Pop & Rock Vinyl New Releases - News

Strut present a new reissue of Walter Gibbons' 'Jungle Music' compilation LP, the definitive collection of Gibbons' groundbreaking remixes during the heyday of New York's disco era.Starting out as a DJ and known for his skilful manipulation of percussive disco breaks at his Galaxy 21 residency in Manhattan, Gibbons brought this ethic to his remixes from the start with his first outing for Salsoul, a re-work of Double Exposure's 'Ten Percent' which completely disassembled the track for the dancefloor. He developed a knack for drawing the rhythmic essence out of both the brilliant and the mediocre as tracks like Jakki's 'Sun... Sun... Sun' were transformed into unique abstract dancefloor beat edits.The tracks spawned a series of groundbreaking remixes, with many versions only appearing on acetate for his own personal use as a DJ including Gladys Knight's 'It's A Better Than Good Time'. He continued to work with Salsoul (Loleatta Holloway) and West End Records (Bettye Lavette) before branching out to include more leftfield material in his work - collaborations with Loose Joints' Steve D'Acquisto (Sandy Mercer), Steve Standard (Strafe) and Arthur Russell would all follow, a natural fit for Gibbons' uncompromising remix style.

After a short time based in Seattle during the late '70s, where he played at the Sanctuary nightclub, he returned to New York and, in his later years, he discovered God and refused to play records with a negative message. Tragically, he died of an AIDS related illness during the '90s, a largely forgotten figure.

Now revered as a true pioneer of the art of the remix, Gibbons' key releases are brought together on this essential celebration. Package includes sleeve notes by Tim Lawrence, author of the acclaimed 'Love Saves The Day', along with rare photos from across Gibbons' career as a DJ and producer.






[F] C2 | Arts & Craft I've Been Searching (Walter Gibbons 12" Mix)

In his late teens Rev. Gary Hairston wasn't only serving the Lord, he was also a member of funk outfit OPUS 7, that recorded the great album "Thoughts" in 1979. Although it was distributed nationwide, the group album was not very successful. In 1983 the Winston-Salem, NC native Gary Hairston delivered the now mega rare album "Chilling Out", his debut solo-album under the moniker GARY. It was recorded under the auspices of legendary musician/producer Harry Deal at his Galaxie III studios. Now the album is a well sought after electro, funk and boogie classic, and EVERLAND is proud to present the very first and official reissue of this previously almost unobtainable private press nugget.

The label focus on a specific musical need and want to offer a contemporary garage house,
raw and essential interpretation of some rare groove hits and other disco classics.

Master at: Reel Mastering
Pressed by: MPO
Artwork by: Riccardo Banfi and Mirko Pisanelli

Filip Nikolic and Jeffrey Paradise are good friends who are inspired by California, mezcal, dancing, good food, and friends. Filip is a Danish producer now living in LA who plays bass in Ima Robot, Jeffrey throws the infamous Blow Up party in San Francisco and used to be in the hardwave band the Calculators with Luke and Vito from the Rapture. Poolside's debut single Do You Believe' was charted by Todd Terje, Dimitri From Paris, and The Magician, and Dazed & Confused praised the song for its pop-tinged disco, brimming with optimistic vocals and retro acid synths,' while NME lauded its supremely casual decadence.' Take Me Home,' Poolside's second song to be released, was the first song on Aeroplane's In Flight Entertainmentcompilation.

ITALO-DISCO !!!VINYL 12"!!!REPRESS!!!

ITALO-DISCO !!!VINYL 12"!!!!REPRESS!!!

repress!

La Bestiole is a tiny little creature that love old and unusual dance music. Digging, cutting, gluing, and loving.

Repress!

