Hot stuff magazine with Disco-Funk-Soul-Jazz-Hip Hop and Vintage articles.

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Private Wax Vol. 2 Super Rare Boogie & Disco compiled by ZafLoveVinyl

Starvue - Love Affair Infinity - Queen Of My Universe Rena - Dance It Off Lou Johnson - Keep That Fire Burning Executive Force - Drop That Body Larry Bailey - Groove With Me Enlightment - Burning Flame Moods - Live Today The N. Cee - Say You Want To Party Royal Flush - Funk Power New Xperience - Frisco Disco Karizma - Will You Dance With Me? Nina Dunn - Stay And Dance Sneak E. - Land of Stuphph True Feelings - Love Me, Love Me Wes Black feat. The Star West Orchestra - I Feel Good (Feeling Good)

Obsessive collector, record store owner and mine of musical knowledge, Zaf is vinyl junkie of the highest order. His first ‘Private Wax’ compilation came in 2012 and immediately became a highly sought after gem, due to the rare and wonderful disco and boogie contained within. Owning the world’s premiere website for rare records ( and counting Gilles Peterson & Norman Jay among his customers allows Zaf a near superhuman selection of music to choose from, so anyone worried that he might have used up all his best tunes on Volume 1 can relax. From the shimmering Disco of Starvue’s ‘Love Affair’, which opens up the album, right through to the uplifting last track, Wes Black’s ‘I Feel Good’, it’s clear we are in the hands of a master curator. Containing only original versions, literally thousands of pounds’ worth of rare records have been lovingly re-mastered to build this very special package. With the current disco and funk revival making headway into the charts, this compilation of authentic, original material could not be timelier. From dance-floor oriented disco monsters to more subtle boogie jams, the album takes the listener on a journey from the nightclub to the streets of 70’s and 80’s Black America, where the early experimental blueprint for hip hop and house can clearly be heard in so much of the music. A slice of history, but also a collection of tracks that still have so much mileage left in them, we invite you to dive once again into the magical world of Zaf’s Private Wax.







Welcome to this first edition of the new ‘Hot Stuff’ magazine! The first issue is a pdf, only to see if there is any interest for making this a real, paper magazine in the future. Whether you are new in discovering this music or fairly familiar with it, let us welcome you to this new magazine. 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, roller disco and the graffiti & breakdancing culture. Furthermore, you will find vintage advertisements and magazine articles mainly from the 1970’s to the 1990’s. So, the first ‘Hot Stuff’ is now live, and 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







© Discopatrick 2015



Eddy De Clercq Patrick Vogt Marcel Vogel (Melbourne Deepcast) Claes ‘Discoguy’ Widlund Skeme Richards Discopatrick

Eddy de Clercq Astrid Zuidema


5 DIGGIN’ IN JAPAN with Eddy De Clercq


26 FIVE YEARS LUMBERJACKS IN HELL Introduction by Marcel Vogel





22 COLUMN by Claes ‘Discoguy’ Widlund

28 VINTAGE INTERVIEWS Lauren Rinder & Michael Lewis



NIGHT NEVER ENDING Eddy De Clercq & Martijn Haas


His ‘Big Disco’ parties have made the cultural centre ‘De Brakke Grond’, located in the Nes in Amsterdam, the epicentre of the extravagant nightlife in Amsterdam during the seventies. With these parties, De Clercq introduced a new phenomenon outside the nightclubs. He is a deejay, a musical pioneer and an initiator of parties and clubs. In his club, called ‘De Koer’, numerous post-punk bands dazzled the crowd with their DIY-performances. Later, he became the co-founder of club ‘RoXY’, which made him into the driving force of introducing house and techno in the Netherlands. ‘Laat de nacht nooit eindigen’ describes De Clercqs career, as well as his fascination for extravagant nighlife and a variety of musical styles, many of which have become popular thanks to him, such as Belgian popcorn, disco, house, techno and South-African Jazz and Kwela. Eddy De Clercq introduced house music in the Netherlands and was a co-founder and programmer for the clubs ‘De Koer’ and ‘RoXY’. Among others, he organized the famous disco parties in ‘De Brakke Grond’ and ‘De Mirandabad’, both in Amsterdam. Additionally, he was the creator of the ‘Pep Club’ in Paradiso, a well known music venue and cultural center, which is also located in Amsterdam. In 1999, he was the first deejay in the Netherlands to receive the ‘Golden Harp’, a prestigious prize awarded by copyright organization Buma / Stemra. Martijn Haas is the author of three books about street artists in the eighties, including the biography of the graffiti legend Dr. Rat. Haas is also a crime reporter.€ 288 pages Hardcover Dutch language euro 24,99 ISBN 9789059374270 Now available



Let me introduce Eddy De Clercq for those who don’t know him. As a DJ he has worked professionally for nearly 35 years. As a producer he has recorded and released music for such labels as Go Bang, Aspro, R&S, Warner Music and Blue Note. As a collector he is specialized in black music, dance music in its many styles and genres. In 2009 Eddy started a blog about African music called Soul Safari: https://soulsafari.wordpress. com. The collection of African music on Soul Safari’s pages has grown since Eddy’s very first visit to South Africa 10 years ago. On his many travels throughout this magnificent country he has often discovered archives and long lost collections of beautiful music. Music that is so rare that little is known about its whereabouts since much of the original legacy had been erased from history. Eddy’s main interest in the popular and traditional music from South Africa and the sub-Sahara African region is based on beautiful memories of the past. Records from the period 1940-1990. At the same time Eddy is always interested in finding exciting new stuff so he keeps a keen eye on contemporary music as well. He believes that the hunt for records in the wild is like hunting for big game in Africa. Although it is not that dangerous in realtime, it can be as exciting! In the end he believes that discovering truly great African music in all its forms and styles is the ultimate prey to the hunter, that is why his blog is called Soul Safari.


