Used vinyl records at HHV

LP | 2023 | EU (No Kidding)

Release: 1995 / US – Original

Genre: Hip Hop, Soundtracks

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Used Vinyl

Medium: VG, Cover: VG+

• in almost VG+ condition

The 12-inch single “The Riddler” by Method Man was released as a contribution to the soundtrack for the movie Batman Forever and brings together the album version as well as the Hide-Out Remix by RZA and the corresponding instrumental versions. The 1995 release came out on Atlantic and was issued both as a single and in accompanying promo formats; the track was at the same time part of the official soundtrack compilation.

Musically, “The Riddler” shows characteristic traits of East Coast hip-hop in the Wu-Tang school: a dark, tightly arranged, stripped-down production with cinematic accents, plus Method Man’s distinctive, storytelling voice, which takes up the riddle motif of the title character. Producer RZA shapes the arrangements with distinctive loops and orchestral stabs, allowing the single to stand apart clearly from the mainstream of the time. Method Man, known as a key member of the Wu-Tang Clan and for his solo album “Tical,” brings his characteristic mix of gritty word choice and melodic phrasing; the accompanying video tied the song to footage from the film.

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King Crimson

BBC 1969

$ 20.02*

Sunset (Bird Of Prey) / Star 69

Release: 2023 / EU

Genre: Rock & Indie

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

• Plastic sleeve with OBI strip
• Gold-colored vinyl

The LP "BBC 1969" by King Crimson, released on No Kidding, brings together early radio recordings by the band from 1969 and offers four concise tracks — "21st Century Schizoid Man," "In the Court of the Crimson King," "Get Thy Bearings," and "Epitaph" — that shift between a live take on the material and the studio versions; the vinyl has been listed by retailers as a colored vinyl edition.

Musically, the collection showcases the characteristic Mark I sound: fragmented guitar lines, expansive Mellotron textures, jazzy horn parts, and variably accented rhythms, all carried by Greg Lake’s voice and Peter Sinfield’s dense imagery. The arrangements focus on dynamic contrasts and improvisational peaks, allowing the pieces to document both the progressive compositional ambition and the unrestrained energy of the early performances.

The tracks originate from BBC sessions recorded in May and August 1969; alongside core members Robert Fripp, Ian McDonald, Greg Lake, Michael Giles, and Peter Sinfield, the record presents early versions of well-known album cuts as well as a rock-oriented take on Donovan’s "Get Thy Bearings," underscoring the historical value of this pressing for collectors and connoisseurs.

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Fatboy Slim

12" | 2000 | UK | Original (Skint)

Big In Japan (Extended Remix)

Release: 2000 / UK – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG

• almost in VG+ condition
• vinyl shows some hairline marks
• cover shows the beginning of a seam split and some creases

The 12" single "Sunset (Bird Of Prey) / Star 69" by Fatboy Slim was released on the Skint label and presents two contrasting facets of the producer: a more reflective, atmospheric side on the title track and a purist club track on the B‑side. Issued as part of the releases surrounding his third album, it is aimed equally at DJs and collectors.

"Sunset (Bird Of Prey)" builds on warm, ambient soundscapes, acoustic guitar patterns, and a prominent spoken‑word sample by Jim Morrison that gives the track a distinctive sense of melancholy. In contrast, "Star 69" is a driving house track built almost entirely around a recurring vocal loop — the distinctive key‑phrase arrangement is taken from Roland Clark’s "I Get Deep" and functions as a hypnotic DJ hook.

Norman Cook is credited as the producer of the tracks; his characteristic approach to samples, loop techniques, and clear arrangements here combines big beat aesthetics with contemporary club music. The 12" emphasizes the practice of track‑building for use in DJ sets while still retaining song‑oriented elements. For listeners, this offers a close look at Fatboy Slim’s production craft and his handling of distinctive sample sources.

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Alphaville

12" | 1984 | EU | Original (WEA)

Release: 1984 / EU – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG

The release "Big In Japan (Extended Remix)" by Alphaville, issued on 12-inch single, combines the extended version of the debut song with an extended instrumental version and was put out via the WEA label. The Extended Remix version runs 7:25, the Extended Instrumental version 6:10; producer and remix credits are listed on the single: produced by Orlando, remixed by Zeus B. Held.

Musically, the extended version remains committed to Alphaville’s synth-pop universe but leans more strongly into dancefloor-oriented arrangements: expanded drum programming, additional breaks, and texture-shaping effects extend the song structure compared with the album version. Zeus B. Held’s treatment emphasizes the rhythmic elements, adding deep bass lines and studio effects that transfer the song into an expanded sonic framework. The work on the 12-inch version showcases characteristic remix strategies of the early 1980s.

