Name: Ethel Beatty - I Know You Care (DannyBlue Edit) by DannyBlue in disco classics.
Duration: 6 min 10 s
Description: Reconstructed the groove, rearranged, reduced the chorus, and added some tension and vocal effects.

i LOVE THIS TRACK WOULD THERE BE ANY CHANCE OF GETTING A WAV PLEASE ?

disco classics.

Re-edition of one of the greatest classics of the "Father of Brazilian Soul Music".
Tim Maia (stage name of Sebastião Rodrigues Maia, Rio de Janeiro, September 28, 1942 - Niterói, March 15, 1998) was a singer, composer, producer, conductor, multi - instrumentalist and Brazilian businessman, responsible for introducing the style soul in Brazilian popular music and is recognized worldwide as one of the biggest music icons in Brazil. Their songs were marked by the hoarseness of his voice, always serious and loaded, winning and best-selling devoting many successes. Born and raised in the city of Rio de Janeiro, where in his childhood, had contact with people who would be great singers like Jorge Ben Jor and Erasmo Carlos. In 1957, he founded the group The Sputniks, where he sang along with Roberto Carlos. In 1959 he emigrated to the United States, where he had his first contacts with the soul, been arrested and deported for theft and drug possession. In 1970, he recorded his first album, titled Tim Maia, who quickly became a success across the country with songs like " Blue Color of the Sea " and " Spring".
Within three years, released several albums homonyms, making success with songs like "I Do not Want Money " and " I wish both of you". From 1975 to 1977, joined the religious - philosophical doctrine known as Rational Culture, launching this period, the songs " What a Beauty " and " Rhodesia ". The decadence of his songs influenced by this philosophical school, became disillusioned with the doctrine and returned to his previous style of music, releasing hits like " Discoverer Seven Seas " and " Give Me Reason ". Many of his songs were recorded under the label and publisher Seroma Victoria Regia disks, being one of the first independent artists from Brazil. Earned the nickname " the liquidator Brazil " his friend Jorge Ben Jor song in W / Brazil. In the 1990s, several problems have plagued the singer's life: problems with Globo and poor health due to constant use of illicit drugs and to increase their degree of obesity. Unable to conduct a performance at the Teatro Municipal de Niterói, left in an ambulance , and after two cardiac arrest, died on March 15, 1998. It is his legacy to the broader history of Brazilian music, and his work came to influence many artists, as his nephew Ed Motta [citation needed]. Rolling Stone magazine ranked Tim Maia as the greatest Brazilian singer of all time, and also as the 9th greatest artist of Brazilian music. 
https://wikipedia.org

<a href='https://theartistunion.com/tracks/64088a'>Download for free on The Artist Union</a>

Tim Maia - Sossego (Rafael Cancian Re-Edit)

Otis - Time For Peace

listen 2 me

living 

"now the good things"

on the train rn hmu 🫀🫁🧠🤰🏽🤱🏾

JKD Band - Africa (DannyBlue Edit)

Accompanying blog post: http://www.gregwilson.co.uk/2014/03/greg-wilson-versions-2005-2013/

Discogs: http://www.discogs.com/Cisco-Cisco-Higher-Brothers-In-Arms/release/3018446

Check out my label's music at: https://superweirdsubstance.bandcamp.com

Cisco Cisco 'Higher' (greg wilson version 2011)

With over five decades of success and influence, Vincent Montana Jr., Producer, Arranger, Composer, Conductor and renowned Vibraharpist, continues to be a vital force in music today. With countless gold and platinum awards to his name, his contribution and dedication to the music industry has inspired and profoundly affected many producers, DJs, artists, musicians, listeners and dancers alike. 

Among the numerous credits to his name, Montana is most recognized for his integral role in both the development of 'The Philadelphia Sound' as key MFSB rhythm section member and established studio musician for Philadelphia International Records as well as dance pioneer of the 'Disco Era' as the creative and driving force behind the legendary Salsoul Orchestra. Further contributions include his remarkable productions with The Montana Orchestra and Goody Goody (Atlantic Records) and particularly, the signature club classics on his own “Philly Sound Works” label.

Given the era in which these recordings were made, the music of Vincent Montana, Jr. was produced with a futuristic perspective; this is evident due to the fact that his grooves and riffs are still being sampled and utilized to this day. The staying power of his enduring career is certainly because of his exceptional good taste and diversified talent, but also is the fact that although he is firmly rooted in traditional instruments and ways, he has managed to embrace newer styles and to use technology to his advantage.

Even now Montana continues to make his mark on the industry, whether directly through his efforts with today's most prominent artists and producers - Dimitri From Paris: "The Way You Love Me", Masters At Work: “Nuyorican Soul”, “The Boss”, “Always There”, David Morales: Pet Shop Boys “New York City Boy” or indirectly via sampling of his catalogue - DJ Spiller: “Groovejet-If This Ain’t Love”, Mariah Carey: “O.O.C.–Out Of Control” and the latest sample, Estelle Ft. Rick Ross: “Break My Heart”. Both the man and his music show no signs of slowing down. He returns once again with his latest projects complete with lush strings, distinct arrangements, cool vibes and all the added touches, quality, musicianship and originality expected of a “Montana Production”. 

Now That's The Philly Sound!!