Last October 2015 a book has been published about his musical career, ”Laat de nacht nooit eindigen”, an auto-biography that is interwoven with a well researched history about the origins and evolution of the phenomenon of ‘discotheque’.As a DJ and founder of two clubs Eddy has witnessed the founding of legendary clubs like The Paradise Garage in NYC and his own Club RoXY in Amsterdam. As an international travelling DJ he witnessed many developments in the nightlife of USA, England, Italy and France a.o. This book tells many stories by a DJ who experienced the evolution of nightlife since the 1960s first hand . Sometimes he stood at the heart of many different new styles which emerged in dance music such as disco, new wave and house. Nowadays Eddy, next to his DJ activities, runs a publishing company that releases his own productions as well as a wide selection of dance music, mostly African orientated. Like three compilations that showcased long lost early South African jazz & jive from the 50s and 60s: Soul Safari Presents Township Jive & Kwela Jazz. And don’t forget the most recent compilation of rare Kwaito featuring long lost tracks that helps to identify the roots of South Africa’s House music. Eddy is still a serious collector with an insatiable appetite for music so he travels all around the world to buy new records. In this first issue of Hot Stuff he will be sharing his experiences of a trip to Japan and Osaka, which took place in 2012. All shops in this article are still open in 2015.



Konnichiwa! The past few weeks my insatiable appetite for African music drove me to Tokyo and Osaka in Japan. Not the most obvious choice to find African music, I agree, but after a few serious digs my bags were filled with great finds, and some new discoveries too! My guides collector MP Flapp and his friend Iain who lives and works in Tokyo, showed me around -thanks guys! Tokyo is without a doubt the biggest metropolis in the world and although the language is impenetrable for foreigners it was relatively easy to get around, especially if you have a good street map. Use the subway, it’s the best way to get around in this huge city, easy and handy once one understands the planning and structure of this excellent form of public transport. And it’s economic too! All vending machines are operated in English and should you get lost then there’s always a helpful English speaking company employee coming to your rescue.

Metro Tokyo May 2012

Think of Tokyo as a collection of many cities and stations, each with it’s own centre/neighborhood where most markets, shopping areas and record stores are concentrated. Disk Union publishes an excellent catalog of Tokyo record stores and new releases. A good map and list of places to go makes hunting for the big five in Tokyo a lot easier. Most shops are either ultra-specialised in one specific style or huge in terms of the selection of used -and new- vinyl on offer. Division and lay-out of the shops is quite well marked in English and the prices are relatively cheap, especially for the Japanese pressings. There is always an interesting section of second-hand vinyl in excellent conditon. But don’t be fooled; it’s hard to find real bargains since most owners seem to know their merchandise -and the prices for rare vinyl- really well. The Goldmine grading system has been replaced for the Japanese version of it -using A, B, C as indication- but since the Japanese are keen on clean it is rare to find junk. Most of the staff working in the stores have a basic knowledge of English and are always helpful, a polite bow always works miracles as well. One of my favourite shops in Tokyo is Flash Disc Ranch - at Shimokitazawa- Misuzu Bldg 2F, 2-1216 Shimo-Kitazawa, Setagaya-ku, Tokyo 1550031 - a big store one flight up the stairs under a manga-styled door, opened in 1982 with a



do check these out as there are some treasures hidden in those bins. Excellent selection of CD’s too and there is a listening post. Otonomad -3 minutes walk, 1F along the main street shopping district Shimokitazawa Station North Exit from First Avenue. Monday to Saturday 13:00 to 20:00 pm. Sun, Holidays 12:00 to 19:00 pm. Closed on Thursday. Then there is the wonderful El Sur - 1OF -1006 Miyamasuzaka Bld, 2-19-15 Shibuya, ShibuyaKu, Tokyo (closed on wednesday) - not easy to find since it’s located on the 10th floor, we had to ask the postman-but well worth a visit for the best selection of African rarities and world music in general. I asked the owner Takashi Harada if he knew the Soul Safari compilation “Township Jive & Kwela Jazz”-he pulled it out the rack in a flash!! Now Takashi deserves a cigar!!! The shop is also well known for their own releases of selected rare World music on the El Sur label. EL SUR Records -directions -3 to 4 minutes from the East Exit of Shibuya Station. Go towards the direction Masuzaka Aoyama Palace, sequence right. Flash Disc Ranch

great selection of R&B, soul, jazz. The specialty of the house is “cheapies”, lots of it! Check the 45’s boxes, lots of great finds at Yen 100. The owner Masao Tsubaki speaks English and knows his trade very well. Open 12-10 pm daily (Saturday 14.00h -21.00h). Sundays 14.00h -21.00 pm. Closed on Wednesday. Within walking distance from Flash Disc Ranch is a small shop called Otonomad that stocks an excellent selection of soul, jazz, world and some rare African vinyl. The selection changes with whatever the owner puts in the racks daily so Your reporter & Takashi Harada


Just after the bank, the Mitsubishi UFJ Trust and Banking Corporation, Resona, Pronto, pharmacy Higuchi, Matsuya you will a see a big old building (Building Masuzaka Palace) El Sur shop is located on 10th floor, Room 1006. The entrance is in front of the frame shop. There is a lift to the right immediately as you enter. Business hours are 2:00 pm until around 10:00. Closed on Wednesday. Noah Lewis’ Records - 2A Dentobiru Shimokitazawa 2-23-12 Kitazawa, Setagaya-ku, Tokyo 155-0031. Open every day from 9:00 – 12:00 pm. Closed on Wednesday. Take the Western exit when leaving the Shimokitazawa subway station, walk along the rail and turn over the crossing, turn left and you’ll find the streetsign. It may be the smallest record store in Shimokitazawa area, opened in November 2001, but it is a lovely collector’s shop with lots of interesting 78’s, 45 and 33 rpm vinyl specialising in 50’s R&B, Rock ‘n Roll, Doo Wop, New Orleans jazz and odd/weird records. It’s definitely one of

my favorite places in the area since the owner speaks English and he plays the picks and advises on whatever you are looking for, very personalized and professional service. Reasonable prices too. They also do mail order. Great finds in the shop and daily updates on their website. Disk Union is a chain found in the major shopping centres of Tokyo, their stock and selec-


