Friday, August 29, 2008



thanks for looking.

ahh, labor day weekend… summers nearing it’s end and it’s time to start preparing for the fall ahead, buying new ‘back to school’ and winter clothes, harvesting and preserving nature’s bounty (dude… healey and i just opened a jar of our canned jersey tomatoes from earlier in the season and they were delicious!!! and check it out, when i was at the reading terminal on monday, jersey-t’s were 99c a pound (!)… so get your ball jars and water bath canners out and get to work! >>btw, the ace hardware at 20th and fairmount has em if you need em<<)… and you know what we’ve found? that nothing goes better with canning (and winter clothes for that matter) than new records and cds… and guess what??? tequila sunrise has preserved (and excellent music for preserving) music in spades!!! check out this weeks harvest: finally in stock is the resuscitated strut label with their new excellent italo disco compilation, a reissue of the highly influential disco not disco comp, august darnell best of and danny krivit edits sets, great stuff all around and thus all em are this weeks top picks… select cd and vinyl reissues of international artists releases (and more to come); new boris vinyl (!); day blindness reissue (!); a bunch of vampi soul restocks (with more to come); and a TON of killer dance titles: new faint remix 12 on boysnoize, baltimore club classics restocks, new lee douglas on black disco, killer italo and euro disco 12 on disco promozionale, klien and mbo remix on flexx (one of favorite label/mailorder spot in the eec!)… plus new titles on klang, playhouse, supersoul, etc… and a new issue of shindig to!!! come on by!!!



as always, many of the titles are in very limited quantity, so if you're interested in anything listed below, feel free to call or email me, I will gladly hold items for up to a week.

prices do not include shipping and handling. for those of you shipping within the continental united states I offer a 5.00usd flat shipping rate for any amount of records and/or compact discs. shipping cost for international orders are calculated on an order by order basis. payments for orders can be made via paypal or with a credit card by telephone between 12-6pm/est.

i also offer bike messanger service via timecycle couriers. for the low cost of 10.00usd i can deliver any amount of records and/or cds you wish to purchase to your center city philadelphia location (this includes some parts of south, west and north philadelphia) within two hours (and for those of you who need your records even faster, we also offer ‘rush’ service for the low flat rate of 20.00usd for any amount of records/cds delivered to you within one hour). of course, we are still more than happy to ship records via the usps within philadelphia. as with the international shipments, orders placed before 5pm/est will ship out that evening and should reach their destination by the following day.


17.98usd/9.81gbp/12.19eur/1968jpy (approx)

*On today's electro-obsessed dancefloors, original Italo disco is a regular fixture with DJs and dancers seduced by the epic, spacey energy, the brash synths and heavy percussion breaks leaping from the grooves. Italo Disco brings together original classics and rarities by some of the genre's leading producers, from Claudio Simonetti and Giancarlo Meo (aka Kasso and Easy Going) to Peter Micioni and Balearic favorite, Tullio De Piscopo. Many tracks appear on CD here for the first time and the album features several exclusive re-edits by compiler Stevie Kotey, member of DJ/producer team Chicken Lips and label boss of Bear Entertainment.

V/A- DISCO ITALIA: SAMPLER 12" (strut, uk)
11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*On today's electro-obsessed dancefloors, original Italo disco is a regular fixture with DJs and dancers seduced by the epic, spacey energy, the brash synths and heavy percussion breaks leaping from the grooves. Italo Disco brings together original classics and rarities by some of the genre's leading producers, from Claudio Simonetti and Giancarlo Meo (aka Kasso and Easy Going) to Peter Micioni and Balearic favorite, Tullio De Piscopo. Many tracks appear on CD here for the first time and the album features several exclusive re-edits by compiler Stevie Kotey, member of DJ/producer team Chicken Lips and label boss of Bear Entertainment." 12" Tracklisting A. Gepy & Gepy - African Love Song A2. Five Letters - Tha Kee Tha Tha B. Tullio De Piscopo- 'E Fatto 'E Sorde! E? (Maxessa Edit).

17.98usd/9.81gbp/12.19eur/1968jpy (approx)

*It was the sound of post-independence Nigeria, a time of celebration and wealth but, ultimately, of political oppression. The music reflected the times -- a heady mix of traditional rhythms and big band highlife with the new rock, soul and jazz sounds crackling through transistor radios from Europe and the U.S. The rulebook of Nigerian musical heritage was ripped up as Santana, The Beatles and James Brown became as relevant to young players as Haruna Ishola, Victor Olaiya and E. T. Mensah. Led by the towering influence of Fela Anikulapo Kuti, established Nigerian stars and the rawest of college bands alike forged new fusions and began using their music confidently as a vehicle for new variations of traditional parables and thinly veiled social commentary. Back in 2001, the first edition of Nigeria 70 on Strut broke the mold for African compilations: a 3CD powerhouse featuring a wide spectrum of musical styles from across the 1970s and an audio documentary tracing the music's history. For 2007, Strut delve deeper into the Lagos underground for another essential box of West African dynamite. From the heavy jazz of Peter King to Bola Johnson's scratchy Afro funk and the rolling grooves of juju legend Sir Shina Peters, this is some of the best music ever to emerge from Africa during the '70s. Compiled by leading Afro archivist Duncan Brooker and Strut's Quinton Scott, Nigeria 70: Lagos Jump comes packaged in a deluxe digipak with full booklet featuring extensive sleeve notes and artist interviews by Max Reinhardt: journalist, DJ and creator of the renowned Shrine Club sessions.

18.98usd/10.35gbp/12.87eur/2078jpy (approx)

*Strut Records, with seminal compilations such as Disco Not Disco, has established itself as one of the premier sources for vintage post-punk, no wave, and genre-bending dance music of all sorts. With Going Places, the aficionados at Strut take a look at one of the archetypical producers behind this burgeoning sound, shedding light on the career of a man more familiar to many for his work in the spotlight than behind the boards. During the '80s, Kid Creole was the zoot-suited Tropical Gangster, a Latino Cab Calloway mixing pop, funk, big band swing and Latin rhythms for a series of global chart smashes, from 'Stool Pidgeon' and 'Annie, I'm Not Your Daddy' to 'Endicott.' Before taking on the Kid Creole persona however, August Darnell developed his feel for jagged dance rhythms and musical fusion through a series of projects as a prolific writer, musician and producer. Darnell began his career as key member of Dr. Buzzard's Savannah Band (of late a staple of hip-hop sampling at the hands of Ghostface and others) alongside his brother, Stony Browder Jr. In 1974, Darnell then masterminded Machine's disco anthem 'There But For The Grace Of God' before becoming the in-house producer for the extremely influential Ze Records in New York. There, he helped fashion the grungy Ze sound through Cristina's trash disco debut album and groundbreaking work for Aural Exciters, James Chance and more. With today's DJs consistently championing Darnell's early work, this exclusive Strut release covers the period from 1974 to 1983 and features rare extended versions and album tracks released on CD for the first time. The set compiled by DJ Guido of Paris DJs with extended sleeve notes by legendary New York journalist Brian Chin.

18.98usd/10.35gbp/12.87eur/2078jpy (approx)

*It is a sound which defined an era and became the very essence of Island Records. During the '80s, Compass Point Studios in The Bahamas, set up by Island MD Chris Blackwell, was a magnet for soul, reggae, punk and rock artists eager to inject their sound with some Nassau magic. And the magic, apart from the tropical sunshine, was the production genius of reggae legends Sly & Robbie, engineers Steven Stanley and Alex Sadkin, and the Compass Point All-Stars house band. Most people would recognize the sound from hits by Grace Jones or Tom Tom Club, an unmistakable fusion of great, often quirky songwriting, dub production techniques and low end funk, extended into spacious and unhurried 12" versions. This was vibe music which has remained timeless on dancefloors ever since. For the first time, Strut presents the story of Compass Point from 1980 to 1986 bringing together acknowledged classics by artists whose sound was indelibly shaped there including Grace Jones, Black Uhuru and Gwen Guthrie. The album also highlights selected lesser known tracks by French DJ Guy Cuevas, Slits-offshoot band Set The Tone and the queen of trash disco, Cristina. Funky Nassau comes packaged in a deluxe digipak with full booklet featuring extensive sleeve notes and artist interviews by David Katz, author of the official Lee Perry biography, People Funny Boy alongside rare photos by Adrian Boot, Lynn Goldsmith and Alison Jarvis.

