Dimitri From Paris – Night Dubbin’

Dimitri From Paris presents Night Dubbin' (Mixed by The Idjut Boys

(BBE: 2009)

Nearly ten(!) years ago this little package came tumbling out into the shops with little fanfare, brought to you by the good folks at BBE. It's a sprawling selection of 21 shimmering dancefloor dubs from the first half of the 1980s, brilliantly compiled by Dimitri From Paris across two discs in original unmixed form, while The Idjut Boys mix the third (playing the soundboy to Dimitri's selector), all lovingly presented in an indispensable 3½ hour anthology (recalling Dimitri's Disco Forever triple-disc extravaganza).

Whereas that set chronicled peak-era disco by the likes of Charanga 76 and D.C. LaRue, Night Dubbin' shines the limelight on the time period just after. Post-disco and pre-house, the music captured here is a spectral, electro-tinged dance music imbued with half-lit neon glow. This is the sort of thing one might have heard at Tony Humphries' Zanzibar and Larry Levan's Paradise Garage (indeed, this is the genesis of the sound that would come to be called garage), where the sounds of disco mutated into the forms that would light the fuse on the Second Summer Of Love.

Touching down with the reverb-soaked acapella vocals of Aurra's Such A Feeling (Part 2), you're hit immediately with the sort of organ line that would come to define large the garage sound in years to come. However, a delicious electroboogie squiggle enters the fray to complicate matters with spiral synths twisting and turning in orbit around the track's crisp percussion. That right there gives you a great thumbnail of what to expect here, so if that sounds like a good time to you, then feel free to proceed with the knowledge that you're in for a treat.

With The Idjuts segueing smoothly into Thug Rock (Chimental Mix) by Sandy Kerr, the final crucial ingredient of today's journey takes center stage: I'm talking about low-slung, deep-grooving slap bass magic. Together with the dubbed-out vocals, garage-inflected keyboards, wasp-leg synths and that rolling 1980s drum matrix, all the elements are present and correct. There's even this whistling, high-pitched synth that prefigures the sound of mid-nineties digital-era Detroit techno figures like Kenny Larkin and Stacey Pullen (particularily the Silent Phase record). That's actually not uncommon in this mix, where one will often do a double-take on some fragment of a track (or idea within it) that sounds utterly ahead-of-its-time.

Suddenly, incandescent synths drift into view with an almost steel drum, calypso flavor. Island disco vibes to a man. This is the Limited Edition Special Remix of Serious Intention's You Don't Know. I have the original version on 12", but this remix takes the track in a radical new direction. What were once relatively straightforward soul vocals in the original version are now fed through what sounds like a harmonizer, pitched-up and mutated into smurf territory. This is the sort of dancefloor psychedelia that Prince was perfecting around this time, going to show the continued usefulness of Eno's concept of scenius. Something In The Water (Does Not Compute).

It's worth pointing out that You Don't Know was one of the foundational building blocks of garage, which when you connect the dots forward fifteen years to the So Solid Crew's They Don't Know becomes all the more fascinating. It's a continuum, folks! And as in The Matrix, once you see the connections they're with you to stay.

Collapsing into the hall of mirrors intro from Michael Wilson's Groove It To Your Body (Instrumental Mix), it's not long before you're flooded with rolling waves of clavinet funk like a fast-forward Stevie Wonder (one pictures the cyborg keyboardist from Vibrations in action). The only respite is a cool breeze of cascading chimes, still rapid-fire but serenely so, before the bridge hits with a snatch of breezy acapella and then you're back in the thick of the clavinet jungle.

Shades of Nu Groove-esque moody atmosphere announce Lenny White's My Turn To Love You (Dub Version), a streetlight moonlight foray into post-jazz funk boogie. Yet another track fueled by clockwork slap bass, the tune's moody rumblings ultimately get subsumed into the track's metronomic forward motion. Shards of synth creep through the tune's murky aura, giving the track that extra punch as outer space effects unfurl at the edge of the soundscape, looped sax trilling off onto the horizon.