OSAKA FINDS After 4 days of serious diggin’ in Tokyo we boarded the train for another safari to Osaka. My friend collector MP Flapp had been there before so again his guidance was invaluable. The first thing that you need to remember when travelling in Japan by train is to buy a JR Rail Pass for unlimited travel by train, the pass is also valid for traveling on the JR line within the Tokyo subway. It’s easy and efficient and it saves a lot of money since travel by train in Japan can be quite expensive. The city of Osaka was very

tion is excellent and huge in terms of the vinyl on offer -both new and used. Check out the cheap Japanese pressings and the used bins. You won’t leave this store empty handed! Do check out Disk Union’s catalog of Tokyo record stores and new releases. Definitely a must as it contains all addresses and opening hours, descriptions in English of some of the key stores in Tokyo. Newly updated issues appear regularly at or buy the catalog available at Disk Union stores around Tokyo.

pleasant after the hustle and bustle of Tokyo, it is a lot smaller compared to the metropolis and one can actually walk the city center. Which reminded me a lot of the old port of Amsterdam since it has canals, bridges and a funky red light district.


Namba is a good place to start hunting for records as there is a free map available detailing most stores in the district. Shinsaibashi is another area where some of the city’s more specialised shops like Timebomb and King Kong can be found. I avoided going into Timebomb since the shop is a real money-drain and most of my wishlist can be found in that shop but hey, sometimes one has to minimize. Forever Records My favorite shops were the ones that sold African music like Vox and Bamboo and Forever Records, a store specialized in Krautrock with a great selection of world and African music. There are just too many records available in Tokyo! But not enough African records, at least not for Iain Lambert who was so kind to guide me through my recent trip of the Japanese metropolis. Collector friend MP Flapp had introduced us and after a few wee malts the music of Africa became the topic, as Iain loves African music as well and is an avid record collector but most of all, the man’s got a vision too. Next to his regular work as an English teacher he organises “One Box Record Fair” in Tokyo, a small-scale event for invited sellers to buy/sell/ trade records in all genres. The most remarkable aspect of the fair is the fact that sellers and traders are allowed to bring one box only (!). Now that requires a hefty task for sellers to select only 1 box! Expect deep diggin’ and ultra specialized stuff in most genres.



If you would like to contact Eddy, his e-mail adress is: Eddy is selling part of his collection on Discogs, seller ID: 453378. He will also be selling records on the Utrecht record fair on 21 and 22 November 2015, Stall 334 (Hall 11). At this fair, he will be bringing a fine selection of rare South African Disco and boogie for sale, so you should definitely check it out if you are in Utrecht. Keep your eyes peeled for the next issue of Hot Stuff, where Eddy will be writing an article about South African Disco and Boogie



Savage! (Money Records, 1973) Don Julian

This is one of the heaviest Blaxploitation soundtracks created and totally instrumental. Tough drums, heavy bass lines, congas and a reoccurring flute throughout on this jungle adventure composed by Don Julian. If you want to know what soundtrack funk is all about, this is a good place to get your feel.





Black Caesar (Polydor, 1973) James Brown

Is there anyone that brings the funk better than Soul Brother #1 James Brown, of course not! One of only two soundtracks covered by Brown and Black Caesar is a classic and must own. In true JB fashion of doing what he wants to do, he didn’t follow the narrative of the film on this one and instead went for what he knew which actually turned out right on point. “Make It Good To Yourself”, “Blind Man Can See It” and “Mama Feel Good” featuring Lyn Collins alone make this a top pick.


Shaft In Africa (ABC Records, 1973) Johnny Pate

An all-time Bboy classic and Hip Hop staple sampled by quite a few artists over the years! Johnny Pate is no stranger to the genre and he keeps it extra funky across the board on this one especially with “You Can’t Even Walk In The Park” and the title cut “Shaft In Africa.


Lialeh (Bryan Records, 1974) Bernard Purdie

Most likely a number 1 want for many collectors, diggers and soundtrack enthusiast of Blaxploitation. Extremely rare and when found it can be expected to pay in the $1500-$2000 mark. Rare doesn’t necessarily mean good but in the case of this Bernard “Pretty” Purdie produced gem, it delivers soulful goodness that compliments this X-rated Blaxploitation porn film perfectly.


Cotton Comes To Harlem (United Artists Records, 1970) - Galt Macdermot


Most Blaxploitation soundtracks either have a rough and funky edge or a soulful one but the styling’s of Galt Macdermot (the genius behind the musical ‘Hair’) went more in a whimsical direction which gives it a tongue and cheek feel. It’s upbeat, happy, and playful which is a rare find when it comes to scores of the genre.


Coffy (Polydor, 1973) - Roy Ayers

Roy Ayers is without a doubt the vibes master and delivers a stellar soundtrack performance to this Pam Grier leading role film, Coffy. Funky in everyway, this soundtrack shines from beginning to end and displays some of Ayers best work of all time.


Across 110th Street (United Artists Records, 1972) - Bobby Womack & J.J. Johnson

Bobby Womack as writer / performer and J.J. Johsnon as composer and conductor makes for one hell of a duo! Funky and soulful across the board as Johnson works his magic especially on the theme title track and most captivating one sung by Womack. Definitely a Hot Peas & Butta favorite!


Cornbread, Earl and Me (Fantasy, 1975) The Blackbyrds

The Film Cornbread, Earl and Me was loosely based off of Philadelphia graffiti writer ‘Cornbread’ who is credited as being the first writer. After acquiring fame in the streets, a Hollywood producer came to Philly for an interview and to draft a script on Cornbread’s life but when the movie came out, he changed it to a basketball movie with close similarities to the graffiti writer. The soundtrack is produced by the legendary Donald Byrd and features The Blackbyrds in their jazz-funk stylings that they’re known for.


Cool Breeze (MGM Records, 1972) Solomon Burke

One of my favorite soundtracks and definitely a funky one from Solomon Burke who really let it all hang out in the rough and rugged department. Quite a few sample moments also used by The Wu Tang Clan.