18.98usd/10.35gbp/12.87eur/2078jpy (approx)

*The Strut label returns, celebrating its re-launch in January 2008 through !K7 with a brand new edition of one of the imprint's most in-demand series, Disco Not Disco, exploring original anthems and rarities from the world of 1970s and 80's post-punk and leftfield disco. Originally released at the turn of the decade as a new wave of bands like The Rapture and LCD Soundsystem drew on the music's influence, Disco Not Disco has since been adopted in its own right as a term to describe a whole genre. The compilation is more timely than ever in 2008 as a reference point for a burgeoning mainstream scene. The new edition moves from New York classics by Konk and Bill Laswell's Material to early Detroit machine music, Belgian New Beat and a healthy dose of UK originals from Pigbag, Quando Quango and more on seminal labels like Y and Factory. Watch out too for rare gems from unexpected sources including '70s prog collective Isotope and Japan's electronic pioneers, Yellow Magic Orchestra. Disco Not Disco is packaged in a deluxe digipak with full booklet featuring sleeve notes by Bill Brewster, author of 'Last Night A DJ Saved My Life,' extensive track by track notes and rare photos.

11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*restocked… resident DJ at the Body & Soul club night. Krivit has been re-editing and releasing classics since the early '80s and this represents the first time one of his works has ever been made officially available. The 12" series kicks off with a new version of the Salsoul classic, 'Everyman' by Double Exposure. The original track previously only available as an album cut and is provides the basis for the huge new M&S record, 'Salsoul Nugget' (FFRR). This is flipped with Chi Lites' 'My First Mistake', a classic Krivit re-edit from the early '90s re-made for 2000.

24.98usd/13.62gbp/16.93eur/2735jpy (approx)

*restocked, out of print at the source… Danny Krivit is known in the world of dance music for many things, but Danny Krivit should be celebrated as a king of the re-edit. In the history of cut & paste producers, from Double Dee & Steinski in the early days of hip hop to the Latin Rascals' choppy 80s style, Krivit has himself been an anonymous hero of the underground, releasing hundreds of landmark dance-floor edits on small labels under various pseudonyms since the early 80s. Mysterious early breaks 'n' beats staples like the James Brown cut-up, 'Feelin' James' and B Boy anthem 'Rock The House' were Krivit productions, and disco classics like MFSB's 'Love Is The Message', Family Tree's 'Family Tree' and Lace's 'Can't Play Around' have all been hailed as definitive versions after the Mr. K treatment. Following Danny Krivit's magnificent Grass Roots album for Strut last year, we now dive headlong into the world of the Mr. K edits, bringing together a tight selection of classic, rare and unreleased versions from Mr. K's golden disco scalpel.


9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*cheap(er) version of this album on the excruciatingly ugly collectables label (uk version on charly forthcoming)… either way, essential stuffs. originally released in 1967 by International Artists, this is the 2nd and more acid album by the quintessential underground band of the late '60s.

17.98usd/9.81gbp/12.19eur/1968jpy (approx)

*Helena Espvall and Masaki Batoh are known to open-eared music listeners for their collaborations with other artists -- artists with names such as Ghost, Espers, Damon & Naomi, Fursaxa, Tom Rapp, Lukas Ligeti, Bert Jansch, among many others. By collaborating with each other, they've made one of the most beautiful recordings either one of them has yet participated in. They first met at a festival in the United States in 2006. Batoh presented Helena with a handmade bamboo instrument; short on spare celli, she gave him a copy of her solo CD. Afterwards, they stayed in touch. At some point Helena suggested an improvised musical collaboration. Batoh wrote back and said: 'Actually I'm too busy now to think about music... if my idols Moondog, Henry Cowell or Toru Takemitsu wanted me, I'll refuse their orders.' Several weeks later, he had a change of heart. He contacted Helena and said that he felt they should record not improvisations only, but songs as well. Helena made a demo of some Scandinavian folk songs that she remembered in her spirit from growing up in northern Sweden, thinking that maybe they'd record one. The recording session was held in Tokyo over four days in December 2007. For instruments fans, this session might be a treasure. So many strings were used: 6- and 12-string guitar, banjo, cello, hurdy-gurdy, harp, contra bass, chappa Tibetan bells, Kin (Buddist metallic bowl), timpani, bass marimba, vibraphone, thunder sheet & on & on. Six of the Swedish traditional tunes were reconstructed, along with Batoh's arrangement of 'Death Letter,' a classic Son House delta blues song. Additionally, a European medieval tune was addressed in its own arrangement and expression. 'Zeranium,' a dreamy folk tune that Batoh wrote for Damon & Naomi (they didn't use it), was re-arranged for this session as well. The improvisations were done on the last recording day, with no overdubs. 'Completely Free' was the essential concept. For one of them, they were joined by Batoh's fellow Ghosts Takuyuki Moriya (contra bass), Kazuo Ogino (piano,Celtic harp) and the santur player Mayumi Nagayoshi. The same morning, Helena had received notice that her grandmother suddenly had died, and that a dear friend had chosen to end his life. Two death letters in one day? There is great emotion reflected in the improvisations. And great depth and beauty throughout the whole Helena Espvall & Masaki Batoh album.

LOST & FOUND- EVERYBODY'S HERE LP (international artists, usa)
14.98usd/8.17gbp/10.15eur/1640jpy (approx)

*Nice looking exact repro… Originally released in 1968 on International Artists, the Houston-based Lost And Found were able to land a deal with the label thanks to their friendship with Roky Erickson (to whom they pay homage on the album with a cover of the 13th Floor Elevators' Don't Fall Down). This debut album, released just prior to their 30 day tour with the Music Machine, features great fuzz guitars and a healthy dose of psychedelic weirdness.

BORIS- SMILE 2LP (southern lord, usa)
18.98usd/10.35gbp/12.87eur/2078jpy (approx)

*Upon reflection of the aftermath of releasing their most successful album to date, Pink, Boris has found the desire to create sounds that are a wider extension of just simply music. They are searching for sounds that are also an extension of life and the many experiences that they have had in the two years that have passed since the release of Pink. In their quest, Boris are drawing upon unconventional influences such as obscure hair metal, Japanese cartoon songs, and the '80s Japanese pop singers to help shape the band's new directions. They are unafraid to embrace different sounds that are definitely not hip or cool within the context of accepted rock, noise, or drone music. These bold moves are really nothing new from the band that basically changes with every release with a conscious effort to not repeat what they have done in the past. Smile is a new sound which represents everything that is RIGHT NOW. Boris hope 'this is going to be a new experience for everyone beyond music.' Two bonus tracks + extended versions and different mixes of sounds as they appeared on the CD. All completely exclusive to the vinyl version. Packaging: killer metallic, matte silver foil, gatefold jacket. This is going to be beautiful." Limited edition of 3000 copies.

15.98usd/8.72gbp/10.83eur/1749jpy (approx)

*180 gram exact replica reissue. cd version is on Gear Fab… This very obscure & classic album created by the San Francisco psychedelic band Day Blindness in 1969 features driving guitars & crunching organ. Long jams sum up their music, which shows influences of both Iron Butterfly & The Doors.

21.98usd/11.99gbp/14.90eur/2406jpy (approx)

*In 1969, Texas acid-psych warlords the Bubble Puppy burst onto the U.S. Top 20 with 'Hot Smoke and Sasafrass,' the slashing, frenzied 2:33 freakout that kicks off the band's brain-bending debut, A Gathering of Promises. Signed to Houston's legendary International Artists imprint, the foursome were label mates of such hallowed acts as the 13th Floor Elevators and the Red Krayola. But A Gathering of Promises, the group's sole International Artists album, stands out from the rest of the roster with its rich vocal harmonies and heavier, Cream/Hendrix/Who sound. Descended from Corpus Christi garage kings the Bad Seeds, the Bubble Puppy's tripped-out calling card was its combination of soaring, fuzz-drenched guitars, frantic drumming, stop-on-a-dime arrangements, and tight, graceful harmonies. The Bubble Puppy may have been a one-hit wonder (and what a hit!) but after a trip through the manic 'Lonely,' the cryptically twisting 'I've Got to Reach You,' and the majestic, guitar-searing 'Hurry Sundown,' any psych fan will be left scratching their head and wondering why -- if they still have a head to scratch, that is.


26.98usd/14.71gbp/18.29eur/2954jpy (approx)

*Dancing Wayang record label is based a short distance from the Honest Jon's 'hood, in Eastcote Studios. Sessions for the label are released in a limited run of 500 LP copies packaged in hand screenprinted sleeves. The second and latest release, Directing Hand's What Put The Blood, blends free jazz with chilling folk. With drums, harp and wordless vocals and interpretations of traditional English folk songs. The band is Lavinia Blackwall on vocals and Alex Neilson on drums. Alex has worked with Richard Youngs (who features on the Honest Jon's album Migrating Bird), Bonnie Prince Billy and Baby Dee. Lavinia is a classically-trained singer in early music and is a member of The Pendulums. This is her debut with Directing Hand.


32.98usd/17.99gbp/22.36eur/3611jpy (approx)

*lp version. Gatefold cover, 180 gram vinyl… Eden & John's East River String Band are an acoustic duo that play country/blues classics from the 1920s and 1930s. The band consists of Eden Brower on ukulele and vocals with John Heneghan on guitar and vocals, including special guest Terry Waldo (legendary ragtime piano player who has recorded and toured with Leon Redbone and Woody Allen). The duo try to keep alive the rural music tradition that existed before the Great Depression of the '30s, playing primarily country blues covers including classics by such greats as Skip James, Mississippi John Hurt, Lottie Kimbrough and Blind Lemon Jefferson.


