disco . italo . cosmic . disco-not-disco . boogie


Genre pick of the week Cover of EP 11 by Ste Spandex.
Il Bosco takes aim and fires the first missile in a barrage of Red Laser releases scheduled over the next few months, enlisting Manchester's hardware mangling madman Ste Spandex to cause maximum devastation. True to the Spandex manifesto, frequencies are pushed to the extreme, testing the limits of both your hearing and your hi-fi. This EP is a fascinating collision of diverse dance music aesthetics which bristles with energy and passion. As usual all the tracks are live takes with various hardware working overtime from Ste’s orchestration.

The A-side sees Ste utilising the vocal prowess of long time collaborator Sarah Bates on two floor pleasing cuts, "Soaking Wet" a peak time workout with tightly sprung drums and whirling effects and "Breakin My Heart", an addictive bubbler that melds house and boogie sounds while the vocal takes entre stage. The B-side opens with the low tempo throb of "Gotta Move", an 80s-esque grinder which sees pumped bass rub up against squelched keys and peaky riffs. Spandex closes the EP out with the temporary bliss of "Nice Weather", a short and sweet movement of shuffling drums and swerving synth action, which rounds the package off perfectly.


Stay Shape, Make Some Love

Holy Shit!!!  The third release on Tiago's Outerzona13 imprint is in store and ready to lay waste to dancefloors all over the globe! Black's debut was one of the stand out 12"s of last year, so this highly anticipated follow up couldn't come soon enough! Edits? Yes, but out of the ordinary, and out of this world! We get straight into the pudding on the A1, as Black pulls out the Ron Hardy approved "Living Together" by Michael Jackson and brings the disco funk odyssey right up to date. Boasting the same raw, raucous and soulful feeling as Theo's "Get On Down" edit, "Good Time" skips between euphoric vocal passages, deep disco grooves and spine tingling, all treble guitar licks. This is already the best edit record of the last 12 months and we're only one track in! The quality stays sky high as we move on to the A2 with Black working his magic on Brenda Harris' deep disco nugget "Making Love Will Keep You Fit". The bouncy bassline and savage clav weave a spell around clattering percussion while the raw wah guitar takes a back seat, popping up every now and again to funk you up. Brenda's sassy, sultry and sexy vocals get you peaking from the first stanza, before settling into many a moan over the serious instrumental grooves. Flip the disc, don your spacesuit and prepare to blast off into a distant jazz-funk galaxy as Black trips us out to the sounds of "Macho Macho". Setting the dial to a stately 105bpm, the producer utilises a devastating bassline to lull us into his hypnotic groove, before blowing our mind with a swirling cycle of sultry vocals, swooning strings, jazzy brass and Hardy-esque FX abuse. Sublime from start to finish, Black's second EP on Outerzona13 is as good as it gets!

After a recent excursion on Theo Parrish's Sound Signature label these two pioneering legends of UK music return to Eglo Records for another heavyweight jaunt through broken house and boogie. Those with their finger on the pulse, and head in the bassbin for that matter, may well be aware of EP opener "Black Is Key", which has been making serious noise through the underground over the last few months. Skipping beats and a bubbling bassline hold down the rhythm section, while stabbing keys and soulful vocals hold it down in the foreground. Once we're locked in, Dego & Kaidi gradually turn up the pressure with glittering sequences and almost spiritual arps, reminding me of the finest Rotating Assembly releases. "Man Made" follows on naturally with the wonkiest funk this side of a Sound Signature release, combining a jazzy drumbox rhythm with diminished keys, G-funk sine waves and a concentric bassline that runs rings around the competition. On the flipside, the deep, boogie tinged house of "Orbiting Uhura" sees the duo taking a leaf out of the Floating Points book, delivering a full blooded hit of bass heavy, mid tempo brilliance. Jazz chords, a bubbling bassline and Roy Ayres keyboard riffing come together in a glorious union of soulful dancefloor brilliance. Closing the EP out in sunnier style, we get the skipping, broken beat beauty of "The Vault Descends", a laid back number perfect for the smokers out there. It's another stone cold classic to add to a long and rich discography. 

Back in stock Cover of Drug Chug / Shone - Inc. Craig Bratley / Neil Diablo Remixes by DJ Rocca & Chris Massey.

