Hot Stuff 5

Page 1



5 Disco



NEW RELEASES FRESH OUT FOR UTRECHT RECORD FAIR Everland 005 Donny McCullough - From The Heart Everland 006 Gary - Chilling Out Everland 009 The Chapparrals - Shake Your Head Everland 010 Gift Of Dreams - The Gift Everland 013 Snoopy Dean - Wiggle That Thing Everland 45-001 The Frat - Shake It Loose 7�

NEW RELEASES FRESH OUT FOR UTRECHT RECORD FAIR Everland Jazz 004 The Dennis Dreith Band - Reunion Everland Jazz 007 The John Danser Octet ‎- The Danser Revolution

Mega Record & CD Fair November 11 & 12 Jaarbeurs, Utrecht The Netherlands

FOLLOW US: pre sale | dealers list | plan of the fair etc.



Welcome to the fifth edition of Hot Stuff magazine! Most of the Disco collectors have heard about the USA record pools from the 70s, like the IDRC (International Disco Record Center) and the The Record Pool (99prince Street from David Mancuso). However, there isn’t a lot of information about the Canadian Record Pool. So in this part of Hot Stuff i want to highlite this record pool. Also in this issue some great additions by Aiden d’Araujo, Skeme Richards (The Nostalgia King), Jason Armitage (Dr.J) and Patrick Vogt. For those who don’t know me yet, I have already collected many disco-related items, such as magazines, books, acetates and, of course, records! Like me, there are many other music lovers who have interesting stories to tell, know about the music’s history and have certain memorabilia. That’s why I thought it would be nice to share the disco, rap and funk knowledge we all have, so in this way we can share all of this info with the rest of the world. In my digging for records and acetates I have met many other interesting music lovers, which is why I have asked them to contribute to this magazine by writing articles. This magazine includes a wide range of interesting articles on disco, jazz, rap, hip-hop, funk, house, rollerdisco and the graffiti & breakdancing culture. Furthermore, you will find vintage advertisements and magazine articles mainly from the 1970’s to the 1990’s. I invite you to share your opinions, ideas and relevant news with me. Your correspondence will be appreciated and it will help me improve my publication the next time. All contributors and I hope to reach everybody and anybody who loves the music that makes you want to dance. Enjoy! Groetjes, Discopatrick








Aiden d’ Araujo Skeme Richards Jason Armitage (Dr. J) Discopatrick Patrick Vogt

Discopatrick Aiden d’ Araujo Skeme Richards Patrick Vogt

© Discopatrick 2017



18 DANNY DAN THE BEATMAN by Skeme Richards (The Nostalgia King)





8 CANADIAN RECORD POOL by Discopatrick

30 DR.J’S TOP TEN 12” RAP NUGGETS (Roots Forward Records/Funky Pops Records/ Expansions Radio Show)

40 WALTER GIBBONS RECORD BAG 1973-1979 by Discopatrick





So after last edition’s love letter to Larry Sherman’s legendary label TRAX we’re now jettin’ to the east coast for a bite of the big apple with NYC’s equivalent Nu Groove Records.

Founded in ’88 by future husband and wife team Frank Mendez and Karen Kahn along with Judy Russell, Nu Groove went on to become an influential institution in the NYC house scene releasing over 100 records in just four years – proper pressing plant pressure! Yeah you could argue half the releases better left in the depths of the bargain bins (not for me love the b-side biz and obscure allure!) but it also released some of the most defining records of the early 90s house era. Now you can’t talk about Nu Groove without mentioning mainstay marvels Ron and Rheji Burrell aka the Burrell Brothers who were synonymous with the stable. Before releasing records, they taught Kung-Fu at Rutgers University and through that came into contact with all the Newark house heads which naturally led them to check out all the local New Jersey club joints including The Hump’s hallowed house sanctuary Zanzibar. Their love of dancing was a source of inspiration for their primitive productions recorded in their Mum’s basement with their friend Tim D always recording to his boom box so he could play out at the local record shop Sound Express in Plainview, New Jersey. Their tracks caught the attention of Karen Kahn and Frank Mendez who recognising their raw talent shopped their demos about to seek a record deal. Also hearing their potential was WBLS wizard Timmy Regisford who played one of their


now more polished demos on air which was the catalyst in securing a deal with label major Virgin. The finished article was ‘I Really Like’ and though their eponymous ‘Burrell’ LP was on an R&B tip there were joints like ‘Trust In The Music’ and ‘Gonna Make You Dance’ which were precursors to the house flavour that’s synonymous with their dizzying discography on Nu Groove. Things turned sour when there were politics between the UK and US division of the Virgin – reneging on their deal for a scheduled second LP. When recording the LP they were laying down demos of rawer, more house-orientated tracks with their prolific production prowess showing no signs of abating. Now no longer signed to Virgin and sensing an opportunity with these side-projects, Frank Mendez who served as an executive producer on their ‘Burrell’ LP approached them on setting up a label as a vehicle to release the rawer records they wanted to produce. They kick-started their career when Frank’s wife Karen introduced the brothers to house hero Tommy Musto whose Fourth Floor studio was housed upstairs. He invited them in and on the spot they laid down two joints with Burrell Brother Ron’s being ‘The Booty Dance’ (released as K.A.T.O.) and Rheji’s being ‘Angel Of Mercy’ – ain’t bad for an hours recording these two Nu Groove necessities the more seldom seen slices from the catalo-


gue. Not bad for a day’s work... They continued to release an armada of records under an array of aliases whether working together or branching out on their own with Ron recording as Aphrodisiac, Equation and K.A.T.O. and Rheji’s guises including N.Y. House’N Authority, Metro, Tech Trax Inc. and The Utopia Project. Sticking with Burrell Brother Rheji and he launched Nu Groove with ‘Feel The Luv’ as Tech Trax Inc. however he’s best known for his later EP’s which include returning to his Metro moniker again releasing the ‘$1.15 Please’ EP with my House Hunting hint being the deep majesty of ‘Brownstone Express’ pure paradise… Other EP’s worth checking out include the ‘File’ EP under his ‘The Utopia Project’ pseudonym (‘File #3’ my fave those synths!), the ‘Tech Trax Inc.’ EP including the sublime ‘State Of The Art’ (opt for the more ethereal ‘Unautomated Mix’) and the more obscure