19.98usd/10.90gbp/13.54eur/2187jpy (approx)

*restocked… Eddie Benitez's story is full of contrasts: a classical trained child prodigy turned Latin Rock superstar while hanging out in his teen years with the likes of Charlie Palmieri (his guardian angel, as he still names him), Louie Ramirez, Tito Puente and pretty much all the crew from the Fania All-Stars... and making a name for himself while at it. His debut album on Fania, “Night Life," brought him to the spotlight in 1976, earning his band Nebula rave reviews and the props of many of his peers, including names like George Benson, Al DiMeola and Carlos Santana. He also has the distinction of being the first Latino act ever to be featured at the mythical CBGB's. His career, not to mention his life, was screech halted twice, first with cancer and most recently this past November when a massive heart attack almost swept him from us. But here he is back,on his own, back with his band Nebula and, sooner than you may expect, back with a brand new project.
1973 marks the year when the first incarnation of Eddie’s band, Benitez & Nebula, comes to surface. At 13 years old back then, Eddie’s first band consisted of Gregory Hernandez on congas, Louis Castro on timbales, Jimmy Cruz on drums and vocals, Bob Farian on keyboards and Victor Rodriguez on bass and lead vocals.
With a few additions to the band’s original core, most significantly the presence of the late Nancy O’Neill on lead vocals and, for studio purposes, the then up-and-coming Ruben Blades on background vocals and the virtuoso team of Nicky Marrero (a key member of the Fania All-Stars and one of the most influential percussionists of all times) and the late Frankie Malabe (a revered conga stylist and innovator as well as a stalwart of the essential Alegre All-Stars in the 60’s and early 70’s), Benitez & Nebula record their debut album “Night Life” in 1976. Produced by late studio wizard Louie Ramirez, one of Latin music’s most creative and complete gentlemen, this June ‘76 release left an impressive mark, especially on the West Coast’s Latin rock circuit, where Nebula claims their slice of the cake in a market headed by the likes of Carlos Santana himself.
Between “Night Life” and Nebula’s second release, “Essence of Life” lays a three-year hiatus, yet the band never stopped touring and playing the rock circuits. By the time “Essence of Life” is recorded, Nebula had already undergone a critical lineup change. Because of disciplinary problems, the original band was dismissed, only remaining Greg Hernandez and Nancy O’Neill from the original band. The remaining band would now consist of keyboard/trombone player Johnny Caro, Nancy’s brother Dino Cedeno on vocals, drummer Joe DiCarlo, Tommy Hebb on bass, Jose Morales on timbales and additional keyboard player Larry Dvoskin. Former band member Jimmy Cruz doubles on background vocals for this album as well.
Currently, Eddie Benitez is closely associated with George Benson’s productions and is currently, by the time these lines are written, pre-producing an upcoming new project to be released soon with projected guest performances by pop icon Prince and Benson.

19.98usd/10.90gbp/13.54eur/2187jpy (approx)

*restocked… Surely one of the most sought after and requested albums for Willie Bobo fans around the world. A slamming record of hard funky instrumentals, one that sounds different than any of his other albums! The record's a killer all the way through, a mixture of Latin and deep 70s funk, one of the few perfect fusions of the styles, held up beautifully all the way through the set. Great all the way through, and includes the break cuts "Do What You Want to Do", "Broasted or Fried", and "Soul Foo Yong", plus a version of "Dindi", which, for some reason, Willie seemed to record every chance he got!
Willie Bobo was one of the great Latin percussionists of his time, a relentless swinger on the congas and timbales (kettledrums), a flamboyant showman on the stage and an engaging if modestly endowed singer. He also made serious inroads into the pop, pop, rhythm and blues and straight jazz worlds, and he always said that his favourite song was Antonio Carlos Jobim’s "Dindi".
Growing up in Spanish Harlem, Bobo began early on the bongos only to find himself performing with Perez Prado one year later, studying with Mongo Santamaria while serving as his translator, and joining Tito Puente for a four-year stint at age 19. Mary Lou Williams gave Correa his nicknamed Bobo when they recorded together in the early ‘50s.
After working with Cal Tjader, Herbie Mann and Santamaria –with whom he recorded the classic Latin "Afro-Blue"–, Bobo stepped forward in 1963 with his first recording as a leader, with Clark Ferry and Joe Farell as sidemen. Recording for Verve in the mid ‘60s, Bobo achieved his highest solo visibility with albums which enlivened pop hits of the day with Latin rhythms, like "Spanish Grease" and "Fried neck bones and some home fries."
In addition, Bobo played on innumerable sessions in New York, recording with artists like Miles Davis, Cannonball Adderley, Herbie Hancock, Wes Montgomery, Chico Hamilton and Sonny Stitt. In 1969, he moved to Los Angeles where he led jazz and Latin jazz combos, appeared on Bill Cosby’s comedy series (1969-1971) and short-lived 1976 variety show, and recorded on his own for Sussex, Blue Note and Columbia. One of Bobo’s last appearances, only three months before his death from cancer, was at the 1983 Playboy Jazz Festival, where he reunited with Santamaria for the first time in 15 years.

19.98usd/10.90gbp/13.54eur/2187jpy (approx)

*restocked… Dennis Coffey (born in Detroit, Michigan) is an American guitarist, notable as a prominent studio musician for many soul and R&B recordings. Coffey learned to play guitar when he was 13 in Ontonagon County in Michigan's Upper Peninsula. At 15 he played on his first record session backing Vic Gallon on "I'm Gone" on the Gondola label. In the early 1960s he joined The Royaltones who had had hits with "Poor Boy" in 1958 and "Flamingo Express" in 1961. The Royaltones played sessions with other artists including Del Shannon. As a member of the Funk Brothers studio band, Coffey played on dozens of recordings for Motown Records, and introduced the wah-wah guitar sound to Motown producer Norman Whitfield's recordings. He also played on Edwin Starr's "S.O.S. (Stop Her on Sight)”, The Isley Brothers' "It's Your Thing", and Freda Payne's "Band of Gold". In addition, Coffey scored the blaxploitation film Black Belt Jones. In 1971, Coffey recorded Scorpio which was a million selling single and in 1972 Taurus, both with The Detroit Guitar Band. Since then, he has recorded several solo albums, most of them for the Sussex and Westbound labels.
In the early 70’s, Dennis Coffey, Motown ‘Funk Brother’ and super-session guitar man, seemed determined to write soundtracks – even if he wasn’t commissioned by a Hollywood studio. Indeed, the four studio albums he cut for the Sussex label between 1971 and 1974, from which this compilation is culled, are like a big personal advertisement for potential film score work. Coffey’s raw, compressed guitar style – his big city breakbeat funk - certainly evokes a tough, urban landscape inhabited by tough, urban gangsters. Compiled and anotated by James Maycock.

27.98usd/15.26gbp/18.97eur/3063jpy (approx)

*restocked… The complete recordings of Urugayan outstanding organ player Mike Dogliotti, between 1970 and 1972, for the Sondor label. This double pack includes his two full lengths (Candombe For Export and Candombe Liso), plus a few tracks from 7” singles. Mike Dogliotti managed to give create a commercial version of the Afro-Urugayan rhythms know as “candombe music”, using the very simple but effective formula of combining percussion with Farfisa organ. This will be a true discovery for those who search “new” and exciting sounds.

19.98usd/10.90gbp/13.54eur/2187jpy (approx)

*restocked… Eddy Senay released two great albums for Sussex Records (’Hot Thang’ and ‘Step By Step’). Both of them full of funky, yet melodic instrumentals like "Just Feeling It", "Zambezi", "Jubo", "Reverand Lowdown", and an amazing cover of "Ain’t No Sunshine". On the CD version all tracks from both are included, on the vinyl version you can find a selection of the very best tracks of them. A fantastic jazz-funk-soul guitar album, and danceable too!
‘SOUL PREACHIN’ happens to be a very apt title musical collection. If you allow yourself to relly listen to the structure of the compositions then you can feel the intensity of this artist it is. However very easy to get the impression that the musicians are into an old fashioned jam session and the results of that involvement just happened to be recorded. Notice that the tunes are not overly dressed with horns and strings. This lends an air of purity to the rhythm, which provides a very workable base which Eddy Senay coats with simple likeable figures.
Eddy Senay, a detroiter, has been on the local music scene for sometime now, but this is the firts opportunity as a lead guitarrist, and he uses the oppotunity wisely. Trying to bag Eddy Senay is extremely dificult, so we wont’t try. All we ask is that you give him a good, honest listen, and decide for yourself. After all, he’s doing what has to be said. We thinkyou will find a lot you’ll like in ‘Soul Preachin’. –rosetta hines

19.98usd/10.90gbp/13.54eur/2187jpy (approx)

*restocked… This Vampisoul selection catches Tjader mid-career in the first two of his three albums for Skye Recordings. SOLAR HEAT was recorded in January 1968. Tjader is beautifully framed here by Gary McFarland's crystalline arrangements and Jo' o Donato's gorgeously understated organ. Tjader and McFarland are ideally matched here, particularly on the pop covers of "Never My Love" and "La Bamba" and McFarland's own "Fried Bananas" and the entrancing "Eye Of The Devil". Recorded eight months later, CAL TJADER SOUNDS OUT BURT BACHARACH is a curious collection that continued Skye's reputation for putting a pretty polish on pop perennials. Tjader sounds out an offbeat set of Burt Bacharach originals with a rhythm section of L.A. studio musicians and an ever-subtle sprinkling of overdubbed horns and strings.

