Timmy Regisford - 7PM

dance to my feet

Available now via itunes - http://geni.us/BBEStaffSel14
or direct from us at www.bbemusic.com

So, 2014 is nearly done and once again, the releases came at such a rate  that we’ve barely had time to draw breath, let alone sit back and congratulate ourselves on another year of putting out Real Music For Real People…
That’s why we enjoy this little tradition of posting the annual ‘staff picks’ from our own catalogue… it forces us to sit back, relax and start playing through some of that incredible music that we’ve released into a harsh world in the last year. 
Don’t think it’s easy … Team BBE can be riven with hissy-fits and sulkiness for a couple of days as personal favourites are out-voted, over-ruled or ruled out over technicalities  (e.g. the member of staff who insisted on having every track from the weird and wonderful  Strange Breaks and Mister Thing III). But the collective process usually ends in a group hug and a nice warm glow once we playback the final selection. 
It’s impossible to let the occasion pass without mentioning some of the ones that got away, though. Despite the plethora of new artists we’ve put out over the past few years we’re probably still best-known for our compilations, instantly  recognizable both visually and aurally, and this year saw no let- up in either quantity or quality. As well as the aforementioned Strange Breaks and Mister Thing III, which won plaudits from the most seasoned vinyl junkies for its educative and entertaining qualities, we had Sean P’s personal trip down memory lane to an old-school that few of today’s hip-hop generation even knew existed, Rock It Don’t Stop It. We also had Kev Beadle’s dig around the private press archives for lost jazz classics, resulting in his Private Collection, and the fourth …yes, fourth!.. instalment of Keb Darge and Little Edith’s Legendary Wild Rockers, raw rockabilly from one of our longest-serving and most illustrious of collaborators. 
Having seen a lot of reissues done very badly, 2014 was the year we stepped up the game with our Masters We Love series. Lavishly packaged and remastered from the original sources, we’ve been able to put legendary albums previously known only to hard-core collectors back into wider circulation. Nana Love, Crystal Winds, Hal Bradbury,  Janet Lawson, The Craig Peyton Group were some of the artists in this series who benefited from this exposure but inexplicably didn’t make the cut for our year end round-up … Band X and Dan Mastroianni are two more who did. We also put out the legendary Lost Album from Iron Curtain synth-meisters Rodion G.A. 
So what of those new artists? For every one that scraped on this seasonal bonanza, there were a couple more that didn’t … so a big shout-out to Lady Daisey, Morgan featuring Jo Sims, Very Tall Stories,Loretta Heywood, Hempolics,  The Grits, Algebra Blessett, Yesking, Duct Tape, Time For T, and DJ Oil, who between them represent just about every kind of credible underground music-making going on right now. 
As for those represented on this excursion, there’s no lack of diversity there, either.  Old friends like Shawn Lee, DJ Vadim and Mr.Bird jostle for attention alongside Slakah the Beatchild, Anchorsong,, Tricky D, The Excelsiors, Larry Achiampong, True Ingredients, Megajawns, Vaitea and More Like Trees. From the dopest dubbed out downtempo headnodders to the most progressive of up-tempo left-field dance, taking in the flavours of Africa, the Caribbean and the East along the way. 2014 was one helluva ride … hope you enjoy this brief trip back through it alongside. 


Mawa EP

Mantra

Anchorsong - Mantra

Buy / Stream: https://BBEmusic.lnk.to/RightOn
Featuring instantly appealing vocals by London duo HanLei, 'Right On' is a soulful, percussive, afro-tinged house gem, seamlessly blending smooth, jazzy keys with subtle 90s arpeggios and acid bass- lines. The third single taken from Kiko Navarro's acclaimed new album 'Everything Happens For A Reason, 'Right On' is one of those rare tracks that feels equally suited to a nightclub, bar or beach setting. Kiko's floaty 'Vocal Dub' will appeal to deep house heads, while his 'Raw Dub' takes the track into late night territory with its addictive and straightforward acid groove.
Swiss DJ and Defected Music stalwart Dario D'Attis, fresh from his Traxsource chart topping success of 2016, turns in an elegant, Chicago-influenced remix: insistent, sensual and ready for the dance- floor. His instrumental version takes things deeper still revealing a hypnotic, stripped down track it's all too easy to lose yourself in.
Steadfast torch-carrier for the true sound of House music, Kiko Navarro has been DJing and producing for over two decades. A much-loved figure across the Balearic Islands, Kiko's regular sets at Pacha Ibiza opened the doors for gigs all over the planet, returning home to maintain his residency at Pacha Mallorca since its new opening in 2013.

