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In May 1976 a record was released that would have an unforeseen and lasting impact on the music industry “Ten Percent” by Double Exposure was an early release on the New York independent label Salsoul Records. America was in the grip of a disco explosion with new clubs opening on a weekly basis; Salsoul saw what was happening and swiftly created a sound for their label, heavily influenced by the music then coming out of Philadelphia, aimed directly at New York’s dance-floors. Records like “Salsoul Hustle,” “Tangerine” and “You’re Just The Right Size” by The Salsoul Orchestra borrowed heavily from the beautifully orchestrated Philadelphia International records but added a more percussive, bass heavy depth that New York’s DJs loved. So what was so special about this particular single then? Double Exposure was, after all, just another band, “Ten Percent” just another song; one of many “disco” records released that week. First of all Salsoul became the first record label to make a twelve inch single available to Joe Public - the exotic format was previously only available to DJs as promotional items or bought under the counter at certain record stores. Not only that though, the extended version was created by Walter Gibbons, a DJ at New York’s Galaxy 21 who’d built his reputation making exclusive versions of tracks to play in his sets.

In 1976 it was unheard of for a DJ to set foot in a recording studio, being seen as little more than living jukeboxes by the serious music industry. Recording studios were strictly the domain of recording artists and producers so Walter found himself in a unique position, gaining access to a world no DJ had been granted before.

Or so we thought...
The Men In The Glass Booth tells the full story. Featuring ground breaking re-edits and remixes by some of the Disco era's most influential DJs including Walter Gibbons, Bobby DJ Guttadaro, Tom Savarese, Jellybean Benitez, Tee Scott and John Luongo, this opulent release also includes a 40 page book which features exclusive photos and insights from some of the story's key figures.


STAFF COMMENTS

Patrick says: BBE answer the prayers of all us non-millionaire disco fans, taking us on a journey through the alternative 12" history via this exhaustive collection of acetates and DJ edits. Mega!

Hugh Masekela

The Chisa Years

    The Chisa Years: 1965–1975 (Rare and Unreleased) is a compilation album by South African jazz trumpeter Hugh Masekela. The album consists of 14 rare or forgotten tracks recorded by Stewart Levine and Hugh Masekela from 1965 to 1975 when they ran their own Chisa Records label. Thom Jurek of Allmusic wrote “In sum, there isn’t a weak moment on this entire collection. It’s appeal is wide and deep and one can only hope this is the first of many volumes of this material to appear. BBE Records has done a stellar job in making this slab available.” Dan Nishimoto of the Prefix Magazine stated “The compilation focuses on Masekela’s original idea of “African American Music.” From the early experiments of the Zulus (a group featuring M’Bulu) in mixing doo-wop, rhythm & blues and South African gospel and the mbaqanga/”Grazing in the Grass”-style work of the generically named Johannesburg Street Band to the clearly Fela-influenced Ojah (Masekela’s band in the mid-’70s, consisting of players from Ghana and Nigeria) and the readyfor-primetime belting of M’Bulu, each track reveals a multi-pronged effort to find and challenge the notion(s) of how African and American cultural forms could interact.”

    The Contemporary Jazz Quintet

    Location

      Following on from the welcome revival of Lyman Woodard’s classic ‘Saturday Night Special’ and drummer, Bert Myrick’s ‘Liv’n’Well’ – which features the epic ‘Scorpio’s Child’ – BBE Records continue to dig deeper into the vaults of Detroit’s Strata label.

      Working in conjunction with 180 Proof’s Amir Abdullah BBE are poised to unearth a steady fow of hard to fnd or previously unheard gems from the short-lived but consistently innovative community based initiative that was Strata. Next up on CD is the Contemporary Jazz Quartet (CJQ) who were recently described by Jazzwise magazine as “one of the best kept secrets in jazz”. That declaration arrived via a review of their one-and-only recording for Blue Note Records – ‘Introducing Kenny Cox and The Contemporary Jazz Quintet’ – an album that was recorded in 1968.

      Four years elapsed before the CJQ another album. ‘Location’ dropped on Cox’s own Strata imprint. Led by Kenny Cox on piano and electric piano, the quintet also features Charles Moore on fugelhorn, trumpet and percussion – an enormously infuential fgure on the Detroit scene – along with guitarist and Motown side-man Ron English. This fve-track ofering shows the ensemble to have side-stepped the shadow of 60’s Miles Davis for a more muscular and explosive art form. From the aptly entitled opening salvo of ‘Bang’ to the expansive thirteen minute ‘Inner Beckoning’, ‘Location’ delivers that sense of restless refection and stubborn resistance which characterized the dawn of the Seventies in the Motor City.

      Various Artists

      Alex Attias Presents LillyGood Party!

        'LillyGood Party!' is the brand new BBE compilation from highly respected Swiss DJ Alex Attias. Taking its name from a party he runs in his native Lausanne, LillyGood has gradually evolved into a radio show and even a label, now on its 4th release. Refecting the music he plays at the clubnight, ‘LillyGood Party!’ is packed with funk, disco, deep house and boogie bullets from across the globe. “The idea is to present not only rare or difcult tracks to fnd, simply good grooves for people to play out, or listen to at home.” From rare Japanese disco gems, through spiritual jazz, to genre defying sounds from broken-beat cohorts Kaidi Tatham and Dego, LillyGood Party! takes a unique trip inside the musical mind of one of dance music’s true nonconformists.

        Alex Attias got his start in back in ’88 playing funk, house, jazz, and disco, as well as producing under various monikers such as Mustang, Freedom Soundz or Beatless. Moving to London in ’97 he started his ‘Visions’ label and found himself at the epicentre of the emerging West London ‘Broken Beat’ scene which grew around his studio at Goya. Releases on People, Planet E, Ubiquity, Neroli, Archive and Compost followed, as well as remixes for Incognito, 4Hero, Ennio Morricone, Sun RA, Art Blakey, Roni Size and Laurent Garnier among others.

        Various Artists

        Best Of Disco Demands Compiled By Al Kent Part Two

          The Disco Demands series started sometime in the early 2000s - I couldn't give you an exact year because it didn't feel like a big deal, so I never noted it. I simply wanted to put out a compilation of some records I really liked and maybe make a little of the money back I was spending on them. Buy some food and stuff. There's always been Disco comps around of course but there was rarely anything that strayed too far from the standards.. the same songs kept appearing over and over again, or the comps would feature records you could pick up anywhere for little money. I've never seen the point in that. I gave up judging a record on its value or rarity a long time ago but surely there's more to disco than Exodus, Martin Circus, Mass Production and all those Salsoul, West End and bloody Prelude records. So it was a nice surprise to find that there were other people out there who thought the same way.

          Volume 1 was pretty straightforward - just some nice records, with the only edit being an instrumental of Disco Socks; a strange, thinly veiled reference to the disco sucks movement. Then on Volume 2 I included a few of my edits and introduced the cover up concept to the disco world. That caused a bit of controversy, which of course I loved. And so it continued for five volumes.

          What we have here then is the full series, give or take one or two cuts, all remastered, many re-re-edited, with lots of nice naked pictures to boot. For those who've asked since day one "will there be vinyl" I can finally say yes, you're holding it!

          Ron Trent Vs Lono Brazil Vs Dazzle Drums

          Manchild (In The Promised Land)

            A timeless deep house track with a powerful message, Manchild (In The Promise Land) is a brand new creation from two of Chicago House music’s true architects, Ron Trent & Lono Brazil.

            Getting his start as a DJ in the mid 80s while still a teenager, Ron Trent quickly turned his hand to production, studying percussion and keyboards; skills which define his distinctive, melodic compositions to this day. Founding Prescription Records with Chez Damier in ’93 and sister label Balance soon after, he helped introduce talents such as Moodymann, Pevan Everett and Luke Solomon to a global audience. Ron Trent’s career has gone from strength to strength over the last three decades, DJing all over the globe while continuing to push boundaries with his productions and remixes.

            Mentored by none other than Frankie Knuckles and a close associate of the great Ron Hardy, Lono Brazil’s musical roots touch the very foundations of House Music. A true cultural ambassador, over the years Lono has produced shows with legendary artist Keith Haring, worked as an executive for Capitol/EMI and helped kick-start the recent disco revival from a small dive bar in Chicago’s North side, not to mention walking the runways of New York, Milan, London and Tokyo as a high fashion model.

            Afro-centric house in its purest form, Manchild (In The Promised Land) is characterised by Lono Brazil’s golden voice and original spoken word poetry which paints a moving picture of urban deprivation and stolen childhood. Subtle synth chords shimmer behind the jazz influenced bass-line and warm percussion that seems to play ‘call and response’ with the vocal. Fresh from appearing on Boiler Room Tokyo back in April, talented and in-demand Japanese husband and wife duo ‘Dazzle Drums’ provide a deep and tribal dub version of ‘Manchild’, steadily building up a compelling drum groove before taking flight into synth-heaven.

            Making his BBE debut in 2017 with compilation album "The Languages Of Tambores", described by The Vinyl Factory as 'ancestral, evocative and visceral', Italian multi-instrumentalist Gabriele Poso returns to the label with his new LP "Awakening". Since his debut album "From The Genuine World", released in 2008 on Osunlade’s Yoruba Records, Gabriele has amassed an impressive catalogue of solo work and guest appearances, not to mention a hectic schedule of live performances. Perhaps Gabriele’s most rounded work to date; "Awakening" captures an artist in full bloom, examining a crossroads between creative and personal paths.

            'The birth of my eldest son Viktor caused me to question my career in music and explore other, more ‘secure’ options, but thanks to my wife I quickly realised that to be different from your neighbor doesn’t make you wrong. After all, in this life, does anyone really have any security? So actually Viktor and my family have become my super power: they teach me to believe in myself more than I ever did before. This album is all about that realization; that Awakening.' Encompassing Afro, Latin, jazz, soul and dance music elements, glued together by Poso’s distinctive layered live percussion sounds, "Awakening" is peppered with guest performances and production touches from a talented series of friends.