V/A- GÓZALO!: BUGALÚ TROPICAL VOL.1 2LP (vampi soul/munster, spain)
27.98usd/15.26gbp/18.97eur/3063jpy (approx)

*restocked… After a very long time researching the archives of the most important record labels of Peru, we present volume one of Gozalo! (“enjoy it!”) a collection of this country´s best artists during the 60s and 70s. Peru, sure not a heavyweight champion of well known music, at least in Europe or Northamerica (like Brasil or Cuba), but with so many exciting bands and artists you would hardly believe! Names like Charlie Palomares, Mario Allison, Lucho Macedo, Al Valdez, Ñico Estrada, Los Hiton’s and many more, who were experimenting with “foreign” sounds and rhythms such as jazz, pop, boogaloo and soul, and giving them their very own and unique peruvian flavour. Complete with very detailed and explanatory liner notes (welcome to Vampisoul University!) and cover art by Pablo Iglesias (from the mandatory latin-art book “Cocinando!”).
During the 30’s, dance bands in Peru were heavily influenced by their Cuban counterparts. The same thing happened in other places such as Dominican Republic, Panama, Mexico, Venezuela, Colombia, Puerto Rico and the rest of the Caribbean. Those were the days of the American big bands that came about during and after the Second World War.
It wasn’t until the 50s however that Tropical, as music from the Caribbean was known, became a complete socio-cultural phenomenon in Peru. An entire legion of amazing musicians erupted: singers and bands who delighted their audiences playing Mambos, Guarachas, Merengues and Boleros: Many of the bands recorded for local record labels such as El Virrey, Sono Radio and MAG. As during the 50s, Peruvian bands took on Guaracha and other Cuban rhythms, incorporating Jazz, Fox Trot, Twist and Rock & Roll influences. Something similar took place in the sixties: musicians incorporated Jazz sounds instead of complying with New York’s strict guidelines. According to Alfredo Linares, “the fact that we sounded different from New York was basically because of the Jazz influence we stamped into our sound…it was a musical concept we had a grasp on that ended up being beneficial to defining our style –thank God-”.
Before Boogaloo came onto the scene and the generation’s takeover was solidified, the type of Latin music being heard in New York during the early 60s consisted in Mambo, Pachanga, and Cha Cha Cha -and it was the typical Cuban orchestra or brass band that monopolized audiences. Nonetheless, despite of the success of Cuban music and the prestige that some musicians gained, Puerto Rican and Cuban communities continued to be looked upon with uncertainty by the English-speaking population. In New York, the lack of housing forced recent arrivals from Puerto Rico to move to the Bronx, where little by little a new community was formed. Music calmed moods and broke down racial barriers amidst a time of social agitation. Blacks and Latinos not only shared common frustrations, but musical preferences as well. These were times of change.
Without leaving their Latin influenced side behind, these youths assimilated Soul and Rhythm & Blues. They discovered the Supremes, Joe Tex, The Temptations, James Brown, Wilson Pickett, Marvin Gaye and other Motown stars. A continuous crossing of cultures began, creating an addictive mix of striking, revolutionary sounds. Both communities listened indiscriminately to their favorite bands whether they were Black or Latino. Compelled to create a new rhythm that would identify itself with el barrio, they managed to match the success reached by genres that dominated the market thanks to a hybrid style that would rule the dance floors into the late seventies. Boogaloo, along with its siblings Shing-a-Ling and Afroloo, had been born.

V/A- GROOVADELIA: 21 CENTURY SPANISH GROOVE VOL.1 2LP (vampi soul/munster, spain)
27.98usd/15.26gbp/18.97eur/3063jpy (approx)

*restocked… Now is the time and this is the place. The infectious influence of black groove and rhythms has, after many years, finally come to fruit on in Spain. At last we have a generation of bands and musicians who have picked the tradition of syncopated rhythms, and this compilation proudly presents them to you. This is an extensive sampler that serves as a window display for a scene booming with energy and ideas, a scene that isn’t limited to bands and musicians but that also extends to clubs and written publications that have been germinated by the groove seed.
Enlace Funk is now celebrating its tenth anniversary in the business of spreading these sounds. When it started back in 1996 there were a lot less bands and a lot less clubs where one could dance to this music, and the mere idea of a compilation such as this one wouldn’t have even been considered. With consistency and tons of enthusiasm, Enlace Funk has managed to get its foothold in the publishing scene of our country. Reports and interviews with the biggest names in the history of black music, from Isaac Hayes to George Clinton, from Tower of Power to Earth Wind and Fire to name but a few, have been written in its pages. This is a work that has been carried on by an incredible staff of writers, probably the biggest connoisseurs of the genre in our country, and done with an independent, non-commercial goal in mind.
On the other hand, inside the club scene of our country, focusing on the spread of black rhythms sounded totally ludicrous until very recently. But five years ago in Granada this idea was born and nurtured by Afrodisia, which in time has become a pivotal point of the black music circuit. The soundtrack for its Granada nights is made of funk, jazz, soul, acid jazz, rare grooves, afrobeat, reggae, hip hop or nujazz, and the most prestigious DJs in the world, such as mundo Gerald Jazzman (Jazzman Records), Eddie Piller (Acid Jazz Records), Florian Keller (Compost Records), Henry Storch (Unique Records), Snowboy, or Frank Popp -among many others- have all spinned on its turntables.
So we have joined forces: Enlace Funk magazine, Afrodisia Club, and Vampisoul, present you this pioneer project with the intention of becoming an INTRODUCTION to the scene of bands lured in by the rhythms of the black nation. As one of the founding fathers would put it: One Nation Under A Groove!

V/A- MOVERS! 2LP (vampi soul/munster, spain)
27.98usd/15.26gbp/18.97eur/3063jpy (approx)

*restocked… 23 Hip-Shackin’ Tunes FromThe Vaults of Vampisoul Records!
The newest of the now world famous Vampisoul sampler compilations! YEAH! The perfect companion for a good-taste party at your apartment (let the neighbours join!), and mucho more. File them side by side with “In Search of the Cool”, “Gettin Soulful”, “I Gotta New Dance”. Tracks from the latest and upcoming Vampisoul titles plus exclusive tracks too.


V/A- BALTIMORE CLUB CLASSICS VOL.4 12" (baltimore club classics, usa)
11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*Six more Bmore classics from the vaults. Check the web, these tracks appear far and wide on tracklists and blogs from Ayers, IHeartComix, and many more. These are cut from Technics’ personal archives and we guarantee perfect party action whether you bang these in the club, or the bedroom, and while we know these cuts will be hot in the former, we hope the action is hotter in the latter.

V/A- BALTIMORE CLUB CLASSICS VOL.3 12" (baltimore club classics, usa)
11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*restocked… All time Bmore classics from the vast archives of DJ Technics, a man known to many of you for his remix of Juiceboxxx & Dre Skull' "Sweat": "Baby Baby", "See About Me", "Mr Postman", "Charlie Brown Pt 2", "Ding A Ling", "Ding A Ling Pt 2".

V/A- BALTIMORE CLUB CLASSICS VOL.2 12" (baltimore club classics, usa)
11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*restocked… Number two in the series retracing the Baltimore "club" sound brings you six more tastes from the vast archives of Ron "Dukeyman" Hall, three featuring Theo, the vocalist best known for his appearance on the club classic "Shorty You Phat," which appears here. Dukeyman is one of the original OG masters of the club game, along with Scottie B, DJ Technics, Rod Lee, and Diamond K.

V/A- BALTIMORE CLUB CLASSICS VOL.1 12" (baltimore club classics, usa)
11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*restocked… All time Bmore classics from back in the day: "Doo Dew Rock", "Fiesta", "The Show", "Roof About To Blow", "Git Da Hand Clap Remix", "Hoody Hood Rat".

LEE DOUGLAS- BLACK DISCO VOL.2 12” (black disco, uk)
11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*Lee Douglas is Brooklyn's own golden child of disco, releasing original material on rong music and remixing for dfa. "the douglas sound ep" is 3 tracks of relentless disco heat backed up with a cosmic stomper (Fuego's Misa Criolla) making it an essential for any dancefloor.

