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Livy Ekemezie - Get It Down
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Livy Ekemezie - Holiday Action
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Livy Ekemezie - I Wan' My Bab' Back
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Livy Ekemezie - Friday Night
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Livy Ekemezie - Classic Lover
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Livy Ekemezie - Night Party
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Livy Ekemezie - Delectation
Livy Ekemezie’s Friday Night is widely recognised by DJs and afro-funk aficionados as a UFO (Unidentified Flying Object) grail record. It is one of those rare dance music albums that sounds like a record of its’ time but also has a timeless quality that makes each listen an immensely rewarding experience.
Fueled by teen spirit, every track slaps leaving little or no opportunity to skip. The song concepts circle around sweaty, afropolitan nightly excursions into the nightclubs of Aba, Port Harcourt and Lagos. But they could easily have been the soundtrack to Basquiat and Grace Jones grooving to DJ Larry Levan at Studio 54.
Digital Multitrack Sound Production combined with 80s synths and keyboards ushered in a new era. But what made this different is the bombastic but never overbearing "mélange" of slapping, funky bass lines, choppy synths, crazy, carefree vocals contributing to an intense dance-driven musical experience.
Livy and his friend Franklin Izuora teamed up with Jules Elong a seasoned keyboardist to create the LP in 1982, Franklin was a student in the US and already the experience of producing an album (Be Nice To The People, 1977, EMI) with the soundmaster, Odion Iruoje in the teenage afro-rock band, Question Mark. This gave Livy the confidence to leave most of the creative direction to him.
Livy had completed his secondary school cursus and was waiting to attend college. Jules Elong’s role was to make the record sound professional. The Quincy Jones influence created a reference point, Goddy Oku’s studio, Godiac was the mother ship for this 80s dance music masterpiece.
A1 - Get It Down
A2 - Holiday Action
A3 - I Wan' My Bab' Back
B1 - Friday Night
B2 - Classic Lover
B3 - Night Party
B4 - Delectation
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Fueled by teen spirit, every track slaps leaving little or no opportunity to skip. The song concepts circle around sweaty, afropolitan nightly excursions into the nightclubs of Aba, Port Harcourt and Lagos. But they could easily have been the soundtrack to Basquiat and Grace Jones grooving to DJ Larry Levan at Studio 54.
Digital Multitrack Sound Production combined with 80s synths and keyboards ushered in a new era. But what made this different is the bombastic but never overbearing "mélange" of slapping, funky bass lines, choppy synths, crazy, carefree vocals contributing to an intense dance-driven musical experience.
Livy and his friend Franklin Izuora teamed up with Jules Elong a seasoned keyboardist to create the LP in 1982, Franklin was a student in the US and already the experience of producing an album (Be Nice To The People, 1977, EMI) with the soundmaster, Odion Iruoje in the teenage afro-rock band, Question Mark. This gave Livy the confidence to leave most of the creative direction to him.
Livy had completed his secondary school cursus and was waiting to attend college. Jules Elong’s role was to make the record sound professional. The Quincy Jones influence created a reference point, Goddy Oku’s studio, Godiac was the mother ship for this 80s dance music masterpiece.
A1 - Get It Down
A2 - Holiday Action
A3 - I Wan' My Bab' Back
B1 - Friday Night
B2 - Classic Lover
B3 - Night Party
B4 - Delectation
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More records from Odion Livingstone
1
Apples - Mother
2
Apples - Deep Funk
3
Apples - Try Me
4
Apples - Lay On The Ground
5
Apples - Mind Twister
6
Apples - Don't Drive Me Out
7
Apples - You
8
Apples - Time For Me To Go
70s Nigerian psychedelic soul rock to be filed next to Shuggie Otis’ Inspiration Information.
Some albums are more than the sum of their parts. This is one of them. Nothing quite explains the luscious layers of sounds. The wholesome feeling that exudes from the first note to the last. Shuggie Otis meets Grotto/Ofege is what comes to mind.