‘Instrumental Ward’ EP under his Asylum alias – all about ‘Vibez’ on this one choice club cut though needs a longer edit 3 mins ain’t enough! Though it’s hard to pick a fave, my recommended Rheji releases have to be his N.Y. House’N Authority hotplates. He first launched this alias on NG 015 with a series of raw rhythms named after NYC house projects with ‘Dyckman House’ and ‘Ravenswood House’ my prime picks. However, if there’s one N.Y. House’N Authority EP that has to adorn your rack it’s got to be the ‘APT.’ EP – I ain’t hypin’ when saying this is the Nu-Groove necessity all killer no filler whether it’s the steamy acid of ‘Apt. 1A’, the soaring strings of ‘Apt. 1B’, the boss bassline a la Beltram on ‘Apt. 2A’ or the early-morning ecstasy of both ‘Apt. 3A’ and ‘Apt. 3B’. If there’s one record that represents the label’s flavour and ethos this is the one… Rheji revisited N.Y. House’N Au-

thority in the twilight years of Nu Groove with another EP (NG 094) with my choice cuts being ‘Adequate Lighting’ (that bassline!) and the jazzier joint ‘Landscaping’. As well as the three Nu Groove EP’s Rheji released a N.Y. House’N Authority LP on SBK Records outta the UK – this SBK slice definitely worth seeking… My advice leave the vocal joints on the A-Side and flip straight for the instrumental tracks all B-Side bombs with my top tips being ‘Central Park’, ‘Park Avenue South’ and ‘The Village’ all N.Y. House’N Authority necessities… Let’s not forget Ron too who though best known for his otherworldly Aphrodisiac anthem ‘Song Of The Siren’ (all about the ‘Mediterranean Mix’ pure paradise…) plus his collaborations with other Nu Groove heavy hitters including Bobby Konders on the transcendent ‘Say A Prayer 4 U’ as Equation, laying the key’s on Basil Hardhaus’ ‘City Streets’ EP’ and at the controls of the more East-Orange flava of Bas Noir’s ‘I’m Glad You Came To Me’. Also worth seeking out his earlier releases including ‘The Booty Dance’ as K.A.T.O. and his first Aphrodisiac record (‘Your Love’) that both lay the blueprint for the sound that would become synonymous with the Burrell Brothers.

records on Nu Groove. Prior to producing he spun at Greg Daye and Timmy Richardson’s Wild Pitch parties along with revered residents such as Victor Rosado, Kenny Carpenter, fellow Nu Groove alumni Basil Hardhaus and the late Tee Scott and David Camacho – filling the void between the Paradise Garage’s closing and the emergence of Shelter. As was the path chosen by many DJ’s of the time (and still to this day) it was a natural progression to get into production and with the meltin’ pot of dub, reggae, disco, house and hip-hop that he concocted for the more discernible dance diaspora, he captured that flavour on his classic ‘House Rhythms’ EP on Nu Groove with choice joints including ‘The Poem’ and ‘Nervous Acid’ – both never fail on the dancefloor… He also released under his Massive Sounds and Rydims guises for Nu Groove plus recorded as Brooklyn Massive (on Big Beat), Freedom Authority (on XL Recordings) and as Jus’ Friends and Dub Poets on his own Nu Groove offshoot Massive B. He later formed the Massive B Sound System with his partner Jabba bringin’ some Caribbean spirit to NYC - you can hear why his house joints injected with that deep dose of dub…

We’ll leave the Burrell Brothers there and have a quick round up of some other Nu Groove house heroes. I gotta kick off with Bobby Konders as noone drops a bassline quite like him which have been the backbone of his iconic

Joey Beltram is another House Hunting fave and shouldn’t need any introduction with his ubiquitous techno anthem ‘Energy Flash’ influencing and inspiring a generation. Word on the street is that the track was gonna be submitted to Nu


breakbeat (later drum & bass). However, though less influential I prefer his Nu Groove records like his Code 6, Lost Entity and Major Problems EPs with those boss Beltram basslines.

Groove until Belgian behemoth R&S moved in when Joey was touring there and released it in tandem with Derrick May’s Transmat imprint. The following year under his Second Phase alias along with Mundo Muzique he released the massive ‘Mentasm’ which became ingrained in rave culture as it gave birth to the ‘Mentasm riff’ – spawning many imitators in prevalent scenes of the era including Dutch/Belgian hardcore and early UK


Like Beltram, Frankie “Bones” and Lennie “Dee” soundtracked many a long lost M25 orbital mixtape with their heavy drum breaks, hypnotising rhythms, otherworldly synths and sampling ingenuity on their ‘Looney Tunes’ EPs thrusting them into the UK rave scene. Another notable mention is ‘The Prince Of Dance Music’ L.B. Bad who with his The True Story Of House Music EP has produced one of the most hunted house hot plates on the label – the ‘The New Age Of Faith’ may sound familiar as Andrew Weatherall ripped it off for ‘Smokebelch II’ under his Sabres of Paradise pseudonym which whether you view as a compliment or controversial it further emphasised the label’s influence… Of course there was Peter Daou of The Daou fame whose killer keys added another dimension to a lot of Nu Groove releases and was a feature on many of Bobby Konders’ productions. Another Nu Groove necessity that needs unearthing

House Syndicate. Another division was Rhythmic Rage which explored more of the rave territory though I think leave that one there and instead scope out the other sister label Jazzy Records which released some choice cuts from house heroes such as Pal Joey, Norty Cotto and Ronald Burrell himself serious sub-label lacquer!

outta anonymity is Shardé by The Vision aka Edwin Maduro which is a dedication to his daughter proper B-side bliss… I still ain’t covered half of it and there’s all the Nu Groove subsidiaries too! As well as Bobby Konders’ Massive B, Kenny Dope was another Nu Groove alumni with his Powerhouse EPs also branching out with his Dopewax imprint – releasing dope jams under his Total Madness alias and the Dopewax anthem ‘Jam The Mace’ as

After releasing 110 records, Frank Mendez called it a day and shut Nu Groove’s doors at Fourth Floor in ’92. Both Burrell Brothers Ron and Rheji still had projects on the go intended for Nu Groove so joined Judy Russell’s start-up stable Citi Records that carried the torch. I could go on for days ‘bout Nu Groove but I’ll leave you with a few of my necessities and a quote from Nu Groove’s main man Frank Mendez: “As far as vinyl disappearing from the surface of the earth, there will always be DJs, there will always be clubs and there will always be turntables at clubs”.



1. DEE DANIE DEE – ‘ECSTASY ENERGY’ (MARK’S #4 MIX) Leave Joey Beltram’s more hardcore score as it’s all about the ambient mix by Danceteria disciple Mark Kamins. Though the picture cover hints it’s best left in the reduced rave racks (trainspotter tip just one of two Nu Grooves to have a picture sleeve with the other being Bas Noir’s ‘I’m Glad You Came To Me’), the early hours ether of Mark’s mix is pure NYC XTC that will leave you in an altered state…

2. DTR FEATURING MARILYN SAREO – ‘JOURNEY INTO A DREAM’ (PERFECT ESSENCE INSTRUMENTAL) As well as behind the counter at NYC record institution Downtown Records, Ralph “DTR” Soler also crafted a couple of choice cuts on Nu Groove including the Balearic bliss of the ‘Perfect Essence’ instrumental on the ‘Journey Into A Dream’ EP featuring House Hunting dream duo Peter Daou and Nelson “Paradise” Roman – a sensuous slice of pure paradise…


3. JGROOVE COMMITTEE – ‘RAIN ON ME’ A guise of sample supremo Victor Simonelli, though most will go for the a-side anthem ‘I Want You To Know’ flip over for the Simonelli sleeper ‘Rain On Me’ that samples Don Ray’s disco diamond ‘Standing In The Rain’ – if you’re feelin’ this worth checking the b-side on the next Groove Committee EP too with the Sun Palace sample on the ‘Just Play The Music’ joint serious Simonelli scores…

