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When it comes to underground New York Disco, Donna McGhee's highly sought-after 1978 LP, "Make It Last Forever," ranks among the best in the genre, thanks to Donna’s singing and the production skills of legendary producers Greg Carmichael and Patrick Adams.

Featuring five songs penned by the producing pair, it's got their quintessential Disco sound of the late 70s topped by Donna McGhee's superb vocals. These have also blessed recordings by The Fatback Band, Phreek, Bumblebee Unlimited and The Universal Robot Band around the same time.

The album has been an elusive affair since it first came out in 1978 and this is one the first times in decades it is widely available in its original form with newly remastered audio. Donna McGhee has been one of the key female singers of the New York disco scene, gracing several cult albums with her superb singing. The Brooklyn native began her career singing Gospel in her grandmother's choir from an early age, honing her skills and making a name for herself locally as a talented singer.
Her first break in the industry came when she was spotted by bass player Johnny Flippin, who invited her to join his band.
The group was none other than The Fatback Band led by drummer Bill Curtis. This was 1975 and the album was "Raising Hell."

McGhee's vocals can be heard throughout the album including the dancefloor classic "(Are You Ready) Do The Bus Stop" and after this initial collaboration, she stayed with the group for a another few years recording “Night Fever” in 1976 and touring with them all around the country. Following an encounter with producer Greg Carmichael, Donna McGhee jumped ship and started working with the prolific producer and his partner Patrick Adams.
A string of collaborations followed with singles and albums that have become the stuff of legend over the years: Donna can indeed be heard singing with Bumblebee Unlimited, Universal robot Band and on Phreek's classic self-titled album from 1978, singing on the track "May My Love Be With You."
In 1978, After Greg Carmichael set up his own label, Red Greg Records, he and Adams decided to get McGhee in the recording studio and produce her first solo album. With the pair playing most of the instruments, they got five tracks out of the session. The result, "Make It Last Forever" is an all-time Adams/Carmichael classic: funky disco arrangements with a touch of synths over a pulsating groove magnified by McGhee's superb sexy singing.

All five tracks have become classics in their own right.

The first artist other than label head Patrick Topping to release on TRICK , his Geordie compatriot Adamson delivers an eclectic mix of tracks. The EP opener and title track, ‘Electric Acid Tater Tots’ is an acid-soaked techno slammer, strung together by Elliots own robotic vocals. Skream then steps up to deliver the labels first ever remix, a trippy, high-energy workout, before the Electric Acid Tater Vox offers a stripped-back vocal version which is available exclusively on the vinyl. Over on the B-side, ‘NYC Dada’ is an infectious disco-house edit destined to fill countless dancefloors, then ‘11am in Brisbane’ delves into melodic techno waters.
“I don't recall writing the lyrics, but I like to believe they appeared in the notes in my phone delivered by some divine spirit via the medium of an Apple iPhone XR - cheers Steve,” Adamson jokes. “About four instrumentals existed for about four weeks and I would often find myself standing on the table at parties singing out the lyrics excitedly trying to explain that 'this is my song.’” - Elliot Adamson The record is also accompanied by two exclusive bonus tracks. Lesgo Lesgo Lesgo is a true techno odyssey and bonus purely for digital copies of the EP. Then, there is the Electric Acid Tater Tots (Acid Mix) , a secret dubplate that has only been sent out to a select number of DJs. A true weapon for the warehouses.
“Elliot had to be the first artist, other than myself, to release on TRICK!” Topping enthuses. “ I’ve been championing his music for years and this release has been a long time coming. He’s now helping me A&R and is a resident at the label parties. His EP genre-hops and this is what TRICK is all about.” - Patrick Topping