The band was a ragtag band of teenage musicians who hung around Federal Palace Hotel in classy Victoria Island, listening to the resident band, led by the incomparable Yom Yem with Papa Doe and Gboyega Adelaja on keys. Frank who had some experience stringing around studios in Lagos, approached the George Veira (Vocals, Guitar), Nadi brothers (Clifford and Gerrard) with the idea of making a record. Odion Iruoje had enjoyed massive success with Ofege and Frank knew he might be open to the idea of producing the band.
“It happened very fast, as Georges had songs already written or half completed. We started jamming with a few gigs at Surulere Night Club, which was run by Tee Mac at the time. Odion heard the material and did not need any convincing. We Then we went into the studio to lay the vocals, drums and guitars. The keys and further production was done in London.
“My routine at the time was to finish records in London, at Abbey Road Studios. It was the best way to get the sound I wanted and allowed my use London based musicians which brought a special flavour. I liked to lay the rhythm tracks and vocals at our Wharf road studio in Lagos. That was the core of the work”.
Mr Odion Iruoje
(Resident A&R exec/Producer, EMI Nigeria)
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Some albums are more than the sum of their parts. This is one of them. Nothing quite explains the luscious layers of sounds. The wholesome feeling that exudes from the first note to the last. Shuggie Otis meets Grotto/Ofege is what comes to mind.
The band was a ragtag band of teenage musicians who hung around Federal Palace Hotel in classy Victoria Island, listening to the resident band, led by the incomparable Yom Yem with Papa Doe and Gboyega Adelaja on keys. Frank who had some experience stringing around studios in Lagos, approached the George Veira (Vocals, Guitar), Nadi brothers (Clifford and Gerrard) with the idea of making a record. Odion Iruoje had enjoyed massive success with Ofege and Frank knew he might be open to the idea of producing the band.
“It happened very fast, as Georges had songs already written or half completed. We started jamming with a few gigs at Surulere Night Club, which was run by Tee Mac at the time. Odion heard the material and did not need any convincing. We Then we went into the studio to lay the vocals, drums and guitars. The keys and further production was done in London.
“My routine at the time was to finish records in London, at Abbey Road Studios. It was the best way to get the sound I wanted and allowed my use London based musicians which brought a special flavour. I liked to lay the rhythm tracks and vocals at our Wharf road studio in Lagos. That was the core of the work”.
Mr Odion Iruoje
(Resident A&R exec/Producer, EMI Nigeria)
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1
Grotto - Come Along With Me
2
Grotto - Bad Times
3
Grotto - Funk From Mother
4
Grotto - Grottic Depression 2
5
Grotto - Grottic Depression (1)
6
Grotto - Change Of Tide
7
Grotto - Doomed
A uncompromisingly afro psych-rock testament.
Christening themselves War Head Constriction, the trio started playing shows, flaunting a gutsy, dark proto-metal sound that refracted Black Sabbath and Deep Purple through an afro-rhythmic prism. In no time, the group was snapped up by the progressive record label Afrodisia and they cut a single, ‘Graceful Bird’ b/w ‘Shower of Stone,’ released in early 1973. Alas, the War Head gleeful discordance might have been a tad too progressive for the commercial audience; the record died on the vine, precipitating a crack-up within the group. War Head Constriction managed to play their biggest show, opening up for Fela & the Afrika 70 at the National Stadium, Lagos before calling it quits. Still, there was no time to mourn the old group, as new ones were constantly forming at St. Gregory’s.
“At Greg’s I started jamming with Soga Benson, my cousin Skid, and Ben Bruce,” Amenechi says. “We all just used to jam, write, explore and perform where we could.”
“Martin and I were kind of rivals since he was in KC and I was in Greg’s,” Benson remembers. “But when Martin came to Greg’s, we became very, very close.”
Soga Benson
(lead guitar, vocals)
Benson kept pursuing the hobby and remained busy as a guitar for hire, joining Ofege for their second and third albums in 1975 and 1977. Yet, his main group Grotto had still not yet been in a recording studio until EMI Records—the premier label for afro-rock—took an active interest in 1977.
“Odion Iruoje was the A&R manager at EMI at the time,” Benson says, “and he auditioned us, liked he material and signed us.”