4. KEITH, KAT & BLONDIE – ‘GOTTA GET SOME MONEY’ Though best known for his later Nu Groove EP ‘The True Story Of House Music’ as The Prince Of Dance Music, L.B. Bad also released this on the label in it’s infancy complete with the old-school Nu Groove logo! Though I usually head straight for the dub in this case I prefer the vocal version with the ‘Gotta Get Some Money’ hook and male vox lamenting the 9-5 daily grind complete with the deep for days bass…

5. VOICES – ‘OVER ME’ As Nu Groove was winding up in it’s twilight year of ’92 you could argue the later releases didn’t have the same quality control however the 107th release by Voices aka Gary Michael Wade is an EP is pure heartfelt house laced with Korg keys and yearning larynx complete with New Jersey house hero Cassio Ware at the controls. Get this East Orange flava in your mix…


DJ friendly





Most of the Disco collectors have heard about the USA record pools from the 70s, like the IDRC (International Disco Record Center) and the The Record Pool (99prince Street from David Mancuso). However, there isn’t a lot of information about the Canadian Record Pool. Dominique Zgarka and George Cucuzzella started a record pool in Canada in 1976. In this vintage article you can read a story that was issued in the record pool’s first magazine, which described the record pool’s first year. After that, you can find a list I made of the mixes that I have found until now, issued in 1976 and 1977 by the Canadian Pool.

THE CANADIAN RECORD POOL STORY by Martin Melhuish 1977 There’s no holding back an idea whose time has come, and with the formation of the Canadian Record Pool by Dominique Zgarka and George Cucuzzella to distribute disco-oriented albums and singles to a growing number of clubs across the country from one main clearing house to Montreal, that old adage ls verified once again. From its humble beginnings in Disco 2001 which acted as a distribution centre for promotion records for its initial 35 members, the Pool has burgeoned to become one of the most potent record promotional forces ln Canada. Of course, it’s true that much of this would never have happened if Montreal hadn’t become one of the disco centres of the world, but there is nothing wrong with being at the right place at the right time, as Dominique and George obviously were. At the inception of the pool, George was a deejay at the Tube in Montreal, having just left the employ of the Limelight club where he had worked for the two previous years. He had a disco club himself that he called Disco 2001, and he allowed


the Pool to use the available space as his contribution to the evolution of the disco industry in Quebec. George had already been responsible for breaking numerous disco hits in this country. Dominique at the time was the Canadian editor of the New York-based Discothekin Magazine, and was assisting George in developing the newly-formed Record Pool, which was, for the most part, self-supporting. Their credibility with record companies was such that they were also able to print a weekly chart which was supported by record company advertising. The next obvious step was to form an executive committee. This committee, headed up by Michel Daigle, the researcher of the TV show Disco Tourne, comprised the 15 top deejays ln Quebec, chosen on the basis of their professionalism and popularity on the disco circuit. The committee member’s main duties were to help promote the Canadian Record Pool chart and to be the decision makers in all new projects and additions to the Pool’s list ofmembers. Initially the committee was made up of Robert Ouimet of the Limelight; Armand Neveu of the Penthouse; Louis Cazabon of the

Triangle; Michel Cormier of the lntersection; Daniel Poupart at Maxime’s; Gaston Gravel of Lami-Entre; Guy Cȏté of Lovers ln Laval; and Joe Palud of the Connely lnn. Since then, three more have been added: André Gingras of the Penthouse; Michel Jessome of the Couloir; and Michel Simard of the Light Live. ln order to establish right from the start along what lines the Pool was going to operate, some objectives were formulated at the opening meeting. It was stated that the Pool’s objectives were:


upcoming releases from various companies. c) To provide a regionally divided feedback response to the record companies on a weekly basis. (Along with this stipulation comes the requirement for all deejays being supplied with products to inform the Pool through reaction sheets, their opinions and the audience response in various clubs to the records they receive.)

a) To distribute, as rapidly and inexpensively as possible, the promotional record product of all the record companies to disco deejays on a nationwide basis.

d) To make available, at the best possible prices, many different items of interest to the disco deejay, such as sound and lighting equipment, recording tape and imported records.

b) To send a weekly newsletter to all concerned, informing them of current and

e) To act as a communications center for the discotheque industry.

The set weekly fee for membership in the Canadian Record Pool was set at $15, and that amount is charged to them on a COD basis. All members must provide the Pool with a weekly reaction sheet, one and a half days after the receipt of the records. On the reaction sheet, the deejay checks off the category that fits their professional estimation of how the record will rate in their club. Along with the reaction sheet the deejays must provide a top 25 chart of the most played records of that week in their club. ln turn, the Canadian Record Pool compiles a chart that is sent out to the industry at large, and is even reprinted in such influential trade publications as Billboard and Record Week. It ls a compilation of the charts from the Pool’s close to 100 members and gives a fair indication of which records are making gains across the country. With the mailing of the top 25 disco chart which indicates whether a record has been picked up for distribution ln Canada or not to a number of American outlets, the Pool receives a number of calls asking for European and Canadian products. The Pool now redirects those phone calls to the record companies concerned or to those record outlets that export to the U.S. To the record industry, the Canadian Record Pool has become an invaluable information center with many distinct functions, of which the national survey sheet is only one aspect. This disco survey, which now has a distribution of over 5000 in Canada and the U.S., has proven itself to be able to create a strong sales influence on disco records. Perhaps the classic example of this influence is Tina Charles’ “l Love To Love” which was on the CRP chart for 14 weeks and attained 250,000 sales in Quebec alone. It was the biggest-selling single that CBS Canada has ever had, and for their part in breaking the record, the Pool was presented a gold record by CBS for its help in making the single gold before it had even been added to any Canadian radio chart. Essentially, the Canadian Record Pool chart has linked all the stages in marketing disco records. That is, a person who now hears a record in a disco can now

relate it on a chart which is available to both record retail and wholesale outlets. At the same time, the record company seeing the CRP’s reaction to certain songs enables them to know how many copies of a record to manufacture, avoiding loss of sales by either overstock or lack of stock. All along the line, the survey sheet is used as a guideline, creating a uniform situation in which low potential products are replaced by quality products which are actually being played at discos. Also, as an information center, the CRP is able to service mobiles, discos and non-member discos with the chart, making it possible for these clubs to know what other clubs are playing and, in turn, try the records themselves. The CRP is also able to direct these clubs to where those records are available. Through the Pool’s close cooperation with the various Canadian and American distributors, one stops and rack jobbers, redirecting retail outlets to the proper sources has become one of its very important functions. Again, The Canadian Record Pool SM sales are made where normally therewould be none. ln effect, the Pool acts as a 365-day a year MIDEM festival in that it keeps one copy of all records it receives in a library, which is open to all a&r personnel at record companies. Records such as “Makes You Blind” by the Glitter Band and “Nice And Slow” by Jesse Green were obtained by Canadian record companies through this service. The Pool recently received a gold record from Red Bus Tempo for their help in making Jesse Green’s “Nice And Slow” a big hit in this country. Reportedly, the Pool’s a&r library was also instrumental in signing of TK Records to RCA in Canada. As a promotion center, the Pool has also been very successful in its function of acting as a promotion unit for every record company that services it. The promotion is free of charge and available to all record companies whose appreciation of the Pool’s services are demonstrated in the number of gold records that they have received for their help in breaking various records. To this point the Pool has received gold records for Al Martino’s “Vola-


re” on Capitol; Jimmy Bo Horne’s “Gimme Some” on TK,(RCA) Canada,’ Penny MacLean’s “Lady Bump” on CBS; Tina Charles’ “l Love To Love” on CBS; Jesse Green’s “Nice And Slow” on Red Bus Tempo; and the Bay City Rollers “Don’t Stop The Music” on Arista.