This from Lenny White's 1983 LP Attitude, which also has the twilight burner Didn't Know About Love (Til I Found You), finding the erstwhile fusioneer (and member of Return To Forever) keeping up with the times and rolling deep with the Jamaica, Queens crew (see also Don Blackman, Bernard Wright, Tom Browne and of course Lenny White's own Twennynine project).

Aside from Easy Street, if there's one label that fits the remit of this mix then it's Prelude. And who better to represent the label's trademark post-disco machine boogie than James "D-Train" WilliamsYou're The One For Me defined the sound of the era's machine funk (even as Jam & Lewis picked up the baton and ran with it)? In this case, you've got the stellar dub of the "D" Train Theme, also from the You're The One For Me LP, which picks up where that record's genre-defining title track left off (albeit with a greater presence of funk guitar and even a little proto-rap worked in for good measure). If there's one figure here that you could claim to be the founder of this feast, than it would be old D-Train.

With the Theme shimmering out across a pulsing electro-bass riff, the Paul Simpson Connection is in full force with Treat Me (Dubmental Mix). Like the Aurra track, this is very much a proto-garage moment, with that skipping hihat rhythm underpinning club pianos and soulful keyboards. Gradually building before it all explodes in a crescendo of intricate synth filigree and dubbed-out, churchy vocals, it maintains a vibrant elasticity throughout. That rubberband synth bassline practically glows in the dark.

Ever so subtly swinging one bassline to another, The Boys drop into Wuf Ticket's The Key (Dub Version), an electroboogie masterpiece driven as much by a rhythmic vocoder loop as much as the beat itself. There's vocals happening on something like three or four planes, with a baritone voice rising from the cracks in the beat as synths shimmer above it all, falsettos rising from within. Interesting to note the appearance of another jazz funk luminary, with James Mason (the man responsible for the sought after Rhythm Of Life LP) making his presence felt in this shadowy electro crew.

Like a line drawn in the sand, Radiance's You're My Number 1 (Dub) announces its presence in the mix with a soulful keyboard line before dropping into a mass of descending chorused guitar, and suddenly you can just feel that you're about to be hit by something drastically different. That guitar - sounding not unlike one of Jungle's luminescent six-string figures - cuts a rakish angle across the track's electroid bass'n'boogie, while Andrea Stone's vocals echo ethereal in the distance. When it all drops into that unadorned mid-section, grooving on a simple organ refrain, it's as if the 90s have come seven years too soon and you're soaking up the purest uncut garage down in Jersey. Either that or a Moodymann record. Which hooks up brilliantly with the next record...

Raw Silk were best known for Do It To The Music (with its immortal music's hypnotizing refrain sampled seemingly hundreds of times over the years), but instead are showcased here for their other record on West End, Just In Time & Space (Dub). Like it says on the tin, this is spaced-out dubdisco shot through with swirling interplanetary sonix and disembodied girl group vocals, sporting an electronic sequence that predicts techno's minimalist streak before exploding into an absorbing chorus starring verdant synths and the funkiest of piano rolls.

All things considered, this might very well be the superior record to Do It To The Music and in it's . Like Marvin Gaye's Trouble Man OST, it's a record seemingly made with another era in mind (an era whose time had yet to come). It very well could be the most forward-looking song here, it's vast, hollowed-out stretches of atmosphere predicting techno's trajectory as the 90s progressed.

With the outerspace sonix disintegrating into a cloud of stardust, Mikki's Dance Lover (Dub Mix) slips onto the scene with the sort of bassline that Metro Area would kill for. Indeed, this whole mix gives a bit of context to the uninitiated for all those Metro Area records: this is the sound that Morgan Geist was pining for (also check the excellent Moves EP, a personal favorite of mine from the man's oeuvre). The track is pure skeletal perfection, like Kraftwerk or Isolée... just perfect. When those electroboogie synths creep into the mix - disembodied vocals drifting out into the ether - the whole thing crashes through the heavens and sails across the stars.