LOVEFINGERS & NITEDOG- BLACK DISCO VOL.1 12” (black disco, uk)
11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*restocked… Re-edits from the black disco social club dj's Nitedog & Lovefingers, delivering some warm adult space disco/funk, reworking some of black disco's most popular late night gems. Is very nice!

THE FAINT- THE GEEKS WERE RIGHT 12” (boysnoize, germany)
12.98usd/7.08gbp/8.80eur/1421jpy (approx)

*The Faint are set to release their first album in four years -- Fasciinatiion -- in fall 2008. The Faint's fifth album is the first in the band's ten-year history to be written, recorded, produced, art directed and released entirely on their own. The first single from the Omaha quintet comes with banging mixes by Boys Noize vs. D.I.M. and the UK's hottest newcomer in electronic music, Shadow Dancer.

11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*restocked… Absolute killer re-issue of two essential tracks from back in the day one in it's orginal form (the unforgettable acid house classic complete with 4am mind bender racing car samples!) and one with an awesome Derrick Carter edit - Armando's "Downfall" which will no doubt become a big collectors item. -phonica

13.98usd/7.62gbp/9.48eur/1530jpy (approx)

*To celebrate their 50th vinyl release, the Cocoon label presents the third of 3 planned 12"s that will include 6 of the 7 tracks from the Cocoon Morphs Tokyo CD, previously released exclusively in Japan. The artwork for this series features a section of Cocoon Club-related artwork by German photographer Andreas Gursky, that will form the totality of the picture when all three 12"s are put together. This release features two tracks by Väth vs. Rother and Ricardo Villalobos.

DJ DEEON & DJ SLUGO- GHETTO CLASSICS VOL.3 12” (dance mania, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*restocked… 3rd slice of the ghetto pie featuring Deeon & Slugo classics like ''Let It Be'' and ''Where The Rats.'' It's a dirty job, but someone's gotta do it.

V/A- DB EDITS VOL.1 12" (db edits, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*restocked… Not much is known about who did what, but the featured track, Don Armando's 2nd Avenue Rhumba Band, "Deputy Of Love" is a Chicago mix show classic back in the days of WBMX! Here we get a full extended mix, there is some 16th note repeat, delay effect and breakdowns. Tops! On the flip, is an unknown disco track. DB Edits told us to keep diggin' to find out what this is. Drop us a line if you find the original artist and title. Don't sleep on this one! Limited quantites!

V/A- DB EDITS VOL.2 12" (db edits, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*restocked… On the A side you get a true disco classic in Ashford & Simpson's 1979 smash hit "Found A Cure." Still sure to pack the dancefloor in 2008; in Chicago, and the rest of the world.
On the B side we have from the obscenely rare kitchy leftfield disco-not-disco classic, Gichy Dan ''Cowboy And Gangsters," produced by Kid Creole. It originally came out in 1981 and more recently appeared on the excellent Mutant Disco compilation. Don't sleep on this one! Limited quantites!

14.98usd/8.17gbp/10.15eur/1640jpy (approx)

*A very interesting little proposition here, what would Quadrant's classic Q 1.1 sound like if mixed with a sweet square bassline and semi religious chanting? Well, a bit like this killer effort from the fantastically named Sebbo aka Sebastian Suckfüll for Locodice and Martin Buttrich's Desolat imprint. Sebbo's original version of 'watamu beach' is a vital slice of dancefloor alchemy, marrying some classic dancefloor elements into a thoroughly enjoyable whole, while on the flip, the godfather of deeper dub house, Moritz Von Oswald gives us a masterclass is suave dancefloor perfection. Von Oswalds remix is predictably something to behold, taking a similarly opiated option as his rework of 2raumwohnung's 'ich bin der regen' or Tony Allen's 'Oye', he succinctly blends in a distinct Afro-percussive flavour to the rhythm while creating an opulent and palacial atmosphere, populated with gently rising currents of the warmest analog synth pads and heart rending chord changes in his inimitable style. Awesome. -boomkat

11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*The A-Side is an incredibly rare German cosmic/electronic disco number - Angela ''I Gotta Little Love''. Released in 1983 and a Baldelli spin at the time, this record has been revived of late by none other than David Mancuso at his legendary Loft parties. An amazing mid tempo electronic number with unbelievable synth hooks and bizarre ''(Can't Get No) Satisfaction'' reprise at the end that really freaks the dancefloor. A very singular piece of music. The flip is from an Italian film music maestro Riz Ortolani. ''Il Corpo Di Linda'' is a cold, sinister electronic proto house/techno cut that kind of sounds like Throbbing Gristle/Carl Craig.

WAREIKA- RIDERS ON THE STORM 12” (eskimo, belgium)
12.98usd/7.08gbp/8.80eur/1421jpy (approx)

*Special ultracool edit of this classic by Wareika from Connaisseur fame. Watch out! Limited orange vinyl, only one pressing.

18.98usd/10.35gbp/12.87eur/2078jpy (approx)

*Eskimo delivers a fantastic follow-up to last year's highly acclaimed Prins Thomas mix, Cosmo Galactic Prism. This mix journeys from the public dancehall to the disco, from the smooch to the shake, from the orchestra to the DJ. Daniele Baldelli remains one of the first Italian DJs, who started his illustrious career back in the '60s and became one of Italo-disco's kings of the dancefloor. Cosmic Disco?! Cosmic Rock!!! celebrates a turntable odyssey from a man who lived and breathed Italian disco, American Rn'B and synth pop and pioneered the sound which has influenced countless DJs and producers who currently mine the golden age of synth pop for inspiration. A mixture of European records alongside American soul records, rhythm and blues and funk combined with Afro style against Ravel, Steve Reich, Jorge Ben, Depeche Mode and Malinke chants from New Guinea, Baldelli is the inventor of the "Dee Jay concert." Consisting of four turntables, two mixers and electronic drums or live percussion, 80 to 100 tracks were mixed in not much more than half an hour: a supermegamix was born. Featuring rare and hard-to-find tracks, Cosmic Disco?! Cosmic Rock!!! takes on a dancefloor mission to the shores of Lake Garda where from 1979-1984 "cosmic" was THE place to be and Daniele Baldelli was the disco king at its epicenter. Edited by Marco Dionigi. Featuring artists such as Fra Lippo Lippi, Richard Bone, The Romantics, Kevin Harrison, Translator, Martha And The Muffins, The Dream Syndicate, Thompson Twins, Positive Noise, David Jackson, La Bionda, Torch Song, Ray Parker Junior, Strafe Für Rebellion, Spirit, Spider, Bronx Irish Catholics, and Alicia Bridges.

17.98usd/9.81gbp/12.19eur/1968jpy (approx)

*shop favorite restocked… Originally released in 2004. A taste of the windy city via Amsterdam's Paradiso club. Chicago Boogie is a sweaty romp through some of the most seminal cuts in house and acid house music's formative years and a healthy nod to the party spirit that helped put Chicago and house music on the map. Compiled by Amsterdam-based Antal and All Out K (both founders of Holland's highly-regarded Rush Hour distribution) this CD also provides an insight into their six year running "Paradisco 3000" monthly residency at the Paradiso club. From the bonafide classics of Virgo's "Ride," Mr. Fingers "I'm Strong" and Adonis "We're Rocking Down The House" to the acid house underground anthems "Computer Madness" by Steve Poindexter and Six Brown Bros "Battery Acid," Chicago Boogie is a carefully crafted mix of what dance music is all about. On this release we find Antal & All Out K on a mission to bring in classic and less well-known underground anthems, illustrating a diversity that feels soulful, with a raw spiritual edge. House music all night long! Artists include: Virgo, Master C & J (feat. Lizz Torres), Electra, Club Ice, Jeanette Thomas, Mr. Fingers, Adonis, Six Brown Bros, Steve Pointdexter, Kasso, Nightlife Unlimited, Liquid Liquid, Frankie Knuckles, Fred Brown and Disco D.

V/A- SECRET MIXES & FIXES VOL.9 12" (fix, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*This is the 9th volume of the Secret Mixes Fixes series, a tribute to the pioneering genius of Sylvester. In dance music, boundaries are often too well-respected, but Sylvester was beyond boundaries. Despite any cultural preconceptions you may have about drag, he was as real as it gets. Mighty real. He embodies the freedom that came about in early 1970s San Francisco, he is the spirit of liberation and individuality. He was a true diva, perhaps the finest gospel influenced male falsetto of his time. He is the rare mutation that causes the advancement of the species.

V/A- SECRET MIXES & FIXES VOL.8 12" (fix, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*restocked… The rumors abound on who did the first 5 of the Secret Mixes & Fixes series. Volumes 6, 7 and this one 8 have been by a totally different ''anonymous editor'': Gay Marvine, a creepy campy shadowy hedonist. Maybe he's a gay vampire or something. ''The Bathhouse Etiquette EP'', should make clear just what a freak Gay Marvine is... Long live the edit!