DJ Rocca & Chris Massey

Drug Chug / Shone - Inc. Craig Bratley / Neil Diablo Remixes

Starting off 2014 with an Italian / Manchester collaboration, the third release on El Diablos Social Club sees DJ Rocca (Ajello, Erodiscotheque, Crimea X) & Chris Massey (Electric Elephant, Paper Recordings) join forces to bring us a selection of spaced-out, chuggy goodness with just a bit of a nod to certain Croatian festivals. "Drug Chug" kicks things off with a plodding 4/4 infused with cosmicesque swooshes and whooshes along with a bassline to rattle the Funktion Ones whilst synths reminiscent of The Time And Space Machine add that much needed touch of psych to proceedings.

"Shone" takes the party to late night in the club where spiky 909 percussion meets chunky analog basslines before dropping in with distorted and reverb drenched piano chords that guarantee to leave a lasting impression on both the head and heart!

Remix duties come in heavy on this release with Craig Bratley dusting "Drug Chug" with his own style of studio fairy dust to knock it up a notch that will surely please those who have followed his sounds on Andrew Weatherall's Bird Scarer imprint, Robsoul, Foto, Is It Balearic, Instruments Of Rapture and his own Magic Feet label.

Lastly EDSC's very own head honcho Neil Diablo tackles "Shone" laying off the epic-ness and brings a straight up basement chugger!

This release has grit and oomph balanced with a good helping of sunshine infused warmth that will ensure its place in the boxes of both house heads and Balearic peeps all over!


David says: Conceived in the dying rays of an Adriatic sunset the new El Diablo's record is perfect for everything: beach bars and boat parties to Mancunian basements in February.

The Faze Action brothers released their glorious fifth studio album "Body Of One" in 2014 and to continue the celebration they have recruited some heavyweight talents to give their spin on three tracks from that album. First, Simon and Robin take on the remix duties of "Magic Touch" themselves, giving the track a dub house reboot that could be the sound track to countless sunsets this summer. Next up is a deft dub mix of the same track by Maxidiscs cohort and globe trotting DJ, Dicky Trisco. Reducing the track to its key elements, then dousing them in echo, Dicky delives a killer version that chimes with your favourite Francois K remixes on Prelude. On the flip side you'll find Balearic powerhouse Phil Mison, remixing "Echoes Of Your Mind" into an electronic, down-tempo feast with additional bass, guitar and keyboard played by the man himself. The final mix on this 12" is provided by Emotional Response curator and head honcho Stuart Leath, who adopts his Chuggy guise to deliver an organic dub mix of "Floating World", which is like Sakamoto at sunset.

Back in stock Cover of Funsick - Inc. Ron Basejam / Begin / Neil Diablo Remixes by Lup Ino.
After nine years at the forefront of Manchester’s all-conquering underground disco scene, El Diablo’s Social Club take the next logical step on their daredevil journey to rack‘n’ruin with the launch of a brand new original material-focused record label.

The debut release in this auspicious series is ‘Funsick’, a lovely little hip grinder from Italian nu-boogie producer Lup Ino, plus three choice remixes from El Diablo’s stalwarts Ron Basejam (aka Crazy P’s James Baron), Begin (Back to Basics DJ James Holroyd) and EDSC mainman Neil Diablo.

Ron Basejam serves up the headline mix - a deep and chunky brain-bugger that will send Croatian coastal boat parties into an unseaworthy frenzy, whilst Begin turns in a much woozier affair - all floating, disembodied vocals and Valium-enhanced washes of synth. Neil Diablo’s own 'Luv Dub' is just that: a dubbed-out, loved-up, stripped back version of the original that makes every bass lick and 808 cowbell count.

Limited to 500 copies, ‘Funsick’ will be a big turn on for Dam-Funk followers, fans of the PPF boogie and 80s soul-heads everywhere. Dig in.


David says: Brilliant first release from Manchester's El Diablo's with a sublime Begin mix from James Holroyd of Back to Basics fame. Music to melt to.