Kiko Navarro - Right On feat. HanLei (Dario D'Attis Remix)

Buy on 7" vinyl or digital formats: https://bbemusic.lnk.to/BrighterDays

BBE are excited to present the first in a new series of strictly limited 7” pressings exploring some of the most iconic House tracks of all time, as chosen by DJ Spinna and Kai Alce. With global interest in ‘45s on the rise, ‘Foundations’ aims to fill those frustrating gaps in all our collections by releasing specially crafted edits of classic house tracks on 7” vinyl for the very first time.

Part one of the ‘Foundations’ series celebrates Chicago producer Cajmere’s early masterpiece ‘Brighter Days’ featuring Dajae. Best known in recent years by his ‘Green Velvet’ moniker, Curtis Jones has been blazing a trail through House and Techno since launching his Cajual imprint back in ’91. Reaching #2 on Billboard’s dance chart in 1992, ‘Brighter Days’ was Cajmere’s breakthrough hit and continues to educate and inspire producers, DJs and dancers to this day.

With artwork lovingly adapted from the original 12”, the record’s ‘North Side’ features a deft Kai Alce edit of the monstrous 10 minute Masters At Work ‘Brighter Days’ remix. Introducing those distinctive skipping, syncopated rhythms later adopted by UK Garage pioneers, Louie’s MAW mix has lost none of its dance-floor impact over the last 25 years. Lurking on the ‘South Side’ you can find the raw, potent ‘Underground Goodies Mix’, a production credited by Rashad and other pioneers as the catalyst for Chicago’s ‘footwork’ movement.

Cajmere feat. Dajae - Brighter Days - Masters At Work Mix (Kai Alce's Edit)

Buy on 12" vinyl: https://www.bbemusic.com/downloads/jamie-326-presents-taste-chicago-sampler/
Announcing his forthcoming BBE compilation ‘A Taste of Chicago’, edit kingpin and DJ par excellence Jamie 3:26 drops a 12” comprising two of his most highly prized cuts.
At the top of many a vinyl digger’s wish-list since its highly limited white label release in 2010, the Jamie 3:26 edit of Calendar’s 1977 disco stepper ‘Comin’ On Strong’ has become the stuff of legend, played to devastating effect by Theo Parrish among others over recent years.
On the flip, Jamie 3:26 heads into classic Chicago House territory with a fiery reworking of impossible-to-find Braxton Holmes banger ‘Stomps & Shouts’, taken from his mythical ‘Cabrini-Greens and Cornbread’ project.
A scintillating teaser of what’s to come later this year when BBE release ‘Taste Of Chicago’, a full album’s worth of Jamie’s incredible edits, this 12” is surely a must have for House and Disco players the world over.

Braxton Holmes presents Cabrini- Greens and Cornbread – Stomps & Shouts (Jamie 3:26 Edit)

We at Quantize are ecstatic to finally release this power-packed album from the one and only Timmy Regisford! Already jam-packed with chart busters such as “7PM”, “Budea”, “World”, “Falling In Love”, “1000 Roses”, and “Mia Journey”, this album includes 12 brand new tracks. Merging beautiful songs with Afro house rhythms, we know you will enjoy the organic energy that has singularly made Timmy’s sound and productions unrivaled. Featuring the vocal talents of Tiger Wilson, Felicia Graham, and Arnold Jarvis, 7PM will surely be added to playlist, charts, and listening devices around the world!