Early in the Pool’s history, at a time when the company was increasing its membership from 35 to 50, the CRP was forced to move to larger quarters, at the same time taking on Maria Spano as secretary and Daniel Locas as public relations. Also at this time, the three major directors of

As well as these other functions, the CRP also does disco mixes of certain records. Their success in this area is perhaps best illustrated by their creation of a disco mix for the Bay City Rollers’ single “Don’t Stop The Music” which went on to attain platinum status in Canada and appeared on numerous American disco charts as an import.

Among other disco mixes that the Pool has done are “One Way Street” by Beckett Brown on RCA; “Disco Bump” and “Disco Train” for lnter Global Music; and “Are You Ready To Love Me” by Robert Lee Gagnon on Amour Records distributed by Trans Canada. The Pool arranged for distribution of the latter record on Beta in the U.S. The Canadian Record Pool also benefits from their close ties with radio and television through the different disco programs that originate live from the clubs that they service. Approximately 30 percent of the discos that the Pool services have at least three hour live broadcasts on radio in Quebec. The TV show Disco Tourne is directly serviced by the Canadian Record Pool.


the Pool, George Cucuzzella, Dominique Zgarka and Michel Daigle undertook an extensive research program with other executives of the company to make sure that the CRP chart was posted across the province in retail and wholesale record outlets as well as radio stations aided by various Canadian record companies who provided them with their mailing lists. The mailing list, which originally contained only 750 mailing addresses, is now over 5000. Recently, George and Dominique went to New York to organize, along with Eddie Riviera and Mike Pabone of the International Disco Record Centre (The U.S. Record Pool) a meeting with all the American record companies. One of the subjects discussed was ways in which the CRP could be better serviced by American product in lots of 100. That idea was not only accepted, but it was the feeling at the meeting that it was about time that somebody in the U.S. organized a record pool along the same guidelines and objectives as the CRP, that is to combine both record promotion and distribution. The meeting ended with the agreement

that the CRP would act not only as a promotion agent but as an a&r research branch of Canadian record companies. It was at that point in time that the Canadian record companies agreed to increase their service to the Pool by 50 so that 100 members were now regularly being serviced, and with the help of the IDRC and a number of American deejays, the same a&r network was established south of the border. To properly handle the 150 members of the CRP, an Ottawa office was opened to administrate the area in and around Ottawa/Hull. This office, run by Jim Evans, a well-known deejay and the manager of various Ottawa discotheques, is still extremely active. Perhaps one of the highlights of the whole Canadian Record Pool history was the First Annual Canadian Disco Awards presented by the Pool in association with the Canadian music trade paper, Record Week, at the Le Lovers Discotheque in Montreal on Dec. 14, 1976. The disco

crowd was out in full force, and among those industry VlPs in attendance at the awards presentation were George McRae, Jimmy Bo Horne and the Ritchie Family (all on TK Records in the U.S., The Ritchie Family are distributed by Christian Le Fort’s Able label in Canada); Denise Chapman of Salsoul Records; Grace Jones of the Beam Junction company; John Usrey, the producer for Stratavarious on Polydor in Canada and Roulette in the U.S.; and Alain Chamfort, a French recording star who records for the Outre-Mere label distributed here by Nobel. Local artists in attendance included Boule Noire, AndrÊ Gagnon, Patsy Gallant, Fussy Cussy, Martin Stevens, Patrick Zabe, Judi Richards and Heather and Mary Lou Gauthier of Toulouse, Tony Green and others. Mike Watson, the manager of the Toronto based band Sweet Blindness was in town and Fraser Jamieson and Alice Koury of London Records of Canada sat at a table with a full contingent of people from the company. Representatives from most


of the other major labels in Quebec were also in attendance, as well as Tom Noonan, the associate publisher of Billboard, who flew in from Los Angeles for the occasion. The event was MC’d by Roberl Arcand of radio station CKLM in Montreal along with George and Dominique. It was quite a night for the Canadian Record Pool. One of the most important relationships that has developed over the last year for the Pool is the one with the TV show Disco Tourne. The show in effect took the CRP’s work one giant step further by allowing the Canadian public not only to hear but to see their favorite disco artist. Recently the CRP decided to form a new operation headed by Joe Tortorici, whose main objective was to export Canadian product to the U.S. and Europe. The Pool had in essence turned the beat around and finally made it possible for Canadian products to enter the American market. That was certainly a new precedent. The operation, known as Downstairs Records, which in its Montreal outlet has a sound system that has to be heard to be believed, also distributes disco products across Canada. There is now a Quebec City office of the Pool, and negotiations are currently going on for offices in Toronto and Vancouver. Plans for these two markets are in abeyance for awhile, because it is obvious to the CRP executive that it is going to take some time and planning to effectively organize the co-operation between discos, radio stations, record outlets and record companies there. The Canadian Record Pool has had quite a long and eventful history and I’m sure that Dominique and George would both list the two gold records that they received from Donna Summers personally for their help with her two hit LPs as one of the highlights. At a recent Billboard Disco Forum in New York, George received an award as the deejay who most helped to make Quebec a major world disco market. (By the by, during this forum, the U.S. Record Pools decided to work very closely with the CRP.) Over the last year, the Canadian


Record Pool has become the major force in breaking disco records in Canada. Record companies now know that even if radio stations refuse to play a certain record, the Pool is always there as another promotional avenue. Perhaps Johnny Desiardins, the Quebec branch manager of CBS Records, sums it up best when he talks about the CRP’s survey sheet. “ it’s a sheet which, in its first year of existence, has reached a credibility that radio stations and magazines sometimes never attain “. The same thing could be said about the Canadian Record Pool as a whole

George Cucuzzella, President G&D Canadian Record Pool Ltd. Picture right page: Dominique Zgarka, Vice President and Director of Operations G&D Canadian Record Pool Ltd.