Well... something has to follow what might be the most sublime moment here, and that tune is the instrumental of Electrik Dred's Butter Up (Gimmie Some Bread). Another vocoder-fueled electo-bass odyessey, it rides a loose rhythm matrix into the island boogie of Cloud's Steppin' Out Jam (Special Instrumental Dub Version), with its flanged guitars feeding into the track's motorik propulsion this is the most four-to-the-floor moment here. In fact, its most minimal moments sound just like something out of an acid techno mix circa '95 (Plastikman's Mixmag Live!, for instance). Both these tunes serve to offer something of a breather before the last two tracks kick into high gear and all the rules get broken accordingly.

Surfing in on the derezzed collapse of Cloud, the RAH Band's offbeat European boogie comes crashing in at a lackadaisical pace, seemingly fifteen BPM slower than anything helse here. Clouds Across The Moon strolls along with that moonbounce beat, bassline pulsing in tiny low-gravity arcs as sunshine guitars wander lonesome up and down the soundscape. As if beamed in across interplanetary transmitter, the wistful strings of some old-time orchestra drift across the stars as Nelson Riddle were conducting from orbit. When it all reaches its crescendo, with those trilling hi-pitched synths almost sounding like something from Super Mario World, it's as if your locked in some yearning romance transpiring within the reality of some deserted arcade machine. The Super Nova Mix is a dubbed-to-pieces rendition of the original 12" version, which was a paean to a lover stranded on Mars (or is he?).

The biggest surprise here is saved for last, with a track originally from Wham's first album closing out the set. Enjoy What You Do (Wham Rap) (Vocal) finds George Michael rapping over a sunny bit of island funk that builds into frenzy of slap bass, chicken-scratch guitars and soaring brass, electroid synths weaving through it all as drums crash with wild abandon. You could just picture this in the final scene of some contemporaneous movie - say a comedy with John Candy, Shelley Long, Robin Williams and/or Bill Murray - and everyone's getting down at the big party before the end credits roll. If pressed, I'd volunteer that it rivals Everything She Wants, although I haven't been able to find this particular version anywhere (none of the others are nearly as good this one). A leftfooted swerve from the seemingly kitsch to the sublime, it's a rather fitting end to a visionary mix that reclaims an era's music that people would have scoffed at as tacky and/or dated twenty years ago. Maybe they still do? Well, at least you know better...

What I'm really getting at is that this whole package, from the presentation on down to the extensive liner notes and of course the music within, is that it really hammers home the idea that the wildest strains of 80s dance - post-disco and pre-rave - were the era's head music par excellence. It's something that dawned on me years ago when first confronted by the music of Kleeer and Mtume (to say nothing of Hashim's Primrose Path, Model 500's Night Drive, Mr. Fingers' Can You Feel It and Reese's Just Another Chance). It's a terribly evocative music, stripped to it's essence, yet possessed of visions of the stars. It's music to dream to and music to dance to... but most of all it's music to live to.

The Parkway Bowl Disco Mix


Back in the day, I worked at the Clairemont Library, shelving books and helping patrons. Stimulating work, to be sure. On my lunch break, and occasionally after hours, I'd walk a couple blocks over to the Sunset Bowl to grab a bite to eat, play video games and lay out the plans for Mettrex Recordings. After all, this is where Soul Machine's Essential Funk Files were born. Good times. The general vibe in prevalence was sun-glazed and tropical, which meant of course that it was right up my alley.

There was a DJ booth near the bar that was all done up tiki-style, and I'd always dreamed of spinning disco at the midnight bowling sessions they held on Friday nights. Records like The Incredible Bongo Band's Apache, Freddy Fresh's Roller Rinks & Chicks, Loose Joint's Is It All Over My Face, Paperclip People's Floor and Stereo MC's Rhino. You know, basically the good good. It was a good dream, but alas the place closed down before I had a chance to hold court in the mix. Now, an apartment complex sits where the bowling alley was once comfortably nestled...