V/A- SECRET MIXES & FIXES VOL.7 12" (fix, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*restocked… Gay Marvine is ready to party again, this time like it's 1979. Prince - Party Up, Herb Alpert - Rise Above, Michael Jackson - Dont Stop Til You Get Enough, Jacksons - Things I Do For You are all refashioned for your dancing pleasure.

V/A- SECRET MIXES & FIXES VOL.6 12" (fix, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*restocked… Introducing the new secret fixer, Gay Marvine, who specializes in creating dubs from your favorite anthems from back when you all wore eyeliner. Duran Duran's '' Girls on Film'' meets Siouxsie's ''Cities in Dust'', Tones on Tail's ''There's Only One'' meets its B Side ''Now We Lustre'' and Tom Tom Club's insanely catchy ''Wordy Rapping Hood'' is reduced to far less words.

V/A- SECRET MIXES & FIXES VOL.5 12" (fix, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*restocked… Here we find Montreal discofreak Gino Soccio going up against the timeless Marvin Gaye. Gino Soccio's ''Victim of Change'' + instro vs Marvin Gaye's ''Funky Space Reincarnation'' + Slits ''I Heard it Through the Bass Line'', a rework of Marvin's classic.

KLEIN & M.B.O.- DIRTY TALK: GREG WILSON EDIT 12" (flexx, belgium)
14.98usd/8.17gbp/10.15eur/1640jpy (approx)

*Arguably one of the pioneering records that linked disco to what is known nowadays as house music. We've included the original vocal mix - for the first time on a 12" (we might be one of the few who really love the vocals), the previously unreleased USA/European Connection Instrumental Mix - a variation on it's most popular Usa connection mix. Plus an exclusive version by legendary DJ and edit don Greg Wilson. Greg Wilson says: " 'Dirty Talk' was a huge track for me on the Electro-Funk scene back in '82. I was the first DJ to start playing this in the black clubs as an import on Zanza and it soon became the biggest track at my nights at Legend in Manchester and Wigan Pier (it was also quite controversial, as the purists on the scene thought that this shouldn't be played). The Hacienda had only just opened and the DJ there, Hewan Clarke, picked up on it - it was as a result of hearing Hewan play it that New Order borrowed the record from him and used it as one of the templates for 'Blue Monday', which they were working on at the time." Essential classic.

16.98usd/9.26gbp/11.51eur/1859jpy (approx)

*For the past two years, ATL DJ and producer Treasure Fingers (Ashley Jones) has been making it rain in the disco with innovative remixes and original tracks. Jones is far from a new jack, having racked up over a decade of international club experience and studio chops as part of the beloved drum & bass group, Evol Intent. Yet as Treasure Fingers, he’s found a way to merge his diverse influences and deep history into a signature sound, packed with intricate basslines, chopped-up, gritty synth melodies, and party-ready drum breaks. It’s already captured the ears of everyone from rock groups Snowden and the Death Set to house legend Romanthony (all of whom requested the Treasure Fingers remix treatment), as well as A-Trak and Nick Catchdubs, who quickly signed Treasure Fingers to their tastemaking label Fool’s Gold, home to Kid Sister, Jokers Of The Scene and other buzzed-about favorites. “Cross The Dancefloor” is Treasure Fingers’ debut, an inescapably catchy, vocoder-laced dance gem that two-steps over genre boundaries, holding its own against italo disco classics and electrohouse blog hits alike. As a demo, “Cross The Dancefloor” was already getting spins from A-List DJs like Erick Morillo, Annie Mac, Sinden and Kissy Sell Out, and the track’s official release - a 2x12” gatefold single backed with peak hour remixes from Laidback Luke, Curses! and Lifelike - is destined to blow it up even more. Heavy touring and official remixes for Estelle (Atlantic), Operator Please (Virgin/EMI) and many more will keep the momentum going through the year, and a new batch of equally funky Treasure Fingers originals is already on its way. What else would you expect from the A-Town original with the midas touch? One-off pressing of 1,000! Fancy gatefold jackets!

V/A- McEDITS VOL.2 12" (goldtwo, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*Volume two from McEdits shows a slight expansion of his concept, but mostly hews true to the rows he hoed on volume one. His method is basically to take lovely ballads and slow jams and add a little house heat. It’s really remarkable how such a simple methodology can produce such effective results but the proof is in the grooves so drop the needle on these for some rich rewards.

V/A- McEDITS VOL.1 12" (goldtwo, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*restocked… Watch out, there’s a new producer in town! McEdits presents his first offering to the deep house DJ, and it’s a scorcher. Some seriously sexy business in the form of house mixes of some classic slo jams. These are all big numbers with the Steppers crowd so here is your opportunity to taste a real slice of Chicago life. McEdits’ brother is a genuine old-school Chicago house legend, so he comes by his skills naturally. Here he steps out of the shadows and into your crate.

SIOPIS- PENNY FROM THE LANE 12” (get physical, germany)
13.98usd/7.62gbp/9.48eur/1530jpy (approx)

*This is the debut single from Siopis aka Silversurfer, one half of the dynamic duo Kiki & Silversufer. This release is a blinding blast of genre-bending, futurist dance music dressed with the lascivious vocals of Mr. Brean. Siopis lays down loose tech-funk rhythms and thrumming bass lines against Baltimore booty bass-style vocalist Mr. Brean. Abstracted words and pitched-down vocals are set against sparse, dubbed-out rhythms and warped sub-bass in a way that's highly menacing.

DJ T.- OUTBREAK 12” (get physical, germany)
13.98usd/7.62gbp/9.48eur/1530jpy (approx)

*Born out of sessions with Matthias Tanzmann, "Outbreak" affirms DJ T.'s ideals of groove and melody. The stripped-down version on the A-side was conceived after the "True School Mix" -- its sleek, percussive funk proved to be a real people-mover on the dancefloor. Though undeniably moody and sonically streamlined, "Outbreak" has all the bump and sparkle of classic house, and shows T.'s knack for locating the seeds of the future in the fertile soil of the past.

11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*New label from Nathan Gregory Wilkins, London based DJ and co-promoter of the Tropical Hot Dog parties (along with Mo Morris from A Mountain Of One) and Jonny Burnip the chap behind Capracara (Soul Jazz) and Tiger Timing (Rekids / Kill The DJ). The History Clock's custodians will be devoted to modifying obscure musical relics from the distant past to better serve the eccentric tastes of the modern discotheque. Style-wise History Clock will be covering rock, primitive electronics, disco, soundtracks, psychedelia and just about anything else that feels good. "Gamma Model", a super heavy percussive rock number, has already received DJ support from Optimo's JD Twitch, Mo Morris and the Idjut Boys (the biggest record on their DJ tour of Japan last year apparently!!!). There were only 5 test pressings (and no MP3's were circulated) The flip's "Cuckoo Dub" is a quirky house-not-house, stripped down dub affair.

11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*The second release from the History Clock takes us back to more exotic times with two more scientifically revised musical artifacts from their extensive archives. “Mediterraneans” begins with a fierce extended percussion intro and then the bass drops, is that "Moody" by ESG? Almost, but not quite. It drives the crowd wild every time, guaranteed! From then on it's a full on Santana/Chaplin Band style Balearic disco monster all the way. 10 minutes of summer madness.
"The Magnificent" is an acid rock/funk number with the most infectious piano hook and most kick ass fuzz guitar you can imagine. A heavily charged pyche / block party rocker dipped in a whole lotta L.S.D.

H-TRACK- EDIT SERIES PART 2 12” (h-track, uk)
11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*After the huge success of H-track1, containing one of the edits of the year - Punkin Machine's 'I Need You Tonight' - H-track return with Number 2! These edits are whimsical works produced over the last several years never intended to be widely released. However, due to phenomenal public demand, they are finally to be released! Vol. 2 sees Pure Energy's 'Love Game' put through the mixer, tidying up the original and giving that classic bassline more oomph. On the flipside there's an extended re-edit of Geraldine Hunt's seminal worldwide hit 'Can't Fake The Feeling' and a nod back arcoss the Atlantic with a superb take on Fun Boy Three's 'Our Lips Are Sealed'.

H-TRACK- EDIT SERIES 12” (h-track, uk)
11.98usd/6.53gbp/8.12eur/1311jpy (approx)

*restocked… Californian DJ Hugh Herrera gives us the very first in a new series of classy re-redits for the H-Track label. Three tracks to get your teeth into with the A side giving us a tasty re-edit of The Quick's 'Zulu' although the real winner is the classy touching up of Punkin Machine's 'I Need You Tonight.' And as if that wasn't enough, Soft Cell's 'Where The Heart Is' finishes it all off in fine style. High class disco goodness!