Even if Hamilton Bohannon had never started his own solo musical project, he would have a long and rich background to his name. Before the 60s had ended he'd played in local bands with Jimi Hendrix, toured as a drummer with Stevie Wonder, and served as the bandleader and arranger at Motown, providing backing for top-like acts like Smokey Robinson, Marvin Gaye, Diana Ross, and many more. Gradually he made his way to Los Angeles to sign with Dakar Records in 1972, recording and releasing his debut album the next year, after recruiting a backing band which included session giants like Ray Parker Jr, Wah Wah Watson, Eddie Watkins, and Leroy Emmanuel, to name but a few. Stop & Go was released in 1973, and featured a tried and true formula of hard-hitting, bass-heavy, accented disco-funk. Although the album was only a muted success on the Hot 100 charts, it excelled on the club charts, making dancefloor hits out of tracks like "The Pimp Walk", "It's Time For Peace", and "The Stop & Go." It also featured Bohannon's most well-known tracks, in the club banger "Save Their Souls", which over time became a frequently-used well of sampling material, notably on tracks by Jay-Z, Large Professor, Kool G Rap, Public Enemy, and DJ Vadim, among many others.

There were several groups within the Detroit music scene that shared the name of 'The Holidays'. From the 1950's through to the late 1960's our version of The Holidays who took their name from a group members car, a 1954 Oldsmobile 'Holiday', would record for the Star-x, Markie, Master and Holiday record Labels. Founding member James Holiday would also briefly pursue a solo career with releases on the Markie, Syco and Blue Rock labels respectively.
In 1969 James joined by his brother Jack, a baritone saxophonist and the former leader of the band within influential Detroit DJ 'Frantic' Ernie Durham's legendary Gold Room at the 20 Grand Theatre. The brothers together, with Maurice White and former Contours member Joe Billingslea formed 'The New Holidays' who recorded the 'Popcorn' Wylie produced song Maybe So, Maybe No' (Soul Hawk 1008). This current in demand 45 featured If I Only Knew' on the flipside, an excellent cover version of a previous Jimmy (Soul) Clark recording If I Only Knew Then (What I Know Now)' This was recorded at a later session to Maybe So, Maybe No' and featured a slightly different line up with Joe Billingslea making way for a youthful Elliot Smith.
By 1972 The Holidays found themselves without a label, so they formed their own, Marathon Records. Their initial release was the excellent double sider I'm So Glad (That I Met You)/Too Many Times' (Marathon 257). Both songs were written by James Holland and Sylvester Potts another former member of the Motown group 'The Contours' and were recorded under the artist name of 'The Fabulous Holidays.
Into 1973 and their next release was the soulful ballad Getting Kind Of Serious' (Marathon 18475) a Fritz Hale and Fredrick Charles Hawkins composition backed with an instrumental version. Followed by Ego Tripping' (Marathon 18475) an upbeat funky little mover backed with the ballad Lazy Day' written by James Holland, Anthony Hawkins and Fritz Hale.'
During 1975 The Holidays resumed their acquaintance with former record store owner Ronald Holmes a collaboration which led to the release of another excellent double sider This Is Love b/w The Love We Share' on the Rob-Ron (RR-75) label. The Love We Share' was recorded twice. Firstly as the issued 45 version under the shortened title of The Love We Share' and as an unissued longer version under the title of (Been Together Too Long) The Love We Share' with slightly different lyrics. During 1976 a further Holland/Holmes collaboration saw the release of the message song Procrastinate (Why Do We)' (Ron-Hol 76). After this release Ronald Holmes and the Holidays parted company.
During late 1976 into 1977 the Holland brothers wrote and produced two further songs which they recorded with Charles Hawkins (a founding member of the Psychedelic Rock and Funk Band, 'Black Merda') The up tempo dance track You Make Me Weak' and the less frenetic Lost Love' although never issued at the time both songs can be found on the recently released Soul Junction cd album Getting Kind Of Soulful' (SJCD5012). A later discovery of a alternative take of You Make Me Weak' (Take 2) is now available on vinyl for the first time backed with their uptempo dancer I'm So Glad (That I Met You)' The Motorcity continues to yield its long lost legacy.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- INCLUDES INSERT
- FEATURING THE RHYTHM & BLUES
SONGS 'YES I'M READY', ' I CAN'T GET NEXT TO YOU' AND MOR

Dee Dee Bridgewater, real name Denise Eileen Garret born in Memphis, Tennessee, is an American jazz, rhythm & blues singer and has been recording more than 20 high class soul and r&b albums since 1974. She worked with many of the leading jazz musicians, like Chick Corea, Lenny White, Stanley Clarke and is a three-time Grammy Award-winning-singer-songwriter.