The other bowling alley where I spent a lot of time - and did most of my actual bowling - was the Parkway Bowl, down in El Cajon. I most recently hit the lanes again with my brother Brian and cousins Isabel and Joelle a couple weeks ago to discover that the venue hosts something called Cosmic Bowling, held in a backroom with psychedelic lights and dedicated lanes for the renting. Brian commented that it was like something out of Kingpin...

It all brought me back to hours spent at the Sunset Bowl, dreaming up the future, and as is often the case a whole lot of records began to conjure up in my mind. One thing led to another, and I ended up doing a little mix. Within the confines of this two-hour excursion, you'll find dubdisco, new wave, Philly soul, French disco, hip hop, boogie, Italo disco, punk funk, gulf stream and disco-not-disco, all anchored to a bedrock of largely straight up disco in the Chic tradition. It's all of a piece.

No attempt was made to be historically accurate; there's anachronisms all over the shop, because this is a 2018 disco mix - unapologetically so - filled with music that lived well past its era to fuel dancefloor mayhem through the intervening years and still sounds cutting edge some 33 years on.

So without further ado, I give you...

The Paradise Bowl Disco Mix

The Tracks

  1. The Parallax Sound Lab New York City Intro
  2. Welcome to the show, featuring James Woods, master of ceremonies.

  3. The Mike Theodore Orchestra Moon Trek (Westbound)
  4. Kicking off with the orchestral soul of Moon Trek, from arranger Mike Theodore's Cosmic Wind LP. Mike Theodore actually from Detroit - not New York - but the track does seem to conjure up images of the Big Apple. He not only produced Rodriguez's enshrined Cold Fact (alongside frequent collaborator Dennis Coffey), but also a brace of sides for the Detroit Emeralds. In between, he put out two excellent LPs of instrumental disco (of which this is the first) that remain cosmic disco par excellence.

  5. The Clash The Magnificent Seven (CBS)
  6. Which brings back memories of driving to Patrick Henry back in the late 90s. This jam kicked off all manner of C90s during that period, soundtracking the crisp, early-morning drive to school. The album version, from the triple-LP Sandinista! is where it's at, featuring ever more lush production and further discotheque sonics in evidence throughout. The Clash were cool. I've always assumed that this and Radio Clash were their take on the early Sugar Hill hip hop sound.

    Part of what was great about disco is how it ultimately pulled anyone and (nearly) everyone into its orbit, from Marvin Gaye to The Rolling Stones, throwing up all sorts of possibilities and drawing unexpected sounds out of leftfield (making something like Disco Not Disco a necessary intervention, bringing together a whole raft disparate material together under its umbrella). Nowadays, it serves as shorthand for whole swathes of music. Kevin Saunderson later mined this record for Reese's awesome You're Mine, rugged Detroit techno of the highest caliber.

  7. Démis Roussos Midnight Is The Time I Need You (Philips)
  8. Luxuriant sun-glazed disco from Greek balladeer Démis Roussos, who of started out in art-prog band Aphrodite's Child alongside synth ambassador Vangelis before striking out on a long and winding solo career. This from '75 finds Roussos with an early entry in the disco canon, with gruff, soaring vocals holding sway over a lazy mid-tempo groove. Dig those gently psychedelic organs! Far and away the best tune on the Souvenirs album, although I have a hell of a soft spot for the motorik country-western vibes of Tell Me Now. Great sleeve too!

  9. Martin Circus Disco Circus (Prelude)
  10. When the chips are down, my favorite disco record. Laying the blueprint for Daft Punk, Cassius and Motorbass, this is French disco par excellence, with François Kevorkian reworking the fourteen minute album version by erstwhile-psych rock band Martin Circus into a seven minute rapid-fire edit replete with electro-boogie synths, soaring guitar solos, Moroder-esque sequences, group chants, rolling basslines, a second-line horn section and backing scat vocals that sound something like Bing Crosby duetting with Dieter Meier. I think the kitchen sink is in there somewhere.

    Props to Prelude for licensing the track in the first place, putting François K in the studio to work his magic on the masters. Even as this tune perfectly captures the essence of peak-era disco, you can nevertheless hear the implied presence of the 80s waiting in the wings.

