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Chances are you've already heard this track being played by Zip or Riccardo; It's been causing some damage on the dancefloor for almost a year now. And now it's finally available on wax.

One sided 180g vinyl with a hand stamped label.

Jeremy Vibes

Phil / Hall Of Fame

When you work in a record shop with so many other people it’s rare that a sample eludes us, so hats off to Jeremy Vibes, the old school hip hop loop that sits atop the boompty house bomb that is ‘Hall Of Fame’ (obviously) has got us all scratching our heads. If any of you know it, let us know and we’ll give you a copy for free *. Anyway, now that we’ve got that out of the way, ‘Hall Of Fame’ brings to mind the heady, halcyon days of early nineties house legends Junior Boys Own and Xpress 2’s ‘London Xpress’, house music doesn’t come any better folks, this is a BOMB. Next up is a (VERY) cheeky reworking of an ex member of Genesis. Heavy on the looped pianos and filters this is the kind of feel good house music that just doesn’t get made any more, it even has, wait for it, a breakdown! Essential. * We won't really.

Two belting house cuts here on this limited edition, vinyl only, hand stamped white label disc from LoveHrtz; who have either been paying close attention to the furore that the Adelphi Music Factory 12" caused t'other week or have burst outta the same camp - it's hard to tell!

"Classic Case" has already been receiving Radio 1 airplay in the UK, and both tracks have been doing the rounds the Ibiza this summer; no surprises really, as the two cuts are solid, feel good, disco injected house tracks that ooze pure party flavour! Are we due a surprise 'French touch' revival? I didn't think so but there's certainly some hi-nrg adulterants doing the rounds at the moment as the yoof look for that explosion of high octane power to soundtrack their Saturday nights. I say - get involved!

Better move quick on this one folks...


STAFF COMMENTS

Matt says: I've tried to put this back like three times already, fearing my encroachment of old age and lack of high octane techno gigs. Then I thought f**k it, necked two garys and had myself a living room rave.

Julie McDermott

Don't Go - Gerd Janson / Ejeca Mixes

2018 continues to the be the year of the rave renaissance (is it ALL down to Il Bosco's infamous Boiler Room appearance though?! - Matt) as one of the all-time classics, "Don't Go" by Julie McDermott gets a reworking by modern day superstar Gerd.

Produced by Awesome 3 (who seem to remain unaccredited here) and made in 1992 (for some the golden year of 'break hardcore'), "Don't Go" epitomizes the genre - big breaks, dark sections then breaking out into the spine-tingling euphoric light that is THAT piano line / chorus. Gerd, thankfully, leaves said piano line untouched, but refines the arrangement slightly for today's slightly slower and less sprawling DJ sets (remember in 1992 ecstasy was much cleaner and raves went on for 24 hours - meaning that the one-hour-DJ set was pretty much unheard of). He adds a bit of extra weight too, for the heavier soundsystems of today.

On the B side, Belfast's Ejeca flips "Don't Go" into a heavy-hitting, rave tinged, techno bomb. His inventive sampling turns the synth stabs and vocals on their heads, making them almost indistinguishable, but no less impactful, from the original. It's over four and a half minutes till the iconic chord progression is heard in its initial form, before Ejeca throws it back into a rapid fire, industrial thumper. Secret weapon tackle for sure right here!

Lastly, Gerd serves up a "VIP Dub" mix echoing claps and synth lines into the stratosphere whilst leaving the vocals at bay, save a short cry of 'Don't go' from Julie towards the end of the track, allowing those anthemic elements to do the talking.

A modern touch on an all-time classic from Gerd with a complete reinterpretation from Ejeca, this is a heavyweight release and one that's already being played by the biggest and the best out there. **SMILEY FACE EMOJI**


Adelphi Music Factory

Javelin

When a BRAND NEW house record by a BRAND NEW artist suddenly clocks up a load of pre-sales with very little hype you know summat special is in the air. Ok so it might have got a few plays on 6Music, but this is London-based Adelphi Music Factory's first ever record and on small-run, limited white label - what the fuck is going on?!

What you do need to know is that "Javelin" is a full-throttle, max-NRG, hi-octane house thriller that takes no prisoners. Loopy and charging with a huge gospel cry, it's like Paperclip People and Floorplan making gospel house music on Karlovac or No Fit State and will surely ignite any floor under its incendiary power.

There's a 'dub' version (cough), which relinquishes nothing in terms of energy but does away with that mind-mangling vox that sets the drops alight.

All in all 110% power for your next mainlined DJ set - always wear head gear!