“I remember the Grotto audition, they were a bit cocky, St Gregs boys, they had some material that they thought was great but I felt otherwise. Grotto was a rock group but we needed to get them somewhere original. That was the challenge, not to sound like Ofege or some British rock group, but for them to sound like their authentic self. I was into youth bands at the time; I felt they offered something fresh. Most pros were into reggae, which I hated (not as a genre but in the way it was aped) and youth bands allowed me to experiment; I gave them something and they in turn gave me something, which I could take to the next project. They made me in a way. EMI Nigeria did not really get the emergence of the youth market, they thought I was fooling around with kids’ bands”.
Mr Odion Iruoje
(Resident A&R exec/Producer, EMI Nigeria)
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DE - 22113 Hamburg
Germany
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Christening themselves War Head Constriction, the trio started playing shows, flaunting a gutsy, dark proto-metal sound that refracted Black Sabbath and Deep Purple through an afro-rhythmic prism. In no time, the group was snapped up by the progressive record label Afrodisia and they cut a single, ‘Graceful Bird’ b/w ‘Shower of Stone,’ released in early 1973. Alas, the War Head gleeful discordance might have been a tad too progressive for the commercial audience; the record died on the vine, precipitating a crack-up within the group. War Head Constriction managed to play their biggest show, opening up for Fela & the Afrika 70 at the National Stadium, Lagos before calling it quits. Still, there was no time to mourn the old group, as new ones were constantly forming at St. Gregory’s.
“At Greg’s I started jamming with Soga Benson, my cousin Skid, and Ben Bruce,” Amenechi says. “We all just used to jam, write, explore and perform where we could.”
“Martin and I were kind of rivals since he was in KC and I was in Greg’s,” Benson remembers. “But when Martin came to Greg’s, we became very, very close.”
Soga Benson
(lead guitar, vocals)
Benson kept pursuing the hobby and remained busy as a guitar for hire, joining Ofege for their second and third albums in 1975 and 1977. Yet, his main group Grotto had still not yet been in a recording studio until EMI Records—the premier label for afro-rock—took an active interest in 1977.
“Odion Iruoje was the A&R manager at EMI at the time,” Benson says, “and he auditioned us, liked he material and signed us.”
“I remember the Grotto audition, they were a bit cocky, St Gregs boys, they had some material that they thought was great but I felt otherwise. Grotto was a rock group but we needed to get them somewhere original. That was the challenge, not to sound like Ofege or some British rock group, but for them to sound like their authentic self. I was into youth bands at the time; I felt they offered something fresh. Most pros were into reggae, which I hated (not as a genre but in the way it was aped) and youth bands allowed me to experiment; I gave them something and they in turn gave me something, which I could take to the next project. They made me in a way. EMI Nigeria did not really get the emergence of the youth market, they thought I was fooling around with kids’ bands”.
Mr Odion Iruoje
(Resident A&R exec/Producer, EMI Nigeria)
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
grotto - No Title
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grotto - No Title
3
grotto - No Title
4
grotto - No Title
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grotto - No Title
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grotto - No Title
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grotto - No Title
This album was the vintage rock heads response to the contemporary sounds of Jazz Funk, Fusion and Boogie.
Adapting to the tastes of the times - as well as their own maturing musical sensibilities - Grotto started transitioning from psych rock towards sleeker, more dancefloor-friendly grooves.
“As I grew older I think I got a bit jazzier,” Benson says. “I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.”
“Hard rock was the content of the first album,” Amenechi agrees, “and funk / jazz / R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.”
The group’s second album, ‘Grotto II: Wait… No Hurry’ (released in 1979) reflected the growing sophistication of its members’ musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines; space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs.
A favourite of DJs worldwide.
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Adapting to the tastes of the times - as well as their own maturing musical sensibilities - Grotto started transitioning from psych rock towards sleeker, more dancefloor-friendly grooves.
“As I grew older I think I got a bit jazzier,” Benson says. “I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.”
“Hard rock was the content of the first album,” Amenechi agrees, “and funk / jazz / R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.”
The group’s second album, ‘Grotto II: Wait… No Hurry’ (released in 1979) reflected the growing sophistication of its members’ musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines; space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs.
A favourite of DJs worldwide.
