YEEEAAAAA YAH!!..Suntan1 NY SEZ:....IT MUST B...DAH "HOLY GHOST"...!! hollah @Sloppy Seconds...EARTH DATE: 5.13.2021 2:21 PM....

I would love to get a copy of this... Awesomeness!

Speakers now dirty from excessive funk! Special Disco Remix

B.T Express - Do It Till You're Satisfied(Soul Fool Edit)

ANOTHER SURE SHOT. MIXED BY BOSQ. FROM THE ARCHIVES.... AN OLDIE BUT A GOODIE.

SLAVE ~ KONS WATCHING YOU

BT Express - Express Choo-Choo (Ron Bachardy's Ex-Tended)

This is one of my all time favourite party jams... guaranteed dancefloor fodder for any occasion. Putting the Ffun back in the Ffunk!!! Shouts out to the Tido and the Boz Boz

Con Funk Shun "Ffun" (SoulProvider Refunktification)

A boogie beast from 1982, salted & spiced

do you always keep lingerie in the glove compartment..?

The Walk (Ladyfriend edition)

Captain Rapp ‘Bad Times (I Can’t Stand It)’ (greg wilson edit)

120 bpm

Previously limited vinyl only 2009.

With all the talk of recession during late 2008 through 2009, Captain Rapp’s ‘Bad Times’ kept running through my head, prompting the idea to put together this edit, which would be pressed  to limited vinyl as part of the Ruff Edits series, appearing as ‘Ruff Rapp’ on Ruff Edits #3. Now, with the news reporters back to warning us of a rocky road ahead, with all the social problems this might entail, it provides a topical opportunity to share it here.

Taking its lyrical cue from 1982’s seminal recording, ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Bad Times (I Can’t Stand It)’ was a socially conscious rap that explored the issues of the day, topped off with the raw pleas of singer Kimberley Ball. Just as important though was the killer Electro-Funk groove that set the more discerning of dancefloors alight. A proper underground tune that was huge for me during the latter part of ’83 , topping my floorfillers list not long before I called time on my DJ career:
http://www.electrofunkroots.co.uk/lists/no1_floorfillers.html

This was very much a track you’d only hear if you were tuned into what was going on in the black clubs over here. Like the majority of tracks I played, I’d picked it up on import from Spin Inn, the essential shop in the North for Soul, Funk, Disco, Electro-Funk and Jazz (the elements that made up a specialist night circa ‘83). As I've said before, if you didn't buy your records at an import stockist like Spin Inn, you couldn't seriously aspire to be a black music specialist, and Spin Inn was right up there, along with an elite of shops, like Groove and City Sounds in London, shaping the course of UK club culture via the constant stream of dance music, great, good and not so good, they brought into this country.

Whereas New York was the centre of the dance universe at this time, its hybrid groove and technological experimentation pushing the music ever forward, ‘Bad Times’ was a West Coast, not East Coast  track, released on a small label out of Los Angeles called Saturn, with unknowns, Jimmy Jam and Terry Lewis (along with Rich Cason), credited as arranging and performing (Jam & Lewis would, of course, become the most successful dance / R&B producers of the mid-late 80’s). Captain Rapp himself was Larry Earl Glenn, whose 1981 ‘Gigalo Rapp’ (by Disco Daddy & Captain Rapp) has its place in history as the first West Coast Rap 12”. 

‘Bad Times’ would be issued in the UK on the Becket label, but failed to make any real impact beyond the black scene. As such, it’s always retained its underground credentials, and a place in the hearts of black music enthusiasts with a fond ear for the early 80’s. 

Greg Wilson – October 2011

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

Captain Rapp 'Bad Times (I Can't Stand It)' (greg wilson edit)

http://www.soundcloud.com/scratchabit and I thought it was indeed Party Time and set about editing Mr Blow's fine track. 

Bigger drums and Squelchy bass line for a fuller feel. Available to download at http://www.soundcloud.com/scratchabit ’s facebook  page  http://www.facebook.com/scratchabit and my facebook page http://www.facebook.com/TheBreakbeatJunkie

the track can be downloaded by liking either of the pages.

Kurtis Blow - Party Time (The Breakbeat Junkie vs DJP Edit) - FREE DOWNLOAD!

Dusted off the ol' "Holy Ghost" edit and tightened/cleaned it up.  If the dl's get maxed just hit me up in the comments or send me a PM, and I'll sort you out.  

Bar Kays "Holy Ghost" Sloppy Seconds  Re Edit Refurbished

Rose Royce - Do Your Dance (butterfunk's extended edit)

Brass Construction was an American funk group formed in Brooklyn, New York in 1968. They were originally known as Dynamic Soul,[1] and went on to record a string of hit singles and albums through to 1985.
FOR PROMOTIONAL USE ONLY..NOT FOR RESALE...

BRASS CONSTRUCTION MOVIN CHOCI ROC FURY EDIT

Promo Snipptes M+M v3 (these are heavily edited versions)

“The original process of 're-mixing records' was intended to provide an alternative listening experience which had been optimized for people who went out to dance at Discos. John was one of the early pioneers who loved music, understood his craft and HAD RESPECT FOR THE CREATIVE WORK from which his mixes were derived” 

Patrick Adams – Super Producer. Writer of more than 30 Gold and Platinum records and back to back winner of ASCAP Songwriter of the year award 1996/1997

 This compilation is John Morales’ third for BBE. Few can match his contributions to the world of Dance Music be it soul, funk, disco, to today’s house music.

John Morales is considered one of the true legends of the mix. And his work some thirty years later continues to be cutting edge and inspiring. His epic mix of Universal Robot Bands boogie anthem “Barely Breakin Even”  is the source from which BBE Records got its name.