Every DJ needs their 'secret weapons' - those handfuls of killer versions or re-fixes, the classics reimagined by shadowy figures who know exactly what needs to be added (or subtracted) from well known or obscure tracks. These activities have long been a staple of the disco world - think Francois K's incredible early 80's collages, Danny Krivit's DJ specials, Larry Levan's acetate-only special mixes - these are the things of dance music legend. Salsoul continues to stay relevant in 2018 by enlisting the new generation of producers to tweak a couple of big tunes from First Choice and The Salsoul Orchestra Respectively.

German DJ and producer Phonk D gives us a bumpin' version of First Choice jam "I Can Show You (Better Than I Can Tell You)" which was originally the B-side to "Breakaway" in 1980. Taking the best parts and teasing them over almost 7 minutes of funk Phonk D crafts an essential dancefloor tool that will certainly get spins in any discerning dance. Over on the flip is a remix of 2 parts from Delphi. Usually making up on half of the infamous Tiger & Woods Delphi steps out on his own and drops a heavyweight version of The Salsoul Orchestra's early 80's boogie jammer "Take Some Time Out For Love", transforming it into a pumping nu-house jam that's in the same style as his T&G output. Having been road-tested thoroughly by the pair in their relentless DJ schedule he knew the track was destined to by fire and we can confirm as much here at Picc Hq. Top drawer stuff from the upper echelons of the dance music pyramid and more hot property from the next generation of producers. What a time to be alive!


Danny Krivit & Tony Smith

Miracle Remix

Limited 1-sided, hand stamped white label featuring a super hard to find remix of "In The Light Of A Miracle" - Arthur Russell's spiritual disco Loft classic and our own Kickin' Pigeon's oft-proclaimed favourite song ever™. Remixed by NYC's Danny Krivit and Tony Smith who draw out the jazzy inflections and Arthur's very personable vocal deliver. Better than the Yam Who? remix in my honest opinion due to it being much more in keeping with the faultless original and therefore, a highly treasured artifact of disco & New York culture - not to mention one of the crowning glories in Arthur's vast, vast discography!

Do not hang around! Solid gold record. 10/10, every home needs one!


STAFF COMMENTS

Matt says: Does anyone else think about what they'd like played at their funeral. My morbid sense of humour has had this penned since I first heard it around 16 years ago (thanks Neil, @ Atonishing Sounds Burnley). A truly magical record that deserves a place in everyone's heart.

Mega white label business here as Bobby Konders seminal tracks "The Poem" & "Nervous Acid" as bolstered with three other doozies from the producers impressive catalogue. The very epitome of deep house, "The Poem" pairs a steady but devastating bassline to a glorious palette of instrumentation - flutes, pads, strings and keys all joining in harmony to create a sublime piece of deep house heaven. Both the original and dub version are included here and both are mind blowing - a high point of house music history and reason enough to buy this 12" alone. Keep paying attention though as "Nervous Acid", another anthem from Konder's vaults sees off the A-side in rabid, rave gremlin acid mode bursting with sherm-stick fuelled acid, a proto-house rhythmic foundation and yet another impeccable B-line from Bobby. Fuck me I'd forgot how good this sounds! Onto side B and "Let There Be House" keeps us in the jacking zone while "Massai Woman" dishes out some truly mesmerizing late night, smoked out haus. Completing the pack is the tribal chant meets nagging acid of "Dub Massai Style" a brilliantly dark voodoo workout with vintage drums, tb-303 and expertly placed vocal chanting. Six belters from Bobby Konders all on one twelve and sounding ace! You need this!

FGTH

Pleasuredome - Soul Mekanik Remix

This remix came about as when Danny (Mekanik) and Kelvin (Andrews) were working in SARM studios with Trevor Horn on the most recent Robbie Williams album. By coincidence the management there were working on a Frankie Goes to Hollywood 'Best of’ and were commissioning remixes. Being fans (who isn’t?), Danny and Kelvin got right on it and made this very subtle rework of "Welcome To The Pleasuredome". Mainly following the original version’s structure and instrumentation, the changes are in the detail of the arrangement and a very deftly added dose of ‘oomph’ (technical term), turning a seminal record into a surefire dancefloor bomb. People go bonkers when this is played out - after all, everyone loves a bit of 80s don't they.

Their remix ended up being finished a bit late (what with them being in the middle of working on Robbie’s album) and not getting delivered on time, but, it is kind of brilliant. It’s a shame to keep it locked up, so here's a crafty white label version for all us vinyl junkies.

Ebony & Ivory

Blow Dem Away / Fraud

Two nice young men dropped into the shop over the weekend with their UK garage (or whatever we're calling it these days!) white label, which I present to you here. Both sides feature rough digital beats with fat bassline punches, topped off by strong MCing by Ivory. Not to be confused with Paul McCartney and Stevie Wonder!


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