Canadian Record Pool Remixes

VINYL ARISTA Bay City Rolers Don’t Stop The Music


AMOUR RECORDS Goldie Alexander I Wouldn’t Give You Up 1977 Robert Lee Are You Ready To Love Me A&M Carl Graves

Heart be Still


DICE Sugar Band Express

Let’s Make Love Tonight


DISCO 1 Barbara Potts Johnny Lover

75600 AM 18,402 AM 8406



LES DISQUES DIRECTION RECORDS Gloria Spring Baby, Come On 1976 DD-8000 Jackie Robinson Pussyfooter 1977 DD-8001 Bumble Bee Unlimited Everybody Dance 1977 DD-8002 The Sandpipers Hang On Sloopy / Skidrow Joe 1977 DD-8003 Kebekelektrik Magic Fly / Magic Fly II 1977 DD-8004 Gila Help ,Help 1977 DD-8005 Mystic Disco Love Affair 1977 DD-8008 Amanda Lear Blood And Honey 1977 DD-8009 Randy Raider Dance On (Disco Darling) 1977 DD-8010 K. K. Kong Monster 1977 DD-8011 POLYDOR Sabra Disco Sabra Disco 1977 2141 034 INTER GLOBAL MUSIC R.B. & Company/Jerry Rix Disco Bump/Disco Train


RCA VICTOR Becket Brown One Way Street



KVDM. 5000

Disco Dolly AM 8405 SNB Disques Mastering




Murphy Williams ‎- She Is My Woman Burnis - Light My Fire Baad John Cross - New Revolution, Chapter One Aktion - Celebrations Theadora Ifudu - First Time out The Funkees - Point Of No Return - Afro Funk Music The Apostles - Banko Woman Joe Moks - Boys And Girls

EVERLAND - CATALOGUE • • • • • • • • • • • • • • • • • • •

Everland 001 Everland 002 Everland 003 Everland 004 Everland 005 Everland 006 Everland 007 Everland 008 Everland 009 Everland 010 Everland 011 Everland 012 Everland 013 Everland 014 Everland 015 Everland 016 Everland 017 Everland 018 Everland 019

Helene Smith - Sings Sweet Soul Van Jones ‎- Time Has Made Me New O.T. Sykes - First love Obatala - same Donny McCullough - From The Heart Gary ‎- Chilling Out Starchild Jr. - Hand Me Down Diapers Wild Honey - Untamed *** The Chapparrals - Shake Your Head Gift Of Dreams - The Gift The Ghetto Brothers - Power-Fuerza *** Tutt Band - same *** Snoopy Dean ‎– Wiggle That Thing Shake - Music Is The Only Way We Can Communicate *** El Internacional Ray Camacho ‎- Mucha Salsa *** Paul Zaza - Le Payback *** Standing Room Only - Heart And Soul *** 107th Street Stickball Team - Saboreando, Pot Full Of Soul *** Alex Brown ‎– In Search Of Love ***

• • • • • • • • • •

Everland Jazz 001 Everland Jazz 002 Everland Jazz 003 Everland Jazz 004 Everland Jazz 005 Everland Jazz 006 Everland Jazz 007 Everland Jazz 008 Everland Jazz 009 Everland Jazz 010

Everland 45-001 The Frat - Shake It Loose 7”

The Heath Brothers - Marching On Danser’s Inferno - Creation One Pharoah Sanders - Izipho Zam The Dennis Dreith Band - Reunion The Descendants Of Mike And Phoebe - A Spirit Speaks John Gordon ‎- Erotica Suite The John Danser Octet ‎- The Danser Revolution Cecil McBee - Mutima *** Infinite Spirit Music - Live Without Fear *** Charles Rouse - Two Is One ***

*** to be released after 11 november 2017


Danny Dan The Beatman by SKEME RICHARDS (The Nostalgia King)

It’s almost a given that when people hear the name Danny Dan The Beatman they instantly say “Oh yeah Dusty Fingers” and recognize that he has deep crates, but who doesn’t already know that? When it comes to “diggin” we have a slightly different philosophy at Nostalgia King, “digging doesn’t stop with records” which is why there are those DJ’s out there who have collections that span far beyond just records. To quote our man Biz Markie “What Else You Got?”, and that’s exactly what we’re here to find out in this interview with Danny because our connection runs deeper than just records. We both share the common love of not only soundtracks and Library LPs but also classic television shows and made for TV movies that have used those same compositions that we have collected over the last 30+ years. An incredible catalog and archived collection of these shows personally recorded to VHS from analog TV stations way before most people had a VCR let alone Cable or Satellite TV in their homes. Tapes that are deeper than most “diggers” crates is what we’re going to unearth and that passion of collecting in general which runs deep within circles of DJ’s and collectors including Paul Nice, Marsellus Wallace, J-Zone and Biz Markie to name a few. Skeme: Let start back to the early years of TV Shows when there was quality programming on 7 days a week, what were some of your favorites as a kid? Dan: Back in the late 60’s early 70’s it was shows like I Dream of Jeannie, McCloud, Baretta, Bob Newhart Show, Mary Tyler Moore Show, Emergency, Iron Side, All In The Family and stuff like that. Even the show Dark Shadows which was like a soap opera that my mom made me watch but I was also heavy into and wanted to watch my cartoons, stuff like Gigantor, 8th Man, Mighty Heroes, Herculoids and all those kinds of shows. My mom is European and was heavy into movies so in the 70s she would take me downtown to the theaters to watch all these great films, mostly foreign films like Italian and French with subtitles. Mostly cop flicks but also a lot of Action and Thriller films plus some Horror but real gritty films that American filmmakers weren’t making. And even though they were subtitled it kept my attention with the action, 70’s cinema was crazy bro.


Skeme: Was there a specific genre that you were heavy into like cop shows like Hawaii 5-0 and S.W.A.T or was it British TV heavy with shows like The Avengers, The Saint and others and what was it about them? Dan: I was into it all but I really loved the cop shows like SWAT, Kojak, Barney Miller, Streets of San Francisco and shows like that, but like I said I was into everything. There was just so much to choose from at that time when TV was good and also educational, not like today where everything is supposed to be reality TV but I don’t see the reality in any of it. Skeme: Just like with records I’m sure you were early in the game with recording and collecting these shows on VHS, when would you say was the year that you started being conscience of knowing you were building a collection? Dan: I started collecting flicks in the 80’s, my mother bought a BETAMAX so I would get all the movies on that and then it was

the BETAMAX vs. VHS wars which ended the BETAMAX so we got a VCR and then I started recording all of the TV shows. We even had the CED laserdisc player which I have a crazy stash of movies on CED in storage along with all my VHS stuff. I know your deep into collecting toys which I would collect a few that I really dig like Star Wars toys etc but I was heavy into baseball cards especially, Rock’em Sock’em Robots and stuff like that. Skeme: I actually didn’t know you were heavy in the tape game until reading your interview in Big Daddy Magazine back in 2002 but should’ve known especially since your Dusty Fingers LP’s have library soundtrack selections on them found in many of the TV Shows from the 60’s and 70’s. Did these shows play any part of you having a connection with the music that you eventually put out on these comps? Dan: Yes because I would watch these shows and be like oh that music is crazy, who played that so I needed to know that information and have those records. But also my mother was really into music and had records so from 1973 - 1975 I started collecting 45’s real heavy, then in ‘75 I started buying LPs and was unearthing a lot of stuff that people weren’t up on. By 1976 I had 6 crates plus all my 45’s, I went o.d. on just buying records, I would go to my friends houses just to see if their parents had records, I lost a lot of girlfriends because of records that I borrowed and

