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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!

Tohru Aizawa Quartet

Tachibana

    The desire to discover and delve into new and unexplored areas of music has turned attention on the Japanese jazz scene of the 1970s, often regarded as its gilded age. The recent groundbreaking sell-out BBE compilation J Jazz: Deep Modern Jazz from Japan 1969-1984 threw much needed light on this fascinating era and presented a range of artists and music that surprised and delighted all who heard it. A key track on the compilation was one of the rarest and least known: Dead Letter by the Tohru Aizawa Quartet, taken from an album that was so elusive, some pondered whether it even existed.

    The album, Tachibana, was recored in 1975 and, until included on the J Jazz compilation, was unknown except to a small group of obsessive Japanese jazz collectors. The privately pressed record was the only album made by the Quartet, four amateur musicians who were university students at the time. The session was financed by a local businessman, Ikujiroh Tachibana, who pressed up a few hundred copies to use as a business card. In the intervening 40 odd years since its recording, few copies have surfaced, making it an in-demand yet elusive artefact from the golden age of Japanese jazz. BBE Records are honoured to present a fully authorised reissue of this holy grail, licensed directly from the band themselves.

    Tachibana has all the necessary components of a cult album: pressed in small numbers, a few mysterious and vague details about its origins, languishing in obscurity for decades and, above all, superb musical craftsmanship and skill. It can now be enjoyed by a new audience around the world.

    The album opens with the dynamic percussion workout Philosopher’s Stone written by the then law-student and drummer Tetsuya Morimura. It propels along with the band at full pelt, showcasing Morimura’s well-developed drumming style. For a teenage amateur player to compose and perform such an accomplished and impressive piece is a testament to the talent that the band contained. Philosopher’s Stone is followed by Sacrament, an epic modal composition by saxophonist Kiyochiro Morimura that fans of Wayne Shorter, Pharaoh Sanders and late-era John Coltrane will appreciate. After an extended intro the band drop into a heavy, churning groove, Morimura’s saxophone scorching above the volcanic rhythm section. Dead Letter, written by Aizawa himself, is an epic piano led symphony of spiritual jazz. Think McCoy Tyner at his imperial finest and you’ll get a favour: impact, emotion and power all suffuse to create a overwhelming experience. Amazingly, this is still the only Aizawa composition yet to be recorded.

    The Tachibana album also includes two cover versions, both Latin favoured numbers delivered with élan and brio: La Fiesta by Chick Corea and the classic Samba de Orfeu by Luiz Bonfá. So, just five tracks in total, the sole existing evidence of an astonishing band, the Tohru Aizawa Quartet.

    The long-awaited reissue of this mythic album includes new liner notes and photos, plus fully translated notes from the original Japanese text. The album will be presented in an authentic thick card gatefold sleeve in a faithful reproduction of the original sleeve design.


    Various Artists

    Serge Gamesbourg Presents Boston Goes Disco!

      During the 1970s and 80s, the city of Boston and its environs produced some of the era’s most iconic music stars, from rock megaliths like Aerosmith and The Cars to disco and soul celebutantes Donna Summer, New Edition and Tavares. These artists emerged from Beantown’s thriving underground music scene to fnd global success, but what about the countless contemporaries who never made it beyond the local circuit? Native DJ, producer and bass player Serge Gamesbourg began digging in the crates for forgotten gems more than two decades ago; emerging in 2018 with his frst BBE compilation, lovingly titled Boston Goes Disco!

      “I wanted to shed light on more obscure & unknown disco & boogie records outta Boston and the surrounding areas; basically small label and privately pressed late 70s and early 80s dance music from Massachusetts.” Turning detective as he began to track down many an obscure artist to license music for the album, Gamesbourg often found Boston’s legendary Berklee College of Music to be the common denominator for many bands throughout the years. “A lot of these cats came here real young to study from various parts of the country, met the other band members and wrote music and performed locally before fnishing their studies and moving on.”

      FORMAT INFORMATION

      3xLP Info: 3LP+7”

      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.

          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.

            Tyree

            Video Crash / Acid Crash B/w Harcore Hip House (Joe Smooth Too Deep Mix)

            Encouraged by the high demand for ‘Foundations Vol.1’, which saw DJ Spinna and Kai Alce join forces to release the Cajmere classic ‘Brighter Days’ on 7” vinyl, the second volume of ‘Foundations’ sees the pair digging even deeper into House music history, selecting a pair of tracks from Chicago legend Tyree Cooper.

            The first cut on our strictly limited 7” pressing was originally named ‘Video Crash’, then re-titled ‘Acid Crash’ on a bootleg version released around the same time. Whichever name you prefer, this 1988 track hails from an era of creative oneupmanship in the Chicago underground. The story goes that Marshall Jefferson and/or Lil’ Louis created a jam called ‘Video Clash’ in the mid 80s (there’s still some controversy about who made it, so we’ll say no more). Keen to go one better, Tyree hit the studio to make a track called ‘Video Crash’ and in the process he created one of the most potent and recognizable Acid House tracks of all time.