  11. Kurtis Blow The Breaks (Merucry)
  12. How come these early rap tracks all of a sudden sound fresh as a daisy? Twenty years ago this would have seemed like ancient history, quaint even, but in light of everything we've discovered in light of the 21st century disco/post punk resurgence it sounds utterly of-the-moment. See also the Jason Nevins remix of Run-DMC's It's Like That, which now sounds hopelessly dated while the OG sounds as timeless as the Nuggets box set. The Breaks glides along on a nimble funk groove, with rolling percussion, juke-joint piano and Kurtis Blow's off the cuff delivery all coming together to conjure up the moody, half-lit atmosphere of Martin Scorcese's After Hours.

  13. Bruce Johnston Pipeline (Columbia)
  14. Erstwhile-Beach Boy-drummer-on-holiday gets in on some tasty solo dancefloor action, taking his place behind the kit to guide a string section through the cresting waves of the Pacific Ocean. A killer groove, and rawer than you might expect. Check that rude drum beat, sounding like something cooked up on an Akai! Everything goes atmospheric halfway through, when the sounds of the surf wash across the breakdown like high tide on the sea of flesh.

    Incidentally, I've often thought that The Beach Boys conjured up a convincing proto-disco sound on their Sunflower LP, what with all those sun-glazed sounds and burnished edges. Lee Perry too, which is probably why - as great as Pet Sounds is - it remains my go to Beach Boys record.

  15. Odyssey Inside Out (RCA Victor)
  16. In the popular imagination, disco was supposed to have died on July 12, 1979 at Comiskey Park's Disco Demolition Night. Of course, history's rarely quite that simple. Rather than some behemoth slayed in one stroke by arena rock, disco was more like the virus that mutated to turn up again nearly everywhere - from ABC and Duran Duran's new wave to the electro boogie of The Gap Band and Mtume to Madonna and Michael Jackson's chartbusting pop to the gulf stream sounds cooked up at Compass Point and played out at the Paradise Garage, the pandemic seemingly spread all over - outliving the dinosaurs and ultimately defining modern music via the sounds of house, electro, hip hop and techno.

    Of course, in the Big Apple plenty of groups kept on grooving and the dancers kept on dancing to straight up disco. In truth, some of my favorite disco records actually come from well after its supposed expiration date. Take for instance Odyssey's Inside Out, an low-slung slab of passionate modern soul riding a down and dirty gutbucket groove. Should I be embarrassed that I first knew it as a Electribe 101 song? I suspect that I should, but I don't feel it. I'd even go so far as to say that Billie Ray Martin managed to top the original, if by only a whisker.

  17. Montana Sextet Who Needs Enemies (With A Friend Like You) (Philly Sound Works)
  18. Salsoul Orchestra mastermind Vince Montana (who also spent time in Philadelphia International's MFSB) in full swing during roughly the same era with a slab of minimal, slap-bass propelled 4/4 magic in which his vibes take center stage. I once awoke from a dream with this tune still ringing in my ears, and as I gradually worked out where it came from - sometimes you can't quite recall the specifics of these things right away - it hung over the morning like a mist.

  19. Eddy Grant Walking On Sunshine (ICE)
  20. I've always loved the way figures like Eddy Grant, Grace Jones and Billy Ocean brought the idiosyncrasies of their island life to the gulf stream flavor to their music. Indeed, to this day they form a loose triumvirate in my mind. What is Compass Point if not the culmination of this notion, with these three toiling away in the seventies only to become bonafide stars in the decade to follow. Eddy Grant later provided the theme song to the blockbuster film Romancing The Stone, while Billy Ocean did the same for its sequel (Jewel Of The Nile). And of course Grace Jones managed to become a bond girl and trade scenes with Arnold Schwarzenegger in Conan The Destroyer!