            As Gabriele puts it 'I like to surround my music with the people I love and want to spend my time with.' A deeply rooted and spiritual project, a few of the tracks featured on "Awakening" will be familiar to those lucky enough to catch Gabriele Poso on tour over the last 12 months; not least his reimagining of the Roy Ayers classic "Everybody Loves The Sunshine". From the stunning cover art by Elvira Gerardi which features Gabriele’s first born son Viktor, to the special music contained within, this album’s message is clear; although as Gabriele succinctly points out: when we talk about love, 'words never work.'


            UK hip hop’s original and best live band are back with brand new album ‘Bring Out The Sound’, released in February 2018 on BBE Music. Founded in the early 90s by Ollie Teeba and Jake Wherry, The Herbaliser have earned every single accolade they’ve received during almost 25 years of touring and recording. Best known for delivering a series of groundbreaking albums on Ninja Tune and providing one of the all-time highlights of the ‘Fabric Live’ mix series, The Herbaliser’s most recent LP ‘There Were Seven’ was issued on their own ‘Department H’ imprint back in 2012. Having worked with hip hop royalty such as Jazzy Jef and Pete Rock over the years, not to mention releasing J Dilla’s frst and last solo albums, BBE are delighted to share in The Herbaliser’s musical journey.

            Inviting a carefully chosen group of guest vocalists to join them in their London studio, ‘Bring Out The Sound’ presents a diverse blend of soulful songs, hip hop bangers and original instrumental funk breaks, made all the more impressive by its complete absence of sampling, an album from the heat of The Herbaliser. Famous for his pop smash ‘Starz In Their Eyes’ (sadly as relevant now as it ever was), Camden vocalist Just Jack lays down an incredibly moving performance over lush horns and strings on the instant classic ‘Seize The Day’. The London Posse’s own Rodney P spits lyrical fre alongside 28Luchi over the reggae-infused, unmistakably British beats of ‘Like Shaft’. Former Senseless Things member and Libertines collaborator Mark Keds creates an almost uncomfortably intimate, confessional atmosphere on the intensely personal ’20 Years To The Day’. Compared by Mark Ronson to a young Minnie Ripperton, UK singer STAC’s voice cuts through with a breathy kind of clarity on ‘Over and Over’.

            But the Herbaliser band has always been so much more than the sum of its collaborators. Languid, powerful hip hop beats and uncompromising production values underpin impressive performances by all the band members, especially the horn section who track after track, turn in vintage performances. These guys make it all sound so easy that by the time we reach ‘Takedown’, a track that sounds for all the world like a forgotten b-boy anthem by The Incredible Bongo Band.

            STAFF COMMENTS

            Barry says: Brilliant classic hip-hop grooves, soulful breaks and vibes all brought up to date with crisp, modern production and the Herbaliser crew's considerable experience. Brilliantly soulful, and thoroughly enjoyable throughout.

            Various Artists

            J-Jazz: Deep Modern Jazz From Japan 1969-1984

            In the years following the World War Two, Japan developed one of the most insatiable, dynamic and diverse markets for jazz. For a crucial period of little over a decade - from the late 1960s to the early 1980s - Japanese jazz culture progressed at an astonishing rate, producing an extraordinary array of artists, recordings and record labels that created some of the most forward thinking and impressive jazz to be committed to tape. This amazing journey is explored on ‘J Jazz’. This compilation from BBE uncovers some of the most sought after and rare material from this period and pulls together key artists who shaped the postwar modern jazz scene in Japan.

            ‘J Jazz' includes obscure and sought after rarities like the bass-driven power jazz of Koichi Matsukaze’s ‘Earth Mother’, the holy grail rarity of Aizawa Tohru Quartet’s ‘Dead Letter’ and the loping majesty of Takeo Moriyama’s ‘North Wind’. This collection takes the listener into deep spiritual jazz, post-modal impressionism and fierce dance-floor fusion with material from artists and composers whose names are generally only known to committed collectors of Japanese jazz. Fumio Karashima, Mitsuaki Katayama, Takeo Moriyama and Kiyoshi Sugimoto are among the names featured on an album aiming to shed a little light on the shadowy world of Japanese jazz clubs, tucked away in the neon backstreets. This music demands a wider audience and BBE are excited to deliver a landmark compilation, lifting the veil on this wonderful and mysterious area of the global jazz catalogue.

            None of the tracks featured on ‘J Jazz’ have ever received an official release outside Japan before. The albums the tracks are taken from are extremely hard to find and often fetch huge sums on the collector’s circuit. Originally pressed in small numbers on independent and private labels such as Union, Johnny’s Disk, Whynot, ALM and VAP, these tracks are now available for everyone to enjoy.

            Compiled by Tony Higgins and Mike Peden, both long-time collectors of Japanese jazz, ’J Jazz’ brings together the very best in modern jazz from Japan, recorded during a critical period of musical and cultural transition that saw composers and musicians not only assert a new artistic identity but also create a lasting musical legacy.

            Various Artists

            Ernesto Chahoud Presents TAITU - Soul Fuellled Stompers From 1960s-1970s Ethiopia

            Ernesto Chahoud’s "Taitu" is a collection of soul-fuelled stompers straight from the dancefloors of 1970s Addis Ababa. A breathless journey through the unique Ethio sound that bands were forging at the time, the 24 track compilation is the result of the Lebanese DJ and crate digger’s decade long love affair with the ‘golden age’ of Ethiopian music. Among the musical gems featured are 7”s by some of the heavyweights of the scene including the godfather of Ethio jazz Mulatu Astatke and Alemayehu Eshete, the vocalist dubbed the ‘Ethiopian Elvis’, alongside tracks by more obscure artists such as Merawi Yohannis and Birkineh Wurga.

            For ‘Taitu’, Chahoud has selected 24 of his essential Ethio-Soul 7”s, that never leave his DJ box, and together they capture this opportune moment in Ethiopian music history that saw bands experiment with an armful of influences: gliding through R&B, rock & roll, jazz, funk, soul and boogaloo. What came out was a distinctly Ethiopian interpretation: pentatonic scales, horn-driven melodies and soul-shattering vocals sung in Amharic. The songs are difficult to box in to one genre but they share a simplicity and rawness, added to by their lo-fi quality - with many recordings made in rudimentary studios with only a couple of mics for the entire band.

            From the R&B stomper ‘Honey Baby’ by Alemayehu Eshete to Astatke’s swaggering ethnic-jazz instrumental ‘Emnete’ and the bluesy melancholic vocals of Hirut Bekele on ‘Ewnetegna Feker’, ‘Taitu’ is a window in on the exciting records being made in Ethiopia in the 1970s and comes fully endorsed by us here at Picc HQ. 

            BBE kick off a new 7" series featuring some of the most iconic house tracks of all time and selected by DJ Spinna and Kai Alce. Part one of this ‘Foundations’ series celebrates Chicago producer Cajmere’s early masterpiece "Brighter Days". Best known in recent years by his Green Velvet moniker, Curtis Jones has been blazing a trail through house and techno since launching his Cajual imprint back in ’91. Reaching #2 on Billboard’s dance chart in 1992, "Brighter Days" was Cajmere’s breakthrough hit and continues to educate and inspire producers, DJs and dancers to this day.

            With artwork lovingly adapted from the original 12”, the record’s 'North Side' features a deft Kai Alce edit of the monstrous 10 minute Masters At Work remix. Introducing those distinctive skipping, syncopated rhythms later adopted by UK garage pioneers, Louie’s MAW mix has lost none of its dancefloor impact over the last 25 years. Lurking on the ‘South Side’ you can find the raw, potent ‘Underground Goodies Mix’, a production credited by Rashad and other pioneers as the catalyst for Chicago’s ‘footwork’ movement.




            STAFF COMMENTS

            Matt says: Takin you back to a time when 'crusty man' walked the North, when happy hardcore adverts graced national TV and white dog poo was not uncommon; this optimistic offering was just the ray of light the charts needed. And has now become solidfied into 'classic house' territory.

            Having co-compiled two albums, "The Real Sound of Chicago" and "The Real Sound of Chicago and Beyond" for BBE, DJ and producer Mark Grusane steps out of the shadows to present ‘The Real Sound Of Mark Grusane’. A highly personal selection of modern soul, disco and a little touch of boogie, these rare tracks have all been respectfully edited, chopped up or extended by Mark himself. Apart from the odd private vinyl pressing, or occasionally handing an edit over to close friends and DJs such as fellow BBE artist Sadar Bahar, Mark has never before made these tracks available (despite the throng of people waiting around to ask each time he finishes a set).

            Mark Grusane frst came to the attention of BBE Music back in 2010 when he was running specialist Chicago record shop Mr Peabody. He and his partner went on to create two of the label’s most sought-after soul compilations, thanks to the unmatched combination of rarity and quality expressed in the duo’s selections. Still living in Chicago, still buying and selling records, Mark has also built up a sizable discography of edits and original productions on various labels, now finding his prodigious DJ skills in high demand across the globe.

            Each track on "The Real Sound Of Mark Grusane" has a tale to tell, precious treasures unearthed by one of the hardest working and dedicated crate diggers in the game. From an edit he made at the age of 21 to a record he discovered last year whilst in London for a gig at The BBE Store, this collection is testament to a life spent completely immersed in music. 


            Al Kent says; 'The "Disco Demands" series started sometime in the early 2000s - I couldn't give you an exact year because it didn't feel like a big deal, so I never noted it. I simply wanted to put out a compilation of some records I really liked and maybe make a little of the money back I was spending on them. Buy some food and stuff.

            There's always been disco comps around of course but there was rarely anything that strayed too far from the standards.. the same songs kept appearing over and over again, or the comps would feature records you could pick up anywhere for little money. I've never seen the point in that. I gave up judging a record on its value or rarity a long time ago but surely there's more to disco than Exodus, Martin Circus, Mass Production and all those Salsoul, West End and bloody Prelude records. So it was a nice surprise to find that there were other people out there who thought the same way.

