time'.

Bakermat’s upcoming album, Grace Note, is a heartfelt tribute to the powerful connection between House music and Gospel. Celebrating the joy and spiritual essence of these genres, the album invites listeners to rediscover the magic of the dancefloor, where Bakermat's music has fostered moments of joy and connection for over a decade.

To follow the astonishing and final installment in the Black Devil story, it seemed fitting to ask two of the deepest and individual of producers to pay tribute to theBlack Devil legacy.
The result is a spectacularly immersive release.

Pye Corner Audio is known for his otherworldy take on italo disco and nocturnal explorations into dusty electronica. His version of Berliner Atoll envisions a club scene filmed by Dario Argento, wreathed in smoke, lost in mirrors. Propulsive, dynamic and irresistible.

Abul Mogard excels himself with a gorgeous voyage into the abyss. Nearly 10 minutes of weightless psychedelic exploration. Utterly absorbing and the perfect soundtrack for taking LSD in a flotation tank.

ŽUR (‘Zhure’, party) is absolute cult and one of the most rare Yugoslavian disco funk albums, originally recorded in 1981, reissued on Everland Music for the first time since the original vinyl came out more than 40 years ago. The album was carefully and brilliantly remastered by grammy nominated sound engineer Jessica Thomson.

Boban Petrović is a legend of Belgrade's sophisticated disco funk scene from the late 70s and early 80s.
Back in the second half of the 70s Boban started one of the first disco clubs in Belgrade and he was one of the biggest organizers of private house parties.

The finest balance between Boban Petrović's big-hearted party-maker-turned-philanthropist personality and his hustler one was achieved on Žur.
On Žur, he is at home, in his safe place, since the parties, the music and the people are the first out of many things he had completely figured out in his life. He is at the top of his game, occasionally bothered by a casual heartbreak, but always feeling himself, coming out playful and fundamentally peaceful, satisfied and ready to transcend himself in order to put the rest of the world in the limelight. In fact, Žur isn’t about the party, music, lyrics or its, hands down, beautifully balanced sonics. It’s about Boban and the funk he lived thoroughly. The funk before, but the funk he lived after this album even more so. All the ups and downs that he faced since the moment the first needle dropped on a Žur record to this very day are on this album as the unwritten destiny of that lighthearted character he played.

In short, ŽUR represents the essence of underground club life in Belgrade from the late 70s, when the album was recorded.
The quality of this trust is confirmed by the fact that Boban Petrovic's music is still actively listened to today, not just anywhere, but at the finest club events.
High end production and extremely authentic arrangements outside the mold of classic disco music, and lyrics that literally convey the vibe of his already jet-set lifestyle in Belgrade at the time.

Shortly after his musical career, Boban Petrovic became a businessman of the conscious class. He was living in Spain on his own luxury yacht for years, he had a private airplane, a car park. But all this time living on highest class level he never lost his identity. In all his offices, yacht, airplane and everywhere was playing loud funk music and he was dressed like a musician who just finished or need to start a gig.
Along the way Boban also wrote two books: Rokanje 1 & 2 describing the time when the album ŽUR was created.

The ŽUR album is one of the the holy grails of disco funk music releases on a global level.

C.A.M.P.O.S. is a one-man tropical electronic psych band consisting of multi-instrumentalist, singer and composer Joshua Douglas Camp. Though C.A.M.P.O.S. stands for Cumbias And More Psychedelic Original Sounds, there are no limits to Camp’s musical creativity, with the project taking cues from everything from Americana and pop rock to Cuban son and German electronica. This is no surprise as Camp has been involved with many diverse groups over the years, including Latin-flavored outfits Chicha Libre, Locobeach and Los Crema Paraíso, but also his country band Westwork, the Eastern-European klezmer quintet Litvakus and literary rockers One Ring Zero.

Since releasing his debut double LP as C.A.M.P.O.S., Miracles & Criminals, on Peace & Rhythm in 2016, Camp has developed his repertoire into a live show that has garnered a devoted following, and which has also seen the live band he assembled evolving into its own distinct entity, Locobeach.

When the pandemic forced Camp into exile he used the time to once more focus on C.A.M.P.O.S. and his one-man-band skills. This initially resulted in two albums, Shake Up The World: Live In The Studio Vol. 1 and Vol. 2, both performed live and recorded in one take at his home studio (and both digitally released by Peace & Rhythm, in 2020 and 2021 respectively).