never bought back. Their parents would ask for them and I’d be like “oh there safe, it’s in my crates” but I would never return them, so many ex girlfriends were mad at me. I also had a partner named Leon who I used to practice with at his house in 1979 and by this time I had 15 crates with heat plus all of my 45’s. I had all of my equipment at his house because my mom liked a quiet home so I couldn’t really play the music loud like I wanted to but then when 1980 rolled around I started jumping on other peoples jams and getting excepted because I was playing stuff that nobody knew or heard before. Shortly after that I saved up some money and bought speakers so I was able to do my own thing and throw my own jams. Plus I was really heavy into graffiti, going out late nights and bombing trains with dudes who was much better than me but I would go and be a lookout for the cops so I was really into a lot of different things growing up. Skeme: So how did the Dusty Fingers series come about? Dan: At the time I was making beats from a lot of the stuff that wound up on the Dusty Fingers albums but nobody wanted my beats because they were like this is some other shit and they didn’t understand it. So I said I know what I’m going to do, I’m going to press these songs up and put them out and watch every body start sampling from them and that’s exactly what happened. There isn’t a producer


that doesn’t own a Dusty Fingers LP in their crates so I guess everything worked out in the long run, the music I wanted to introduce in my beats still got heard. Skeme: We recently did an interview with Miss Shingaling who also has an amazing record collecting and is very fond of those 60’s and 70’s shows especially The Avengers. What do you think it is about those shows that unintentionally connect with DJ’s like us, Miss Shingaling, and also those in the Northern Soul scene? Dan: It was the time period that captured our imagination and our attention, shows of today can’t do that and neither can movies. My mom took me to see The Taking of Pelham 123 and I bugged out, and even though the remake had ok acting and was an ok film it doesn’t stand anywhere near the original. So it’s just that time period where we all come from why we have that connection and full appreciation for it between us. Shingaling actually came over to my house before I put my VHS in storage and made copies of a lot of my TV shows. Skeme: Although I’m younger than you I’m sure your first exposure to Library music like mine came through TV Shows and movies first, when it comes TV shows which ones had the best scores or soundtracks that went along with them? Dan: A lot of them pulled from Library re-


cords like McCloud, Kojak etc but there was also great music on Sanford and Son and Good Times. I don’t know who the composers were on those but I’m still on the hunt to find out who played some of that music. Skeme: Just like with digging for records there are companies that have re-released a lot of these shows to DVD as a collector did you feel and kind of way about that or were you happy to get cleaner copies of some of your favorite shows? Dan: No because I’m all about quality, I started collecting CD’s of all the records with breaks back in the 90’s because I wanted that crystal clear sound quality and started ripping and selling off my high dollar records. Records that I knew I wouldn’t use anymore or I already put them out on the Dusty Fingers LPs so I would sell to like the Japanese guys and they would come over and buy a lot of the stuff. I enjoyed the record so now I can pass it on to someone else who will hopefully enjoy it as much as I did. But I still have all of my VHS in storage, I just like to see the clarity of a DVD where I can see what’s happening down the block versus me looking at a grainy VHS and never saw that before. I still love the nostalgia of my VHS collection though and would never part with it. Even when I record the Dusty Fingers LPs they are high quality, I know sound and fidelity so everything is done right so that it has that warmth of vinyl but

also has that punch to it, I keep everything on my drives in AIFF and WAV files. When I spin in clubs they have to turn my sound down because it’s they way it should sound versus the way other people stuff sounds, they play MP3’s which in my opinion is for kids with iPods. Skeme: As a collector your always on the hunt for things that you haven’t seen in years or haven’t been released to DVD, what if any show’s are you still on the hunt for? Dan: I pretty much have everything that I want but I would like DVD copies because a lot of what I have I recorded myself or bought bootlegs of them but one show I’m looking for is Six Million Dollar Man which Time Life put out a couple years back but the set was $240 and I just don’t have the money to flip for that series so I’ll just keep watching my bootleg on DVD. I’ve got everything from A to Z, Wizards, Fritz The Cat, Mary Tyler Moore Show, The Beatles Cartoon, Petticoat Junction, Bob Newhart was hilarious too. I still want to find clear complete copies of Soul Train, I know they put them out on DVD but I want the complete run uncut.


hell are you watching” cause they don’t really get it like we do. TV is so non-existent right now and nothing good is on so I watch shows from when it was quality TV. Skeme: What are your Top 5 favorite soundtracks? Dan: There are so many great soundtracks but a few off of the top of my head are a. The soundtrack to Bullitt with Steve McQueen b. The Taking of Pelham 123 c. Violence OST d. Willie Dynamite e. Black Caesar

Skeme: Are you like me and come home from a hard days work and instead of flipping channels you instantly go to your collection and watch a classic? Dan: Oh yeah definitely! I have all my shows on DVD and on my hard drives so I’ll turn on whatever I’m in the mood for but I always get people asking me “what the


Skeme: So there you have it folks, it was great to catch up the Beatman to discuss digging in the tapes and all of the rare things it can hold. Just like with records, being early in the tape came you’ll find so many things that have never been re-released or reissued to DVD so the only way to find these lost gems is to have recorded them yourself or find other collectors who can put you up on these jewels



Jaz l u o

or Rec



s pre


nd ka c o R an 71-81 m r 9 l Ge usic 1 a t n M ime ronic r e Exp Elect


SJR LP/CD405 Triple LP (+Download Code)/Double CD Pack Popol Vuh, Neu!, Cluster, Georg Deuter, Pyrolater, La Düsseldorf, Michael Bundt, Klaus Weiss & many more!


Juice Crew All Stars - Evolution/Juice Crew All Stars (Cold Chillin’/1987)

Dr.J’s Top Ten 12” Rap Nuggets (Roots Forward Records/Funky Pops Records/Expansions Radio Show)

Jason Armitage (Dr.J) is owner of the Roots Forward Records label in Canada. The label, which started in 2011, releases rare and unreleased 80’s and 90’s rap music on vinyl and cassette. The label’s discography includes music from legends Marley Marl, Schoolly D and countless others. You can check out the label and upcoming releases here: Jason is also an avid collector of funk, disco and house music and has been deejaying actively since 1991. He hosts the “Expansions” radio show - one of Canada’s longest running programs devoted to classic rap and dance music. Here is a selection 10 favorites of Dr.J


Probably one of the first rap records I heard featuring a female emcee. I distinctly remember this song from a Mr. Magic Rap Attack tape as a 14 year old kid and loved it instantly. It wasn’t until 20 years later that I actually owned a vinyl copy, but this one always brings back great memories.


Star Quality & Class - Betcha Got A Dude On The Side (R & R Records/1982)

This is a tasty slice of disco rap from 1982 that never leaves my crates. It’s more of a head nodder than a floor filler, but don’t let that stop you from checking out this essential piece. Tough to find, but worth every penny.


South Bronx Movement - You’ve Got The Power To Get High On Yourself (Positive Juice Records/1983)

“I don’t sniff no coke, don’t shoot no dope, I get high on myself”. This anti-drug rap from 1983 packs a potent punch. Fantastic instrumentation, coupled with a strong message make for a true winner.