            Volume 1 was pretty straightforward - just some nice records, with the only edit being an instrumental of Disco Socks; a strange, thinly veiled reference to the disco sucks movement. Then on Volume 2 I included a few of my edits and introduced the cover up concept to the disco world. That caused a bit of controversy, which of course I loved. And so it continued for five volumes.

            What we have here then is the full series, give or take one or two cuts, all remastered, many re-re-edited, with lots of nice naked pictures to boot. For those who've asked since day one "will there be vinyl" I can finally say yes, you're holding it!'

            Various Artists

            The Best Of Disco Demands - A Collection Of Rare 1970s Dance Music - Compiled By Al Kent - LP2

            Al Kent says; 'The "Disco Demands" series started sometime in the early 2000s - I couldn't give you an exact year because it didn't feel like a big deal, so I never noted it. I simply wanted to put out a compilation of some records I really liked and maybe make a little of the money back I was spending on them. Buy some food and stuff.

            There's always been disco comps around of course but there was rarely anything that strayed too far from the standards.. the same songs kept appearing over and over again, or the comps would feature records you could pick up anywhere for little money. I've never seen the point in that. I gave up judging a record on its value or rarity a long time ago but surely there's more to disco than Exodus, Martin Circus, Mass Production and all those Salsoul, West End and bloody Prelude records. So it was a nice surprise to find that there were other people out there who thought the same way.

            Volume 1 was pretty straightforward - just some nice records, with the only edit being an instrumental of Disco Socks; a strange, thinly veiled reference to the disco sucks movement. Then on Volume 2 I included a few of my edits and introduced the cover up concept to the disco world. That caused a bit of controversy, which of course I loved. And so it continued for five volumes.

            What we have here then is the full series, give or take one or two cuts, all remastered, many re-re-edited, with lots of nice naked pictures to boot. For those who've asked since day one "will there be vinyl" I can finally say yes, you're holding it!'

            Marc Mac Presents Visioneers

            Dirty Old Hip Hop

            Originally released in March 2006 and virtually impossible to procure on vinyl ever since, BBE drop a special ten year anniversary edition of the classic Visioneers album "Dirty Old Hip Hop". Brainchild of 4Hero and Reinforced Records founder Marc Mac, the Visioneers project frst appeared in 2005 with seminal album "How About A Game of Chess", shortlisted for Gilles Peterson's coveted Worldwide album of the Year award. For the follow up, Marc began re-imagining his favourite hip hop beats from the golden era, retaining the feel of those extended, looping grooves whilst also re-introducing the excitement and musicianship of the records from which they were sampled: "Dirty Old Hip Hop" was born. Drawing on the musical talents of Brad Somatik and 4hero drummer Luke Parkhouse, this largely instrumental album also featured stunning performances from rappers Capitol A and Voice. An artist who was introduced to jazz music by his favourite hip hop beat-makers, "Dirty Old Hip Hop" serves as a loving tribute to both art-forms, weaving the two together until even the most ardent purist will fnd it hard to defne any space between.

            'Visioneers is not a band, it’s a studio project. I want to pay respect to hip hop producers like Jazzy Jef, Jay Dee and Pete Rock for introducing me to jazz and I needed to produce the tracks like hip-hop records that sound phat in a club and not like dinner jazz; it’s about reclaiming jazz.” - Marc Mac, 2006

            FORMAT INFORMATION

            2xColoured LP Info: 180g orange vinyl.

            Described wholly accurately by Boiler Room as "one of the best producers and arrangers of disco music to have ever done it", Bronx native John Morales has more than three decades of hits and over 800 remixes to his credit. This 4th volume of M&M Mixes on BBE is without doubt the most ambitious yet, containing gems from Barry White, Diana Ross, Level 42, Teddy Pendergrass and Eddie Kendricks among others, all woven together with that special, intricate M&M magic. Gaining unprecedented access to original multitrack recordings from the vaults of Sony and Universal Records, John has once again upped the ante, going where no DJ has gone before. Accept no imitations, nobody does remixes quite like John Morales.

            Bronx native John Morales has more than three decades of hits and over 800 remixes to his credit, he's also stormed his way through three mega volumes of M+M Mixes, all eagerly received by the Piccadilly staff. This 4th volume of the BBE series is without doubt the most ambitious yet, containing gems from Barry White, Lenny Williams, Level 42 and Dan Hartman, all woven together with that special, intricate M&M magic. Gaining unprecedented access to original multitrack recordings from the vaults of Sony and Universal Records, John has once again upped the ante, going where no DJ has gone before. Accept no imitations, nobody does remixes quite like John Morales.
            First up we have the slow, sensual and fairly sleazy "I'm Gonna Love You Just A Little More" by the one and only Barry White. A weighty statement by a man of such great stature, this killer disco-strut is responsible for one of the finest drum breaks of all time (as sampled by Daft Punk for 'Da Funk', NWA, De La Soul and all rappers from 1988-1998), locks us into an irresistible bassline and features Barry in full on pillow talk mode. Chuck in some cinematic keys, wah guitar and the occasional hit of strings and you're in low tempo heaven, especially with this supremely stretched out mix from the main man. Over on the flip, John houses up the slick, bass-led brilliance of Lenny Williams' "You Got Me Running", taking a diversion from the dubby style of Danny Krivit's timeless version, to turn the cut into a soulful, disco house stomper - nice. Over onto the C-side and we're caught in the tractor beam of Dan Hartman's zero gravity pulser "Vertigo", rolling shoulders and enjoying those wild vibraphone licks, nodding along to the chunky gospel piano and then totally losing our shit as the cut eventually transforms into high NRG vocal screamer "Relight My Fire". Symphonic disco at its finest. Finally, Level 42's jazz-funk floor filler "Mind On Yo" gets the M+M treatment, taking us for a dream-dance through the baggy trousered dancefloor of the Britfunk era. As always, the bass is the best here! 

            Described wholly accurately by Boiler Room as "one of the best producers and arrangers of disco music to have ever done it", Bronx native John Morales has more than three decades of hits and over 800 remixes to his credit. This 4th volume of M&M Mixes on BBE is without doubt the most ambitious yet, containing gems from Barry White, Diana Ross, Level 42, Teddy Pendergrass and Eddie Kendricks among others, all woven together with that special, intricate M&M magic. Gaining unprecedented access to original multitrack recordings from the vaults of Sony and Universal Records, John has once again upped the ante, going where no DJ has gone before. Accept no imitations, nobody does remixes quite like John Morales.
            Volume 4, vinyl edition #2 kicks off in much the same manner as its partner, powering out the blocks with a belting rework of Barry "Walrus Of Love" White. Swirling, psychedelic and powered by stomping piano chords and drums, this Morales mix is gonna get your dance floor hot. Morales moves into boogie territories next with a high voltage version of Teena Marie's "Lover Girl", stretching out the arrangement to squeeze the maximum juice out of each individual element. The second slab o' wax serves us an instant classic as big Jon gets delightfully dubby with jazzy, funky, disco delight "Love Is The Message" by MFSB (currently threatening to upset the desk with its irresistible groove) before a loopy, lovely chop shop cut of Mannix' b-boy blinder "Standing Right Here" plays us out. Ace!

            Best known to most people for his early work as a Portishead collaborator and International tour DJ, Andy Smith earned his ‘Legendary’ title among crate diggers in 1998 when he released seminal mix album ‘The Document’. In the years since, Andy has continued to live up to his reputation as one of the finest and most creative DJs on the planet, tirelessly digging in the crates and emerging with pure gold. Following in the footsteps of his 2006 exploration of Trojan’s mighty reggae vaults and his two compilations exploring funk music from New Orleans and Jamaica, Andy turns his attention to disco and boogie for the very first time.
            The concept for ‘Reach Up – Disco Wonderland’ was born from ’Reach Up’, a DJ collective founded by Andy in 2012 to reflect the spirit of legendary NYC clubs such as Paradise Garage and Studio 54. ‘Reach Up’ showcases 80s boogie, disco and proto house; the foundations upon which dance music culture was built.
            As you might expect, Andy Smith’s selections for the album are not only delightfully obscure but highly memorable. Many titles will spark recognition, having been sampled for more contemporary hip hop and R&B tracks. Disco & Boogie this compilation may be, but it’s been put together with a b-boy mentality. As Andy himself puts it “At my ‘Reach Up’ and ‘Boombox’ nights a fair few of these will have been played, but interestingly some of these tracks might well get played at more ‘hip hop orientated’ nights I do too because of the disco breaks: tracks like “T Connection” & “Freedom.”
            Containing a raft of undeniable dance-floor fillers and slept-on anthems, 'Reach Up – Disco Wonderland' also at times displays that indefinable, other-worldy, almost eerie sonic fingerprint that’s been present in Andy’s productions and DJ sets since day one. Above all, this album is testament to a youthful obsession with home taping. As Andy puts it: “just being able to officially put these tracks out that i used to play on my ghetto blaster in the streets is an amazing thing!”

            FORMAT INFORMATION

            2xCD Info: One CD mixed, the other unmixed.