Fritz The Cat (Fantasy, 1972) Ed Bogas (Various Artists)

Incredible LP for the adult animated Ralph Bakshi film that features mainly instrumental Jazz and Funk tunes from a list of musicians including Charles Earland, Cal Tjader and Bo Diddly.


GRAFFITI FROM NEW YORK & AMSTERDAM SIDE BY SIDE FOR THE FIRST TIME EVER IN AN EXHIBITION AT THE AMSTERDAM MUSEUM ‘Graffiti, New York meets the Dam’ open to the public from 18 September 2015 to 24 January 2016

This is a real first: never before has an exhibition been dedicated solely to graffiti in New York and Amsterdam. Featuring more than 200 objects, the exhibition tells the story of how graffiti reigned supreme in 1980s New York and reached across the ocean to inspire Amsterdam graffiti writers too. The Amsterdam Museum has joined forces with The Museum of the City of New York to bring works by big New York names like Keith Haring, Lee Quiñones and Lady Pink to the Netherlands for this unique exhibition. Their story will be added to with work from the Amsterdam graffiti scene. This will include work that has never been exhibited before, by graffiti artists like Shoe, Delta and Cat22, plus photographic and video material, sketch books (‘black books’) and objects like clothing.

Graffiti. New York meets the Dam

The ‘Graffiti. New York meets the Dam’ exhibition explores graffiti as a cultural phenomenon. The exhibition will show how Amsterdam graffiti artists (‘writers’) like Shoe and Delta were influenced by American artists like Lee Quiñones, Dondi and Rammellzee in the 1980s. The 1970s will feature too, being the time when Dr. Rat and Hugo Kaagman were active in the city. The exhibition will use historic visual material and objects like denim jackets and black books to chart the development of graffiti from a street phenomenon to an accepted artistic movement. The exhibition will also shed light on the difference between graffiti and street art. The ‘Graffiti. New York meets the Dam’ exhibition will show how a young generation was able to change the street scene 30 years ago. Their influence is still very much evident today, in music, fashion and contemporary visual culture.

The Museum of the City of New York

The Amsterdam Museum has joined forces with The Museum of the City of New York to put on this exhibition. In 2014, this museum organised a very successful exhibition: ‘City as canvas – graffiti art from the Martin Wong collection’. Work by names like Keith Haring, Cey Adams, Crash, Futura 2000 and Daze all form part of this unique collection. Martin Wong (1946 – 1999) recognised the art of graffiti at an early stage and embraced the movement – believing in its artistic and cultural value – before it had even gained social acceptance. The works to be exhibited in the Amsterdam Museum show how graffiti reigned supreme in 1980s New York and reached across the ocean to inspire Amsterdam graffiti writers too. The museum has brought in graffiti writer Mick la Rock (Aileen Middel) to be the guest curator for this exhibition. City as Canvas: Graffiti Art from the Martin Wong Collection was developed by the Museum of the City of New York, curated by Sean Corcoran, Curator of Prints and Photographs.


“I remember somebody saying that my flyers were capturing the mood of the moment at that time. And the wild thing was that I was actually trying to capture something that was captured a long time ago - that Art Deco flavour I recognized from the movie theatres in the Bronx and Harlem, even though I did not know it was called Art Deco back then”. Buddy Esquire (Born in the Bronx, A visual Record of Rap’s Early Days)


A short introduction Some of the most important surviving documents from early Hip-Hop are the party flyers. Now they’re considered relics, giving us a glimpse of the state of Hip-Hop even before it was known as Hip-Hop. Back in the ‘70s and ‘80s, when Hip-Hop parties were heating up the Bronx and Harlem, creating flyers was for getting the word out about your jam and gaining credibility. To get crowds to head uptown and join in on the vibe, whether at a skating rink or the legendary Ecstasy Garage Disco, hard-copy invitations were the main medium for communicating information and promoting an event. The first flyers were scribbled writings on lined paper, but became more sophisticated in time. They contained information about early Rap groups, individual MCs and DJs, promoters, venues, dress codes etc. Buddy Esquire, Eddie Ed (Buddy Esquire’s brother), Phase 2, Riley and Cisko Kid, to name a few, created hand made flyers by using either magazine cutouts, original photographs, drawings, or dry-transfer letters, well before the widespread use of computers and design software.


Lemoin Thompson a.k.a. Buddy Esquire (R.I.P.) Born on 17 July 1958, Lemoin Thompson’s venture into art began as a graffiti artist, roughly around 1972 when he started tagging. In 1977 he was the first to paint peoples clothes, like the Funky 4 and Rodney Cee’s jacket. He started to design his first flyer for a block party in the summer of 1977 under the pseudonym Buddy Esquire. His second flyer was for Tony Tone (Cold Crush brothers) and DJ Breakout in november 1978 for a jam at 131. Buddy designed over 300 flyers during a period of five years. His signiature design was the “neo-deco” style, which was heavily influenced by the eclectic Art Deco designs of old movie posters and architecture, the Jazz Age, superhero comics, Disco and a little bit of Star Wars. At a later stage he got influenced by Japanese anime. Buddy took the flyer design to another level. He made the flyer look sophisticated and gave it a level of class even though it was just a ghetto jam. Buddy Esquire’s flyer designs displayed a vital mixture of typography, graphic design and


photography. He would use transferable lettering from Prestype or Letraset, he would cut them out, proportion the letters and glue them on the piece of paper. Once everything was glued down on the paper he would then draw the background around the letters. The final result was the master. The master was taken to a place in Baychester the Bronx over on Tiemann or Tillotson ave. where they were reproduced on a mimeograph machine. The high point of making flyers was around ‘80’83. During this period Buddy worked for several promoters, clubs and crews like Man Dip Lite, Ecstacy Garage, Brothers Disco, T-Connection, P.A.L., and Harlem World. Buddy’s flyers advertised the earliest performances of legends like Grandmaster Flash, Afrika Bambaataa, Kurtis Blow, the Cold Crush Brothers, Spoonie Gee and the Treacherous Three. These documents also

made his name known and, by writing himself into their story, he escaped ephemerality. By making himself the star in the tiny corner of his preferred medium, he ensured being remembered as “The Flyer King”. Buddy Esquire passed away on January 31, 2014. He was only 55 Text: Pat Vogt Images: Pat Vogt Collection References: Cornell University (Amanda Lalonde), Old School Hip, Born in the Bronx, A visual Record of the Early Days of Hip -Hop




