12"

“Destination” comes from an album “Behind The Mask”, recorded and first released in 1982. The project started out intending to be a new Incognito album, and follow up to the debut “Jazz Funk”, but took a different direction. With Bluey and original members of Incognito at the helm, “Behind The Mask” welcomed additional guests musicians to become a separate entity and landmark 80s UK fusion album. “Destination” has always been a go-to track, an electrifying full vocal dancefloor filler on the album but never previously released as a 12” single, with the Difusion Re-Edit never previously available on vinyl. Both versions currently much in demand.

Kwaito 12-inch featuring two forgotten bass-heavy cuts from South Africa in the early 90s. ''Vanonyana Lava'' by Volcano is a sought after tune right now (so difficult to get an original copy!) while the Beat Gangsters are a new introduction (to us) from Okapi's vaults..TIP! Hot on the heels the label’s debut release Burnin’ Beat, Johannesburg-based Afrosynth Records’ second release is a 12” of two bass-heavy cuts of obscure ‘90s kwaito from South Africa.Founded in the early 80s by Richard Makhubele, Volcano’s signature brand of Shangaan disco made them one of the most popular bands of the ‘bubblegum’ era, releasing a string of big-selling albums with the Gallo label. But by 1993 things in South Africa were changing fast, both politically and musically. Volcano had left Gallo to join Eric Frisch Productions (EFP) in search of greater independence. On their 1993 album Tshigubu Tshanga they began to experiment with the new house-inspired sound of kwaito courtesy of producer Malcolm ‘X’ Makume, with one track in particular standing out: ‘Vanonyana Lava’.The song, its title Shangaan for ‘These Women’, is according to frontman Makhubele a simple story “about women in a nightclub or a tavern… You buy the women their drinks, but when they’re finished drinking then they run away.” More important than the lyrics is the song’s massive bass hook and distinctly South African groove, which 25 years after its original release have put it back in demand for DJs and diggers mining the South African sound for fresh inspiration.‘Vanonyana Lava’ was a notable departure from the typical Volcano sound. “Kwaito music was becoming bigger, more powerful,” remembers Makhubele of the band’s foray into kwaito. “So we decided to do at least a track and see if people would love it, then we’d do more. By that time the Volcano sound was very popular, and that kwaito sound was slowly coming in the market. Our fans were happy for it.”Volcano soon followed this early kwaito success with The Bold & The Beautiful in 1994, the year of South Africa’s first democratic elections. But with the drastic changes of the decade the band was soon relegated to history as a new generation of young kwaito stars became the voice of South Africa’s youth.On the flip-side of this new release is an even more obscure track from the record bag of Afrosynth Records’ DJ Okapi. The Beat Gangsters were a short-lived studio project made up of Willi Mau Mau and Mad T Doctor, in-house producers for Mob Music, an independent label set up by Eric Frisch (after the demise of EFP) that put out a string of influential club releases in the mid-90s, among the last albums to be pressed to vinyl in South Africa. Named after a popular South African brand of gum, ‘Chappies’ was originally released on the 1995 album Mob Table Dance.

From a lost Australian electronic soul gem, to a cult classic: Shahara-Ja’s ‘I’m An Arabian Knight’ has gained much momentum since it’s 2017 reissue, so much so that the Egyptian Lover reached out to the label proclaiming he’d do a remix. The electro innovator who the original release appears to be highly inspired by seemed like a perfect fit for this sleazy late Night groover. The result is 3 fresh mixes using elements of the original session tapes and the perfect touch of the Egyptian Lover’s signature 808

Early Sounds presents this compilation of Qvark’s demo recordings (early 80’s band from Milan) which is an important find to define the sound of late 70's and early 80's Italian club sound.Milan, Italy, 1983. In the midst of the 80s economic boom, which gave an injection of optimism after the heavily political 70s, a group of young local musicians meet every night in a basement to rehearse and record a peculiar breed of Italian disco music.Originated from the ashes of various other projects, and rooted in the broader jazz-funk tradition, the group creates music which is equally inspired by contemporary fusion as well as by the first wave of the italo-disco sound. Over approximately 3 years the band has recorded and played live, until the dismantling of the project towards the mid 80's.Fast forward 35 years and the genuinely mediterranean flavor of Qvark's demo recordings are still enjoyable, both for the actual resurgence of the Italian disco tradition and for the groovy quirkiness of a project which has been too long forgotten. After an intense work of audio restoration of such tapes, heavily affected by time, Early Sounds presents a compilation which is an important find to define the sound of late 70's and early 80's Italian club sound."

New Kenny Dixon release - two of his trademark soulful, jazz fused house cuts.

First release of label La Casa Tropical, two South African nuggets.. Especially ''Smile'' is a sought after tune by Satari.. The flip is wicked too.Synth heavy South African Disco Boogie from the Mid 80s. First issued near the end of the synth-pop era that gave boom to the local record industry, this release takes the B-sides off the mysterious group’s first 2 singles recorded at Johannesburg’s legendary Satbel and Ovation Studio. Combining live instruments and an embrace of the electronic gear that was already standard in all studios city wide, the newly formed supergroup was able to create a unique sound at a time the word ‘Disco” was starting to be associated with a different emerging movement.Initially a side project for the group Image (later changing their name to Ymage to avoid confusion after some success in Europe), the new outfit re-enlisted the help of their original producer and long time friend Sidwell Duda, followed with the addition of novice artist and songwriter Bibi Msomi . Their first release was a new take on a song they had recorded for their hit EP which became their first record to see a run outside their home country. Snuck on the B side was a steady 4/4 beat with fat bass synth and the quick funky keyboard licks Don Laka was known for.After an unsuccessful debut the newly formed group hoped to draw attention with a single front man. For their second release they used a tactic common amongst producers 10 years prior during the reign of the 7” single. Bringing two of his own compositions to the session, but unable to lead the group himself, Bibi’s independence and unique voice led to the creation of the ultra suave, party playboy known as Nicky Love.Although neither single saw any real success and failed to make it past an initial run of 500 copies, the now backing group known as Satari managed to produce a few more titles into the fast changing market that left their sound behind.