            Various Artists

            The Library Archive - Funk, Jazz, Beats And Soundtracks From The Vaults Of Cavendish Music

            Join two of BBE’s most prolific artists and compilers, Mr Thing & Chris Read on a voyage into the mysterious, strange and wonderful world of Library Music, courtesy of Cavendish Music. Founded in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe.
            During the Library Music heyday of the 60s and 70s, thousands of original instrumental tracks were produced across a broad range of genres for companies like Cavendish, who then created vinyl and tape collections, often arranged by theme or mood, for their customers in radio, television and film. Cult British TV shows such as The Sweeney and The Professionals as well as documentaries and feature films relied heavily on these catalogues, and companies like KPM, De Wolfe and Boosey & Hawkes went a long way toward defining the sound of British popular culture at the time.
            Never commercially available, music created for these libraries that never made it to the promised land of TV or Radio was destined to languish in Cavendish Music’s vast London vault; only recently unearthed by a new generation of DJs and producers searching for rare gems or a perfect sample.
            Mr Thing & Chris Read were first invited to examine the contents of the Cavendish Music archive in 2014 as part of WhoSampled’s ‘Samplethon’ event in which producers created new tracks against the clock using sample material mined from the catalogue. Whilst digging through box upon box of records and tapes looking for interesting sounds, the pair also discovered a host of 70s library music which has not only stood the test of time, but deserves to be heard in its original form.
            From dramatic big band numbers reminiscent of Lalo Schifrin’s film scores to atmospheric proto-hip hop instrumentals produced before the genre’s existence, right through to fairly straightforward jazz and funk cuts; this amazing collection of music is sure to inspire and delight DJs and beatmakers the world over.

            The Lyman Woodard Organization

            Saturday Night Special

            In association with DJ Amir’s 180 Proof Records, BBE presents another gem from the small yet significant Strata catalogue. A precursor to New York’s Strata East, Detroit’s Strata Records was founded in the late 1960s by former Blue Note artist Kenny Cox. Starting life as a music-led community organisation, coffee shop studio and venue, Strata released only a few titles as a record label, gaining the imprint a cult following among record collectors and jazz lovers across the globe.

            Possibly the best known of Strata’s releases, The Lyman Woodard Organization’s ‘Saturday Night Special’ is rightly heralded as a jazz fusion classic. Recorded in 1975, ‘Saturday Night Special’ features organ, electric piano and Mellotron by bandleader Lyman Woodard alongside guitar and bass by Ron English, with drums and percussion by Leonard King, Bud Spangler & Lorenzo "Mr. Rhythm" Brown respectively. Despite the fairly sparse instrumentation, ‘Saturday Night Special’ lays down an impressive wall of sound, powerfully atmospheric in its almost low-fi aesthetic. Hinting at more traditional jazz, rhythm & blues, afrocuban styles and more, the uniqueness of this album is surely in its feel: summoning up images of a vast industrial landscape, assembly lines and urban decay. In other words, this record sounds like Detroit.

            No great album artwork is complete without a good story to match, and ‘Saturday Night Special’ does not disappoint. Snapped by photographer and political activist Leni Sinclair (responsible for seminal pictures of Miles Davis, Fela Kuti and John Coltrane and many others), the cover image shows the contents of Lyman Woodard’s pockets placed on the hotel bed after a show: cigarette papers, cash and a pistol.


            DJ Vadim & Blackstone

            Double Sided

            Recording and touring together on and off for several years now, sonic journeyman DJ Vadim and Californian songwriter Katrina Blackstone unveil their long awaited full-length album ‘Double Sided’, released on BBE Music. After providing a pair of stellar guest appearances on Vadim's 2014 'Dubcatcher' album, Katrina Blackstone joined Vad on tour and the duo have been steadily laying down tracks ever since. Eschewing samples in favour of drum machines, guitars and a dizzying array of synths, Vadim's compositions on ‘Double Sided’ range from dubby downtempo grooves to upbeat afroboogie business. Katrina's crystal clear vocals, catchy melodies and highly relatable lyrics provide the perfect foil for Vadim's raw productions.

            Katrina Blackstone has previously worked with cult downtempo artists Bluetech & Dr Israel, as well as appearing alongside Killah Priest on the sadly unreleased "Legba's Light" project created by Ron Carter, Brian Jackson and Mike Clark. Born in Tennessee, she studied vocal performance and jazz at the prestigious New School University in New York before moving the San Francisco, where she continues to record and perform tirelessly.

            Russian born, London bred and now residing in Barcelona, DJ Vadim has built a formidable reputation as one of the world's hardest working DJs and producers. During his long and fruitful career he's worked with artists as varied as Stevie Wonder, The Roots, Prince, Kraftwerk and Paul Weller. Constantly touring and creating, Vadim has been working with BBE since 2007's 'Soundcatcher'. Ten years later, ’Double Sided’ will be his 7th album on the label.

            Various Artists

            IF Music Pres You Need This! An Introduction To Black Saint & Soul Note Records (1975 To 1985) Compiled By Jean-Claude

            Following two successful volumes of ‘Journey Into Deep Jazz’ on BBE, proprietor of London’s ‘IF Music’ record store and walking musical encyclopedia Jean-Claude kicks off a new “Introduction To…” album series with this affectionate retrospective of sister labels Black Saint and Soul Note. Cited by some as Italy’s answer to Blue Note, Black Saint and Soul Note have together amassed a catalogue in excess of five hundred albums between 1975 and 2008. Founded by Giacomo Pellicciotti (producer of Enrico Rava’s seminal “Katcharpari” album), Black Saint scored a home run with it’s very first release: Billy Harper’s 1975 “Black Saint” LP, the follow-up to his much lauded “Capra Black” album on Strata-East. Following the blueprint laid down by iconic Italian jazz imprint Horo, Black Saint started life catching recording sessions with American artists as they passed through Italy on tour, as well as releasing Stateside recordings.

            For nearly three years Black Saint released a plethora of jazz albums by the great and good of the Free-Jazz movement: Archie Shepp, Don Cherry, Oliver Lake, Muhal Richard Abrams, Malachi Favours and Hamiet Bluiett, to name but a few. At the same time, the label was struggling financially and a series of owners came and went in quick-fire succession. In 1978, the company was finally bought by Giovanni Bonandrini and his team, who by 1979 had launched a second label, the brilliant Soul Note. As Black Saint had done previously, the first release on the fledgling sister-label had to be another by Billy Harper. The two labels went onto enjoy much critical acclaim during the mid to late ‘80s, winning ‘The Down Beat Jazz Award’ from 1984 through to 1989. Even Sun Ra and his Arkestra got in on the act; his 1989 epic “Hours After” was released on Black Saint.

            A snapshot of Black Saint and Soul Note’s first ten years, this album presents only the very choicest cuts, lovingly remastered to vinyl. If you’re already a fan of these labels, you should delight in Jean-Claude’s selections, while if you’ve never come across these jazz jewels from Lombardy / Italy, this compilation will surely blow you away.


            Various Artists

            Mad Mats Presents: Digging Beyond The Crates - Exclusives

            Following hot on the heels of ‘Digging Beyond The Crates’, the genre-agnostic double LP from Swedish DJ and Local Talk label boss Mad Mats, BBE are delighted to present this strictly limited 12” EP featuring three exclusive cuts, previously only available on digital and CD versions of the album.

            Ezel’s lively jam ‘Get Down’ summons up classic Jamiroquai with slick and funky acid jazz stylings. Italian producer Turbojazz re-imagines the club classic 'Strings Of Life' as a tempo-shifting electronic jazz odyssey. London producer Ossie’s ‘I Hurt You’ lays down a simple house groove and in a strange co-incidence chooses to sample the same 70’s acapella that our friend J Dilla famously used on the Slum Village classic ‘Players’. Finally, Snarky Puppy pianist Bill Laurance shows of pure jazz chops with ‘The Pines'.


            The James L'Estraunge Orchestra

            Eventual Reality

            Born in a remote log cabin deep in the Scottish Highlands, Eventual Reality, the debut album from The James L’Estraunge Orchestra melds jazz and electronic music sensibilities with a huge helping of heart and soul. In 2014 seasoned producer and musician Ricky Reid and his partner retreated from the city to embark upon a new life, in his own words “away from the constant, incoherent noise of the world”. As he set up his studio, the clean air and spectacular surroundings began to provoke musical inspiration like never before. Then, like a scene from ‘Field Of Dreams’, a series of talented musicians from his former life visited the cabin for a series of late night jamming and recording sessions, leaving behind them hidden treasures to be discovered and lovingly pieced together by Ricky over the following months. With nostalgia so much a part of the album’s creation, The James L’Estraunge Orchestra can’t help but appear somewhat spectral; after all they are truly the band that never was.

            Making up one half of the Soul Renegades alongside Craig Smith, as well as contributing keys and vocals to both 6th Borough Project LPs, Ricky Reid was a lynchpin of the Edinburgh scene for a little over two decades before escaping to the wilderness. Releases on Restless Soul, Local Talk, Rainy City Music among others saw him truly hone his craft, but the distractions of day to day urban living prevented him from elevating his craft to the next level. Now with no TV or wi-fi and mostly trees to talk to, Ricky has been able to freely explore and spread his wings; as he puts it: “I’ve become a conduit for something different than I've ever experienced before.”

            Roaming from dramatic, cinematic expanses to intimate and fragile places, ‘Eventual Reality’ is the audible journal of a musician making sense of things, reconciling the past and present from a place of tranquility. From the autobiographical reverie of ‘See You Tonight’, which explores the loss of youth, to the vibrant Melbourne street sounds that introduce powerful and empowering first single ‘Closer’, the album shimmers with a palpable sense of life throughout. “My process is completely based on inspiration in the moment. Sometimes the inspiration for a track comes in the middle of the night, like ‘The Call’, which was written after a local car accident ended in tragedy for a young girl visiting the area. She was trapped underwater after driving off the road, which shocked the village and provoked this emotive, free form track.” It’s just as easy to imagine a poignant story for each piece of music contained in ‘Eventual Reality’ as it is to place yourself in that lonely cabin, comfortably cocooned in warm and deeply touching sounds.

            Beadle returns to BBE with a 3rd volume of his much lauded ‘Private Collection’ album series. Taking in a wide range of obscure jazz with a distinct nod to the dance-floor, the first two ‘Private Collections’ are already considered classics by the jazz-dance community. Once again presenting a wealth of ultrarare sounds previously only available to record collectors with very deep pockets, Vol.3 sees Kev inviting us to travel even deeper into the vinyl vaults.