BOBBY KONDERS- A LOST ERA IN NYC 3LP (international deejay gigolo, germany)
29.98usd/16.35gbp/20.32eur/3282jpy (approx)

*shop favorite restocked… Bobby Konders – A Lost Era In NYC 1987 – 92 The nice shit “Deep, deep house. I ain´t gonna deal with no other business!” (Bobby Konders ´92) For the first five years, New York house music basically was something like a local folklore. A conspirative, strongly neighborhood-oriented community, who nurtured and cultivated this style in a pure way and under nearly complete and mutual ignorance of and by the rest of the world. The scene was neither interested in getting globally popular nor was the globe interested in discovering it, immersed as it was in its acid- and techno-high. The house scene rested in itself and made no compromises. The music, the clubs and the rituals that got celebrated in this micro-cosmos corresponded directly with the true life and the everyday needs of its inhabitants. Here, clubbing and dancing to house was a basic need, a spiritual act, and the makings of the sounds were tailormade for those needs. Nobody there thought of any people from Cologne or Munich trying to make any use or sense of it. Horizon reached from the Westside over Greenwich Village through the Lower East Side to Brooklyn, not any further. Similarily, hiphop had developed, ten years earlier, as blockparty music for people that might have heard of europe and might have breakdanced and bodypopped to Kraftwerk, but who never had imagined that their sound could make any sense over there, would be understood, or even make some money. It was just a regular music of the area, that the locals had formed according to their specific needs. It is no secret that this way many times the greatest music emerges. Reggae could only develop its unmistakeable identity by being quite isolated for quite a while and could/had to work something out for itself. Detroit techno grew in the kyrptic minds of alienated weirdos, who reacted out of a personal emotional and intellectual consequence to their strange surroundings. That this would be going to connect people around the globe one day, nobody of them had on his agenda. If they had known, maybe they wouldn´t even had done it. Even minimal electronic music from the left side of the river Rhine, though born in the age of the internet and speedy import/export-movements in a wealthy society, could simmer long enough by itself, to develop its specific spice, texture and tradition. The beginning of that lost era in New York, which is the issue of this Gigolo-compilation, is marked by the end of maybe the most important, but surely the most legendary club of all times: Manhattans “Paradise Garage”. The place where disco got turned into a religion named “Garage House” by DJ Larry Levan, “The Father”, lived and breathed by his faithful disciples, in their dedication quite similar to a bunch of early christians. In 1987, the Garage closed its gate forever. The Garage sound and its believers had to go deeper, way deep. Down there, Deep House started to materialise. The househeadz only started to resurface, at least into the twilight, when “The Shelter” opened, the downtown deep house institution where DJ Timmy Regisford carried the torch. In its holy halls, DJs like Francois Kervorkian and Danny Krivit still celebrate the spirit in a pure fashion. But for five long years, Deep House was homeless. Homeless, but not gone. In the underground, offside from big clubs, in tiny holes and secret locations, that were only known to the initiated, the contemplative sound found a temporary refuge, on nowadays mythical parties. The most important of them all was called Wild Pitch. Here, the hard core of the first Deep House DJs played. Names that still get whispered respectfully and who were dropped happily on the Basil-Hardhaus-Classic “Hard For The DJ”: Viktor Rosado, David Camacho, Kenny Carpenter, Nicky Jones, John Robinson. Also DJ Pierre, who had just moved from Chicago to New Jersey, sometimes played there and even dedicated a whole track principle to those legendary sessions: the Wild Pitch Mix. One DJ, however, epitomises more than any other the massive sounds and the unique spirit of the Wild Pitch parties: Brooklyns Bobby Konders. In his spectacular mix, he threw in everything from reggae, hiphop, house to disco. He aimed directly at the common factor, the true soul of those blood-related styles. At Konders Wild-Pitch-sessions everything was possible, as long as the bass moved in deep enough, the beat was ruff and rugged and the vibes soothed the tortured souls of the headz. „Five or six in the morning you´re smoking a nice blunt and them heads has hit that tune and they kill the music and the lights are dark. You know, you into what homeboy is sayin and then the music slowly comes. It´s that type of vibe. That´s my type of house music.” This way, in the early nineties, Bobby Konders described the character of „The Poem“, maybe his best known track. In the intro, the lonely, charismatic voice of jamaican dub poet Muta Baruka talks about “riots in Brixton”, of “first world, second world, third world division, man-made decisions”, about the “struggle against apartheid, racism, facism, the KuKlux Klan”, about Marcus Garvey and Haile Sellasie, about “time unlimited, time undefined”. He ends with the announcement, that this poem is going to disappoint you, because: “This poem is to be continued in your mind.” At this point, the keyboard pads and the bassline have swollen up to the maximum, the contemplative vibe hangs thick inside the room. And with a few crashing cymbal hits the deep pulse of Konders house rydim finally sets in, for a long, nice deep house ride inside the pitch-black club, while outside the sun is up again for hours. Yes indeed: da rydim. Konders house music always was extremly rooted, cultured and conscious. It used the semantics of reggae in more than just a musical way. This attitude made him revolutionary. It´s no wonder, that after his farewell from house by ´93, he almost exclusively focused on ragga, hiphop and low end jeep beatz, and instead of 12” records, on his label Massive B he now only released 45 singles and compilations. But in this obscure era, that this Gigolo-compilation thankfully picks up on, he enjoyed massive respect within the house community of New York. House, which until then was mainly known as gay club music, as an extension of disco with different means and less instruments, he opened up for the homeboys, the ruffnecks, the headz. Konders defined house as rebel music, as ghetto music, as healing music of the marginalised. On the other hand, he made the homeboys mellow, brought them on his universal, brotherly vibe, unfazed by colors, creeds and sexual preferences, according to his credo: „We all bleed motherfuckin red.“ Philly-born Konders was actually quite a weird character in the context of early house. His father polish, his mother american-indian, as rumour has it, the bearded and bespectacled homie with the braided long hair somewhere between a hippie and a hells angel didn´t really fit in the regular image of the afro-american and carribean community, where he found his home and his daily bread. This wise DJ took the best and deepest from the diverse black musics that floated and circulated in the air of his neighborhood, just as he needed it for his specific mssion. “Dis Poem” originally is a spoken word track on a regular Muta Baruka album. From there Konders just took it live, as a DJ would be playing an accapella intro, before bringing in the beat. Konders practically invented a school of intros, many times starting instrumental tracks with Reggae-MC-sloganeering. Sometimes you even can hear him pushing the stop button on the studio turntable, to make the transition from the intro to the sequencer program. Classic and classy rude boy attitude. The jamaican toasters liked it so much, that they not only allowed it, but more and more grabbed the mike exclusively for him. But also in other styles he roamed and wildered, to throw them into his melting pot of all ´tings conscious. Though strictly dedicated to the deep, the raw, and the soulfully nice, he produced one of the most slamming acid tunes of all times: “Nervous Acid”. Allegedly only “to have done it.” Nevertheless that track gets rocked massively up to this date, by DJs who sure know what time it is. Until the invention of his own Massive B imprint, his productions went under his street name„Massive Sounds“ and were released by Frank and Karen Mendez on „Nu Groove“. A label, where the term “open minded” really used to mean something. Apart from Konders deep reggae/house crossbreedings, future techno stars like Joey Beltram, Tommy Musto or Lenny Dee appeared, as well as Paradise-Garage-regulars like the Burrell brothers or nowadays well-established big producers like Kenny “Dope” Gonzalez or the early Basement Boys (as 33 1/3 Queen), as well as a host of forgotten talents like How & Little, Ricky Crespo, Richard LaMotte, Eddie Satin or Bryant Von White, to mention but a few. On “Nu Groove”, the whole classic, nice Konders shit appeared, long deleted material, that gets assembled almost completely on this massive compilation, remastered and ready to be discovered by a new generation of headz, to be sucked in like a nice blunt. But its not about another retro phenomena. Filter disco, the house sound, who started its triumph almost directly after this specific era, took its charme almost exclusively out of the sampling and looping of passed atmospheres, hooks and grooves. With Konders house music, everything was direct, original and authentic. With the support of fellows like Boyd Jarvis, Peter Daou or Joe Moskowitz, he produced brand-new music in the spirit of the hour and out of his own spirit. All this was just a few years ago, and it is no wonder that other Brooklyn homeboys like Metro Area relate so much to this particular approach of making real, deep, dance music. For a while, it got covered up by superficial nostalgic thrills, but in it lives a vital energy, that maybe only now can really manifest itself, after most of the disco ghosts have been exzorcised and sampled to death. It´s a massive inspiration, waiting to be inhaled. When house music at the beginning of the nineties became ever more popular one a global scale, they even tried to market Konders ruff attitude on a major-label-level. But this scruffy character of the streets of Brooklyn showed to hard to cross over to an audience that was not down with his vibe a hundred percent. House was to close to him to just sell it out. Instead, Konders turned more and more to reggae, and businesswise, with Massive B, he only did his thing his way. After some more deep house records with Nicky Jones and Robert Owens, he went completely into reggae and makes his living from that until this day good and righteous. His reggae show is still on air on NY Hot 97,7, he travels the world with his sound system, and rarely one of the dancehall fans knows, that this great selector was responsible for some of deep house music most inspired and inspirational moments. While in other places, the plastic guts of the 80ies still are being exploited, the International Gigolos already dig in places of which most people never knew they ever existed out there. And that is, as Konders maybe would put it, again some motherfuckin nice shit. Big up! Hell, yeah! Hans Nieswandt, april 2002

ALTER EGO- JOLLY JOKER 12” (klang elektronik, germany)
12.98usd/7.08gbp/8.80eur/1421jpy (approx)

*DJ Koze and Supermayer remix Alter Ego's hit, "Jolly Joker." DJ Koze switches the track completely and tames the wild-galloping original with something you could call an Afrobeat bridle. Supermayer are a lot more careful, saving the essential sounds and the spirit of the original. And instead of using striking effects, Supermayer prefer to push the track in their discobeat mix slowly and subtly to the limit.