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1
Gboyega Adelaja - Funky City
2
Gboyega Adelaja - Baby, My Love For You
3
Gboyega Adelaja - Ere Aladun
4
Gboyega Adelaja - Adua (Prayer)
5
Gboyega Adelaja - Colourful Environment
6
Gboyega Adelaja - I Still Love You
7
Gboyega Adelaja - Agberede
Fresh from touring with Hugh Masekela (“The Boy’s Doin’ It”), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.
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1
v.a. - No Title
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v.a. - No Title
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v.a. - No Title
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v.a. - No Title
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v.a. - No Title
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v.a. - No Title
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v.a. - No Title
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v.a. - No Title
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v.a. - No Title
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v.a. - No Title
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v.a. - No Title
Humphrey Aniakor started Duomo Sounds after a trip to Milan. The idea was to produce a new sound for the emerging generation. A sleek funky but refined, Nigerian disco sound. This compilation captures all of that intention with a broad array of artistes. The music is sometimes sung in local Nigerian languages and sometimes in English but always with an African Accent. Modern grooves for an African market.
After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.
There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.
And he would call it—what else?—Duomo. Duomo Sounds Limited.
This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.
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After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.
There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.
And he would call it—what else?—Duomo. Duomo Sounds Limited.
This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.
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Customers who bought this also bought this
1
Mike Huckaby - Wavetable No. 9
2
Mike Huckaby - Fantasy
3
Mike Huckaby - Jupiter
My Life With The Wave Vol.1 has been completely remastered. This SYNTH classic is now ready for some serious dancefloor action for many years to come.
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1
octave one - A1 Sonic Fusion
2
octave one - A2 Octivate
3
octave one - B1 Paradise
4
octave one - B2 Nicolette
5
octave one - B3 Epilogue
A truly essential piece of early Detroit Techno history here, Octave One's original white label "Octivation" EP from 1990 has long been a sought after and coveted slab of wax. This 5 track journey charts the Burden brothers mood from sinister, spacey, acidic Techno jams ("Sonic Fusion") to deeper, more melancholic mid-tempo cuts ("Nicolette") and along the way manages to usher in a new wave of Detroit Techno sounds.
Steeped in soul and depth "Octivation" was hinting towards the epic style Octave One would shape with their various projects in the following decades and releases. The earliest glimpse (Their 1st release) into a long and fruitful career that is still continuing today. This EP was a game changer and it's influence can still be felt in contemporary House and Techno right now.
Now, finally made available again to be re-discovered and experienced.
Re-mastered, re-pressed and re-issued with all the original 430 West white label and sticker artwork intact, in conjunction with the Burden brothers / 430 West Records.
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Steeped in soul and depth "Octivation" was hinting towards the epic style Octave One would shape with their various projects in the following decades and releases. The earliest glimpse (Their 1st release) into a long and fruitful career that is still continuing today. This EP was a game changer and it's influence can still be felt in contemporary House and Techno right now.
Now, finally made available again to be re-discovered and experienced.
Re-mastered, re-pressed and re-issued with all the original 430 West white label and sticker artwork intact, in conjunction with the Burden brothers / 430 West Records.
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1
Aphrodisiac - Bushwacka! Edit
2
Aphrodisiac - Dazzle Drums Remix
3
Aphrodisiac - The Gospel of Thomas Remix
4
Aphrodisiac - Mediterranean Mix
A 90s house staple from Nu Groove pioneer Rhano Burrell as Aphrodisiac, ‘Song Of The Siren’, is rereleased alongside three new edits and remixes from industry tastemakers. First up on this four-track vinyl package, British underground leader Bushwacka! adds his production expertise to the iconic record, followed by two transformative remixes; the first from Japanese hip-hop DJs Dazzle Drums and the next from Girls of the Internet frontman Tom Kerridge’s electronic project The Gospel of Thomas. Rounding out this must-have collection is Rhano Burrell’s original Mediterranean Mix, ensuring audiences are reintroduced to ‘Song Of The Siren’.
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1
Arp Frique & The Perpetual Singers - Hold The Line (Another Taste Rework)
2
Arp Frique & The Perpetual Singers - Father Father (Another Taste Rework)
3
Arp Frique & The Perpetual Singers - Holy Ghost (Another Taste Rework)
Reworks by Another Taste of three tracks from Arp Frique & The Perpetual Singers.