<a href='https://theartistunion.com/tracks/075a34'>Download for free on The Artist Union</a>

Vincent Montana Jr. - It Looks Like Love (Rafae Cancian Re-Edit)

Reconstructed the groove, rearranged, reduced the chorus, and added some tension and vocal effects.

Ethel Beatty - I Know You Care (DannyBlue Edit)

DJ Harvey - Essential Mix  (December 1999)

"I love The Expansions their futuristic leanings inject new life into the form. Fresh material!" Ian Merchant (Black Acre)

“Exudes all the qualities I cherish most in music, warmth, integrity and a dedication to the groove… it’s a hard road to travel when you step in the footprints of giants, The Expansions are treading that path with ease and assurance.” Patrick Forge
=========
When The Expansions self released their first single in 2013, the laid-back jazz funk of Lavender, it quickly gained strong support from soul and rare-groove aficionados including Kenny Dope, Dom Servini, Patrick Forge and Andy Smith. A run of shows followed and before long, when someone was asking if there was a soul-jazz band around to play with, “The Expansions” was the answer. 

Although this popularity meant a hiatus in releasing music, the band have been constantly busy, playing around Europe with legendary British-Ghanaian soul singer, Andrew Ashong and the exceptional, upcoming talent Connie Constance. 

But always, The Expansions has remained a central focus and the true home of these four jazz and soul lovers, with occasional trips out to the country to form ideas and practice new music for the eventual album. 

Murmuration, recorded over three days at Big Noise in Southend, is constructed of single takes, with minimal overdubs, as the band attempt to capture the feeling and energy they create live. 

Debut single Breakthrough introduced the insanely catchy but deeply soulful blend of synths and groove, but here on the album that is explored to the fullest with longer breakdowns and more expansive, experimental solos. Pocket 5 displays the, possibly unexpected, influences of broken beat and almost combative rhythm playing – particularly in the complex guitar and keys breakdown where Koor and O’Keefe layer conflicting time signatures and battle to ride it out to the heavy drum return. 

Cannonball brings warm mellowness that delicately evolves through beats, touching on bossas alongside their fundamental hip-hop sensibilities. But even here there is a raucous zenith before the band sublimely recede into the silence of the a-side ending. 

Colossal album highlight Ivory Mountain is truly an epic. Evoking moments of 4Hero, there is a lightness of groove in the first half of this soulful exploration. But at the halfway point, all restraint is let go as a live string section joins the four quarters of the band for three glorious minutes of soulful disco. Evoking sounds of Quincy Jones, George Benson and Johnny Hammond, all the way through to a beautifully cacophonous finale. 

Dragonfly undoubtedly reflects on the work of Herbie Hancock and is the most direct throwback to the band’s earlier work, which is a welcome marker of how far they have come. A quintessential jazz funker. 

The album closes with the thoughtful and introverted shuffle of Miles Away. In the final eight minutes of Murmuration, The Expansions allow space and time to take precedence, with once-more-restrained peaks and developments. It becomes clear though, that the band cannot resist one last explosive finale, as they rise with screeching synths, strings and dubs for a perfect race to the finish line. 

You can hear the influences of Idris Muhammad, Grover Washington, even parallels with South London peers Yussef Kamaal and Ruby Rushton. But The Expansions have tirelessly worked to create a sound of their own and are very proud, along with label Albert’s Favourites, to finally share it.

Cannonball (Murmuration Preview)

The Expansions - Cannonball (Radio Edit)

Moodymann- It's 2 Late 4 U And Me ( Octave Edit )

minako yoshida / Let's do it (KGO&Diskofreaks EDIT)

Dance in the moonlight

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.
But before they became Azymuth, Jose Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil.

Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward.Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.
When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).

Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Vinyl / CD / Digi

Azymuth - Juntos Mais Uma Vez

A dj-friendly re-edit of the 1978 disco track. Less cheese, more beats.


Gary's Gang - Keep On Dancing (DJ August Re-edit)

Artist: @london-modular-alliance
Title: Stray EP
Label: Cultivated Electronics Ltd
Catalogue No: CELTD04
Format: Vinyl
Released: 1 February 2021

Track Listing:
A1. Stray
A2. Bitter Taste
B1. More Than a Number
B2. More Than a Number (Sync 24 Remix)

London Modular Alliance make their CE debut with the ‘Stray EP’ for Cultivated Electronics Ltd (CE’s vinyl-only sister label) in February.

London Modular Alliance is a collective that lies somewhere between a shop and a cult.  From their base in the former industrial warehouses of Hackney Wick, London Modular have been designing their own cases, working out practical ways of chaining multiple synths for live performance, selling units from their shop front, and taking themselves on the road to run workshops and gigs.  From the lazer-lit confines of sweaty clubs to the hushed environs of Tate Britain and the V&A, they fill spaces with the whoosh and sweep of man co-operating with machine, bringing the dynamics of dance music to the ideals of modular synthesis, and forcing anyone with ears to acknowledge the potency of the format once more.  With them, the sound of the future has returned.

The EP includes three intricately crafted modular Electro tracks from LMA, featuring soaring melodies and dappled beats that manage to extract depth and soul out of machines, alongside a punchy remix by Sync 24 that delivers a tough metallic groove to close the release.

Pre-order through Clone: 
Or CE’s Bandcamp page: https://cultivatedelectronics.bandcamp.com

Ethel Beatty - I Know You Care (DannyBlue Edit)

DannyBlue

Recent comments

MickLeto

N3t4

N3t4

j.groove

Related tracks