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

‘Just rain! Tell that to the dolphins!’
The brand new first-time vinyl edition of The Hitchhiker’s Guide to
the Galaxy: Quandary Phase comes on heavyweight blue vinyl,
packaged in the lavish style of the preceding Primary Phase,
Secondary Phase and Tertiary Phase LP releases.
Here, for the first time ever on vinyl, are Episodes 19 to 22 of the
BBC radio series. First broadcast in 2005, the Quandary Phase is
based upon the Douglas Adams’s fourth novel So Long, and
Thanks for all the Fish. This is the first ever publication of the
original radio edits of the Quandary Phase, as heard on their
original Radio 4 broadcast.
Hitching a lift back to Earth after it miraculously reappeared, Arthur
Dent returns to his cottage and tries to resume normal life. But an
encounter with a striking woman named Fenchurch leads to a
series of unanswered questions. Why has the planet’s entire
population of dolphins vanished, leaving behind them some very
charming crystal bowls? Who is Wonko the Sane, and what is
God’s Last Message to His Creation? Meanwhile Ford Prefect is
Having revelations of his own, and as for Marvin the Paranoid
Android…well, just don’t ask. Suffice to say, things may never be
the same again.
Starring William Franklyn as The Book, with Simon Jones as
Arthur Dent, Geoffrey McGivern as Ford Prefect, Bill Paterson as
Rob McKenna, Jane Horrocks as Fenchurch, Sandra Dickinson as
Tricia McMillan and Stephen Moore as Marvin the Paranoid
Android, with a guest cast including Arthur Smith, June Whitfield,
Stephen Fry, Jackie Mason, Rula Lenska, Patrick Moore and
Christian Slater, with music by Philip Pope and Paul ‘Wix’
Wickens. Adapted, Directed and Co-Produced by Dirk Maggs
Two 180g heavyweight coloured vinyl discs are presented in
illustrated wallets inside a rigid, bound 20 page book, including a
moving tribute to Douglas Adams written by Stephen Fry and
sleeve notes by Jem Roberts, Adams’s official biographer.
‘Whoooo…I’m flying…’

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, its catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

High Voltage is one of the more familiar names in the P&P / Queen Constance galaxy. Led by Peter Brown and Patrick Adams right hand man and producer Michael Campbell who presided over some of the biggest and best sides the labels put out. This one is a must, essential, do not sleep business. 11.00 minutes of Disco fury! One is forgiven in thinking that this would've been huge had it have come out on one of the 'bigger' Disco labels, but that hasn't stopped 'Rock, spank, freak' becoming a true blue club anthem. Appearing in the playlists of DJ's and selectors as diverse as Larry Levan, Danny Krivit and Daniele Baldelli. Rough n'ready, unpolished but musically explosive the sounds contained on this here 12" are indeed High Voltage! As with a lot of these jams, this one's been badly bootlegged, so ignore those wack counterfeits that are out there and bag you a fully licensed reissue of this absolute bomb. Dope.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

The wonderfully monikered Golden Flamingo was one of many labels operating alongside the now legendary P&P Records imprint in late 70's to early 80's NYC. Fans of deep Disco, raw gritty Soul and rare as hen's teeth Electro and early Rap know of the cult status of it's brief but influential output and in recent years the P&P label and it's associated entities have enjoyed further popularity through the exposure of it's music by some of the world's most respected DJ's and selectors, and rightfully so. An amazingly lo-fi, endearing and overtly underground aesthetic runs through all of the labels, from the label artwork down to the music itself. This style is evident on Margo Williams' epic 'God Save And Protect All The Children', a colossally rare 12" from back in 1980.
A huge, drifting soulful Gospel number, 'God Save...' has been an oft overlooked gem in the wider P&P related catalogue. Not much info is known about Williams other than she contributed backing vocals to some classic Disco records including Inner Life's 'Inner Life II' and The Salsoul Orchestra's christmas LP as well as appearing on other P&P projects. The production on this record was handled by the absolute powerhouse duo of Peter Brown and Patrick Adams so it oozes that amazing quality that these 2 legendary studio figures brought to all of their projects - the trademark P&P sound. It's all here in this beautiful stirring plea to the lord to look after all of us set to some incredible arrangement and production. It's obvious these self-made music industry legends were at the top of their game back then and one only has to explore the rich and diverse catalogue of amazing music they've given us over the decades. Absolutely essential repress action here.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK. Housed in original 1980 release full sleeve artwork.

Dublin based disco imprint Fatty Fatty Phonographics return with the 4th instalment of their 'Downtownsounds Classics' series, this time throwing three stone-cold classics onto one 12, all given the re-edit treatment by in house producers Pablo and Shoey.
Voiced by Leroy Burgess, with drums by hip hop legend Marley Marl and production by The Aleem Brothers, 'Release Yourself' was a huge across-the-board anthem in the clubs of NYC on its release in 1984.
The lads have superglued elements of both the vocal and dub sides together for an epic end of night take on this beloved classic.The B side features two under appreciated classics from the pen of one Billy Nichols, a man known for his work with West End Records (the Levan mixed 'Give Your Body Up To The Music') and the funky band of brothers that was BT Express.
On 'Take Me...' Nichols' hooked up with disco master Patrick Adams for an emotional, string drenched disco belter that has found favour with the likes of Dimitri from Paris, Floating Points and Hunee.While 'Dance If Off' is a wonky proto Acid-Disco trip beloved of Rahaan and Eric Duncan of Rub 'n' Tug. With copies going for over 300 euros, you can do your bank account and your dancefloor a favour here...