KLEEP- DON'T PUSH ME/ZOO 12” (klang elektronik, germany)
12.98usd/7.08gbp/8.80eur/1421jpy (approx)

*Sami Liuski (alias Kleep) has released tracks on Cocoon, Get Physical and DFA Records. But this stuff sounds so different and crazy, that the man from frosty Lapland had to get a new alter ego for his releases on Klang Elektronik: Kleep. Sami takes Kleep as a platform for dance music with minimal bass lines, twisted melodies, acid-impregnated percussion, heavy kick-drums and vocals, which are totally not of this world. Kleep will blast your head.

RODRIGUEZ JR.- PIÑA COLADA 12” (mothership, germany)
12.98usd/7.08gbp/8.80eur/1421jpy (approx)

*Piña Colada is a juicy slice of sun-drenched techno from Rodriguez Jr. (aka Olivier M. of The Youngsters). This is techno for sweaty street parties, BBQs, and moonlit beach raves. On the B-side, Voodeux twists the gleeful melody into something sinister, infusing spine-tingling soundscapes and booming toms into the mix. Maetrik deconstructs the theme and rebuilds it with galactic-sized bass and careening melodies -- a fitting conclusion to this shimmering collection of summer techno.

ROMAN IV- NEUES TESTAMENT 12” (playhouse, germany)
12.98usd/7.08gbp/8.80eur/1421jpy (approx)

*Two chords is all that was left from Altes Testament released on 1995's Playhouse/Ladomat collaborative 12". What was supposed to become a remix by Roman IV himself turned out to be a new reflection on something that seems to be pretty up-to-date again these days: house. DJ Koze is full of enthusiasm as well: Very, very nice record. So warm and funky -- all three of the tracks. The best Playhouse record in a long time.

BORIS WERNER- NO DAY LIKE MONDAY 2X12” (remote area, netherlands)
24.98usd/13.62gbp/16.93eur/2735jpy (approx)

*After his collaboration with Lauhaus and his remix for Matthias Tanzmann, Boris Werner finally goes solo with a double-pack of five hot tracks. Werner's style is organic, funky soul music -- phat on the groove and thick on the bass lines. "Starvin Marvin Is Cruisin" holds the key to '70s rare funk, "Sambosa" is an East African tribal song, and "Anagram" is true chill-out bliss. Played out by Mathias Kaden, Matthias Tanzmann, Onur Özer and 2000 And One.

9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*The Los Hermanos collective have a high profile because of the ridiculously high level of quality of their material. Originally a collaboration between Gerald Mitchell and DJ Rolando, their early releases followed in the steps of the mighty 'Jaguar' in mixing beautiful driving melodic techno with emotional strings. Since Rolando's departure, Santiago Salazar and DJ Dex have joined with Gerald Mitchell and moved in a slightly different direction without sacrificing any of the sound's individuality or quality. Standing somewhere between techno and house and taking influence from the true sound of Latin music without sounding derivative, Los Hermanos releases remind us that the best Detroit techno defines what is truly 'deep'. 'Central Nervous Systems' celebrates conscious and unconscious behaviors, which seek to embrace euphoria and it's release in your body and mind. 'Midnight in Madrid,' transports listeners to the dance floor with its straightforward soulful expression. 'Remember Detroit' is an anthem of everyday life in the city, reaching deep to reveal the connection of urban environment and the love from its embattled courageous citizens. The ingredients of 'Dark Samba No. 7', has the listener experience passionate pulsating beats on an ancient level. This EP is drawn from the full length album, Traditions and Concepts." The manufacturer of this released responded to some questions about the sound of this release: "Re: concerns on the part of certain customers about the sound on SUBWAX003, track B1 'Remember Detroit'. We checked the wax against the digital file and our analysis of the sound is that the vinyl mastering brought out some upper harmonic content in the Hammond / Leslie sound. If you understand how Leslie speakers, tape flanging, and chorus doubling works, as well as the vagaries of analogue mastering, you could see how this could happen. While the effect is certainly noticeable, our opinion is this is not a defective product, it's just the way it sounds.

WALTER JONES- ALL GOD'S CHILDREN 12” (supersoul, germany)
12.98usd/7.08gbp/8.80eur/1421jpy (approx)

*All God's Children is a legendary track, originally released in 2003. The original is 17:37 minutes of pure deep-house with driving percussion, a classic house groove, lush keyboard work and an easy bass line. The B-side sports two remixes of "Anything Is Possible." Supersoul boss Xaver Naudascher is faithful to the original, adding a disco-tainted take on early Chicago house. The Filiberto Marmelade (Fabrizio Mammarella, Phillip Lauer) remix turns the track into a psychedelic piano-house jam with a highly-addictive hook.

MOGG & NAUDASCHER- MOON UNIT: PARTS 3 & 4 12” (supersoul, germany)
12.98usd/7.08gbp/8.80eur/1421jpy (approx)

*Textural electronic sequences, live instrumentation and articulated beats melded perfectly with sophisticated melodic hooks: Moon Unit (Part 3 & 4) has arrived! 'Part 3' could best be described as being the black monolith from 2001: A Space Odyssey draped with highly sophisticated light installations, oversized speakers and a giant smoke machine. It features the relentless sequencing, trademark of Mogg & Naudascher's productions, paired with muscular cello riffs played by Arthur Hornig, who represents a new breed of classical musicians, fearless of mingling with dancefloor compatible music. 'Part 4' features Irish newcomer Rosalind on vocals. It is part meditation, part nursery rhyme, the repetition of a simplistic lyrical motif combined with a huskily robust lead vocal, an elixir to the ear of the listener. The track resolves the dichotomy between being both soundscape, undulating dark and volatile, and popular song. The dynamics peak and trough, culminating in a fugato vocal arrangement, referencing the experimental edge of Laurie Anderson's 'O Superman' and the glacial austere beauty of Julie Cruise on Angelo Badalamenti's Twin Peaks theme 'Falling.' Throughout the whole release various specific punctuation points raise the noise to ecstatic levels, in the manner to which fans have become accustomed ever since the critically acclaimed Moon Unit (Part 1 & 2) hit decks all around the world in 2007, receiving massive support by Carl Cox, DJ 3000 (UR), Laurent Garnier, Klaxons (who licensed Part 1 for their Bugged Out DJ mix), DFA and many more.

V/A- UNDERDOG EDITS VOL.12 12" (underdog edits, usa)
9.98usd/5.44gbp/6.77eur/1092jpy (approx)

*Two very rare tracks that were never released on 12''. Love Committee's ''Pass The Buck'' is another Norman Harris production that was a huge Music Box record. They were part of the Philly clique that got passed over by Gamble & Huff and eventually got their due on Salsoul. Black Ivory's ''Longer Ride'' is an early Leroy Burgess track. This is a classic example of the deep deep, disco soul sound. Both tracks only have slight extensions to aid the contemporary DJ.


SHINDIG- VOL. 2, ISSUE 6 SEPT-OCT 2008 MAGAZINE (shindig, uk)
10.98usd/5.99gbp/7.44eur/1202jpy (approx)

*Cover: Marc Bolan 1969-70 -- Egos, unicorns and jugband psychedelia, the early years of Marc Bolan and Tyrannosaurus Rex. Rikki Rooksby looks at their involvement with the Notting Hill Gate hippie scene and Bolan's final pre-fame recordings. The Youngbloods -- The New York folk-rockers who soundtracked the hippie dream. Slade -- Drummer Don Powell answers 20 questions and Ian O'Sullivan reappraises the 1974 movie Slade In Flame. John Kongos -- Adventures in pop-psych. West Coast Pop Art Experimental Band -- Part two of our in-depth story. Buffalo -- Hard rock '70s band from Australia. Freak Rock -- A-Z of weird and heavy sounds from the early '70s.


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