Space Grapes proudly presents Arp Frique's new project with The Perpetual Singers, featuring a range of stellar vocalists from LA to Amsterdam. For this one-off 12", Another Taste replayed & reworked 3 songs, giving them the live sound Space Grapes has become known for. Ready to be played out loud!
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Space Grapes proudly presents Arp Frique's new project with The Perpetual Singers, featuring a range of stellar vocalists from LA to Amsterdam. For this one-off 12", Another Taste replayed & reworked 3 songs, giving them the live sound Space Grapes has become known for. Ready to be played out loud!
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1
The Vision featuring Andreya Triana - - Heaven (Danny Krivit Edit)
2
The Dangerfeel Newbies - - What Am I Here For? (Original NDATL Vocal - Danny Krivi
Named King of the Edit since the 1980’s, pioneering Manhattan DJ Danny Krivit’s (aka Mr K) latest 12” delivery instils the title bestowed upon him some 30 years ago. An esteemed selector Danny’s prolific remixing and production capabilities have touched hundreds of records – with his signature flare shaping the New York City sound. Opening the A-Side of the release, is Danny edit this summer’s seminal track The Vision’s ‘Heaven’, interweaving a gloriously groovy bassline with Andreya Triana’s vocal to produce an extended, DJ friendly mix that he sent crowds wild with at Dekmental Festival. On the flip, Mr K delves a little deeper into the Defected catalogue, trying his hand at The DangerFeel Newbies’ ‘What Am I Here For (Original NDATL Vocal)’. Danny’s stripped back version extends the jazzy, percussive original, as velvety smooth vocals and elegant keys bring this expressive and sophisticated release to a close. A true master of the edit, music as good as this deserves to be heard on wax.
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1
Fruit - If You Feel It, Say Yeah (7 Inch Version)
2
Fruit - Lost the Love (7 Inch Version)
Jacksonville finest, The Fruit band's unreleased disco LP was released a few years ago on Athens but after many requests we are dropping a couple of 45s. This 45 comes in a hand made folder cover with help from an original press shoot of the band we had on file. One-time press with the picture sleeve, beautiful. Disco royalty.
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1
Circuitry - Freak
2
Circuitry - Last Days Of Cybotron
3
Circuitry - The Chiller Thriller
4
Circuitry - Radio Station P-You
5
Circuitry - Sassy Strutt
Repress!
PPU back at what they do best, with more unreleased fire from Illinois producer Electro Wayne. People kept asking where's the rest of the Circuit Shock Productions?? So here's the next installment of demos selected by Electro Wayne and you, his fans!
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PPU back at what they do best, with more unreleased fire from Illinois producer Electro Wayne. People kept asking where's the rest of the Circuit Shock Productions?? So here's the next installment of demos selected by Electro Wayne and you, his fans!
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1
The Blaxound & John Vermont - No Es Por Ti
2
The Blaxound & John Vermont - Qué Más Te Da?
Berlin based label "Matasuna Records" kicks off the new year 2025 with a soulful 7inch featuring songs by Barcelona's "The Blaxound" and singer "John Vermont". Their common love for vintage soul from the 60s and 70s brought them together for this project to compose and record classic soul sung in Spanish. This 45 shows that the concept worked out wonderfully: Spanish Soul at its best, sounding authentic and contemporary at the same time! Matasuna Records, known for its reissues of musical treasures from the past, also has an eye for exciting new discoveries in contemporary music. With "The Blaxound & John Vermont" the label has once again found an interesting project for soulful & contemporary music that fits perfectly into the label's sound spectrum and will appeal to lovers of authentic soul music. The two songs "No Es Por Ti" and "Qué Más Te Da?" from their recently released album will be released for the first time as a 7-inch vinyl single on Matasuna Records. The instrumentation and the lovely harmonies are the ideal basis for John Vermont, who with his versatile voice, sometimes powerful, sometimes smooth - but always soulful - can fully develop his vocal spectrum and fill the songs with his presence. Instrumental and vocal arrangements are beautifully balanced and harmonious. Beatific!