Leeds finest purveyors of fine underground music and delicious pastries, Joe's Bakery, present undiscovered balearic beats, cosmic curveballs and obscure oddities from around the world on their latest outing. "Can't Explain" opens proceedings with the dancefloor in mind, treating all and sundry to the sleazy, coke-fuelled sounds of the new wave discotheque. The seductive pop vocals are right at home amid the scuzzy guitars, skewed organ and stomping beat, perfect for getting the pulse racing. The hilarious named "Mamba Gascoine" rocks our socks off with a swampy krautrock groove, driven by its low slung bassline straight into Andrew Weatherall's record bag! On the flipside, we find the Emperor Machine in full effect, going for the jugular with two killer mutant dancefloor remixes of the title track. Meecham dissects the elements of the track over a trademark zero gravity beat while adding a wonky, warped synth lead to take the track into the land of wormhole funk.

Back in stock Cover of Colours  - Inc. Dr Dunks Remix by Joe Morris.
The second release on Neil Diablo's El Diablo's Social Club imprint comes straight out of West Yorkshire from Leeds' very own Joe Morris. Joe has been has had releases on 3am, Midnight Social, Nang and Paper and also produced an exclusive track in the summer of 2011 for the 'We Love…' mix CD series. Joe sent Neil this EP and he was so blown away that he was instantly signed up for EDSC.

Joe is one half of the promoting team of respected Leeds club night polaroid and is now involved in new night Clandestino who are bringing the likes of A Love From Outer Space to the murky streets of West Yorkshire. Colours is a Nu Italo crazy arpegiated, string laden, acid lazer bomb which has been exploding on dancefloors over the last few months. On the remix tip is El Diablo's favourite Eric Duncan with his 'Dr Dunks Disco Detour' version. A heavier New York style disco beat plays nicely over the arps with the acid line being used to maximum effect. Also not to be missed is the little 105bpm Balearic gem 'Heart Strings' on the flip which will probably be getting played on a beach near you (Ainsdale?) this summer and rounds the package off very nicely.

Early DJ support comes from Pete Herbert, Eric Duncan, PBR Streetgang and Crazy P.


Side Trakx Vol #3

The main man Omar S is back in top future soul form with this knock-out 45 on his ever reliable FXHE imprint. "4 Uuuuu" sees the Detroit master combine a sombre bassline, sparse drums and gloomy synths into a moody soundscape worthy of Prince at his most weird. Into this alien environment strolls John FM, primed and ready to deliver a totally heartfelt vocal which could bring a tear to a glass eye. The B-side plays host to "Another One 2 Love", a smooth boogie ode to promiscuity which swaps the melancholic for the erotic via Omar's breezy instrumentation and James Garcia's sleazy vocal.


So Hard To Find / The Right One - Kenny Dope Remix

This is the first official reissue of Pazazz’s deep disco two sider, originally released as an obscure, promotional-only 7” single in South Florida circa 1980. And, while it took nearly two years, this 12” contains the excellent Kenny Dope's remixes of both tracks. Naturally, Kenny brought the funkiest parts of each track to the fore and, while they're DJ friendly, they're now our preferred way to listen to these tunes. Tony Castellanos (guitar and vocals) and Tim Boynton (bass and vocals) founded the Zanzibar band in Miami, Florida, in 1974 for gigs at the Bahia Cabana Hotel in Ft. Lauderdale, with the addition of Rick Gritz (drums and vocals). Inspired by the likes of Bill Withers and Steely Dan, Zanzibar played a soulful series of club dates and private parties as well as a their requisite beach hotel gigs at Miami area staples like the Fontainebleau, the Eden Rock and the Marco Polo hotel. In the late 70s, Castellanos changed the name of the band to Pazazz and, while the band was working for the Norwegian Cruise Line, he penned the band’s first single “So Hard To Find.” This and “The Right One,” written by interim drummer Al Varon, who played on the single, were recorded and readied for release on a silver Pazazz label, complete with picture sleeve. It wasn’t until Castellanos received five hundred copies of the single that he realized that the record was flawed. He demanded a second press run – this time issued on a red Pazazz label - but it too was, in Castellanos opinion, flawed. So the band decided against any sort of release, opting to gift copies of both versions to fans at their gigs. The band split in 1981 and forgot about their single until Los Angeles record collector Mike Vegh found a random copy of the record and, impressed by the steady funk of Pazazz’s soulful disco, tracked down Castellanos and brokered the purchase of the last remaining copies of his records. Vegh connected the label with the man and we’re all lucky to receive Pazazz’s small, but great, catalog on this special 12”.