            Quite a lot has happened in the 3 years since ‘Private Collection Vol.2’ was released, not least Kev’s announcement last year that he was hanging up his headphones. We hope, selfshly, that his retirement won’t last, but either way, the news has given this compilation some added signifcance for us. A founder of London’s legendary Dingwalls and former Wag club resident, Kev has been at the very centre of the UK’s jazz-dance scene for decades, locked in (friendly) competition with the likes of Gilles Peterson, Patrick Forge, Bob Jones and many others on a never-ending quest for that perfect track.

            As you might expect, ‘Private Collection Vol.3’ contains its fair share of frenetic, syncopated musical workouts to test the stamina of even the most dedicated dancers, but the album also provides some moments of calm, some smooth Latin grooves like Louis Hayes version of the Freddie Hubbard classic ‘Little Sunfower’ as well as very rare, sought after recordings by Belair, Lee Willhite and the Webster Lewis that have changed hands for big money in recent times amongst the collectors.

            Whether you are a record collector or a jazz club regular, this compilation represents a chance to fnally own more than a few ‘holy grail’ tunes without breaking the bank and a chance to relive those special moments on the dance-foor. For the rest of us, this is simply a glorious concoction of 70s and 80s jazz, rescued from relative obscurity, painstakingly assembled and presented with a great deal of love.

            As featured in the Piccadilly Records End Of Year Review 2017 Top 20 Compilations. Comes with an EXCLUSIVE End Of Year CD sampler. Click HERE for more info.

            18 years on from the release of the very first "Disco Spectrum" LP, Joey Negro and Sean P revisit the project, selecting the finest cuts from this much-loved album series. Three volumes of Disco Spectrum were released on BBE between 1999 and 2002, heralding a disco revival that, almost two decades later, just keeps gaining momentum.

            Known by a plethora of aliases including Jakatta and Akabu as well as Joey Negro, Isle of White native Dave Lee has been at the epicenter of UK dance music since the late 1980s. One of the first British producers to incorporate disco samples into dance music, he took his favourite genre all the way to the top of the charts in the early 90s when he masterminded Take That’s cover version of ‘Relight My Fire’ by Dan Hartman. Never an artist to rest on his laurels, Dave has remained at the top of his game ever since; producing chart hits and underground club tracks alike, touring the world with live disco act The Sunburst Band and running his own label Z Records.

            The Best Of Disco Spectrum features a wide-ranging collection of floor-fillers including: Rare Pleasure – ‘Let Me Down Easy’ (infamously sampled by David Morales for 90s club smash ‘Needin U’), Ramona Brooks – ‘I Don’t Want You Back’ (revived by Patrick Forge and Sean P on pirate radio in the late 80s), Bunny Mack - 'Let Me Love You' (an early forerunner of today’s popular afro/house sound) and Syreeta - 'Can't Shake Your Love' (snappy, bass-led funk from the former Mrs Stevie Wonder, mixed by Larry Levan).

            “Who would have expected the disco revival to be even stronger now than it was then, though looking down the track-listings of the 3 instalments of Disco Spectrum, most of the songs included on those compilations have since been remixed, sampled, bootlegged, covered, reedited, re-compiled and re-issued - often on multiple occasions. Since disco supposedly “died”, dance music has taken many twists and turns through a myriad of styles, moods and tempos - but disco still remains the foundation and lynchpin.” – Dave Lee, 2017.


            STAFF COMMENTS

            Patrick says: Legendary UK selectors Joey Negro and Sean P groove through two decades of ‘Disco Spectrum’ compilations, cherry picking their favourite moments to create the ultimate disco setlist. An all killer, no filler affair, this triple LP hosts classics from Rare Pleasure, Omni, Idris Muhammad and Chantal Curtis. See you on the dance floor...

            FORMAT INFORMATION

            3xLtd LP Info: Includes a free EOY 2017 CD sampler.

            2xCD Info: Includes a free EOY 2017 CD sampler.

            “The original process of 're-mixing records' was intended to provide an alternative listening experience which had been optimized for people who went out to dance at Discos. John was one of the early pioneers who loved music, understood his craft and had respect for the creative work from which his mixes were derived” - Patrick Adams

            This compilation is John Morales’ third for BBE. Few can match his contributions to the world of Dance Music be it soul, funk, disco, to today’s house music. John Morales is considered one of the true legends of the mix. And his work some thirty years later continues to be cutting edge and inspiring. His epic mix of Universal Robot Bands boogie anthem “Barely Breakin Even” is the source from which BBE Records got its name.

            No attempt has ever been made to summarise the pinnacle of John’s work. This third release on BBE continues that history lesson that John has forged in dance music. He formed The M&M Mix with his late partner Sergio Munzibai, in 1982 till 1990 whose output of over 650 mixes will be unmatched today. John continues The M&M legacy.

            This is the legacy of the M&M mixes.


            The second EP from Rhemi in the "Choice Cuts" series. London duo Ziggy Funk & Neil Pierce unleash four more of their finest productions on vinyl for the frst time. At the forefront of London’s nascent soulful house revival (although many would argue the sound never left our nation’s capital), both artists are no strangers to the BBE label. Commencing with 2014 smash "Beat Within", featuring powerful, floor-filling vocals from Cassius Henry; recently granted a new lease of life thanks to a white-hot remix by the mighty Opolopo. Next up comes a special down and dirty dub mix of "Everything Is Good"; a potent dancefloor workout, tested and approved in nightclubs the world over. Familiar to BBE fans since appearing on Kiko Navarro’s album "Everything Happens For A Reason", London vocal duo Hanlei provide a vintage performance on feel-good anthem "Keep Dancing", combining ‘club classic’ appeal with tight, modern production. Originally release on Rhemi’s "Land Of Promise" EP, "Freedom" closes out the EP with a deep groove and warm, rhythmic stabs designed to hypnotise. With another two volumes of "Choice Cuts" on the way and a work-rate that shows no signs of slowing down, it’s safe to say we can expect a big year for the Rhemi boys.

            While most will know him as a leading authority on rare disco, funk and soul; if not exclusively then surely through his well-received "Soul In The Hole" compilation; Chicago's Sadar Bahar is also a fine producer. Here he joins Dutch synth-obsessive Ben Spaander for a very special 12" release - "The Red, White & Blues". High definition house and disco new breeds with no messing around. "Electronic Frequencies" throbs and pulses from Timmy Regisford's Shelter dancefloor, its weaving, intricate synthlines also recalling the recent DJ Spinna workout and probably very big with MCR's Community massive. "Fast Trumpet" lifts its head out of the smoke machine and into the party, shining a torch at a huge big disco ball as a vibrant and funky house track spills out the speaker stacks and onto the more hedonistic and free-spirited dancefloors across the world. "Binaries In Love" keeps the traditional disco-house flavor in tact as a horn-led party jam erupts spontaneously, hinting at the dynamic power shifts that Bahar himself inflicts onto his inspired DJ sets. "East River Throwdown" concludes proceedings with more hustle and bustle, orchestral disco passages and wicky-wicky licks getting beautifully sequenced into a anthemic, end-on-night mini-epic.

            Rescued from relative obscurity by DJ Amir’s 180 Proof Records, BBE is delighted to present a gem from the tiny yet highly influential catalogue of Strata Records. Preceding New York’s Strata East, Detroit’s original Strata label issued only a handful of underground titles in the early 70’s, making it a ‘holy grail’ imprint among jazz lovers and record collectors the world over.

            Released by Strata in 1974, Bert Myrick’s ‘Live ‘n Well’ was originally recorded by Strata founder and former Blue Note artist Kenny Cox at a concert which took place almost a decade previously, at the student union of the University Of Michigan back in 1965. Led by drummer Bert Myrick, the album highlights a quintet of highly talented players at the height of their powers. Featuring Will Austin on bass, Kenny Cox on piano and Ronnie Fields on tenor sax, the performance also stars George Bohanon, a nowlegendary player who spent 7 years with Motown Records as lead trombonist before being named "Most Valuable Player". by the National Association of Recording Arts and Sciences.

            Probably best known for the iconic 14 minute epic “Scorpio’s Child” (composed by Strata owner Kenny Cox), ‘Live ‘n Well’ captures tour de force performances from a collection of Detroit’s finest musicians, destined to go their separate ways soon after the recording was completed. Legend has it that Bert Myrick was inspired to pursue his passion for the drums by friend and mentor Elvin Jones (the drummer on John Coltrane’s classic ‘A Love Supreme’), who would open windows at his shows so that Bert and his friends could enter without paying. This kind of heavyweight tutelage would certainly explain Myrick’s impeccable, highly expressive playing on ‘Live ‘n Well’. Remembered fondly for his powerful hands and gentle demeanor, Bert Myrick passed away in 2010 at the age of 80.

            Various Artists

            John Armstrong Presents Afrobeat Brasil

            The African beat's always been essential to Brazil's music. But now the new generation of musicians, singers and rappers are tweaking the basics of Fela's funk to fit with samba swing, bossa tempo and nordestino nous. John Armstrong's new compilation Afrobeat Brasil features 14 blazing tracks from 2011 to 2017 that nod towards Nigeria, Ethiopia, Mali and beyond – with feet firmly in Brazil. For the first time outside Brazil, a careful selection of modern Afrobeat- inspired tunes from across several Brazilian genres, taking in cutting-edge players from Rio, São Paulo, Salvador, Porto Alegre –and even Paris. No slavish Fela Kuti copycats these, but rather Afrobeat and other specific African tempos and rhythms used as a blueprint, a buildingblock for new directions in Brazilian music.

            Mike City

            The Feel Good Agenda Vol.1

              Featuring a host of luminaries from the world of Soul & R&B, chart-topping songwriter and award winning producer Mike City presents new album ‘The Feel Good Agenda Vol.1’. Earning his big break back in the year 2000 as writer and producer of a #1 hit in the form of ‘I Wish’ performed by Carl Thomas, Mike went on to work with Brandy, Rihanna, Angie Stone and Jamie Foxx as well as penning Sunshine Anderson’s smash hit ‘Heard It All Before’. Renowned for his deeply rooted, melodic production style and distinctive vocal arrangements, Mike City consistently finds himself in-demand from A-list hip hop, R&B and pop artists, as well as finding favor in dance music circles during recent years. Placing him inside their ‘Top 100 Soulful House Artists of 2016’, Traxsource declared Mike

              “one of the soulful scene’s most in-demand producers, singers and songwriters” and “a name synonymous with quality music, no matter the genre”.