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
the night writers - Let The Music (Use You) Club Mix
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the night writers - Let The Music (Use You) Dub Mix
Another dyed-in-the-wool house classic here, from all the way back in the golden mists of 1987 on the tiny, cult Danica label. Don't forget, Mint Condition's mission is to bring you the classics too, a nice, new copy to play out in the club so you can keep your original nice and fresh! We care about these things. That's why we're happy to present this monumental slab of Chicago house history from one of the absolute gods of this culture - Mr. Frankie Knuckles - this time operating under his Night Writers alias. We're not sure too much needs to be said about this one, it's all here really, that classic Knuckles deep touch, the musicality, the vibe... Ricky Dillard's vocals encapsulating that feeling when the music takes over, pure abandon. The pairing of these two talents results in what would eventually become a bona-fide house CLASSIC. No arguments. If you're not familiar you're in for a treat, if you already know then you're nodding your head and agreeing with everything you've just read. Simple really - YOU NEED THIS ONE!
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Sonia Santos - Poema Ritmico Do Malandro (Balanço Do Crioulo)
2
João Donato - Cala Boca Menino
A. Sonia Santos - Poema Ritmico Do Malandro (Balanço Do Crioulo) / B. / João Donato - Cala Boca Menino
Back in stock due to popular demand, the 23rd release in our signature Brazil 45’s series served up a double header of classics from Sonia Santos and João Donato.
First up, 'Poema Ritmico Do Malandro (Balanço Do Crioulo)' is a beautiful track from the instantly recognisable Sonia Santos. A song that drifts from classic to psychedelic samba, laden with strings, horns and crowd noise. First released on 7” by Copacabana in 1971, but never on an album, originals fetch up to £100 per copy. A different version of this song also appears on the truly excellent Zito Righi Alucinolandia LP.
On the B side, 'Cala Boca Menino' is taken from João Donato’s much sought after and requested Quem É Quem LP. Quirky percussion, bubbling keys, horns and a hypnotic vocal. Donato is a hugely prolific force in Brazilian music and worked with the likes of including Tom Jobim, Astrud Gilberto, Cal Tjader, Dom Um Romao and Gilberto Gil amongst others. ‘Cala Boca Menino’ was released on a 7” in 1973 in Brazil, but is very difficult to find at a reasonable price and in good condition these days.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Back in stock due to popular demand, the 23rd release in our signature Brazil 45’s series served up a double header of classics from Sonia Santos and João Donato.
First up, 'Poema Ritmico Do Malandro (Balanço Do Crioulo)' is a beautiful track from the instantly recognisable Sonia Santos. A song that drifts from classic to psychedelic samba, laden with strings, horns and crowd noise. First released on 7” by Copacabana in 1971, but never on an album, originals fetch up to £100 per copy. A different version of this song also appears on the truly excellent Zito Righi Alucinolandia LP.
On the B side, 'Cala Boca Menino' is taken from João Donato’s much sought after and requested Quem É Quem LP. Quirky percussion, bubbling keys, horns and a hypnotic vocal. Donato is a hugely prolific force in Brazilian music and worked with the likes of including Tom Jobim, Astrud Gilberto, Cal Tjader, Dom Um Romao and Gilberto Gil amongst others. ‘Cala Boca Menino’ was released on a 7” in 1973 in Brazil, but is very difficult to find at a reasonable price and in good condition these days.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Mr & Mrs Dale - It's You (New York - London Mix)
2
Mr & Mrs Dale - It's You (Free House Mix)
3
Mr & Mrs Dale - It's You (NU Style Mix)
Repress!
The Dancefloor Records reissues on Emotional Rescue comes in the form a true House classic. Produced and released by the Chicago legend Andrew Komis, It’s You is an original Deep House bomb and an education to those increasingly misusing the term today.
Essentially a cover / updated version of the all-time early House classic in ESP’s Its You, this 1989 update shows how much the scene was progressing in just 3 years with a tougher, heavier and deeper 12” that was all about rocking club sound systems.
Coming out on Komis’ own (Dancefloor subsidiary) Big Shot Records, this might not of been as big as Dionne’s Come Get My Lovin’, but has long been an ‘in the bag’ record for the likes of Derrick Carter and Solar. Just one listen spread across the time-defining “Mixes” and it’s clear why.