    In light of his high profile, I'm particularly fascinated with Eddy Grant's ICE imprint, formed as he built his solo career from the ground up, he nevertheless stuck with it after hitting the big time with Electric Avenue. Of course he'd already made his mark on dance culture some time before, with this tune and Living On The Frontline being staples at the Paradise Garage (see also Time Warp by The Coach House Rhythm Section). Walking On Sunshine is a brilliantly rewired electro-disco jam dominated by top-heavy afrobeat horns and Grant's loosely-delivered falsetto. The song was later covered by Rockers Revenge, yet not by Katrina And The Waves, who's song of the same title is completely different!

  21. Billy Ocean Stay The Night (GTO)
  22. Early Billy Ocean in this whiplash proto-boogie tune from his sophomore set (City Limit), which is propelled by a uniquely raw-edged drum beat that really snaps the track across the tiles of the dancefloor. Like Eddy Grant, Ocean would later top the charts in the mid-eighties with yacht staple Caribbean Queen.

  23. Ian Dury Spasticus (Autisticus) (Polydor)
  24. The great Ian Dury in Nassau, on leave from The Blockheads and getting in on that Compass Point action. Very much of a piece with the surrounding records here, this was also a staple in Larry Levan's record bag over at the Paradise Garage. Dig this little interview1 with old Ian (who in his youth suffered from polio), talking about the story behind the song.

  25. Grace Jones Pull Up To The Bumper (Island)
  26. Yet more peak-period Compass Point (perhaps the peak, in this case) with Miss Grace Jones in the driver seat. The video2 is excellent too (Neuromancer vibes in full effect). In case you haven't noticed, I'm a huge fan of the whole Compass Point phenomenon. At the moment, I have a feature in the works, which I'm planning to post here sometime around the release of the Parallax Pier sequel in June.

  27. Delegation You And I (Ariola)
  28. Lush masterpiece of bedroom disco from the premiere British soul group. I've heard tell that this isn't even their greatest record, but it's the only one I own. You And I perfectly captures the tipping point between the string-laden groove of peak-era disco and the nascent machine boogie coming just around the bend. Check those aqueous, immersive synths straight out of the deep house playbook. Sublime, in a word, and a gorgeous tune.

  29. The Whispers And The Beat Goes On (Solar)
  30. Chartbusting disco, with a two note organ vamp that stands as one of the great tossed-off hooks of all time. Later propellelling Will Smith's Miami into the charts, it also kicked off Jason Forrest's The Unrelenting Songs Of The 1979 Post Disco Crash record. Of course, none of that can touch the original. The L.A.-based Solar Records would later come to define the eighties electro boogie sound with artists like Shalamar, The Deele and Midnight Star.

  31. My Mine Hypnotic Tango (Progress Record)
  32. Italo disco. Like early Depeche Mode, this is bubblegum synth music with an even greater affinity for the dancefloor. That moody synth sequence was later sampled by both Bandulu and Carl Craig, for Thunderground's Amaranth and 69's Rushed, respectively, which is how I found out about this track in the first place. Sporting a peerless play of dynamics between the moody verses and joyous candy-coated refrain, Hypnotic Tango itself is a computer love masterpiece.

  33. Giorgio Moroder Palm Springs Drive (Polydor)
  34. From Moroder's third score, after Midnight Express and Foxes, for the film American Gigolo. This is probably my favorite of his OSTs. Everyone knows Blondie's Call Me, but this album also boasts the sleek motor-disco of Night Drive and The Apartment's moody paranoia (the latter even sounding like the lost score to The Parallax View). Palm Springs Drive - featured here - is my absolute favorite moment from the soundtrack, fusing Moroder's trademark motor-disco sound with an epic chord progression straight out of the Ennio Morricone playbook.

  35. Ashford & Simpson One More Try (Warner Bros.)
  36. Gloriously lush disco from the dynamic husband and wife songwriting duo of Nickolas Ashford and Valerie Simpson,. Penning some of the great soul songs of the era for other artists, including Ain't No Mountain High Enough, I'm Every Woman and You're All I Need To Get By, they also managed to put out twelve solid albums between the years 1973 and 1984. One More Try - from their third - finds the duo confidently entering the disco arena with a desperate plea for a second chance gliding over tricky dance rhythms, soaring ARP strings and some of the finest guitar soloing to ever grace a disco record.