              A highly accomplished vocalist in his own right, ‘The Feel Good Agenda Vol.1’ sees Mike take centre stage, showcasing a selection of previously unreleased songs with a little help from his friends. Best described as R&B infused dance music, the album boasts cameo vocal appearances from leading lights of the urban music scene including: Faith Evans, Lalah Hathaway, Dwele, Teedra Moses and the man whose voice kick-started Mike’s stellar career, Carl Thomas.

              About the guest artists:
              Teedra Moses was the first female artist to be signed to Rick Ross’s Maybach Music Group and has written material for Macy Gray & Mary J. Blige among others.

              Maysa is a long-time collaborator with Acid Jazz legends Incognito and a Grammy nominated solo artist, currently celebrating 25 years in the business.

              Dwele is a leading light of the neo-soul scene, collaborating with Kanye West and J DIlla as well as working regularly with Mike City. Lalah Hathaway is the daughter of Donny Hathaway, carving out an impressive space all her own in the world of Soul music, releasing on the legendary Stax Records.

              Terri Walker got her start collaborating with UK Garage artists such as 187 Lockdown and Shanks & Bigfoot before embarking on a critically acclaimed solo career and providing backing vocals for Jennifer Hudson & Fergie among others. Crystal Johnson is a singer, songwriter and producer who has collaborated with Usher, Mobb Deep Heavy D & Dr Dre as well working as arranger and lyricist on a multitude of high profile projects. Carl Thomas is a chart-topping R&B / soul artist, formerly signed to Sean ‘Puffy’ Combs’ ‘Bad Boy Entertainment’.

              SunPalace

              Rude Movements (Part I & II)

                THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                Our first Record Store Day offering is a strictly limited, highly collectible 7" pressing of BBE's most talked-about release in quite some time, 'Rude Movements' by SunPalace. An iconic 80's UK jazz-funk cut, hugely influential during the early days of dance music, the long-standing status of Rude Movements as a go-to record at David Mancuso's Loft Parties make this year's re-issue especially poignant. For the 7" cut, original producer Mike Collins has created an exclusive edit of the track to occupy both sides of the vinyl.

                Announced in late 2016 with the single ‘All Because Of You’, described as “a future classic” (CJ Mackintosh) and “absolutely necessary” (Soul Clap), BBE are proud to present Kiko Navarro’s brand new solo album ‘Everything Happens For A Reason’. A highly respected artist for many years now, Kiko Navarro is a name synonymous with the Balearic House sound, thanks to his residencies at Space & Pacha as well as his countless productions and remixes.

                ‘Everything Happens For A Reason’ displays a dizzying array of musical flavours, with guest appearances from DJ Spen, Boris Dlugosch and multi-instrumentalist Gabriele Poso, whose compilation ‘The Language Of Tambores’ is coming soon on BBE. Within a framework of warm, soulful House music, Kiko explores afro-latin rhythms, broken beats, nu-jazz and straight up Chicago-inspired acid. A deep re-imagining of Maze & Frankie Beverly’s 80s classic ‘Twilight’, irrepressible floor-filler ‘I Can Show You The Way’ and a new orchestral version of 2007 classic ‘Soñando Contigo’ are among the immediate highlights, but this album is so much more than the sum of its parts. ‘Everything Happens For A Reason’ sees iko Navarro concentrating his wealth of experience curating and creating music into a highly potent and deeply personal soundtrack to his life and career so far.

                As featured in the Piccadilly Records End Of Year Review 2017 Top 20 Compilations. Comes with an EXCLUSIVE End Of Year CD sampler. Click HERE for more info.

                In May 1976 a record was released that would have an unforeseen and lasting impact on the music industry “Ten Percent” by Double Exposure was an early release on the New York independent label Salsoul Records. America was in the grip of a disco explosion with new clubs opening on a weekly basis; Salsoul saw what was happening and swiftly created a sound for their label, heavily influenced by the music then coming out of Philadelphia, aimed directly at New York’s dance-floors. Records like “Salsoul Hustle,” “Tangerine” and “You’re Just The Right Size” by The Salsoul Orchestra borrowed heavily from the beautifully orchestrated Philadelphia International records but added a more percussive, bass heavy depth that New York’s DJs loved. So what was so special about this particular single then? Double Exposure was, after all, just another band, “Ten Percent” just another song; one of many “disco” records released that week. First of all Salsoul became the first record label to make a twelve inch single available to Joe Public - the exotic format was previously only available to DJs as promotional items or bought under the counter at certain record stores. Not only that though, the extended version was created by Walter Gibbons, a DJ at New York’s Galaxy 21 who’d built his reputation making exclusive versions of tracks to play in his sets.

                In 1976 it was unheard of for a DJ to set foot in a recording studio, being seen as little more than living jukeboxes by the serious music industry. Recording studios were strictly the domain of recording artists and producers so Walter found himself in a unique position, gaining access to a world no DJ had been granted before.

                Or so we thought...
                The Men In The Glass Booth tells the full story. Featuring ground breaking re-edits and remixes by some of the Disco era's most influential DJs including Walter Gibbons, Bobby DJ Guttadaro, Tom Savarese, Jellybean Benitez, Tee Scott and John Luongo, this opulent release also includes a 40 page book which features exclusive photos and insights from some of the story's key figures.


                STAFF COMMENTS

                Patrick says: BBE answer the prayers of all us non-millionaire disco fans, taking us on a journey through the alternative 12" history via this exhaustive collection of acetates and DJ edits. Boasting unreleased versions of the likes of Double Exposure, The Salsoul Orchestra and Gladys Knight by DJ royalty Walter Gibbons, Tee Scott and François Kevorkian, this is pure mirror ball magic folks.

                FORMAT INFORMATION

                3xCD Info: Includes a free EOY 2017 CD sampler.

                Sun Palace

                Raw Movements / Rude Movements

                Way back in 1981, two musicians got together to make a record. Mike Collins played guitar and had just bought a Roland CR78 - the first programmable drum machine. Keith O'Connell played Fender Rhodes piano and Prophet 5 synthesizer. Excited about the quirky and unusual instrumental track they'd composed, when the duo entered London's Utopia Studios to finish off their creation, neither could have predicted what was to follow… Now viewed by many as one of the most influential early electronic dance records, "Rude Movements" was swiftly picked up on by David Mancuso, who used it to devastating effect at his infamous 'Loft Parties', in turn introducing it to Larry Levan, Frankie Knuckles, David Morales and Kenny Dope, a group of young DJs who would go on to write the blueprint for dance music as we know it. In the more than 35 years since its release, "Rude Movements" has continued to inspire and excite, sampled by The Bucketheads' classic House track "Whew!"(featured on recent BBE compilation '20 years of Henry Street Records') and listed by a veritable 'who's who' of dance music's elite as an all-time favourite. Rare and much sought-after on vinyl, BBE are happy to announce the release of a fully remastered version of 'Rude Movements' presented alongside the original demo version 'Raw Movements', plus three other versions of the iconic track. Also included on the vinyl package are the Afrika Bambaata inspired "Street Beat" and 808/MiniMoog workout "Palace Strut", as well as three other 80s SunPalace compositions. CD and digital versions expand the catalogue still further, with more experimental SunPalace magic. Timeless original, quirky and unique, these recordings are set to inspire yet another generation of DJs, producers and music fans.


                STAFF COMMENTS

                Patrick says: BBE come through with the goods once again here, serving up a complete and extensive collection of Sun Palace's otherworldly proto house experiments. Boating five different versions of the superlative "Rude Movements" alongside a clutch of dope dance floor diversions.

                Ted Coleman Band

                Taking Care Of Business

                BBE are back with another essential reissue, putting this ultra-rare LP from Ted Coleman back in press for the first time since 1980. Heavily influenced by the likes of Bobby Hutcherson and Roy Ayers, "Taking Care Of Business" is full of positive, uptempo soul/jazz gems, featuring Ted Coleman's wonderful vibraphone playing throughout. Not only did Coleman both sing and play piano, synth and vibes on the record, but he also designed the artwork himself; a true DIY LP if ever there was one! This DIY ethos even extended to the New Jersey label JSR who originally pressed the LP, describing themselves as: "a new company that helps working club bands that can sell their own records. JSR artists spend no money for recording or production costs, and there are no recording contracts." This could well explain the album's rarity, with original copies selling on Discogs for eye-wateringly high prices. Ted Coleman cut his teeth playing local clubs and venues in his hometown of Pittsburgh, where his skills on vibes and mallet percussion quickly earned him popularity in the local area. "Taking Care Of Business" was his very first studio album, blending latin rhythms with smooth jazz and soul stylings. The musicianship on the record is striking, the vocals mellow and soulful, the lyrics warm and tender: put simply this album is designed to warm the heart. Still writing and recording at ‘Joyful Noise’, his Metuchen New Jersey studio, Ted Coleman also performs across the US with his “Good Vibes” band. More sublime stuff from the flawless BBE.

                STAFF COMMENTS

                Patrick says: Oh my Lord! BBE reissue another lost classic here, putting the spotlight on unsung vibraphone hero Ted Coleman. Stick this on the player and soar away on the soulful strings, deep grooves and stunning vibes of this jazz-funk masterpiece.

                The list of musical highlights for Vincent Williams aka DJ Spinna are too numerous to list, from his seminal hip hop duo Jigmastas and DJ sets across the globe, to his iconic solo productions and remixes. But if you ask him, it's the relationship he's forged with personal hero Stevie Wonder that Spinna considers to be his single greatest achievement.