In addition, he continued to work on the long-awaited follow-up studio album to Miracles & Criminals, which had begun years prior and progressed in the fleeting moments when his other projects allowed. With time to once more concentrate on C.A.M.P.O.S., the album soon began to take shape, eventually coalescing into The Eighth Door. Though catalyzed by isolation, it is far from a solo effort, with Camp enlisting collaborators including pianist and arranger Marlysse Simmons (Bio Ritmo, Miramar), who had initially told Peace & Rhythm about Camp’s unreleased backlog of tropical tracks from back in the Chicha Libre days (which became Miracles & Criminals), to other Chicha Libre band mates Neil Ochoa and Karina Colis, as well as Gabo Tomasini (Yotoco), who was a founding member of Bio Ritmo and played in C.A.M.P.O.S.’s first live appearance in 2016.

As with all C.A.M.P.O.S. releases, The Eighth Door takes you on a cosmic trip to a multi-dimensional landscape of the mind where the body also knows the pleasures of dance and sensuality, but this time there is more focus, with fewer songs and a fuller sound. Yes there is a dark side to planet C.A.M.P.O.S., to which the album sometimes ventures, but ultimately the record is a voyage of self-discovery, making connections between sounds and sentiments that, on paper, appear unlikely companions. Yet, once bound together by the intimate circuitry of Joshua Camp’s creativity and serious songwriting skills, all elements gel in a gravity-defying way. Exotic-sounding electronic keyboards, jangly, fuzzy guitars and percolating percussion loops seamlessly carry the listener through two sides of galaxy-spanning mini epics, sometimes with vocals, sometimes instrumental, and often infused with the shuffling beat of Colombia’s cumbia rhythm with a few disco, rock or salsa accents thrown in for good measure.

Camp juxtaposes the raw and the smooth, destructive and redemptive, sweet and ominous, digital and analog, organic and synthetic, intimate and expansive, all of which combine into an apt metaphor for where we find ourselves today. On The Eighth Door C.A.M.P.O.S. pulls the great unknown to a realm just within our grasp.

Album cover art by Selina Josephs and photo of Joshua Camp by Julian Parker Burns. Released in conjunction with Calle de Campos, Hyperopia Records (Canada) and Sounds and Colours (UK). Digital album has five bonus tracks, which also come with download card for vinyl purchase.

John Campbelljohn ist Kanada‘s Blues Man No. 1.
„How Does It Feel“ ist John‘s allererstes Album aus dem
Jahre 1993 und dieses großartige und begehrte Werk ist nun
auf farbiger Vinyl erhältich und ein wahres Must-Have für
alle Fans.

Carol Douglas is an American singer known for her contributions to the disco music scene in the 1970s.

During this time, she was signed with Bob Reno's Midland Records where she recorded a string of successful hits, including “Doctor’s Orders”.

This new compilation record showcases the best of Reno's four-to-the-floor 70s productions and remixes, remastered and pressed on fluorescent pink vinyl.

From Ciel:

"This mix was recorded live in April of 2019, shortly after I had returned from a 5-week-long tour of Asia. The memories of that life-changing month still lingered on my mind as I played some of my favourite vinyl finds from Seoul, Tokyo, and Shanghai. It was recorded live at Invisible City Records, which at the time was also a vinyl listening bar + wine shop. I played all night from open till close, and almost all of the records were non-dance music. I remember at the time it was my first hometown show in months so a lot of supporters and fans of my warehouse DJ sets showed up. I thought maybe they wouldn't have enjoyed the selections because it was so different from what I usually play, but it really is a testament to the diversity of my fans and their capacity for love for music of all kinds that this night was such a special one in my memory. Friends gathered over bottles of bubbly, hips swayed gently in tandem with each other, the din of their lively conversation ebbed and flowed with the groove of the records. From time to time, I'd look up and see someone dancing alone in the corner, their eyes closed and a hint of a smile tugging at the corner of their mouth. Aren't moments like these what we do this for? Music is beautiful because it brings us together. Now more than ever, we crave and look for its therapeutic effects. I hope this tape is able to give that for you."