40 YEARS YOUNG & STILL GOING STRONG Around 40 years ago Disco music was born. Who would have thought that this new music style would come to influence the music scene even to this day? From an underground phenomena to become mainstream in order to eventually die (which it never did). Disco had a positive and danceable vibe which makes it as relevant and popular today as back in the day. Good music is always good music, no matter of age... And age is not a factor when considering the father of Electronic Dance Music, Giorgio Moroder (, who invented EDM decades before it actually got its acronym. The legendary writer and producer released his ‘Deja Vu’ album in 2015 which is filled with wonderful Dance music of the day, but still is perfectly in line with the music he did some roughly 40 years ago. Just listen to classic Giorgio tracks like “I Feel Love” (Donna Summer) or the instrumental theme “Chase” from the movie Midnight Express and then you must agree to the title of one of the tracks from his ‘Deja Vu’ album; “74 Is The New 24”. At 74 years old mr Moroder still rocks the socks of many younger colleagues in the EDM scene. The man is also out doing DJ gigs all over the world. This proves that age is just a number and not a best before date. Other classic Disco people are also still out there creating magic. Nile Rodgers (http:// is still out performing at live scenes all over plus is creating music. The special sound he created together with the late Bernard Edwards has influenced, and still influences, music lovers worldwide. Their


songs have been sampled and covered too many time to count and maybe it’s soon time again as a new Chic album is said to be due to be released sometime in the 2015-2016 timeframe. One can’t talk Disco without mentioning Tom Moulton (http://www.disco-disco. com/tributes/tom.shtml), unknown to many - but a true pioneer and legend to others. I personally doubt there would have been such a dance music scene today without his involvement. Why? Well, firstly he wanted to give dancers in clubs a longer experience of their favorite tunes. Originally a song was around 3 minutes long, as that was about how much you could squeeze into a 7” 45 rpm single, but Tom wanted to double or triple that time and created longer versions, which would become known as a remix. The remixes became essential for the future evolvement of both Disco and all dance music ever since. But the next thing for him was how to fit his longer versions onto vinyl. The 7” singles wouldn’t hold them and the choice became the 12” (LP) format and the 12” Disco Single was born. It became the format of DJ’s and collectors for decades and actually still has relevance. So without pioneers like Giorgio, Nile and Tom (and many others and too many sadly not with us anymore) we would most likely not have be able to enjoy all the variety and styles of dance music we can today and it all started with DISCO some 40 years ago Claes “Discoguy”



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FIVE YEARS LUMBERJACKS IN HELL by MARCEL VOGEL In October 2010 I’ve had LiH 001 delivered to my home at Noordermarkt. Hunee was staying with me because he was about to DJ at Trouw that night for ADE. The first time anything I’ve been involved in appeared on record. It took me about a year to figure out how to do this. Artwork, the right music. My secret alias “Em Vee” had been given to me by Hunee a while before, my self-esteem came through Soundcloud, especially Till von Sein and Yannick from Trickski had encouraged me a lot. I knew that the MISS YOU edit was being played loads at Cookies and other clubs in Berlin, often as the very last track, to end the night on a high note. The release led to two more records: All Around The Watchtower by Rayko which was made underground famous by the powerful Move D and the seminal LiH 003 by Traxx from Chicago. LiH 004 was another Em Vee edit, when I didnt have other stuff to put out, LiH 005 by my friends Mannmademusic and DJ Friction, When my close relationship to DJ Rahaan began to take hold the next 5 releases were all somehow connected to his influence, either stuff he played, connections he shared or reworks he had done himself, leading up to the bold statement that was CHICAGO SERVICE, doing underground gold several times. If I knew how many copies underground gold are, I’d tell you how many times. The next releases brought longtime DJ friends together, Al Kent, Eddie C, Inkswell and Mr Mendel became part of the family. To celebrate the fifth anniversary we’ve brought together everything that makes this label great. A compilation filled to the brim with heat from each corner of the globe. Hoshina Anniversary from Japan, Giovanni Damico from Italy, Borrowed Identity from Germany and Boogie Nite from Chicago, Dan Shake and FYI Chris from the UK and yours truly and Tim Jules from Amsterdam. Heat is heat and we won’t stop sourcing beautiful gems for your! Onto the next five years!! Chop chop, Lumberjack love is tough! Marcel Vogel


WHAT WERE YOU DOING BEFORE STARTING THE LABEL? I’ve been hustling for a long time, living in various cities around Germany, plus Basel and now Amsterdam. I picked up DJing over 20 years ago and that was always the red line for me since then. It’s no wonder that I eventually turned up with my own labels in the end and I am quite sure I will start a club at some point too. THINKING OF HOW THE LABEL CAME TO LIFE, WHAT HAS BEEN THE MAIN IDEA BEHIND LUMBERJACKS IN HELL? IT HAS BECOME KNOWN PRIMARILY AS AN EDITS LABEL, DO YOU PLAN TO CONTINUE DOWN THAT PATH? Well, the edit thing was an easy route to get my feet wet and start something. To be part of this scene I love so much and too learn by doing. I think there is a lot of development in our output and eventually I want to release more high energy laden records, that might use samples or not but mostly count as original productions. Hugo H’s and Boogie Nite’s tracks are a good example. It’s funny how that’s a circle closing on me too. Even though the sound might be considered a little bit more sophisticated, the first house records I bought were DJ Sneak and Cajual Records releases. So a long journey just brought me back to my first love. WHAT ARE YOUR THOUGHTS GENERALLY ON THE DISCO EDITS BEING RELEASED IN RECENT TIMES? IT SEEMED LIKE THERE WAS A COUPLE OF YEARS THERE WHERE EVERYONE WAS DOING EDITS, NOW IT SEEMS THERE’S LESS OUT THERE BUT MORE QUALITY PRODUCE TO AN EXTENT. Let’s hope so. To be honest, I was never the biggest fan of edits per se. I always had a tendency to rather play the originals. I hope it’s obvious that the releases on Lumberjacks have been selected carefully and because they are very special. That’s how I feel at least and the feedback we are given. What I care about is music and how it makes me feel. If a record NEEDS an edit. Yeah. But simple 16 bar intro loops piss me off. Always happy to find tunes that are simply bananas. THE LIH RELEASE CHICAGO SERVICE WITH SIX OF CHICAGO’S FINEST DISCO HEADS SUPPLYING YOU WITH SOME FANTASTIC WORKOUTS. WHAT WAS THE STORY BEHIND THAT RELEASE AND GETTING ALL THOSE GUYS ON BOARD? I am hanging out and talking to a lot of guys from Chicago. I was looking at how the Three Chairs and the whole Detroit scene is knit together. They are always holding it down for the D. Always show togetherness. I suggested Rah and Jamie that it would be good if they approached their business in a similar way. All the DJ’s and producers in Chicago know each other