Memphis,...Yes I'm Ready is, in her own words, the going-home project' where she sings the classic r&b songs and honors her Memphis' born soul. The opening title-track Yes I'm Ready' was written by Barbara Mason and covered by numerous artists, Giving Up' was written by legendary soul artist Van McCoy, the hit-single I Can't Stand The Rain' was co-written by, and a smash-hit for Ann Peebles. Additionally there are more familiar songs, Don't Be Cruel' written by Otis Blackwell, Elvis Presley's Hound Dog', B. B King's The Thrill Is Gone' and all of the remaining tracks are fine examples of vintage Soulsville' standards.

This brand-new album was produced at Royal Studios, the Memphis studio where producer Willie Mitchell cut a string of hits with Al Green, Rod Stewart, Keith Richards, Boz Scaggs and even Mark Ronson's (featuring Bruno Mars) Uptown Funk' was recorded at the same facility. Willie's son Lawrence co-produced the sessions along with Dee Dee and her daughter Tulani Bridgewater.

Brooklyn's Dither Down Records presents Galaxians' debut long player Let The Rhythm In, available now on limited edition double gatefold heavyweight vinyl and download.

Firmly rooted in the club culture and dance lineage of their hometown Leeds, LTRI's eight tracks bristle and pulse with the same energy that the band's live performances have become well know for. The album's soulful, muscular sound resonates with a raw playfulness, and with the addition of singer Emma Mason in 2016 the band have forged a path to a sound steeped in the tradition of New York disco and boogie heavyweights such as Inner Life, Gwen Guthrie, and producer/writer Leroy Burgess.

Taken from his 'You Might Be Surprised' album from 1985 and produced by James Mtume with additional help from Tawatha & Philip Fields (of Aurra & Mtume) as well as David Frank (of The System), this 12 inch has long been sought after by Roy Ayers fans with the release changing hands for over £100 regularly on Discogs.

This mid tempo joint with forward thinking lyrics, a great 808 beat and beautiful chords is sophisticated, yet hood. Reissued for the first time, don't miss this opportunity to own this slice of mid 80's Roy Ayers.

Fernando Pulichino is no stranger to Leng Records. The bass guitar-wielding Argentine made his first appearance on the label five years ago via the cosmic disco/psychedelic rock fusion of Blue Impala, returning two years later with the similarly inclined brilliance of Giant Desert. Pulichino then resurfaced on Leng late last year with a superb, digital-only three-tracker called Natural 77.

Now he's back on wax, buoyed by the success of the acclaimed Shining EP on Is It Balearic
Recordings. This time round he's in Search of Indigo, shaping hazy, sun-baked soundscapes around his distinctive basslines, echo-laden synthesizers, meandering Fender Rhodes solos,
gentle dub vibrations and glistening, early morning jazz guitars. This is music for the heads, hips and feet, soaked in Fernet and left in the afternoon sun to slowly ripen.

Arguably the most arresting of the four cuts is the title track, a head-in-the-clouds vocal number rich in bubbly electronic riffs, laidback electro beats, ricocheting percussion hits, swirling wind
effects and rubbery funk-rock bass.

Pulichino's penchant for intergalactic disco shufflers once again comes to the fore on killer Sundown Visions', a saucer-eyed chugger that simultaneously throbs, pulses and sparkles
thanks to sparring synthesizer motifs and eyes-closed space rock guitars. We suspect Daniele Baldelli and Andrew Weatherall would approve.

Elsewhere, Pulichino indulges his passion for sofa-surfing jazz-funk on solo-laden EP closer Frontera', a relaxed and undulating jam rich in cascading electric guitars, fluid electric piano, delay-laden flourishes and deep space synthesizers. You won't know whether to lie down, dance enthusiastically or wearily shuffle, either way, play at sunrise or sundown for maximum
enjoyment.

The EP also boasts a first vinyl outing for the title track of last year's digital-only EP, Natural '77'. Seemingly partly inspired by legendary West Coast funkateers Steely Dan, it's a lazy, low-
slung affair full of languid guitar solos, freestyle vocal improvisations, bongo-laden drums and one of his most inspired and elastic basslines to date.