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels. First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth it, as Diego takes the crazy afro-stylings of "Afrobotics" and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians, Cole MGN. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on "Shockers" is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind. Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of "Underdogs", Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr Ruscha.

Back in stock Cover of Nightsun / Laughing Jazz - Inc. Ruf Dug / Seahawks Remixes by Shadow Kids.
El Diablo's Social Club follow the ALFOS rocking MancTalian connection of 003, with some sonic waves beamed down from the furthest reaches of our galaxy. Shadow Kids (Mike Simonetti and Secret Circuit) took a peyote fuelled trip down to the cold and barren flats of Chile in a beat up VW Camper packed with analogue gear, energy drinks and as much of Radio Shack's dead stock as they could cram in, gripped by the obsessive desire to intercept the cosmic transmissions from the distant reaches of our galaxy and translate them into a sonic language we can all understand. "Laughing Jazz" starts off proceedings with an infectious string arrangement that rides the wobbly baseline like a pro cosmic surfer before out of nowhere a Chicago tinged piano creeps into the mix to bring things back from space and onto the dance floor. "Nightsun" plays out like a theatrical play of different sections and is intriguing from the first beat (although it is over 2 mins before the 4/4 kicks in!) and continues to surprise throughout its 8 minute playing time, with psyched out melodies, snappy percussion and a 'womp womp' bassline before entering a final stage that goes for an almost heads down vibe. Ruf Dug emerges from an interdimensional wormhole to turn in an excellent wobble boogie version of "Laughing Jazz" that takes in disco elements whilst punchy piano chords keep it hooky. Ruffy gives the track a little extra panache by rerecording the vocals and drives us direct to the dancefloor with a killer bassline sampled from wherever Glimmers nicked "You Rocked My World" from. Lastly, cosmic disco's branch of the David Icke appreciation society (or Seahawks as they're more commonly known) do the seemingly impossible and crank up the psych meter to full throttle making "Nightsun" an even grander experience with a running time of just over 12 minutes! The listening equivalent of Lord Of The Rings, this is epic, beautiful & an absolutely stunning piece of work.

Back in stock Cover of To Rack & Ruin Volume 7 by SHMLSS.
Manchester's disco flagship To Rack & Ruin returns to a floor near you with this irresistably groovy double header from Utrecht duo SHMLSS. The vodka drinking, beard wearing pairing of Bart & Michiel are on their way to worldwide club domination after a couple of winners on Disco Deviance and Midnight Riot, and Evil K'Neil must be as pleased as punch to have plundered this edit doubloon on his journey atop the high seas.

Now, I have to say that edit land has been over run with house bump and mid-tempo chug of late, so it's a delight that SHMLSS keep it real, and keep their disco-edits suitably disco! The A-side kicks off with the rhythm section perfection of a simple 4/4 backbeat and rolling bassline before the introduction of little piano motifs, big strings, funky guitars and super cool vocals blasts the track off into mirror ball orbit. Tight as cramp throughout, this funked up workout does everything a good disco record should, with no frills there to distract the dance. Dope. Now, I don't suppose anyone brought their space suit to the party? Well, you'll need it for the B-side. SHMLSS take on the camp brilliance of the Peter Jacques Band's "Counting On Love", dubbing and extending the intro with maximum emphasis on those space age synthlines. As the track develops, the duo unleash the maximal dancefloor brilliance of the original, dropping endless piano solos, vibrant horns, and that walking bassline. The vocal part drops as the track hits the halfway mark, just in time to get all the hands aloft, before the heads down peak time brilliance of the latter stages takes over and blows you away. A total tonker for the true disco heads, this one's gonna get hammered for years, mark my words.