No attempt has ever been made to summarise the pinnacle of Johns work. This third release on BBE continues that history lesson that John has forged in dance music. He formed The M+M Mix with his late partner Sergio Munzibai, in 1982 till 1990 whose output of over 650 mixes will be unmatched today. John continues The M+M legacy.

From the Rolling Stones to Gloria Estefan, The Temptations, Barry White, Marvin Gaye, James Brown, Hall & Oates, Teena Marie, Aretha Franklin to BBE – we have all been molded by Johns everlasting mix influence, love for his work and his Music..  This superb triple CD presents some of John's finest works, and takes the M+M Mix legacy to yet a higher level. CD1 & 2 feature some of the greatest tracks of all time from the Start of CD 1 and Barry White’s “Never, Never Gonna Give You Up” , to the classic rework of Marvin Gaye’s “I Want You”  which closes out CD2, there are no sleepers here. CD3 also features some of the best from the vaults of the Salsoul and West End labels, anthems like Loleatta Holloway’s – “Hit & Run” to legendary Paradise Garage favorite Loose Joints “Is It All Over My Face?”. 

 This is the legacy of the M+M mixes.


      

John Morales
If you grew up in the ‘80s and had even the smallest of passing interest in music, particularly club music, chances are you were very familiar, albeit unwittingly, with the work of John Morales. On the radio, in the record racks and most importantly on the dance floor John’s work (predominantly with studio partner Sergio Munzibai) helped define an era and influence future generations of DJs, producers and artists. 

Born into a hard working Puerto Rican household in the Bronx, New York, at the start of the rock ‘n’ roll era, Morales, like many children of the period was fascinated by this new art-form that was saturating the airwaves and upsetting parents everywhere. So in love with the music he heard, as a 12-year old he persuaded his local record store to give him a part-time job with payment not in dollars, but in 45s. By the time he was old enough to get a full-time job his burgeoning record collection had helped land him one of his first DJ gigs at the influential Stardust Ballroom in the Bronx (his father had earlier owned a bar in Jersey City where John had first got the DJ bug). As his reputation grew Morales was invited downtown to Manhattan to play guest spots at the likes of Pippins, Bentleys, 1018, Limelight and the infamous Studio 54. 

Like many DJs of the ‘70s John ventured into the studio more through need than necessity: “I started to make medleys and remixes because the records in those days were too short, most in the 3 minute range, and being a DJ I needed to get more out of the records I was spinning. I first started to do my edits using the pause button on a Teac Cassette Deck. After many hours of self education I graduated and I purchased a Sony _” reel-to-reel and learned to edit. It was hard work and long hours editing and putting all the little pieces of tape together and making something creative happen. Reflecting now, I realize how important it was to what I would later do. It taught me a lot about what I wanted to do and how to do it, so that by the time I got in a real studio I was virtually a whiz at editing tape much to the amazement of some of the engineers I worked with.” 

His now infamous ‘Deadly Medleys’ and ‘Sunshine Acetate Medleys’ brought him to the attention of New York disco producers Greg Carmichael and Patrick Adams who were impressed by the hunger and desire of the self-taught engineer. “My first credited mix was Inner Life’s ‘Caught Up (In A One Night Love Affair)’, even though I had worked on a few other records before that, but I hadn’t been credited, for acts like the Universal Robot Band and Musique’s ‘In The Bush’.

A meeting at New York’s influential WBLS radio station, where Cuban-born Sergio Munzibai worked as musical director alongside Frankie Crocker  would signal the next chapter in Morales’ career, and resulted in unquestionably the most  prolific remix partnership of the 1980s and 90’s with over 650 mixes  to their name. “We partnered in 1982, when we met at a New York studio called Blank Tapes where I had worked for many years with Bob Blank. Sergio and John’s first record together was Mikki’s ‘Itching For Love’. After that we united and did all our mixes together and the M&M moniker was born.”

Discovering an instant rapport and musical appreciation it translated well into the recording studio where the M&M stamp became synonymous with almost every major dance release of the era. In fact it wasn’t uncommon for the duo to remix upwards of 10 records in any given month. Alongside cult and groundbreaking records for the Fantastic Aleems (‘Get Down Friday Night’), Class Action (‘Weekend’), and of course Jocelyn Brown (‘Somebody Else’s Guy’) they refashioned certified pop smashes for DeBarge (‘Rhythm Of The Night’), Harold Faltermeyer (‘Alex F’), Shakatak (‘Down On The Street’), Miami Sound Machine (‘Dr Beat’), the Temptations (‘Treat Her Like A Lady’) and hundreds more in an eight year period that saw them almost an ever present on the Billboard Dance, R&B or Hot 100 pop charts. Tina Turner, the Rolling Stones, Spandau Ballet, Aretha Franklin, Shalamar, Hall & Oates, Dan Hartman, Candi Staton, Melba Moore, Rose Royce, Billy Ocean, Debbie Gibson, Odyssey, the Commodores and even Peter Schilling and Rod Stewart, in fact just about every major artist of the day was in some way retouched by the hands of Morales & Munzibai. 

“We worked together till around 1988,” John recalls. His solo production projects in the ‘90s included such acts as Debbie Gibson, Brenda K Starr, Denise Lopez, The Thompson Twins, Blow Monkeys, Five Star and Art Of Noise. “Sergio unfortunately passed away in 1991. He was a wonderful person full of life that loved music and was a great people person. Anyone who knew him loved him, and I’m sure wherever he is he’s listening to music.”


Bar Kays "Holy Ghost" Sloppy Seconds Re Edit Refurbished

Sloppy Seconds

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THE SUNTAN SUPERMAN

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