Sweet Daddy Ceville - Partners In Crime (MF Records/1988)

Utilizing Bob James’ “Nautilus” to devastating effect, “Partners In Crime” is a dark, moody monster of a record. I first heard this one on Canadian legend Ron Nelson’s infamous “Fantastic Voyage” radio program. Took me years to figure out what it was but it was definitely worth the wait.


The Ultimate Choice - You Can’t Front (Citi Beat Records/1987)

Liberal sampling of Queen’s “We Will Rock You” on “You Can’t Front” makes for a beat-laden journey from the moment you drop the needle. Engineered by none other than Paul C(Main Source/Ultramagnetic MCs fame), this is a sure shot pleaser.


T Ski Valley - Never Let Go (Grand Groove Records/1982)

A lesser known release from the Grand Groove Records catalogue, “Never Let Go” is largely overshadowed by Bronx rapper T Ski Valley’s big hit “Catch The Beat”. Not an obvious record by any stretch, but certainly one that I revisit often.


Sir Fresh & DJ Critical - Sir Vere (Solid Goals Records/1988)

A DJ Red Alert favourite, this song never gets tired. It starts with a short acapella, then unleashes a relentless groove that beckons you to the dancefloor. Mixed by Hank Love, this is a bonafide underground classic. I was fortunate enough to get my copy from Freddy Fresh, who stapled a copy of the original Solid Goals Records business card to my 12”. Buy a copy of this record and thank me later.


Mr. Magic - Rappin’ With Mr. Magic (Magic Records/1980)

A rap collector holy grail. One of those early rap singles that goes on for days and reminds me of a simpler time in rap music when session musicians laid down the beat and a simple rhyme rode the groove.


Nasty Comedians - At The Jam (Home Boys Only/1985)

Produced by O.C. Rodriguez (of Fearless Four fame) and featuring the early beatbox talents of Greg Nice(T La Rock), this obscure single from 1985 is an entertaining journey of the highest order. Fresh beats and hilarious rhymes make this an essential listen.


Supreme & DJ Nyborn - Versatility (Payroll Records/1988)

A true party starter, “Versatility” still delivers almost 30 years later. I still drop this in sets and it always gets a favourable reaction. Mixed by the Bizzie Boyz(“Droppin’ It”), this record delvers.



Mega Record & CD Fair November 11 & 12 Jaarbeurs, Utrecht The Netherlands

On Saturday and Sunday November 11th & 12th for the 48th time, collectors of vintage vinyl and freshly pressed records and cd’s meet again in Utrecht, here the Jaarbeurs Expo houses more than 500 stands in 12.500 square metres of floor space dedicated to a great extent to good old and yet super contemporary vinyl records. At the spring edition this year visitors from 65 different countries were counted from almost all 6 continents. Vinyl is back at the Mega Record & CD Fair, even though some might say it never left the building. This Autumn the fair will celebrate Elvis and his female competitors from the fifties and sixties with an exhibition. Like last year the 48th edition coincides again with the Le Guess Who? festival. With performances by over 100 bands and musicians this festival is gaining worldwide exposure. As is the record fair itself, altogether, a unique experience. POPQUIZ, BOOK PRESENTATIONS, RECORD LAUNCHES, LIVE PERFORMANCES AND OTHER ACTIVITIES

• •

FOLLOW US: pre sale | dealers list | plan of the fair etc.


• • • •

On Sunday the fair will host the Three Imaginary Boys Pop Quiz, everybody can join and win prizes like free concert tickets etc. On November 13th 2017 it is exactly 50 years ago that Syd Barrett played his only one gig in Holland. Charles Beterams will launch his book ‘Pink Floyd in Holland’ with live performance by ‘Use of Ashes” Pop Pioneers’ book launching by Tom Steenbergen about the first people who started pop festivals and venues in Holland 50 years after recording The Fallouts will celebrate the reissue of their only ep with a live performance 40 years after the birth of ‘Never Mind the Bollocks’ the punk formation The Stiff from The Hague will perform live and acoustic On Saturday Omega Auctions (UK) will auction over 100 rare vinyl records live from the fair


• • •

Where: Jaarbeurs Utrecht, Jaarbeursplein 6, Utrecht When: Saturday 11th November (9.00 am til 5 pm) and on Sunday 12th November (10.00 am til 5 pm) What: Look for all information, news, presale, time schedule and additions on:

STREETVIEW PROJECT ‘Famous’ locations revisited using Google Streetview. by PATRICK VOGT

As a collector of Rap, B-Boying and Graffiti ephemera, I got interested in the background history of these items. Who were the people mentioned on these early Hip-hop flyers? What was the actual location of this club? Where was this Martha Cooper photo originally taken and what’s the current status of these locations? By sourcing the addresses of these historic locations I was able to pin point them in Google Street view.


The “Harlem World” culture center and disco was no doubt a hot spot from 19781984, uptown was the place to get down and get your groove on. At Harlem World many legends performed like The Treacherous Three, The Cold Crush Brothers, The Boogie Boys, Tee Ski Valley, Lovebug Starski, DJ AJ, Grandwizzard Theodore, MC Busy Bee, Master Don and many more.


2. PARADISE GARAGE In September of 1977 one of the world’s most influential clubs opened up in New York’s Greenwich Village, at 84 King Street. As famous and legendary as the club itself was the Garage’s DJ - the late Larry Levan. Larry was the resident DJ of “the Garage” and to many people he was “the Garage”. Lots of people, and other DJ’s, came to the club just to hear him play... He was a true master behind the turntables. Unfortunately the club was forced to close down in September 26, 1987.



By looking at the 1986 Dutch Hip Hop Documentary “Big Fun In The Big Town” a saw Grandmaster Flash walking towards the former Dixie Club location, famous from the 1982 movie Wild Style. Location: Freeman Street, near Rev James A Polite Ave.

DJ Breakout playing on his Technics turntables and GLI 3800 or 3880 mixer.


4. T-CONNECTION From the housing projects Hip-Hop poured onto the streets and subways, taking root in Bronx clubs like the Savoy Manor Ballroom, Ecstasy Garage, Club 371, The Disco Fever, and the T-Connection. At the T-Connections people like Fantastic five, Caz, Busy Bee, Whiz kid, Treacherous

three, Spoonie Gee, Cold crush 4, Soul Sonic Force etc. gave live performances.

The Mudd Club was named after Samuel Alexander Mudd, a doctor who treated John Wilkes Booth in the aftermath of Abraham Lincoln’s assassination. The lower Manhattan hotspot helped launch the careers of artists Keith Haring and Jean-Michael Basquiat, featuring their work in a rotating gallery. It closed in New York in 1983.

5. THE MUDD CLUB When the Mudd Club opened in a loft at 77 White Street in 1978, it quickly became one of downtown’s most exclusive late night destinations. It was opened by Steve Mass, art curator Diego Cortez and downtown punk scene figure Anya Phillips. A 1979 People magazine piece, described it as: “a dingy disco lost among the warehouses of lower Manhattan”.

6. ECSTASY GARAGE DISCO Charlie Ahearn; “The Ecstasy Garage was one of those low class clubs that I really liked to hang out in, in the sense that the main clientele were all teenagers, they


were all wearing sneakers, drinking the large bottles of Old English. The DJs in this club were primarily Grand Wizard Theodore and DJ AJ”.