Razor N Tape continue their sensual assault on the dancefloor with another superlative edit opus, this time from the mysterious Tom Of Finland. Apparently one of the most influential erotic artists of the 20th century, Tom shows off his virility, poise, posture and prowess over a quartet of disco heaters, slow burners and summer anthems. It's in the latter category we begin our journey, with the sunkissed jazz funk of "Summerjam", a feel good floor burner topped with gorgeous vocal harmonies and an endless sax solo. The smooth keys and wah guitar weave their way around rattling percussion and a walking bassline providing vibes for days. The A2 sees us head into the psychedelic swirl of the tropical dancefloor to shake our body down with a certified "Disco Maniac". A sizzling disco groove emerges from the crowd chatter, samba whistles and percussive riot, before Tom chops, loops, slices and dices with wild abandon, turning the club into a tripped out mess via echo, reverse and filters. As we skip to the flip we're whisked head first into a looped up, funked out filter disco wormhole at the hands of "Dreamin Again". The tough beat and tight loop builds and builds until it's almost too much, then our Finnish friend lets loose with the full hands in the air power of the diva vocal and pushes us to the peak! "Heavy Danse" closes the set in stripped back fashion, getting the spot hot with little more than the rumble of tumbling percussion, a deep bassline and a female vocal. Bravo.

For the third Whole Truth EP, the nameless producer is joined by LA vocal duo Lucid Paradise, otherwise known as Ishtar and E. Da Boss (the latter is best known as the deep-voiced half of Stones Throw's Myron & E), for four tracks of dancefloor delight. "Party Down" takes the same approach as the Tom Noble mix of Myron & E's "Do it Disco", bringing beautiful modern soul vocal stylings to a limber groove that could have graced West End Records in '81. The pair also duet on "Who's Taking All The Love?", trading lovelorn vocals while The Whole Truth flexes his dub muscles and drops some deeply burnt chords, which come into their own on the B2's "Memories Of Love". If like me, you're smitten with the proto house genius of Mark Seven's Parkway project, I'd suggest you take in the sights and sounds of A2 cut "Keep On". Bumping out the speakers like a lost collaboration between Boyd Jarvis, Timmy Regisford and Francois K, the track utilises a meaty bassline, dubby percussion and trippy lead lines to take us to the heart of the dancefloor. After gaining exposure on 6 Music with his previous 12", this latest EP should continue the upward trajectory of The Whole Truth.

Greg Wilson Feat. The Reynolds

Summer Came My Way - Inc. Walter Ego Remix

Having been one of his biggest festival tunes in the summer of 2014, the Luxxury mix of Greg Wilson’s 'Summer Came My Way' - which originally surfaced on last year’s Schooled In The Classics 12” - was put on the back burner throughout the winter in readiness for a full 2015 release. Juxtaposed by Walter Ego’s equally sublime take on the track, the release marks the first of eight records to be issued over the summer months.

Sometimes composition is a long and arduous process, other times a song arrives fully formed. The latter was the case for Greg when he imagined Summer Came My Way as a vehicle for hitherto unknown vocal forces of nature, The Reynolds - twins Katherine and the song’s lead singer Carmel - who, by beautiful serendipity happened to live within a mile of Greg’s Merseyside home.

Bursting out of LA with a lavish twelve-part re-edit series last year, Luxxury’s brand of hazy, slo-mo reworks - a West Coast Balaeric fusion - has catapulted him onto the world stage. Opening his mammoth eight-hour Berghain set in 2013 with Luxxury’s Hotel California rework, Greg helped bring his Los Angeles vibes to wider attention, bolstered by his subsequent support of other reworks; Night Fever and Riders On The Storm.

A victim of his own success,Hotel Californiagained Luxxury a little too much notoriety and, after a Wall Street Journal interview began circulating, Warner came down on him like a ton of bricks on finding out he’d used The Eagles’ multitracks. All was resolved however and he’s currently recording his forthcoming album, with great things expected for 2015 and beyond. The Luxxury approach perfectly fitted Greg’s vision of the song and the result is a glorious nine-minute epic, just in time for the summer.

With releases on the legendary Ninja Tune, San Francisco’s murky Symbols and Kerri Chandler’s jackin’ MadTech, Walter Ego’s appeal stretches across the board; from forward thinking house to rough and ready grime. Having got to know the Sheffield musician during recent years, Greg was impressed by what he heard, especially an as yet unreleased project he was working on in collaboration with London singer, Obenewa. Inviting him to remix the track, Walter returned an ethereal yet mechanical take on Summer Came My Way, his delicately decaying synths and cold hydraulic rhythm giving the track a brooding quality and placing The Reynolds in an entirely new context.