but they rarely create and promote together. With the compilation I wanted to contribute to the legacy of this amazing city and help my friends grow a bit more visibility. There are some things you just can’t accomplish if you are always fighting for yourself. It’s all about joining forces, and the success of the record speaks for itself of course. Its a labor of love. And I hope many more collaborations will follow. Then again if you check the LiH catalogue, 7 out of 10 first releases are actually from guys from Chicago. I can’t say that i have planned it that way and it might not even be that obvious to our supporters, but it is. If you are into real dance music, Chicago is the mother. Chicago is what’s real. It was in the beginning and people are still drawing so much inspiration from all the music that’s coming from the city. WHAT’S YOUR FAVORITE HOUSE OR DISCO? Well, I started as a (Disco) House DJ back in 1996 and always kept buying some bits that I liked from Omar S, Theo Parrish, Osunlade, Mathematics, Golf Channel, Philpot. I play dance music. I play soul music. Music from the soul. I am always trying to get people in the zone and you need to surprise them. With me its often a steady build up until I feel I can take people onto the ride. Like a roller-coaster really. My second label Intimate Friends that just dropped Mate 006 has become a very free platform. We release house and hip hop and whatever soulful stuff may cross our paths. IS THERE AN IN-HOUSE LUMBERJACKS DESIGNER? Apart from three releases, everything thus far was done by South African native, DJ, and designer Chris Keys. The visual side of things on our sister label, Intimate Friends, is handled by Tim Faber from Amsterdam. And for special occasions I work with Sandra Leidecker from Berlin. WHO'D BE YOUR DREAM VISUAL ARTIST HOOK-UP FOR A ONE-OFF RELEASE? Imagine Basquiat designing one of the sleeves. WHY THE NAME LUMBERJACKS IN HELL? The name derives from a bad DJ gig, which can be hell in itself. But I believe in the positivity of our existence, so even though I don't believe in religion, I believe in a good God and that everything has its purpose. A literal hell and afterlife punishment doesn't have space in there. I know that we are all weak and meant to make mistakes




November 21 & 22 the 44th Mega Record & CD Fair will take place at the Jaarbeurs Convention Centre in Utrecht. This highly recommended international record fair attracts music fans and approximately 550 dealers from around the world. They gather to buy vinyl and cd’s, meet and greet live acts, watch exhibits, join the Popquiz and visit first day presentations. Apart from all this there is a massive offer of records, posters, vintage T-Shirts, movies, magazines, autographed items and memorabilia - all music related. At this edition you will find a sixties/seventies Detroit exhibition showing original artwork from the beginning of the careers of Iggy Pop & the Stooges and MC5. Special guest is former manager of MC5 John Sinclair. POPQUIZ, BOOK PRESENTATIONS, POP MUSIC AUCTION & OTHER ACTIVITIES •


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The Popquiz with lots of free prizes is presented by the Three Imaginary Boys on Sunday. Anybody can join: young and old. Autograph session by Arjen Lucassen (Ayreon and Gentle Storm with Anneke van Giersbergen) Live performances by Yorick van Norden (former frontman of the Hype). Vinyl Art expo’s by Henk Zielman and visual artist Pet van de Luijtgaarden. Pseudonym records will launch their latest releases together with autograph sessions & live performances by many bands like Group 1850, Burning Plague, Cuby & the Blizzards, Les Baroques and a Dutch Punk special named I Don’t Care featuring the No Fun and Plurex singles. On Saturday the fair will host an auction of pop memorabilia compiled by Omega Auctions (UK). Hans Pokora launches exclusively his latest book of the series Record Collector Dreams (7001).


Jaarbeurs Utrecht, Jaarbeursplein 6, Utrecht, the Netherlands Saturday November 21 (9.00 am - 5 pm) and Sunday November 22 (10.00 am – 5 pm) Look for the latest information, pre sale, dealer list and program on


VINTAGE INTERVIEW 29 ALBUMS IN 4 YEARS Interview taken from “Disc&DJ” November 7, 1979 Weekly Issue #12 DDJ’s J.G.Knapp speaks with Lauren Rinder and Michael Lewis

YOU’VE DONE 29 ALBUMS IN THE LAST 4 YEARS, THAT MUST BE SOME SORT OF RECORD. Michael:Probably Lauren: We’ve done 140 some odd television shows also. HOW MANY WEEKS PER YEAR IN THE STUDIO DOES THAT MEAN? Michael: About 48 HOW DID YOU DECIDE TO COLLABORATE? Lauren: Ten years ago. We were playing in groups together WHICH ONES? Michael: It was called Quicksilver Messenger Service. This was right before Joshua. Lauren: The new standelles. Michael: Yeah, The New Standelles—a spinoff of the Standelles. I was working with this other Guy and our drummer splits out and give up drums. We called our agent and said we needed a drummer and he sent Lauren over. He said I’ve got the guy for you. YOU’VE PRODUCED SO MANY DIFFERENT GROUPS WITH SO MANY DIFFERENT SOUNDS. DO YOU FIND IT DIFFICULT TO DISTINGUISH THEM, OR DO THEY OVERLAP? Michael: Sometimes it gets a little confusing. But most groups do have their own identity. We’ve both been exposed to so many different types of Music that in a way it keeps us from getting bored. We’re trying to cover most of the areas that we can.