First album of MODOGSTA, the alliance of three French producers, Dj Mofak, Dogg Master & Busta Brown, is finaly available as vinyl LP. instrumentals / West Coast / Funk / Talkbox / Vocoder Produced and performed by Dj Mofak, Dogg Master & Busta Brown Mixed by Dogg Master Artwork by Amadeo 85

Pittsburgh-born Phillip Ballou's earliest years were spent in the gospel field, after he moved to New York City in the '70s, he teamed up with Bennie Diggs and Arthur Freeman, founding members of The New York Community Choir and singer Arnold McCuller to form the group Revelation. The quartet recorded for RSO Records, scoring some R&B success in the US with tracks like Get Ready For This' and You To Me Are Everything,' touring the Bee Gees among others. Phillip also sang on albums by NYCC recorded for RCA Records and continued with Revelation until 1982.Frequently hired for sessions in and around New York, Phillip teamed up with UK soul music journalist David Nathan (who he'd met in 1974 during Nathan's first US visit) and John Simmons, formerly a member of The Reflections, another New York vocal group to write a series of songs for his own proposed solo record deal. Although a contract did not materialize, one of the songs - Ain't Nothing Like The Love' - got some interest from famed Philadelphia producer Thom Bell who presented it to The O'Jays. Ultimately, the tune was turned down by Kenny Gamble and John Simmons, by then musical director for Stephanie Mills, recorded his own version for a small independent label in 1981.Phillip continued his own musical journey, touring and recording with James Taylor and Todd Rundgren. In addition, Phillip's name graced recordings by George Benson, Billy Ocean, Kashif, Nona Hendryx, Jonathan Butler, Teddy Pendergrass and Melba Moore, in 1981, he began recording with Luther Vandross and became a part of Luther's touring band for many years, as well as singing on productions by Luther on Aretha Franklin, Dionne Warwick and others, continuing his association with him until Luther's 2003 stroke. Phillip returned to his gospel roots in 2004 as Minister of Music at a Brooklyn church and passed away in March 2005, aged 55. Thanks to renewed interest in the John Simmons' 1981 recording on YouTube, David Nathan has uncovered several tracks from the 1978 and 1979 he did with Phillip and John including Phillip Ballou's original version of Ain't Nothing Like The Love,' gaining its first ever worldwide release as a 7' single on Nefer Records in association with Super Disco Edits

RECORD EXCLUSIVELY TO PLAY ON YACHTS AND IN OPERA HOUSES.
These songs were not born in the club, nor were they written by producers' algorithms. So where did these hits come from Maybe from poolside changing rooms (Aldona Orlowska is the Polish champion in butterfly style swimming) Or maybe from opera singing lessons with Professor Olga Olgina, the melodist born at the beginning of the 20th century in Tsarist Russia She feels as good in performing on yachts as in beautiful churches. Aldona marries the virtues of an opera singer and a disco star. She creates together with her husband, an outstanding instrumentalist and unconventional producer. They don't care about trends, they go where the music is. For a quarter of a century they've been splitting their lives between Malmö
and Mallorca, Swedish piano houses and beaches. Aldona Orlowska. WOW!

Selected Music from the album 'Brian Damage' , originally out in 1980. Comes with both versions from the 'Aeo' cut on the A side - check!

Next up on our album manoeuvres we head back up to Sheffield. "Hiem" are back with their 3rd album, the galactic cornucopia that is "Hotspace". It is a fine follow up to the 2013 "Escape from Division Street" released here on Nang. "Hiem" consist of dynamic duo of Nick Eastwood & Bozzwell (he was the live vocalist for "The All Seeing I" who scored a worldwide hit with "The Beat Goes On" in 1998).We have always thought of Hiem as one part grown-up dance pop, one part fine 80's tinged songs and one part slightly weird and quirky. The third album doesn't disappoint managing to cram all those descriptions (and more) across ten fine songs.Things open up with the recent single, the high fashion disco stomper "High Life". Pure Nang sound distilled down into one song. Driving bass, snaking sax and snazzy keys. Next it is a breather in the form of part one of the "Hotspace" song quadrilogy. Part one is a sombre scene setting piano piece sounding like a long lost Eno B-side from 1978. Next things kick off with the sparking night time shimmer of part 2, "Hot Space" itself. Percussive bass guitar and shimmering guitar wrap around the sci-fi themed tour de force.Keeping things stratospheric we next slow things down for some sub-orbital slow-synth grooves with "Oxygene". To close off the Hotspace segment "Telepath" looms large with its pending-alien-invasion groove and slow pulsing basses. After a quick flip of the vinyl we slip and slide with a slow snaking groove of "My Evil Friend". Channelling some 10cc Dreadlock groove the pair next give us "That Girl She Made Me Cry".On every Hiem record there is a that section of light relief. This time "Monkey Office" fills that space with a cautionary tale of 9-to-5-ism. To close off the album first is the Bowie-esqe low minimalism of "Gortlizer Park" and the slow perc-groove funk of "Sign Of The Times".Album three, locked and loaded. Check out the lovely red vinyl version!