SW001 contains Walter Ego’s remix of Summer Came My Way by Greg Wilson featuring the Reynolds, as well as a radio and full length version of Luxxury’s remix. It’s available digitally or on vinyl – individually on 12” or as part of a box set (vinyl limited to 500 copies in total).

Milton Wright

Silence That You Keep / Po' Man (First Versions)

Athens Of The North presents two of the boogie-disco floaters from the label's previously unreleased 'Original Friends and Buddies' album, making both of these versions are on 45 for the first time. The stripped-down version of 'Silence That You Keep' benefits from the more direct tight vocal. Without the synths there is much more space in the mix which suits the melancholy deep disco groove so much better. On the Flip 'Po' Man' has also been stripped right back to its more basic elements also for the better, less-is-so-much-more sound.

The first release from the new Malka Tuti record label introduces us to Xen, a multi-talented multi-cultural singer, artist and designer from Tel Aviv. For her debut EP she went into the studio with the Red Axes lads to produce two original tracks for the A-side as well as two different versions on the B-side. After already collaborating with them on their track "This is It" for a Correspondant records compliation on 2014, this time she takes a step froward and really brings out her post-cold-wave-some-wave attitude and delivers two psychedelic oddball pop tracks, highly influenced by German krautrock as well as British and French post-punk and late 80s Israeli new-wave. The deadpan fuzz of "Bells" wouldn't sound out of place on Trevor Jackson's "Metal Dance" compilations while "All Of The Sun" is the moody, broody and spiky sound we all love early Celluloid records for. 
On the B-side Red Axes take to the controls to deliver a dubbed out dancefloor killer topped with layered, echo-drenched xylophone and serrated guitars. Speaking of dub, the "Voodoo" mix of "All Of The Sun" sounds like a brain-melting studio soundclash between Adrian Sherwood and Benga, rounding the package off in terrifying fashion.

When Terry Kane - a sound engineer who was barely twenty years old at the time - built an 8-track recording studio above Henry Stone's office space in the Hialeah area of Miami, he probably never envisaged that he was laying the bedrock for a creative hub that would spawn over 25 gold records and over 100 million record sales worldwide. In the process, it would help to make Henry Stone a legend of American music.

At one end of the spectrum, warehouse boy turned global superstar Harry Wayne Casey - better known as leader of KC & The Sunshine Band - was pumping out disco classics on a massive scale with ubiquitous airplay and sell-out shows. At the other, Rodney Matthew and his group Formula 1, were relying on the might of the TK distribution machine to propel them into the spotlight. As remarkable as their 1977 masterpiece on Du-Vern records was, it inevitably failed to have the seismic impact of The Sunshine Band's commercial dance pop.

For every success story like T-Connection, with their firebrand funk-disco fusion and major label achievements, there were equally talented acts such as Stevens And Foster who also called on Stone's services to showcase their vision: judging by the scarcity of original copies of their self-written and produced modern soul jewel on Jerri Records, they also failed to reach beyond the Sunshine state, save for the rarified ears of collectors and connoisseurs.

The sheer amount of records that came out of those modest premises at 495 SE 10th Court is mind boggling. With a huge roster of in-house labels as well as production and distribution deals, label boss Henry Stone was a passionate, busy, and exceptionally well connected man.

Stone would nurture the early careers of the likes of million seller Betty Wright, as well as provide a platform for Milton Wright and Leno Phillips (her older brothers) to express their creativity. Clarence Reid (AKA Blowfly) and Willie Clark penned a raft of amazing tracks for acts such as Jimmy 'Bo' Horne and Little Beaver (AKA Willie Hale, who would also write a wealth of material for others), while T.K. in-house band Miami's own Robert Moore also released records on yet another T.K. imprint; Blue Candle.

The music scene in Miami and indeed, Florida, at the time was fertile and moved quickly with the times; there were hit-makers and risk-takers, shining stars and those who never went far.

As a living document of Henry Stone's remarkable legacy, the diverse styles and ideas coming out of Miami-Dade County and beyond, as well as a glimpse at the successes and near-misses achieved by a dazzling array of artists at the time, this collection serves as an invaluable insight.


2xLP Info: Limited double vinyl album includes bonus 7" single Brand New ' Party Time / 'Thousand Years'.