The stepping bass of the New York – London Mix was so indicative of the time. As the latter’s ascent as a clubbing capital took hold, ears were pinned to what was emanating from across the seas, especially the clubs of NYC and ‘Windy City’. Trademark Komis bass and hats ride are all here to allow the breathy vocals space to do their magic.
However it is the Free House Mix that really shows where things were at. Skipping hats, electro-meets-Belgian bass and a dark synth line pull the track down before acid touches take the song to a much deeper place and has long been the favourite version for the discerning DJ.
Ending with what was indicative of the time, the title says it all with the NU Style Mix. A drum heavy work out, taking in elements of successful records of the time, we get Break 4 Love percussion arranged around a NYC influenced Konder’s style quick cut-up editing for a more 'freestyle' mix to round out what is simply, an underground bomb and therefore, worthy of what this label has always been about, bringing great records to new ears.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
The Dancefloor Records reissues on Emotional Rescue comes in the form a true House classic. Produced and released by the Chicago legend Andrew Komis, It’s You is an original Deep House bomb and an education to those increasingly misusing the term today.
Essentially a cover / updated version of the all-time early House classic in ESP’s Its You, this 1989 update shows how much the scene was progressing in just 3 years with a tougher, heavier and deeper 12” that was all about rocking club sound systems.
Coming out on Komis’ own (Dancefloor subsidiary) Big Shot Records, this might not of been as big as Dionne’s Come Get My Lovin’, but has long been an ‘in the bag’ record for the likes of Derrick Carter and Solar. Just one listen spread across the time-defining “Mixes” and it’s clear why.
The stepping bass of the New York – London Mix was so indicative of the time. As the latter’s ascent as a clubbing capital took hold, ears were pinned to what was emanating from across the seas, especially the clubs of NYC and ‘Windy City’. Trademark Komis bass and hats ride are all here to allow the breathy vocals space to do their magic.
However it is the Free House Mix that really shows where things were at. Skipping hats, electro-meets-Belgian bass and a dark synth line pull the track down before acid touches take the song to a much deeper place and has long been the favourite version for the discerning DJ.
Ending with what was indicative of the time, the title says it all with the NU Style Mix. A drum heavy work out, taking in elements of successful records of the time, we get Break 4 Love percussion arranged around a NYC influenced Konder’s style quick cut-up editing for a more 'freestyle' mix to round out what is simply, an underground bomb and therefore, worthy of what this label has always been about, bringing great records to new ears.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Upstairs - Get On A Plane (Extended Mix)
2
Upstairs - You're Just Yourself
Strictly limited disco 12" with two songs by Upstairs from 1980.
Side A features an exceptional track from their highly sought-after album "It's Hard To Get In The Showbiz" called "Get On A Plane". The song is still totally under the radar in the collector's scene and serves us with a smooth uptempo Disco Funk groove, a super mellow AOR vibe and a catchy chorus! The exclusive 12" mix has an extended ending to give you more of the final "Copa Cabana" chorus.
The flip side contains the instant classic "You're Just Yourself", a track which could already be found on the "Boogie on the Mainline" double vinyl compilation. Giving it more space, power and loudness on 45 rpm with a new master we hope this perfect soulful tune will get even more spins in this "audiophile" edition.
Side A
Get On A Plane (Extended Mix)
Side B
You're Just Yourself
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Side A features an exceptional track from their highly sought-after album "It's Hard To Get In The Showbiz" called "Get On A Plane". The song is still totally under the radar in the collector's scene and serves us with a smooth uptempo Disco Funk groove, a super mellow AOR vibe and a catchy chorus! The exclusive 12" mix has an extended ending to give you more of the final "Copa Cabana" chorus.
The flip side contains the instant classic "You're Just Yourself", a track which could already be found on the "Boogie on the Mainline" double vinyl compilation. Giving it more space, power and loudness on 45 rpm with a new master we hope this perfect soulful tune will get even more spins in this "audiophile" edition.
Side A
Get On A Plane (Extended Mix)
Side B
You're Just Yourself
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More