Brand New Pressing Limited To 500 Copies. Quotes - " All I know is that it makes me want to dance " Craig Charles House Party, Radio 2 // "The feel-good album of the summer" 9/10 - Louder Than War // "Sheer musicality" Cerys Matthews, BBC 6 Music // "Beautiful new breaks" Nemone BBC 6 Music 'Recommends Day' // "A groove-driven masterpiece. Moog Maximus is The Bongolian's very best to date" Scootering / "Guaranteed to keep the party going" Vive Le Rock // "Brilliant, brilliant funk" Chris Hawkins, BBC 6 Music // MOOG MAXIMUS sees the welcome return of The Bongolian, AKA multi-instrumentalist and Big Boss Man front man Nasser Bouzida. His fifth album under the Bongolian moniker continues the musical journey where his last album 'Bongos For Beatniks' left off, taking us through the fractures of time like fellow traveller H. G. Wells. Nasser has now landed in ancient Rome, or is it on a set from Westworld All we know our hero is armed with a bank of vintage synthesizers with a legion of heavy grooves in this a wildly eclectic fusion of Funk, Soul, B-Boy Breaks, Jazz and Sci-Fi Boogaloo. It's receiving radio support from Gideon Coe, Cerys Matthews, Nemone & Chris Hawkins on BBC 6 Music (featuring twice on BBC 6 Music's 'Recommends Day') and from Gary Crowley on BBC London. Back in 2001, Nasser Bouzida disappeared into his studio and created a solo set of recordings which resulted in the birth of his alter ego The Bongolian. Drawing on influences of Funk, Latin, Soul and Jazz Nasser produced an inspired selection of recordings blending elements of grinding percussion and heavy Bongo rhythms. The eponymous debut 'The Bongolian' was released early in 2002 to much critical acclaim, and followed up by the albums 'Blueprint', 'Outer Bongolia' and 'Bongos For Beatniks'. The albums have become record box essentials for DJs, finding a wide appeal from Dance and Hip-Hop to Rare Groove and Funk 45s fans. Nasser has also assembled a high calibre five piece live band with which The Bongolian have toured USA, UK and Europe.

A side brings Ameega oldscool participation, while the B-sdie is a Solo Amadeo 85 Uptempo Funk pure groove ! Montreuil power !

Mysterious batch of edits from the east. Guaranteed heat for the most discerning of the dancefloors.

Kitschy Jungle - spiritual calypso gets layered up with live guitar, bass and keyboards to make a dancefloor ready, Nigerian style disco funk edit of a calypso classic.
on the flipside is Broken Flute - a fusion of prog rock and Afro funk with a mid speed rolling break to keep feet moving. All includes the usual live guitar, bass and keyboard performances from Andy Taylor himself.

Search the name 'Burnis Moleme' and the returns are sparse. You'll discover that his track 'Where Is The Answer' appeared on Soundway's excellent Nigerian disco compilation, Doin' It In Lagos. And there are a few entries about this PMG re-issue of Light My Fire. But other than that, he seems to have disappeared off the face of the earth. He's not even a minister of religion, the career path most Nigerian stars from the 80s chose to follow. Thankfully, we still have Light My Fire. Produced by former Funkee Jake Sollo and backed by a hot team of session musos including Friday Pozo, Nkono Teles and Joseph 'Jojo' Kuo, Burnis delivered a slab of slick Afro Disco Boogie for the ages. 'Boju Boju' and 'Where Is The Answer' would start a party on any dance floor, while the title track would keep you on it until dawn. Burnis had a sensitive side too, showcased on tracks like 'Scott Angel' and 'No Place To Hide'. I suspect Burnis Moleme was simply a casualty of the Nigerian label wars between EMI, Phondisk and Tabansi in the early 80's. Tabansi hoped that Burnis might be the next Kris Okotie, but Felix Liberty took that mantle instead. But that does take away from what 'Light My Fire' is - a beautifully produced slice of Nigerian disco boogie by a guy who could write catchy songs, sing like a sex god and look good in a shiny purple suit. - Peter Moore