Thanks in part to the ubiquity of Koama's piss poor pop song, two terrible movies and increasingly risque routines, the sensual slink of the lambada was forced way underground in the early nineties by the weight of draconian legislation. Now, a band of rebellious DJs, producers and dancers have come together as the Legalize Lambada movement, raising awareness and fighting the man through a series of parties, protests and releases. This first missive comes courtesy of a couple of dedicated infidels, Riccio and MikeBurns, who raid the latin quarter of their collections to cherry pick a trio of sunkissed fruit ripe for an edit. Riccio begins our initiation with an ancient tribal ritual on the A-side thanks to the percussive bump of "Pedra Fala". Soon enough the organic rhythm is joined by an irresistible bassline, chunky piano  and scratchy acoustic guitar, while the passionate vocals weave a spell on our senses. Over on the B-side MikeBurns takes the reins for two melodic cuts perfect for sunset dancing. Up first, "Cara De Tamanco" works a walking bassline, soaring strings and yelped vocals into an open-shirted sway, adding jazzy keys and Balearic guitar to take the floor to the next level. "O Comboio" incorporates a little cosmic magic into the recipe, adding a bubbling clav line to a gorgeous tropicalia groove, complete with guiro, bird whistles and gorgeous Portuguese lyrics. The world's been denied of the wild movements of the lambada for too long, so support the cause and spread the world, music this good deserves a dance.

The people behind the amazing Mareh festival in Brasil (the Southern Hemisphere's answer to Electric Elephant), drop yet more top drawer music as their label journey continues to gain strength. Set in the lush settings of Bahia where day blends into night and sun into moon, Mareh continues to attract some first class artists from around the world to release on their imprint.

The second release kicks off with Glasgow based production wizard The Revenge letting loose a late night groove that takes a blissful string sample and then works it for the dance floor. It's top stuff from the man with the roaring grooves. And rumours have it that The Revenge himself will be headlining at this year's legendary NYE event in Bahia alongside Tim Sweeney, Pete Herbert & Dicky Trisco.

Next up is Berlin based disco and house aficionado Eddie C who drops an uber cool, cut up disco chugger that is likely to work your sunset and early morning sets to the max.

Mareh favourite Pete Herbert then steps up to the controls and delivers an upbeat, Balearic dance floor banger that hits all the right notes and then hits them again. You can almost smell the hierbas on this one!

Last but not least, Tokyo based Englishman Max Essa delivers an electronic ode to late night dancing and early morning dips as he joins the dots between the Tokyo Underground and the fresh Bahian surf. Wonderful stuff.

So Mareh really are out to pull in a truly global sound to their label outing with Glasgow, Berlin, London, Ibiza and Tokyo all represented as well as their spiritual homelands Sao Paulo, and of course the place where it all happens each New Year...Bahia.

Various Artists

Super Weird Substance Box Set 01

    Tying together the first four releases on Greg Wilson’s new label, the Super Weird Substance Box Set 01 features the array of talent currently surrounding the label; with Kermit Leveridge’s past Black Grape notoriety, The Reverend Cleve Freckleton’s gruff gravitas and the vocal forces of nature The Reynolds.

    Acting as producer, Greg Wilson brought his son Ché in on guitar for a couple of tracks, whilst getting Peza to work on the programming and Derek Kaye to help with the mastering. Another four releases are expected later in the summer and the single EPs will fit in the box perfectly to complete the set.


    12" Box Set Info: 4x12" box set

    Various Artists

    Totally Tropical - Selected By Neil Diablo

    Neil takes us on a tropical trip, taking in afro, sub-tropical disco, Brazilian tropicalia and more without even a sniff of the Umbongo tune.


    Cassette Info: Limited Edition of 100

    Latest Pre-Sales

    55 NEW ITEMS

    If anyone was worried @PastaPaul is of course here!!
    Fri 3rd - 8:58
    Great night with the @thecharlatans on the top floor of @hotelfootballuk
    Fri 3rd - 8:57
    NEW TO PRE-ORDER: Mad Season - Above - 180g Vinyl Edition / M... |
    Fri 3rd - 6:31
    NEW TO PRE-ORDER: Hiddenn Charrms - Dreaming Of Another Girl ... |
    Fri 3rd - 5:01
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