  37. D-Train You're The One For Me (Prelude)
  38. The D-Train project was collaboration between James "D-Train" Williams and Hubert Eaves (previously responsible for the Esoteric Funk LP and later to play on some records with Mtume). Appropriately, this record lays down the blueprint for eighties electro boogie, with the zig-zagging synths that would come to define the decade's machine funk sound (see also Jam & Lewis), and took its rightful place as an immortal dancefloor classic. Even Liam Howlett couldn't help sampling its synth-squiggle magic for The Prodigy's Girls.

  39. Forrrce Keep On Dubbin' (With No Commercial Interruptions) (West End)
  40. The quintessential dubdisco record, featuring François Kevorkian yet again reworking an original track to a higher plane altogether. West End had a phenomenal run as the 70s gave way to the 80s, putting out loads of great records hovering on the interzone between disco and dub. In fact, this is as close to the Black Ark as disco would ever get. You can practically imagine Lee "Scratch" Perry's trademark ad-libs over the top. Underground disco par excellence.

  41. GQ Disco Nights (Rock Freak) (Arista)
  42. Conversely, this is disco from high street, crashing the charts and the airwaves alike. Studio 54 music. I first heard this on Magic 92.5, way back in it's early years when it was on fire with live DJs and a killer selection of soul/disco/funk/boogie the order of the day. I remember driving home from the Clairemont Library one day, crossing the bridge from Mission Bay onto Friars Rd., when suddenly Disco Nights comes on the radio. I'd already become unknowingly aware of pieces of it - looped by Chicago's Stacy Kidd in a house cut that had come out recently - and the rush of recognition upon hearing the original for the first time hit like a ton of bricks.

    That was one of the great things about branching out from beats, hearing all those records that had fueled the music I grew up with for the first time (and still at such a young age!. The realization that there was this vast continuum stretching back to figures like Curtis Mayfield, Miles Davis and James Brown, rather than everything being these solitary islands of sound, well it was quite a trip. All of this must sound so boring to someone coming in the era of Youtube, where all that information lay at one's fingertips! Well, back in the day, it was a big deal, trust me. And I wouldn't trade it for the world.

  43. Love Committee Just As Long As I Got You (Disco Re-Edit by Dimitri From Paris) (BBE)
  44. If there's a pre-disco sound that was disco's most logical precursor, then it's surely Philly soul. Groups like The Three Degrees, The Intruders and MFSB were dealing in proto-disco way back in '73 with tunes like Dirty Old Man, I'll Always Love My Mama and TSOP, and they all wound up dovetailing naturally into the scene once it was in full force. As if that weren't enough, full-fledged disco groups like Double Exposure, The Trammps and Love Committee all hailed from Philadelphia, starting out under different names earlier in the decade as pure Philly soul. Double Exposure's Ten Percent and Love Committee's Law And Order are both great examples of good LPs in this vein.

    This is Dimitri From Paris' exclusive edit from his (excellent) Disco Forever mix. I remember picking this up in San Juan way back when. My cousin balked at the sleeve (I can't believe you're buying that!). This remix is brilliant, opening up the locked-down original to aircraft-hangar size. Transforming those baritone backing vocals into the lead, echoing lonely from within with that same sense of isolation as Bernard Sumner on the early New Order records. Chopping the horn fanfare into a looped refrain that builds and builds the tension to the breaking point before releasing in a single strummed guitar. Exquisite stuff.

  45. Kano I'm Ready (Emergency)
  46. Good old Kano. Kano were great. They must have the highest volume of classics out of all the italo disco groups (shoot me down, I'm no expert on the stuff). Rather than a Moroder-derived machine pulse, I'm Ready is driven by loose-limbed live drumming (as is its b-side, Holly Dolly, famously the template for the proto-Detroit techno of A Number Of Names' Sharevari). The production on this record is just perfect, it's rubberband rhythm underpins gently trilling synths, vocoders and those delicate lead vocals.