            On the flip side and originally released back in ’89 is Joe Smooth’s ‘Too Deep’ mix of another Tyree classic: ‘Hardcore Hip House’. A crossover anthem, Tyree’s original version paired rap vocals and James Brown cutups with raw House beats. Fellow Chicago DJ Joe Smooth shows off the flawless, crisp production abilities that would later see him producing for Destiny’s Child, New Order and Whitney Houston with this superb, timeless Deep House remix.

            About The Series: BBE are excited to present ‘Foundations’, a series of strictly limited 7” pressings exploring some of the most iconic House tracks of all time, as chosen by DJ Spinna and Kai Alce. With global interest in ‘45s on the rise, ‘Foundations’ aims to fill those frustrating gaps in all our collections by releasing specially crafted edits of classic house tracks on 7” vinyl for the very first time.

            Calendar / Braxton Holmes Presents Cabrini-Greens And Cornbread

            Comin' On Strong /Stomps & Shouts (Jamie 3:26 Edits)

            Just ahead of a brand new album, edit kingpin and Chi-town poster boy, Jamie 3:26 introduces a double-A side of prime cuts.

            At the top of many a vinyl digger’s wish-list since its highly limited white label release in 2010, the Jamie 3:26 edit of Calendar’s 1977 disco stepper "Comin’ On Strong" has become the stuf of legend, played to devastating efect by Theo Parrish among others over recent years. On the fip, Jamie 3:26 heads into classic Chicago House territory with a fiery reworking of impossible-to-find Braxton Holmes banger ‘"Stomps & Shouts", taken from his mythical "Cabrini-Greens and Cornbread" project.

            A scintillating teaser of what’s to come later this year when BBE release the full length, "Taste Of Chicago", these two hi-octane edits should keep even the most hot-footed dancers on their toes. Recommended!


            STAFF COMMENTS

            David says: Back in the day, when I used to be able to stay awake beyond midnight, this Jamie 3:26 edit was both a permanent fixture in my record bag and a certified floor filler. I'm guessing my version might be 'unofficial' but Jamie has done the decent thing and gone all legal on us. Massive.

            "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.'

            Another sterling collection from BBE, pressed across two discs and sounding super! 


            '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.

            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. 


            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.

            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.

            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

            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'.


            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.

            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...

            “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.

            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.

              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.

              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.


              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.

              Kev Beadle says; "Hard to believe its been about 16 years since I last put a compilation together and nearly 20 years since I was asked to raid my collection to put together a selection of rare hard to find music from days gone by...

              The music on this compilation is for me a very personal journey tracing back to my earliest experiences as both a DJ and collector on the jazz dance scene. Early memories of frequenting clubs like Jaffas above The Horseshoe on Tottenham Court Road hearing Paul Murphy play these amazing records and then going to his shop pick up tracks like Johnnie Walker’s ‘Dipping’ and Jayne Cortez' 'I See Chano Pozo'. DJing on a Monday night at The Wag in Wardour Street was really special. Working with the likes of Gilles Peterson, Sylvester, Bob Jones and Chris Bangs was a musical education. The on going friendly DJ competitiveness to break and play recently discovered ‘old tunes’ like Reverie ‘In Every Way’, Irakere’s ‘Chekere Son’ and Olli Ahvenlahti’s dancefloor fusion classic ‘Grandma’s Rocking Chair’ was all part of the appeal.

              When Gilles Peterson, Bob Jones and myself originally started the Talkin Loud Sunday Afternoon at Dingwalls sessions little did we know what a major part that would play in the history of jazz dance culture. Again it became a ‘one-stop’ to hear exciting and up until then undiscovered gems from both the jazz and soul scene. Tunes like Kamal Abdul Alim’s head nodding funk ‘Brotherhood’, The Pharoah’s ‘Freedom Road’ and Roy Porter’s ‘Jessica’ all became ‘Camden anthems’ mainly because of the open-mindedness of both the DJs and the Sunday afternoon regulars as well as the hunger to hear new music. So here is my ‘Private Collection’. I hope the music on it moves you in some way, whether you know the tracks or not, as it still does me."


              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.

              When disco went overground between 1975 and 1979, many different sub-genres began to emerge within the scene: Disco-soul, Philly disco, disco-rap, disco-funk, disco-not-disco, boogie etc all has their own sounds and their own fans, although at the time the mainstream media just lumped the whole lot together under the disco moniker. Over years of hunting down original disco twelves, Dimitri From Paris found that one particular style was taking up more room on his record shelves than any other. It had a sound that borrowed from other styles, but still had its own character: Rich orchestration, a touch of Latin influence, 4/4 beats and rather over the top vocals creating a glamourous feel. Seeing as no one else had bothered to give this particular sound a name, Dim has dully christened it 'cocktail disco', and brings us a whole compilation of the stuff here.

              FORMAT INFORMATION

              2xLP 1 Info: 11 track double LP.

              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.

              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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