7. THE ROXY The Roxy opened in 1979 as a popular roller disco, located at 515 West 18th Street in New York City. In the early 1980s, the club was a critical stepping stone for hip-hop from Bronx scene to global phenomenon. Ruza Blue, nicknamed “Kool Lady Blue”, founded an all-races dance


club in June 1982 which featured a mash up of all musical styles from early hip hop, electro, funk, soul, disco, rock, punk, dub and electronic dance music. Hip hop pioneers such as Grand Mixer D.ST and Afrika Bambaataa began DJing there and the club sponsored breaking or b-boy/b-girl competitions featuring the Rock Steady Crew, graffiti artists’ murals, and even double-dutch exhibitions by The Fantastic Four local American Double Dutch League champions with emcees hosting the nights. Artists such as Madonna, Run DMC, Kraftwerk, Shannon, Malcolm McLaren, New Edition, Kurtis Blow, The Beastie Boys and Yello performed there. The club had a major influence on the evolution of hip hop culture and electronic dance music culture worldwide. (pic) East Village Eye ad starring The Mystical Maadness of Maestro Malcolm McLaren “Buffalo Gals” & The ZULU Kings DJay Almighty High Afrikaa Islam, at the Roxy. 1983


The Limelight opened in 1983 in a landmark 19th century church with Andy Warhol hosting the opening night party. A church converted into a club on 20th and 6th. A mix of freaks, retro’s, drag queens and party gods would congregate to pay homage to the nightlife. The world outside would fade away when you walked into the club with its multi levels overlooking the dance floor below, hanging cage and hot mixture of music. Mick Jagger celebrated his 40th Birthday at the club and performers like RuPaul, Amanda Lepore, and Jay-Z joined bands like Smashing Pumpkins and Nine Inch Nails for exclusive and legendary performances at the intimate and surprising space. The Limelight was closed by the police, and subsequently reopened several times during the 1990s.



9. DONDI’S CHILDREN OF THE GRAVE Dondi’s (RIP)”Children of the grave, part 2” train was photographed by Martha Cooper in 1980. This car represents the first time that a writer was ever recorded painting a train from start to finish in presence of Martha Cooper. Incl. two cartoon charakters taken from the work of Vaugh Bode (RIP). Location: 925 E 173rd St the Bronx, 2 & 5 train line. In the background is the Herman Ridder Jr High School 98. 10. FUNHOUSE

The Funhouse was a popular 1980s club on Manhattan’s West side that became a way of life for many in NYC and the surrounding boros. DJ John “Jellybean” Benitez made this his home with his unique style. Location: 526 West 26th Street, New York



John Davis Medley (John Davis and The Monster Orchestra). Nice Cut and paste medley with drum breaks looped in his typical cut and paste style. Tracks used in this medley: I Can’t Stop, You Do Something To Me, Tell Me How You Like It, In The Still Of The Night.

Walter Gibbons Record Bag 1973-1979 by DISCOPATRICK

Walter Gibbons made loops and edits on reel to reel at home. Because the tapes couldn’t be used for DJ’ing at the clubs, they were pressed on acetate so that he was able to use them at his DJ gigs. Most of them were never pressed on vinyl. Walter always had a private bag with acetates that he used for his DJ gigs. Here you can see a few of which I have/ know they were in his bag.


Loleatta Holloway-Love Sensation. I don’t have this track so I don’t know which version this is. I could be a private version he used at the club.


Nasty Stuff-Fatback Band. This acetate starts with a few breaks of The Salsoul Orchestra-Nice And Nasty and after the breaks the complete track of Nasty Stuff can be heared.


Wild Bass Warm Up. This side contains a cut and paste medley with looped breaks in the typical Gibbons style.


Woman Laughing. This side contains only a girl laughing. I assume that he used this for his live sets.



Max B-Bananaticoco: Walter found this track very good because it had a lot of heavy bongos, and it was very jungle-like. He already had bought two Angel Sound bootlegs from Max B’s “Bananaticoco” and “Nessa”, Walter later pressed it also on his own Melting Pot label to have a double copy.


Eric and the Vikings -Get Off The Street Y’All. About the original 7 inch “Get Off The Streets Y’All” by Eric and the Vikings, Water Gibbons said: “this record is so rare that I’ve never seen an original copy!”. This was one of his favorite tracks in that period.


Two Pigs And A Hog: Walter Gibbons had an amazing instinct for drum breaks. He used records that no one else played simply because the part he used was too short for anyone else to manipulate. He did it so smooth and seamless that you couldn’t even tell that he was mixing records. Famous is his extension of the track: Two Pigs & A Hog (from the Cooley High soundtrack LP). He did it live, but he also made a copy on tape and pressed it on acetate.


Turn the Beat Around/Love In C Minor. This mix was made as birthday present for Robert Busnach in 1979. It contains several tracks mixed live at the club. Loleatta Holloway also sings live through the Love in C Minor part.


Law Of The land-Temptations: When he produced a custom-made mix of the Temptations “Law of the Land” it was 1973 (the year of the song’s release on Motown). The track starts with clapping and he used to extend that section in real time at the club. He also recorded the intro and then splice the magnetic tape together. He didn’t have a proper splicing block, so it was ninety-five percent good. This is one of his very first edits pressed on acetate.

49 oderbergerstr. 4 • 10405 berlin friedelstr. 49 • 12047 berlin 50



• Mastering for vinyl and digital • Cutting one-off dubplates, small runs • Bespoke pressings of 200+ units • Vinyl transfer and restoration • Tape to disk services



The Carvery is a London based studio centred around the original Motown Neumann lathe supported by the very best in vintage and digital mastering equipment. We have a wealth of experience, in vinyl mastering and manufacturing. CARVERY CLIENTS INCLUDE: Sofrito | Strut |

!K7 | BBE | Soundway | Mr Bongo | Heavenly Sweetness | Favorite Recordings | Tru Thoughts Matsuli | NYCT | Posh Isolation | Brownswood Bastard Jazz | Disco Patrick and many more...

Get in touch to chat about how we can help with all your audio and vinyl needs...

0208 5339532


Joel Brodsky was born in Brooklyn, New York, and graduated from Syracuse University in…? After graduating, he worked at a local camera store acquiring the cameras he later went into business with. After serving the army he worked as an assistant to one of New York’s top fashion photographers. In 1964 he opened his first studio and, after a period of mild starvation, he made his first music photographs as a favour. When those pictures were used on an album cover, more and more people asked him to do an album cover. His fourth cover shoot was for The Doors’ self-titled debut album. The photograph used for this album was nominated for a Grammy. He went on with photographing diverse artists from Aretha Franklin to Judy Collins and from Iggy Pop to Isaac Hayes. Among his last album sessions was a session with Kiss in 1975. He is credited with photographing over 400 album covers. After losing his patience with musicians and because of his frustration with the reduced size of album artwork, brought about by the introduction of CDs, he went back to fashion and beauty advertising photography















L SOU 70 For the BEST SOUNDS Around



“the music that makes you HAPPY”





ria er 70 e g i N l Pow Sou

The Leading Sound in Today’s Music