BESIDE THE GROUPS THAT YOU’VE PRODUCED SUCH AS ST.TROPEZ, TUXEDO JUNCTION, ETC -EL COCO SOUND, IS THAT BASICLY STUDIO MUSICIANS PLUS YOURSELVES? Michael: It’s pretty much all ourselves. We bring in specialists for solos. That’s the way it is for most of the groups. The only thing that changes is the background singers. WHO DO YOU USE FOR THE MOST PART FOR EL COCO? Michael: One girl named Maria Roth. She writes lyrics for us, also. She wrote “Let’s get it Together”. That was on the third LP. Before that it was strictly instrumental. DID YOU USE HER ON YOUR NEW WARRIOR ALBUM? Michael: No. We used a girl named Carmen Twilly. Lauren: Carmen sang on one song on Warriors. We did the vocals on Warriors for all but the one song we used carmen on. We did bring in Adam Strange, a rock and roll guitar player. Michael: I Have to look on the back of the albums… let’s see. We used one of our old guitar players, David Turner. He played on one cut. Lauren: He played on “Mondo Disco”. Michael: Right. And another friend of ours Azar Lawrence played sax on “Love Potion#9” for us. Jimbo Ross on viola and everything else was the two of us. DO YOU GO TO THE CLUBS MUCH? Lauren: No. SO YOU CAN’T SAY THAT’S INFLUENCED YOUR SOUND AT ALL. Lauren: No, not at all. Michael: We are usual in the studio at night. We’re night workers. WHICH STUDIO ARE YOU WORKING OUT OF? Michael: Mostley Producers Workshop in Hollywood we have been around other studios. With ST.Tropez and Tuxedo Junction we did Tuxedo in Miami and we did ST Tropez in London at Trident. So we do get try to get around a little bit. But Producer’s Workshop is pretty much our home base. DO YOU FEEL THAT YOUR SOUND CHANGES WITH THE TIME, OR DO YOU SET WHAT YOU WANT TO DO AND TAKE IT FROM THERE? HAS ANYTHING INFLUENCED YOU AS FAR AS WHAT’S GOING ON TODAY? Lauren: No the only thing that influenced us was five years ago, when we first started was Barry White, Shaft, and that kind of stuff. That was pretty much the forerunner of disco because we were just about the first people in disco. We did the first 12”. “Mondo

Disco” is about the first disco song around before anybody had disco pools and all that stuff. BESIDES ALL THE STUDIO WORK THAT YOU’RE DOING, WERE TO FOR RINDER AND LEWIS FROM HERE? Lauren: That’s a good question! Michael: I wish I knew the answer to that. Lauren: That’s something that we’re sitting around right now thinking about. Michael: Yeah, because hearing all the talk now that disco is dying and new wave is coming up realy big. In that respect we do change with the times. We used to be hardcore rock and roll back in the late’60s-early 70’s. We didn’t get into disco kind of stuff until 74 when we heard it was happening in Europe and was going to get over here. Were trying to kind of analyze everything right now and decide exactly how to change our direction because we do have to change with the times. That’s for sure. DO YOU FEEL THAT YOU’RE STILL GOING TO BE WITHIN THE DANCE MUSIC REALM, THOUGH? Michael: Oh yeah. They’re starting these new things like Dance Oriented Rock Charts now and I think we’re still going to stay dance for sure. Lauren: Stuff like “Arabella” was a test for us. That song “Arabella” off the Warriors LP. That song was written eight years ago and it was an old rock and roll song that we redid just to see what would happen and everybody likes “Arabella”. New York is alive with “Arabella”. SO THINGS GO IN TEN YEARS CYCLES? Lauren: Yeah, they realy do. We never even use the word disco because it’s just dance music. It’s the same thing that’s been happening for the last 100 years in music. Dance music is dance music. Disco was only that “sh-sh”that high hat shit that was going on three or four years ago, when it first happened. We did “Uptown Festival” and some of the early Patty Brooks stuff. That was just disco crap. What we called “fast food” in the disco industry. It was a hit then but now it won’t work. It was just straight super kick drum all the way through. We were the first one’s that prunched everything out of the track and used just kick drum and then all of a sudden everyone else started doing it. We couldn’t do it anymore. AT THE SAME TIME, WITH AS MUCH MATERIAL AS YOU HAVE , DO YOU FIND THAT THERE IS MUCH PLAGIARISM OF YOUR MATERIAL? Lauren: Oh God, yes! The stuff appears all the time. Michael: Everybody’s always ripping off everybody else. It’s something that you just can’t really prevent. You hear something in a record that you really like


and then you go in and sit down and write a song and that gives you a idea for something. You’re not totally ripping off the song but your being influenced by getting ideas from it. So that happens all the time. Lauren: Mike and I both go back awhile. He used to be with Quicksilver and We Five. I go back to Richie Valens, The Big Bopper and all those guys. SO YOU’VE SEEN QUITE A CHANGE. IT’S NICE TO KNOW THAT YOU HAVEN’T BEEN LOST IN THE SHUFFLE OVER THE YEARS. Lauren: We have jazz artists also. We have a piano player and a sax player that we do jazz albums for. DO YOU WRITE YOUR MATERIAL BEFORE YOU GO INTO THE STUDIO, OR DO YOU WORK IT OUT AS YOU GO ALONG. Michael: Most of it in the studio. We’ve done a few before going into the studio but most of it is done in the studio spontaneously. We work best under pressure. Lauren: It’s knowing the studio. I’ve been in studios for 25 years. We know how to work. We don’t go in a mess around. Michael: We do al lot of production planning as far as scheduling out. We know exactly how many hours it’s going to take us a project and everything’s worked out so that there is actually really not any studio time wasted. We always know that the first couple of nights are going to be forming songs-the songs that we do on our own. But, as far as other people’s songs that we use. Those are selected usually way in advance; usually a couple of months ahead of time. Lauren: Like “One More Minute” with ST.Tropez, we’ve had that in our files for about a year before we actually did it. We knew we were going to use it for somebody, but we didn’t know who. DO YOU USE ANY DJ’S FOR YOUR MIXDOWNS? Lauren: No Michael: Yeah. As far as first released stuff, AVI had Rick Gianatos do some remixes on some of our material, but it was released first and remixed later. Lauren: We do the album, or original version first then if somebody wants to remix them to make more money or to try an idea or something, fine. As long as we have the right of refusal and they will let us listen to it, so they don’t completely screw it up. It’s like finishing a painting. An artist doesn’t finish a painting and let somebody else touch it up. You spend a lot of years to get it right, you don’t give it up to a disco dj. And I’m not putting down disco dj’s at all. Some of them are the greatest mixers I’ve ever heard because they’re around it 24 hours a day and we’re not. We have to rely on strictly songs. What does the song do. ARE YOU STILL WORKING ON 24 TRACKS, OR HAVE YOU EXPANDED?