                As with most artists of a soulful persuasion, Stevie's music influenced Spinna from the outset, dictating everything from his approach to writing to his use of Fender Rhodes and Moog bass-lines on his productions. Having gained so much from the great man, Spinna decided to pay tribute in the form of 'Wonderfull', a series of parties celebrating the Wonder of Stevie. This is where the story became somewhat surreal for Spinna, suddenly finding himself joined onstage in Washington D.C. by none other than Stevie himself, a spine-tingling moment even when viewed on YouTube.

                An extension of the Wonderfull parties, this album represents a celebration of the life, music and cultural impact of Stevie Wonder. Few compilers can boast Spinna's understanding of Stevie's back catalogue, not to mention the large number of songs he's written for other artists over the years. Featuring stunning cover versions you may well have never heard before alongside songs many of us had no idea he'd written, Spinna's vast knowledge of and boundless enthusiasm for Stevie's music shines with every selection. As both a super-fan and a close friend, surely there is nobody better placed to compile this wonderful document of Stevie Wonder's music, inspiration and influence.

                The album focuses on cover versions, compositions and collaborations by Stevie Wonder, one of the most critically and commercially successful musical performers & songwriter of the late 20th century.


                'DJ Format's Psych Out' is a compilation of songs from around the world that Format wishes he could play at clubs every weekend. Some of the tracks are hard to categorise... Kind of psychedelic, kind of funky, kind of crazy, but most have unmistakable blend of distorted electric guitars, driving basslines and pounding drums. Maybe you didn't think it was possible for “Foxy Lady” to be played any harder, but 49th Blue Streak did it. “Hava Nagila” never really seemed likely to lend itself to a psychedelic reworking, but The Quests from Singapore thought differently. In Germany, The CT Four Plus did away with boring hymnal tradition and instead praised God with their electric guitars. Advertising executives in France thought it best to spread the word of their new chocolate bar by commissioning the Bana Pop Band to make a cool 7" flexi disc record. These are just a few examples of how the boundaries of music were being pushed in the late '60s and early '70s when most of these exciting recordings were made.

                In DJ Format's own words: "The idea for this compilation came about because of my search for a rare psych / funk 7" that isn't even included here! My friend DJ Oneofakind played me the said record and I totally lost my mind. Some months later after a lot of asking around and searching online, a copy turned up on Discogs for a painful amount of money. I contacted the seller to ask a couple of questions and it turned out I was talking to Jake Holloway, BBE's in-house designer. I'd loosely known Jake for a few years through mutual friends so we quickly arranged a time to meet and take care of business. Jake told me he'd offered the 7" to a few other DJ / collector friends but they'd passed on it as it was 'too heavy' for them. This got us talking about my love for psych records with a funky slant and I explained my frustration at buying so many records that fit that description, that were 'too heavy' to play at my typical DJ gigs. Jake had the perfect solution: 'why don't you do a compilation of funky, fuzzed-out psych stuff for BBE?''."


                STAFF COMMENTS

                Sil says: Anyone can put a compilation together, but not a good one. This one here is worth every penny. If you like distortion, this should be in your collection. The tracks here are almost uncategorizable but they all share the same common denominators: distorted guitars and psychedelia. All accessible.
                This is the perfect comp for your summer bbq's and house parties. DJ Format has done the hard work of finding rare yet great tracks for you to enjoy. Breaks and sample galore!

                Following closely behind last year's expanded reissue of 2000's 'Grassroots', the New York duo of DJ Spinna & Kryminul present 'Resurgence', a long awaited album of previously unreleased material. Comprising tracks created between 2003 and the present day, 'Resurgence' represents the duo's musical growth during a period where most of us assumed the Jigmastas project was on hold. From start to finish, 'Resurgence' is brimming over with soul thanks to Spinna's distinctively languid boom-bap productions. Rapper Kryminul is on fine form with his clever and witty brand of storytelling, which still stays close to the streets whilst keeping the subject matter varied and eclectic. Storming guest appearances come from Shabaam Saadique and Old World Disorder (SKAM2, Shadowman Boogie), both familiar names to Jigmastas fans. With the announcement of another brand new album 'Stellar' coming later in 2016, 'Resurgence' is a perfect opportunity to bring yourself up to speed with Jigmastas, just as they prepare to reclaim their rightful place at hip hop's top table.

                Kenny Mann Jr. & Liquid Pleasure Band

                Tin Top - Inc. Kon Edit

                THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                Taken from 'Off Track Vol. 3', 'Tin Top' provides yet another reminder of why Kon is revered almost as much for his music knowledge and record collection as he is for his production skills. A party disco belter, Kon's subtle edit of 'Tin Top' simply can't miss on the dance-floor thanks its infectious groove and fun lyrics. In Pt.2, the story takes a darker turn, while the track just keeps on grooving.

                Very special artists packages, released on 12” vinyl for the first time, exclusively for RSD 2016, strictly very limited.


                Vursatyl

                I Got It / Bring It To A Halt - DJ Spinna / Jake One Remixes

                Very limited 7” vinyl featuring DJ Spinna & Jake One on remix duties.

                It's fair to say that veteran Portland rapper Vursatyl has been making major waves of late, with praise and support for his 'Crooked Straights' coming from Kenny Dope, Okayplayer, 2DopeBoyz & Urb magazine among many others. Off the back of a world tour supporting the mighty Blackalicious and in response to popular demand, we've decided to press two very special new remixes on strictly limited 7" vinyl.

                First up, NY legend DJ Spinna lends his deft, soulful touch to 'I Got It', which summons up memories of the golden era with its deft, conscious lyrics and jazzy, off-kilter beats. On the flipside, underground stalwart Jake One takes control, serving up a fiery version of tongue-twisting lyrical missile 'Bring It To A Halt' with a side order of heavy drums and clinical cuts from DJ Flip Flop.


                Producing under the moniker Isoul8, as well as teaming up with Domu under the Rima alias for the incredible jazz / fusion album 'This World', Volcov is a truly important player in the underground music scene. Remixing artists such as Frankie Valentine, Azymuth & Taylor McFerrin, running his two labels Archive and Neroli, as well as DJing all over the World has given Volcov a rare knowledge of soul, funk, disco and deep house music; knowledge which is very apparent throughout this album.

                'From The Archive' comprises a lovingly chosen collection of obscure funk, disco and boogie tracks, alongside three very special edits produced by the man himself. From Chez Damier's sun-drenched remix of The Urban Crew's 'Go' to Bembe Segue's emotional 'Sun On My Back' via Shuya Okino's disco epic 'Still In Love', this record takes the listener on a joyful journey deep into Volcov's musical mind.


                Chris Read Presents The Pharcyde

                Runnin' / Passin' Me By - Chris Read Remixes

                In the closing months of 2012 BBE label artist Chris Read was enlisted by classic Los Angeles imprint Delicious Vinyl to produce a mixtape for Wax Poetics magazine celebrating the 20th Anniversary of the release of The Pharcyde's seminal debut LP 'Bizarre Ride'. The resulting mix was a runaway success clocking tens of thousands of plays online and kickstarted a relationship with the label that would go on to see Chris remix two of the group's best loved tracks, 'Runnin' and 'Passin Me By'.

                Those tracks are now available for the first time on this limited edition BBE x Delicious Vinyl double vinyl 7inch release. Treating the familiar original with respect, Chris has called upon the vocal talents of long time collaborators Lizzy Parks (Tru Thoughts) and guitarist Giles Barratt (Breakin Bread) to rework passages from 'Runnin' to create a 2014 update on the themes of the much loved Jay Dee produced classic. 'Passin Me By' meanwhile gets a '90s throwback rework utilising sample material from the original to great effect to create a track which bears all the hallmarks of the golden era.

                Mastered and cut by Walter Coelho who cut Jay Dee's 'Welcome to Detroit' back in 2001, the circle is complete!


                Many Hawaiian records released in the early 70s through to the early 80s have that authentic AOR sound that so much timeless music from The West Coast of America has from that golden period when ‘The Canyon’ was bristling with legends.

                Hal Bradbury’s “This Is Love” is one of those records. The album is considered to be one of the Holy Grail Hawaiian LPs that record collectors the world over dream of… a masterpiece of modern Soul and AOR from ’81, originally released on the very small and obscure Fan Records. Hal Bradbury, one of the lead singers from the legendary Hawaiian pop group The Fabulous Krush, released this solo album only available and sold at his gigs around the islands. The Fabulous Krush was Hawaii’s favorite band, a charismatic, dynamic and superbly talented group, that gave its audience good, clean fun and a happy wholesome entertainment with every performance. The album contains disco tracks like “Babe I Want You” written by Bradbury himself as well as cover versions of Sam Cooke’s “You Send Me” and The Beatles’ “She’s My Woman", as well as the “You Win I Lose” a track first unearthed by Japan’s trendsetter and co compiler with Kon & Amir on the legendary ‘Kings Of...' compilation series DJ Muro; as well as appearing on the 'Americana Rock Your Soul 2' compilation. This is the second instalment of BBE’s very ambitious and deep-digging reissues series.


                Various Artists

                Rock It... Don't Stop It! - Rapping To The Boogie Beat In Brooklyn, Boston And Beyond 1979-1983 - Compiled By Sean P

                Without doubt, funk is the mother of hip-hop - and although disco is sometimes viewed as somewhat anathematic to that movement, it’s worth remembering that for a while at least, it provided the vehicle that brought rap out of New York and presented it to the world - and the results of these divergent musical styles crossing paths still resonate around the globe. It’s easy to forget or play down the importance of the Sugarhill Gang’s ‘Rapper’s Delight’ - an unusual, clever novelty record that was cocksure and playful, which burned up the commercial airwaves in 1979. It was followed swiftly by Kurtis Blow’s ‘Christmas Rapping’, which also charted and gave Top Of The Pops its first on-stage rapper in early 1980. Although it wasn’t yet referred to as hip-hop in the UK, rap had already made itself known to the record-buying public at large - and as the rap 12" single was barely a year old, this was an incredible feat for such a nascent scene. The largely independent rap releases which had been slowly but steadily trickling out of the US would occasionally, like Sugarhill’s appropriation of Chic’s ‘Good Times’, take their musical cues from popular club tracks of the day - and disco-derived rap records were plenty.