01. Timmy Regisford_FALLING IN LOVE_Tiger Wilson

02. Timmy Regisford_SMILE_ft. Felicia Graham

03. Timmy Regisford_MIA JOURNEY

04. Timmy Regisford_7PM VOC TIM MIX

05.Timmy Regisford_LIE TO ME_ft Arnold Jarvis

09. Timmy Regisford_World

The record label Muggsy is not related to Muggsy Spanier, the legendary jazz
cornettist. Nor is it connected to the tiny terror of the NBA, Muggsy Bogues.
Neither, for that matter, is it linked to Cypress Hill DJ and producer DJ Muggs.
Nope. It is, however, entirely related to the Brooklyn house firmament, Henry
Street.
The man behind Henry Street is Johnny De Mairo, known among New York
industry heads simply as Johnny D; ergo he is also the chap responsible for
Muggsy, which is why we are here.
For those of you who are not familiar with the oeuvre of Johnny D – and where
ya been if not? – let’s step to one side for the moment and run through the CV.
Born and bred in Brooklyn (and proud of that fact), Johnny D has been a DJ,
record and autograph collector from the moment he had some spare cash. He
got his first break in the music industry working for Vince Pellegrino’s S.I.N.,
before moving on to work for Atlantic Records, with whom he was associated for
many years. 
Among the many projects he’s been involved with there (and there
really are too many to mention) were the Bucketheads, with his longtime friend
and associate Kenny ‘Dope’ Gonzalez, the remix for Tori Amos’ ‘Professional
Widow’ which wound up at number one in the UK pop charts, and the remix and
campaign for Everything But The Girl’s ‘Missing’, which he took from indie nohopers
to the upper echelons of the Billboard Hot 100. “Johnny D spotted the
potential of this record early,” writes Tracey Thorn of ‘Missing’ in Disco Bedsit
Queen, “and refused to give up on it long after it might have seemed reasonable
to admit defeat. He made us realize that the song was taking off in a big way.”
As well as his major label manoeuvres, Johnny also had his ear to the ground at
street level. He first launched Henry Street in 1993, followed a few years later by
Muggsy. “I was looking at the house market and thinking a lot of the labels were
hitting a wall. I felt as a record fan and a collector, I wasn’t interested in a lot of
the shit that was out. I’d go to Vinylmania and around and I wasn’t interested.
I’d find myself tilting towards imports and I thought, you know, ‘I know how to
make records, I should start my own label’. Masters at Work was just starting
to kill things and Wednesday was their night at Sound Factory Bar night, which
is where we all were. One night, I said to Tommy Musto, who was one of my
close friends, I was thinking about doing a label. He said, “Well listen, I got all my
distribution through Northcott, if you wanna do it, we’ll do all the pressing and
distribution and you do the A&R.”
Henry Street became known for a sound deeply rooted in the disco that Johnny
De Mairo loves and collects while still taking care of dancefloor business. 
Muggsy was his chance to branch out into other areas. “After years of Henry Street music being predominantly a soulful house label, I wanted to have another outlet to
release different types of records,” recalls Johnny. “Initially, I had intended for
Muggsy to be the harder more ‘tribal-type’ label and keep the soulful stuff for
Henry Street. So when Chris ‘TKC’ Staropoli came to me with ‘Back Jack’ I figured
that was the best time for Muggsy to begin as it was a bit tribal but, more than
that, pushed the envelope a bit more than my regular releases on Henry Street.”
With a collection of like-minds gathered around the De Mairo table recording
for the label, some of them New York cohorts (Kenny Dope, Brutal Bill), with
Chicago’s Ralphi Rosario, Robbie Rivera from Puerto Rico and Miami’s Mike ‘Da
Mooch’ Mucci, Muggsy released a string of tracks that ploughed a different
furrow to big daddy Henry Street. But the Muggsy groove still retained the
sample-based ethos (and disco roots) of its proprietor Johnny D (who also found
time to released tracks under the Sopranos pseudonym with studio partner
Nicky Palermo).
“After Chris’s TKC, I was getting some tracks that were more in the pop/rock
category than the soulful/black style that pretty much was the Henry
Street Music sound,” remembers Johnny. “So Muggsy went from initially a harder
sound, to more of a rocky feel added to the tribal sound. But it still had its own
sound and the roster was a good extension of Henry Street Music in the way that
the name and brand power was there with artists like Brutal Bill, Kenny Dope
and others.”
The Muggsy Story is a document of a special time in New York history, before the
gentrification of New York made party-throwing a guerilla activity, rather than
the core of its musical soul. Muggsy, we salute you.



09. Timmy Regisford_World

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