Lauren: No. 24 tracks are enough. DO YOU THINK IT’S GET TO THE POINT OF OVER PRODUCTION? Lauren: Yes, quite often. Michael: The whole disco kind of arranging thing is easy to go overboard. Because all disco is almost over-produced. Lot’s of things going on all the time, compared to the old rock and roll on 8 tracks, or even 4 tracks. Lauren: Take The Knack and new wave groups. They come in the studio all at one time so their album cost practically nothing. They just do it live. We have to pile everything on slowly, piece by piece. But it’s the song that’s the most important thing. Too many times you use 9000 track and $1million in studio time and some killer song will come along and you put three or four instruments on and it’s #1. It’s the song that’s the most important. It’s got nothing to do with all that other shit. HAVE YOU EVER THOUGHT OF TAKING TIME OUT FROM THE STUDIO AND TAKING A TOUR? Lauren: No Michael: Well, we have thought about it but every time we sit down and think about it gets a little ridiculous and we say no, we couldn’t really do that. Cause we just spend so much time in the studio trying to keep product playing. To really try and sit down and organize a tour, we’d be taking away from our production quite a bit. WHO DOES THE ENGINEERING FOR YOU? Lauren: Galen Senogles. ANY MESSAGE FOR THE DISCO DJ’S OF THE WORLD? Michael: Yes, please play the Warriors album! Lauren: We just do one solo album a year. The first one was Seven Deadly Sins. We just tried it to see what would happen, and it was real strange putting our own pictures on the cover of an album and finally coming out of the closet. Because nobody knew that it was us, until about a year ago, doing all these different groups. Nobody. Because we didn’t want publicity. We kind of ran away from publicity. After we did 60 Minutes about two years ago, all of a sudden it was just a big flood of tax people coming after us. EVERYBODY WAS COMING OUT OF THE WALLS. Lauren: We didn’t want anybody to know that we were all these different groups. Now everybody knows who we are just telling it by doing our own solo album Michael: The two old men on the covers are our fathers. I JUST WAS GOING TO ASK THAT. WHERE WAS THE PICTURE TAKEN. Michael: In Alabama. In a little teeny town called Monroeville. If you remember a book called “To kill A Mockingbird” that’s the town it was based on









Queen Constance - Super Disco Vol.4



In my opinion, this is one of the best and rarest issue on the ‘Queen Constance’ label. The ‘Anita Maldonado – What Can I Do To Make You Dance’ is the 16 minute version. This 16 minute version is also on my latest sampler “Disco 2”. There is also a 12 inch that contains only this track, but this is the 10 minute version. The other two tracks from Jazz and the Music Masters are also very good tracks. All tracks on this sampler were recorded in the same session in 1979 and feature the band ‘Stereo’, which included Gary Davis.


Candido - Dancin and Prancin/Thousand Finger Man

When I got this acetate I was surprised by it, because it was a raw, unmixed version, which is different from the regular ‘Salsoul’ issue. I got this disc from a guy who worked at ‘Sunshine Sound’, and sometimes he received some acetates which weren’t being used anymore. The ‘Salsoul’ building was located next to the ‘Sunshine Sound’ building, so sometimes ‘Salsoul’ used ‘Sunshine Sound’ to cut test pressings.


Roy Ayers - Love Wil Bring Us Back Together

When I was 15, this track used to be played in my local disco and I fell in love with this track immediately. It still makes me think about the good times in 1979, which was the year that I started collecting records.


The JB’s - Georgia Peach Disco

I don’t exactly know why, but I really like this 10 minute version. My sister’s boyfriend gave me some albums to record in 1979, and it included this JB’s album. I immediately liked it - I still do today - and it’s a very mysterious instrumental track.


Retta Young - My Man Is On His Way


I collect the Disconet series and when I heard this track on volume 1 number 7, I immediately started looking for this 12 inch. There are rumours that a copy with the instrumental B side also exists. Thanked on the label are both Larry Levan and Nicky Siano.


Dexter Wansel - Life On Mars

I got this track on a cassette in 1980 and up until today it has been one of the best tracks I know.


The Imperials - Fast Freddy The Roller Disco King

TK has issued some real treasures. Two years ago, I heard - and bought - this track. It’s also included on my first “Disco” sampler. The nice thing about collecting is that you can still get surprised by records you never knew about, and sometimes they are even on a “regular” disco label.


One Way Featuring Al Hudson - Music

I Recorded this one on tape in 1979 from the radio show called ‘Soul Show’. I Bought it the day after I recorded it.


Don Armando’s Second Avenue Rhumba Band - Deputy Of Love

I always listened to the RTL (Radio Luxemburg) import radioshow in 1979, which played the latest import 12 inches, and I recorded this song from that radioshow. This track reminds me of that time and it iis still a great track, with Fonda Rae on vocals.


Needa - Rock-A-Freak

This one is also featured on my latest sampler, “Disco 2”. I bought the ‘Sunshower’ and ‘Leo Mini’ 12 inch in 1980 for $2 each. I traded both of them years later for acetates, and I had to buy them back for much more money later.