                ‘Rock It… Don’t Stop It!’ features a selection of forgotten or relatively obscure rap singles from the ’79-‘83 period, universally known as ‘old school’, which fall into the hip hop-disco category. Inspiration for these vignettes from hip-hop’s evolution range from classic party rockers by Cheryl Lynn, through to Yazoo (and, no doubt, ‘Rapper’s Delight’) and the featured MCs give it their best shot with humour, earnestness and everything in-between. Although most of these hail from New York state, the under-represented Massachusetts shines alongside a prominent player which at the time had yet to find its own distinctive voice - Los Angeles. Hip hop and rap are now a dominant force in contemporary music and have constantly adapted to stay relevant, drawing on and absorbing all around them. ‘Rock It… Don’t Stop It!’ goes back over 30 years to their collective big bang moment.

                The re-issue of these two long-lost and highly collectable LPs marks the end of a long road for BBE and for the band Breakaway who made them… The explosion of Internet connectivity has made what used to seem rare commonplace, but also opened up a world of previously unknown musical riches, and enabled enterprising fans to make contact with obscure figures that they might’ve imagined would be forever inaccessible. Whereas collectors used to prize independent labels, now it’s all about the ‘private press’: records released by the same folks that made them, in tiny numbers, without distribution, and promotion usually limited to giving them out by hand at gigs. Such were the releases of Breakaway.

                Breakaway recorded two LPs. in the late 70’s these re-issues tell the story of a magnificent live band that made waves across St. Louis, Ill and further beyond to cities such as Boston and Las Vegas. A story that has come full circle after 35 years…

                Their self titled first album Breakaway touches showbiz glitz, while songs like ‘Understudy DJ’ and ‘There’s a New Group In Town’, caught the disco vibe, as pretty much everything else did in 1977, and it’s these that have been delighting twenty-first century dancers , as the more-than decade-long mania for all things ‘disco’ sends enterprising DJs and collectors looking way beyond the canon of classics.

                ‘Straight On To The Top!’ was a more ambitious album, Breakaway had more experience and the potential of a record deal seemed closer and more realistic. ‘Work With The Music’ has something of a mutant disco feel, and would certainly fit with today’s music on the trendy dance floors of East London, Williamsburg NY and Shibuya Tokyo ‘Breakaway’ had a sophisticated funk/fusion sound that wouldn’t have sounded amiss on many a big-budget major label album project. After the release of ‘Straight On To The Top!’, the band entered negotiations with Bang Records in the US, but the A&R department fell apart, and the hopes of a record deal faded…

                Fast-forward 35 years; the enthusiasm is still the same…
                “After spending a couple of days getting the old Ampex up to snuff. I recruited a friend to help cannibalize another machine's servomotor, and after several hours we had it all singing and calibrated to the Dolby 361 decoder units. The headline is that everything is sounding great! Just like the old days...” - Bill Schulenburg Breakaway ,producer , friend and now an award winning engineer, as well as the chairman of The Audio Engineering Society in St. Louis, Ill

                This exclusive release comes with extensive sleeve notes by Jesper Christiansen - Doctor of Music archaeology; the package also features a wealth of original photos alongside artwork and press cuttings of the period.

                Various Artists

                The Best Of Disco Demands - A Collection Of Rare 1970s Dance Music - Compiled By Al Kent - 5 CD Set

                Al Kent says; 'The "Disco Demands" series started sometime in the early 2000s - I couldn't give you an exact year because it didn't feel like a big deal, so I never noted it. I simply wanted to put out a compilation of some records I really liked and maybe make a little of the money back I was spending on them. Buy some food and stuff.

                There's always been disco comps around of course but there was rarely anything that strayed too far from the standards.. the same songs kept appearing over and over again, or the comps would feature records you could pick up anywhere for little money. I've never seen the point in that. I gave up judging a record on its value or rarity a long time ago but surely there's more to disco than Exodus, Martin Circus, Mass Production and all those Salsoul, West End and bloody Prelude records. So it was a nice surprise to find that there were other people out there who thought the same way.

                Volume 1 was pretty straightforward - just some nice records, with the only edit being an instrumental of Disco Socks; a strange, thinly veiled reference to the disco sucks movement. Then on Volume 2 I included a few of my edits and introduced the cover up concept to the disco world. That caused a bit of controversy, which of course I loved. And so it continued for five volumes.

                What we have here then is the full series, give or take one or two cuts, all remastered, many re-re-edited. For those who've asked since day one "will there be vinyl" I can finally say yes, you're holding it!'


                "Real Authentic Reggae Volume Two" contains a glorious collection of recordings carefully chosen by reggae afficianado David Rodigan. Recent hits from 2008 such as Luciano's "Deliver Us From All Evil", Macca B's "Empress Divine" and Junior Kelly's "Cyaan Reach" are included, whilst the heart of the album contains 1970s soulful recordings from the studios of western Kingston. The opening trailblazer by King Tubby sets the scene for a broad collection of songs that touch on affairs of the heart (Cornell Campbell, the Melodians, Sugar Minott, Johnny Clark) and songs of social living (Delroy Wilson, Wayne Wade, Leo Hall). Rastafarianism had a major impact on the development of reggae music and songs such as "Joy Within My Heart" by Fred Locks and "Deh Pon De Wicked" by Brent Dow reflect this powerful force. Sly Dunbar and Robbie Shakespeare, the kings of Jamaican drum and bass, are represented by two of their ace productions from the 1980s ("Oh What A Feeling" by Gregory Isaacs and "Heart Made Of Stone" by the Vice Roys). Two very rare instrumental recordings are also included on this album, both produced by Gussie Clark namely Schenectaday's "Shock" featuring the ace Jamaican saxophonist Tommy McCook and "No Entry", a haunting melodica piece from Augustus Pablo.

                Tracklisting
                1. King Tubby ft. Jackie Edwards – Tubby's Dub Festival
                2. Gregory Isaacs - Oh What A Feeling
                03. Leo Hall - Let's Dub It Up
                4. Chakademus and Pliers – When King Tubby Used To Play
                5. Augustus Pablo - No Entry
                6. Fred Locks - Joy Within My Heart
                7. Brent Dowe - De Pon The Wicked
                8. Luciano - Jah Deliver Us From All Evil
                9. Chezidek - Call Pon Dem
                10. Johnny Clark - Do You Love Me
                11. Cornel Campbell - My Confession
                12. The Melodians – Submission
                13. Jimmy London - What Good Am I
                14. Simplicity People ft. Tommy McCook - Shock Shentetacky
                15. Delroy Wilson - What Is Man
                16. Wayne Wade - Billy Red
                17. Junior Kelly - Cyaan Reach
                18. Macka B - Empress Divine
                19. Sugar Minott - Never Too Young
                20. The Viceroys - Heart Made of Stone

                Master funk musician Nick Van Gelder, legendary drummer and architect of the original Jamiroquai sound returns to planet earth with his brand new band. Featuring the amazing vocal talents of Mazen (formerly Akwaaba People) and London's finest stella horns – Jim Hunt, Dom Glover, and Nichol Thomson (Incognito, The Brand New Heavies, Omar). "Choose Music" is a collection of tight, infectious, soulful, jazzy house grooves. No gimmicks, just real live dance music.

                Multi-instrumentalist, vocalist, producer, arranger, and songwriter, Robert Strauss follows his critically acclaimed debut album "Quasars And Phasars" (Freerange records, 2005) with "Mr Feelings"; a timeless piece of intense soul music inspired by the golden age of disco boogie and glitter ball extravaganza. Mr Strauss' main strength is to produce luscious synth-fuelled groovers which would not sound out of place coming out of the speakers in an 80s underground record shop, yet still have a decidedly contemporary feel to them.

                Marc Mac's Visioneers project LP "Dirty Old Hip Hop", was one of the stand out albums of 2006 and a favourite at Piccadilly HQ. It now comes back reconstructed by some like-minded producers on the hip hop scene. Just three tracks from the original LP get the remix treatment on this CD, with "Funkbox" reworked by Jazzy Jeff, Terry Tester (one fifth of Danish hip hop troupe Vincent Van Go Go), Twelve Beats and Denz, "Replay" is remade by Terry Tester and Marc Mac. The LP is rounded off by the Visioneers remix of "Runnin'", featuring the original Pharcyde vocals reinstated over Marc's live band instrumentation. There's 14 different mixes in total.

                South African exile Hugh Masekela and Bronx dweller Stewart Levine met at the Manhattan School Of Music in the early 1960s. Sharing a mutual love of jazz, 60s pop, soul, rhythm & blues and the township jive 45s Masekela received from friends back home, the pair decided to set up their own label, CHISA, to record this fusion music they were hearing. Between 1965 and 1975 the label released a fair few tracks, from the massive hit of their debut release "Grazing In the Grass" by Masekela himself to Motown affiliated albums by young singer Letta Mbulu and the more traditional sounding Zulus and Baranta. This compilation brings together some of the tracks that made it onto vinyl but are now hard to find rarities, and those that only got as far as the studio tape machine, until now.

                After spending much of the 90s backing established artists like James Poyser and Christopher Williams, Philly soul singer V released his own single "It's Raining". This caught the ear of DJ Jazzy Jeff, who then brought V in to record at his Touch Of Jazz studio, with songs co-written by Jeff, Pete Kuzma and V. A testament to the soul that modern R&B has lost (check the Gil Scott-Heron copied sleeve), "The Revelation Is Now Televised" has been compared to the likes of Stevie Wonder, Luther Vandross and D'Angelo, and features a guest appearance from the multi platinum, Grammy award winning Jill Scott.


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