Afrika Bambaataa & Soulsonic Force – Whats This Nation? (Zulu) [1983]
January 2, 2011

Africa Bambaataa, a guy, a brand, a movement. The vocals for this track were recorded live by Busy Bee (Of Soulsonic Force) at the Bronx River Center and mixed into this absolutely massive breakbeat sample and siren from ESG’s UFO. Simple, rocking, awesome.

From Discogs
He grew up in New York’s South Bronx, his musical eclecticism matched by his vision of African American social and racial unity. In the mid-1970’s he was one of the pioneers of New York’s emergent Hip-Hop culture of Rapping, DJ Mixing/Scratching, Graffiti and Breakdancing. Along with two other Bronx DJs, Grandmaster Flash and Kool DJ Herc (both also of West Indian origin), he began playing small percussive sections from obscure and unexpected rock, funk and electro-pop records as a rhythm track for rappers, interspersing the beats with extracts from cartoon melodies and film themes.

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Shannon – Let The Music Play [1983]
December 8, 2010

An absolute milestone in the history of dance music. One of the best vocal tracks of all time for me, i’d not listened to it in ages and up it popped on the iPod this morning – cue lots of singing in the car and hammering on the steering wheel. Why? Perfectly executed synth work, incredible proto-acid 303 business and those bassdrums, pure, unadulterated punch as only the 808 could make.

From Discogs
An undisputed classic as well as a critical record in the evolution of dance music, Shannon’s groundbreaking ‘Let The Music Play’ was, in some ways, a throwback to the diva-dominated days of 70s disco. For 1983, this cut made use of some truley cutting edge production techniques. Up until that point, electro was very much a masculine thing. When ‘Let The Music’ was released, not only did it elevate electronic music to a new high, it was also the first time we heard a robust female vocal backed by wholly synthetic music – something that has since dominated mass appeal dance music. Additionally, it also did the impossibly difficult task of transporting dance music back over to the masses (a feat for the mid 80s), something absent since disco itself.

Aleem – Release Yourself [1983]
May 6, 2010

Now this right here is a fucking incredible Electro track. Its got the lot, quality vocal hooks, a pounding 808 drum machine and that deep dark oberheim/moog brapping in the background. There’s no cheese in this belter, its pure unrestricted excellence from start to finish, sublime. Release Yourself!

From Discogs
This record actually help inspired a genre of music(Freestyle) in the mid 80s. Indeed one of the most important dance song of its time. People used to go crazy when djs played this track in the 80s. Club dancer used to “freestyle” to this song. A true classic.

Timeless electro that I just never get bored of playing!
With its soulful vocal telling you to ” release yourself ” over and over, 808 drum patterns and synths that put this track right next to “Hip Hop Be Bop” ,”Al naafiysh” and “Planet rock”!!
Also appears on Electro 5 which for me is the best of the Streetsounds Electro series, absolute sublime cutting and mixing especially when it drops in from Captain Rocks ” Future shock ” ….
….And its Twenty three years old ….
Now that’s a future shock!

….this is one of the few records that i know of that you can play just about anywhere, and a few true heads will pop up and give you respect for playing. techno, soul, hip-hop, freestyle, it doesn’t even matter, this thing crossed over and got it’s due. it’s got that early sampling feel, a thick vocal, and a drum kit that beats you up on any system out there. where i’m from, it wasn’t a great big hit, but still, anytime you break it out you will get “that look” from a few folks who spent the better part of the night staring into their drinks. tune!

The Rocksteady Crew – Hey You (Manuel Kim Edit) [200?]/[1983]
May 6, 2010

Manuel Kim does some cracking disco and electro edits of some classic tunes, this one being a personal favourite of mine. Ive always hated the vocals on “Hey You” but the Instrumental was always lacking without them. Manual bashes them both together and creates the version of Hey You ive always wanted. The snare hits are pushed, the synth is cleaned up and the cuts are more frequent giving the track some additional movement that the original arrangement lacked (in my opinion).

From Manuel’s Blog
Turning from bass player in noise punk bands to Disco DJ, Manuel Kim started working as label manager at Gomma Records in 2005 after returning from a sojourn in Japan. In a short time he became the most trusted and favorite DJ of the Gomma bosses, not only because he has one of the best selected club record collections in Germany, but also because he knows how to rock the crowd with his energetic sets.

Since a couple of years he is regular DJ Partner of Telonius on most of the GommaDanceTracks Partys and Resident DJ at Café King club Munich. His most recent and upcoming DJ destinations for 2010 include Amsterdam, Berlin, Brussels, Lisbon, Porto and Paris.

Manuel Kim Blog

First Choice – Let No Man Put Asunder (Full Mix) [1983]
May 2, 2010

Time to pay our respects to one of the most sampled accapella’s of all time. First Choices Salsoul helmed late Disco classic has appeared in countless tracks ranging from classic acid themes, through early house, hardcore, rave, happy hardcore, vocal trance, techno trance, psytrance, drum n bass, jungle, you name it, its used a part of this vocal. Not all that surprising though, the harmony is a classic, the vocals are powerful enough without going overboard and dominating the track – likely why its been used so often!

From Discogs
A ‘must-have’ in any DJ case and a ‘must-be’ on every ‘all time Disco list’, “Let No Man Put Asunder” was much more than a feminist anthem or underground Disco hit, as it represented a standard for a whole generation.

The acappella of this timeless Disco classic is arguably among the most sampled ever in the history of the Dance Music, just like was the music from Kraftwerk or The J.B.’s.

Shep Pettibone’s version for “Let No Man Put Asunder” on A side became an instant classic; the single also had a version by the Warehouse resident DJ Frankie Knuckles on the opposite side. The acappella and the fact that both versions were made by heros of the quality music scene from that time made this the most special release of this classic.

Strange as it may seem, the credits for this tune point the production date on 1977, but this single in particular with its versions and acappella was only released years later, in 1983. This was therefore the first pressing with the quintessential acappella by the diva Rochelle Fleming, a true relic.