  47. Kebekelektrik War Dance (Les Disques Direction)
  48. This the original version, rather than the Tom Moulton mix. I go back and forth on which one I like more, each of which have their undoubted merits. Moulton's version grooves better, but this really places the synths front-and-center. Part of me thinks I made the wrong decision... like I said, it's a coin toss! This is Moroder-esque motor-disco of the highest caliber, always making me picture some motorcade/caravan cutting through the desert under the blazing sun, synth-lines melting in the heat.

  49. Donna Summer I Feel Love (Casablanca)
  50. The godfather of motor-disco disco tracks, produced by Giorgio Moroder for the prototypical disco diva, Donna Summer. Remember a few years back when everyone was calling themselves a diva? That was pretty silly. Donna Summer is the real deal. When I first heard this track, I assumed it was a recent remix and not the original version from 1977! Despite the utterly brilliant chrome-plated futurism in evidence throughout, Summer still manages to outshine everything else with soaring vocals eight miles high and rising.

  51. Bettye LaVette Doin' The Best That I Can (A Special New Mix by Walter Gibbons) (West End)
  52. Going out with a bang! More West End, this time with Bettye LaVette at the wheel of a steadfast galleon constructed by none other than disco super-producer Walter Gibbons. It's impossible not to be moved by this beautifully rendered tale of getting over somebody one day at a time.
    At the track's midpoint, when that plaintive organ line erupts out of nowhere, well if you're anything like me you're in disbelief. You've never heard anything like this before! Then, the strings cut back in - horns bobbing and weaving over that groove - and the whole thing goes triumphant, proto-acid lines tearing across the soundscape like it's the most natural thing in the world, before the organ returns and a sublime piano line drives the tune to it's natural conclusion. Every element woven into a disco symphony. She's herself again now. I Will Survive, indeed. An impeccable example of the magic that can be wrought from a 12" slab of plastic, and a perfect ending to our disco odyssey. Hope you enjoyed it!

Footnotes

1. Ian Dury interview (check it out @ https://www.youtube.com/watch?v=LSo9OErEmM4).
2. Grace Jones Pull Up To The Bumper music video (check it out @ https://www.youtube.com/watch?v=Tc1IphRx1pk).

Mixed By: Flynn & DJ Slye.
Special Edits: Do'shonne & Slye.
Samples: Fifty Foot Hose Opus 11, The Beach Boys Let's Go Away For Awhile, James Woods in Against All Odds, Nastassja Kinski in Paris Texas.
Vibes: Gil Scott-Heron & Brian Jackson, FSOL ISDN, Sudden Impact, Moodymann, assorted El Cajon dive bars and nightclubs, Disco Godfather, David Bowie's Station To Station, Patrick Cowley, Jefferson Airplane, Atari 2600 and those endless exquisite gradient skies, ARP Solina String, Palm Desert, Jedi Knights, Dee Dee Bridgewater, Club Stratus, Summer Of Sam, The Mizell Brothers, Arthur Russell, Bobby Konders, swimming in A.G., Morgan Geist's Moves, Hohner Clavinet, Herbie Hancock, Eddie Russ, Battle For The Planet Of The Apes, Jack Kirby, Paul's Boutique, Lakeside discotheques, Lil' Louis & The World, Beck Hansen, Harlem River Drive, Night Moves, Scott Weiland, Wild Style, Terranova, The Parallax View, Innerzone Orchestra, Spoonie Gee, Radio Mettrex, Steely Dan, Fender Rhodes, The Op-art Hall Of Fame, Calypsoul 70, Opinionated Diner, Kirk DeGiorgio, Sly Stone, Sam Mangwana, The Isley Brothers, Glenn Underground, BBE, Parliament/Funkadelic, Ubiquity, Gram Parsons, The Honey Bee Hive, G-Street, East Village, Warren Zevon's Night Time In The Switching Yard, and of course Woebot.
...
Disco is dead.
Long live disco.