Calling all students of late 70s Nigerian Boogie. Class is in and you're about to get schooled by music professor Josephine Mokwunyei, aka Joe Moks. Spotted by legendary producer, Odion Iruoje, and nurtured by his protege, Alex Tony Okoroji, Joe Moks pioneered a wonky, hi-tech style of funk that would become the sound of 80s Nigeria. Her album Boys And Girls is brash, bouncy and fun, decorated by scatty synth lines and propelled by the 'magic hand claps' of Nigerian rhythm legends Steve Black, Goddy Igidigi and Ifi Okwechime. The title track and 'You Look Without Seeing' are spaced-out party starters. 'Closer Than Skin' boasts a super slinky bass line and 'Love Is Gonna Pay' is a slice of Bony M Euro pop. And, just beneath the froth, strong intelligent lyrics demanding respect and equality. 'Being In Love Is Being Involved' was the blueprint of new kind of relationship Nigerian women were looking for. Joe Moks only made one album. She made a few appearances on Victor Uwaifo's TV show before becoming a professor of Music and Theatre Arts at the University of Benin. But forty years on, Boys And Girls remains a lesson in fun and intelligent Nigerian boogie. - Peter Moore

It's just over 3 years since we launched the Africa Seven label in Paris and London. Our first release back then (Airways One) is still our best seller and had to be repressed 4 times so far. Forty or so releases later it is time to take to the clouds again. Being the unimaginative bunch we are, the fourth installment of our African sky filled musical cornucopia is called African Airways Four (Disco Funk Touchdown - 1976 - 1983). This time around all tunes have the Disco flavour. As ever it's all about the music... the skies are wide and funky and the air is filled with musical goodness. Your flight is about to leave.

Your flight opens with a punchy disco funk assault from Paris based Cameroonian Tala AM. Here with his drive bass and guitar funk riff 1981 stomper "Get Up Tchmassi". Next up and staying with the Cameroonian connection is Eko with "Bowaa Mba Ngebe". The lyrics talk of accomplishing the things in life for your family and yourself. The sweeping strings and gloriously uplifting music matching the sentiments of the words perfectly. Uta Bella began singing in the 60's and by the time disco hit in the 70's she was already established a singer in her native Cameroon, here the locked on groove of "Nassa Nassa" is a perfect snapshot of the sound and the African disco times.

Charly Kingson (cousin of Manu Dibango) is next with his "Nimele Bolo". Recorded in Germany with the cream of Munich's session musicians the bass synth is out in force on this one. Punchy brass, rock solid grooves and jazzy Rhodes add all the right ingredients for a fine disco synth excursion. Next is the musical heavyweight from Cameroon cousin Manu with his 1978 Disco, jazz funk masterpiece "Sun Explosion".

Side two opens with a blast of Elvis Kemayo and his piano and guitar funk bomb "Biram". Next Momo Joseph gives us "Africain". Best known in France as an actor, this disco funk groover was released on his self pressed LP "War For Ground" in 1983. A true gem indeed. Nigerian, ex Funkees member Jake Sollo is next with "Tinni Yanana". Recorded in the UK in 83 its slick and smooth with a hint of "at the car wash" groove. Pierre Didy Tchakounte follows on with his soul funk 'golden years' style groover "Soul Magabe". Produced by one of our favourite Parisian producers Slim Pezin. We close off our journey with the tribal chant disco-funk special from the Monstars "Funny Saga".

Ladies and Gentleman, we have landed at your destination, please remain seated until the aircraft has reached the terminal. We look forward to welcoming you aboard Africa Airways again soon.

