UK

PDD are proud to present an official Sony reissue of Charles Earland's 'Coming To You Live' another one of those rare infectious 12" releases which has grown in stature over the years.Championed by big names such as Gilles Peterson, Theo Parrish and Moodymann, it has become a firm favourite with dj's and clubbers alike, entertaining many discerning dance-floors.Pressed on 180g vinyl shrink wrapped, using the original master tapes.

Version Galore is a newly found label, deeply rooted into the music culture.We are bringing you the selected reworks / re-edits from the top producers in the game, showing lots of respect and care for the original, but elevating it's spirit and taking it somewhere else.It's all about the dialogue of cultures and the idealistic desire to pass the music legacy on! No half-measures, played-out tunes, lazy cuts, or boring "808-kick boosting" biz!On the first release of the label we are delighted to bring you the chosen cuts from the man that needs no introduction - Opolopo. He knows a thing or two about making a personal version of a track that can easily overshadow the original, and we guess that's the case with the two cuts he prepared for us on this records. Things escalate fast. On the A-side you will find originally a midtempo mild jam "Go Get It", which is turned by Opolopo into an effectively-upbeat stomper that will inject true feeling and groove in any house or disco set alike.It's one of those rare occasions when a soulful tune turns out to be super dance-floor efficient no matter what!The B-side is all about the raw and emotional funky madness of "American Promise". It's infectious groove, pinpointed with growling sub-bass is just devastating. Epithets are irrelevant here - just play it loud, but with caution! "Version Galore - play some more!"

Forever faithfully mining the past to keep your shelves stocked with gems that might have otherwise been consigned to history, Emotional Rescue turn their attention towards Carl & Carol Jacobs' cult slice of early house music, and what a treat it is. "Yonge Street Jam Band" comes in the form of two mixes that serve as impeccable examples of late 80s club music in all its culture spanning glory. The playful sample slicing and triggering of the second mix is the winner, although the vocals on the original version are equally on point if you want a little more soul in the mix. Jonny 5 then steps up on the flip for a bold but measured re-rub that stretches the vibe out for nine minutes of perfect party fodder.

The next set of the Japanese musical tales on Hhatri's imprint comes from Takecha (aka Takeshi Fukushima), a producer who has played a part in creating some of the seminal pieces of house music that have originated from Japan. His music is characterised by the perfect marriage of experimentation and emotional content. For those that know, Takecha's first EP 'Kind of Deep' released on his own imprint, GWM records, in 1995 is a secret gem among Japanese House music collectors. Only 100 copies were ever available and it is a subtle reminder of what and how Deep House should sound like. Takecha provides no less in A Tale of Shiga; four gorgeous tracks that provide some insight into his own creative, albeit humble genius in his approach to producing music. Fresh off the press are three previously unreleased tracks with the addition of ""Freak Out"" released in 1998.

Dan Shake has been making a sterling name for himself as a DJ with many strings to his bow, and now he's launching an exciting new label with a focus on edits that reach into his bag of tricks and provide some genuinely intriguing alternatives to the usual rehashed disco fodder. On this first 12" there's a distinctly Latin theme, not least on "Celebration Suite" which launches into a bona fide party classic after a hailstorm of drumming and carnival whistles. "La Vem Salguiero" is equally boisterous, but there's also "Rico Suave Bossa Nova" to cool things down for those more loungey moments.

The Street Edits label has been playing it cool and deadly since 2013, and now hits its tenth release with two crucial jams for the heads-down party heads. JTT, a shadowy figure with links to the Bristol scene, gets deep in the chop-up on "Know 2 Much", eschewing any obvious vocal licks in favour of the heavy, rolling funk of his source material. Boogie Cafe takes a different approach with "Dynamite", letting the core of the track shine through in all its bright, brassy glory. When he does go in for the cuts and FX on the breakdowns, it's oh-so sweet though. This is how edits should be done.

The Difusion crew turned some heads last year with the low-key release of their first grip of cult edits, and now they're back with a second installment that keeps the source material obscure, the treatment respectful and the vibes pure and positive. "Someday" is a killer simmering slice of disco funk, while "On The Scene" slows things down and turns up the 70s bombast with Philly strings and brass blasts aplenty. "Freaksta" takes things in a more cosmic direction, while "Right Now" aims right for Studio 54 indebted flamboyance, all stirring diva vocals and bold production to get everyone freaking the right way.

180 gram Vinyl, Gatefold Sleeve reissue of the classic 1969 album featuring Motorhead's Lemmy. Packaged with their previously unreleased 7" single 'Horse/Back Door Man' as listed in Record Collector, Plus a free Download Code.Sam Gopal took up the tabla in Malaysia at the age of 7, before coming to study music in Britain in 1962. By the mid 1960’s, Indian music was exerting a huge influence on Western rock, most notably on the Beatles (with Indian influences all over ‘Revolver’ and ‘Sergeant Pepper’), but also on the Rolling Stones (exemplified by Brian Jones playing sitar on ‘Paint It, Black’) and the Moody Blues, for whom Justin Hayward played tabla and sitar on the ‘In Search Of The Lost Chord’ album.The time was right for a genuine exponent of Indian music to come to the fore. Sam Gopal put together his first group, ‘Sam Gopal’s Dream’ in 1966. They quickly became a feature of the psychedelic scene, playing at the 14 Hour Technicolour Dream at Alexandra Palace in 1967 and sharing stages with such giants as Pink Floyd, the Move and Jimi Hendrix. Indeed, Jimi jammed with them during a gig at the Speakeasy in January 1968. However, whilst successful live, the band went unrecorded, and disbanded shortly after, only to be reconstituted under the ‘Sam Gopal’ moniker, Sam being joined by Roger D’Elia on guitar, Phil Duke on bass and most famously, ex Jimi Hendrix roadie Ian ‘Lemmy’ Willis on vocals and guitar. Signed to the short-lived Stable label, songs for an album were quickly written, most of them by Lemmy, and the album was released in March 1969, beautifully packaged in a gatefold sleeve.Something of a classic of psychedelic acid rock, complete with fuzzed guitars, but rooted by its Eastern percussion, the album included one cover, a rocked up version of Donovan’s ‘Season Of The Witch’, whilst a projected single release included a version of Willie Dixon’s ‘Back Door Man’, which managed to be even heavier than the interpretation by the Doors on their first album, released two years earlier.‘You’re Alone Now’, one of the Lemmy-written songs on the album, became quietly influential, acting not only as a forerunner of Hawkwind’s seminal ‘The Watcher’, but having an intro that brings to mind Black Sabbath’s 1970 smash ‘Paranoid’.The album ends with undoubtedly the gentlest song of Lemmy’s career, the rather lovely ‘Yesterlove’, which has Lemmy’s vocal floating gently over a backing of tabla and acoustic guitar.Sadly, despite apparently having all the ingredients in place for success, this incarnation of ‘Sam Gopal’ proved to be no longer-lived than ‘Sam Gopal’s Dream’, and broke up not long after the release of this album