Nigeria's Kingsley Bucknor's 'Just U and Me' LP gets the long-awaited reissue treatment from Melbourne's Left Ear Records. After cutting his teeth playing with Fela in the 70's and releasing two afrobeat LP's Kingsley travelled the globe before finding himself in London, it's here that he laid down 6 distinctive electro-funk tunes inspired by African rhythms and music he'd heard through his travels in the States and in Europe. Originally issued on Kinglsley's own KAB records in '85 and according to Kingsley the release was well received at the time, but due to constraints of international marketing the record remained mostly unknown outside of his homeland. Fast-forward to 2017 and the stage is set for a new global audience to appreciate the distinct sound of KB.

Pascal Garnier aka Krewcial is a Belgian beat maker turned MC turned producer turned DJ.
He's been dropping soulful music on labels like BBE, PIAS, We Play House and Lumberjacks In Hell since he began in the early 90's.
Lately he's been focusing on more disco(ish) sounds and on this first EP on GAMM, Krewcial goes all over the place with a wide range of disco inspired edits.

You get everything from vocal NYC disco, jazz-funk disco, philly disco and beautiful mid tempo groover...all very soulful of course!
Proper Dj action with some real nice artwork by our in house maestro designer Michal Rafaj.

Nick The Record is one of the UK's most respected record dealers as well as a highly gifted DJ that have worked the inner circles of the underground disco, afro, soul, funk and house scene since the early 90s.

For those who don't know he was 1/2 of Soul Ascendants that released some serious Fela inspired house on Nuphonic Records in the late 90's.
He's currently enjoying a well deserved hype due to his heavy compilations on Z Records and various remixes.
For his first release on GAMM he goes all disco with two big reworks that are sure to get the heads moving.

Lifeforce Theme is a tribute to the Japan collective where he's been a resident DJ for over 20 years.
Recordnition is a heavy percussion'n'philly disco burner that got that deep NYC disco feel all over it.

Nick definitely got THE records.

COLLECTOR'S EDITION, FLOURESCENT HAND SILKSCREENED JA

It is time for the Nang and Rayko worlds to collide once more. The awesome Madrid-based DJ and producer is back with his second album on Nang. As ever the grooves are wide, the beats are large and the musical elements ooze funk and nu disco sheen.

Thing open up with the title track and recent single "No Stopping". The track features the fine vocals from Tania Haroshka and it is a powerhouse of synth disco, electronic groove with real bass guitar and darting guitars giving it just a tint of Miami Vice sheen. 2016 single "Crazy" is up next with it's catchy hooks and counter melodies. It comes with just the right amount of good-time groove to bring a smile to any face. Things tone down "Robot Life" which is a creeping synth fest with wandering grooves and chunky drums.

Danielle Moore features with a fine vocal on a 'pure Rayko' style classic "Cosmic Pirate". Muscular basses and darting guitars being deployed to maximum effect. "Ocarina Of Time" is next with its layered complexity and stabby synth bass notes.

Tania Haroshika returns for the final trio of tunes on the album. Her fine vocals melding effortlessly with the slick production from our hero. First up is "HOT" which builds the music slowly adding layers of multi tracked guitars and real bass before breaking forth into song. "U" sneaks in from the leftfield with its quirky strings and arpegiated synth-clavi lines. The album closes with the (slightly) melancholic and pensive groover "Space Boat". Tania adding a brooding vocal over a pulsating juno style bassline.

A fine effort from our Madrid based hero who once again shows everyone what this "top-of-his-game" DJ-producer can do with some guitars and keyboards. Bravo

Black Ivory was the pride of Harlem - and New York's answer to the Philly-Fine Delfonics - but with in­nitely more teen sex appeal. This silky-smooth 70s harmony trio featured the fabulous falsetto lead of Leroy Burgess (nephew of Philly soul legend, Thom Bell) and charted four top-40 R&B singles and two top-30 LPs under the guiding hand of their manager and TODAY records' driving force, Patrick Adams. Songs like, You and I', Time is Love' and Don't Turn Around' (which they performed live on Soul Train) are acknowledged Sweet Soul classics. And as the decade progressed and tastes changed, they successfully conquered the disco dance-oors with fave-raves like, Mainline' and Walking Downtown (Saturday Night) for BUDDAH records - which were liberally sampled by the Hip-Hop generation - a true testament to the staying power of their incessantly soulful sound.