Alphaville, the German band centered around Marian Gold, achieved their breakthrough with "Big In Japan," anchoring the track as a key piece of the Forever Young era; the 12-inch pressing on WEA reflects the contemporary use of singles as a medium for extended versions and instrumental variants. The release documents both the band’s formative phase and the practice of preparing songs differently for clubs and radio platforms.

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The House Collection Volume 4

4LP | 1996 | UK | Original (Fantazia)

$ 29.37*

LP | 1987 | Original (Sire)

Release: 1996 / UK – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

The compilation "The House Collection Volume 4" by V.A. was released on the Fantazia label as a substantial 12" release and documents the club aesthetics of the mid-1990s. This edition was put together as two mix sets by Jeremy Healy and Allister Whitehead, which is the concept behind the series: DJ-driven selections designed both for club play and for collectors.

Musically, the compilation focuses on house in its then-current forms: propulsive grooves, distinctive remixes, and vocal-led club cuts alternate with instrumental electronic tracks. Across the series' compilations you find tracks and remixes by well-known acts of the era; names like Leftfield, Moby, The Prodigy, and Robert Miles are emblematic of the blend of progressive, vocal, and mainstream club sounds that shapes the selection.

The format takes the shape of a four-12" set with DJ-friendly cuts and remix-oriented versions that emphasize vinyl as a working tool for live sets. The compilation was released in the mid-1990s and is part of Fantazia's established "House Collection" series, giving it a documentary perspective on the club scene of the time.

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Madonna

You Can Dance

$ 9.34*

45 RPM | 1993 | DE | Original (Hansa)

Release: 1987 / Original

Genre: Electronic & Dance

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Used Vinyl

Medium: G+, Cover: VG

• Record shows light surface marks and hairlines
• Labeled DJ sticker and stamp on the label
• BPM sticker on the back of the sleeve
• Sticker with DJ name and BPM on the sleeve
• OBI missing

The LP "You Can Dance" by Madonna, released on Sire, is her first remix album and compiles reworked club versions of earlier hits, complemented by the only new track, "Spotlight." Released in November 1987, it presents the songs as extended dance versions clearly aimed at DJs and dance audiences; the collection was commercially successful and achieved strong sales worldwide.

Musically, "You Can Dance" draws from the repertoire of the early albums ("Madonna," "Like a Virgin," "True Blue") and emphasizes post‑disco and dance elements through extended beats, dub passages, and instrumental sections. The arrangements use lengthened intros and breaks, and the transitions are optimized for club play without sacrificing the melodic core of the originals. This selection documents Madonna’s connection to 1980s club culture and her approach to dance‑oriented pop music.

For the rendition, renowned remix and production teams were responsible: John "Jellybean" Benitez handled sequencing, additional production, and several remixes; Shep Pettibone contributed reworks; there are also contributions from Stephen Bray, Nile Rodgers, and Reggie Lucas, along with edits by The Latin Rascals and remix engineering by Andy Wallace. Such collaborations shape the sound of the LP and make "You Can Dance" a documentary snapshot of the remix practice of that era.

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Real McCoy

Another Night (Remix)

$ 18.69*

12" | 1989 | UK | Original (Fiction)

Release: 1993 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG

• Record shows surface marks and light hairlines that do not affect playback
• Limited edition
• DJ copy
• Writing on the label
• Sticker with DJ name and BPM on the cover

The 12" single "Another Night (Remix)" by Real McCoy brings together selected club remixes of the Eurodance hit and was released on the Hansa label. The release presents the track in alternate versions that rearrange the catchy chorus and give the original additional club appeal. The record includes, among others, the "Nightmare Mix," the "Ragga II House Mix," and the "Black Belt Mix," each placing a different emphasis on house and dancefloor elements.

Musically, the release stays true to the distinctive Eurodance sound: fast four-on-the-floor beats, synthetic hook lines, and shifts between sung melodies and rhythmically spoken parts define Real McCoy’s style. The original production is credited to the Freshline team, while the Berman Brothers are listed as producers for the remix selection, which underlines the focus on club mixes and radio-friendly versions.

The 12" edition is aimed equally at DJs and collectors who are looking for the different takes on the song: each version emphasizes different aspects of the composition, from rhythmic ragga inflections to expansive house arrangements. As a complement to the single and album releases, "Another Night (Remix)" documents the range with which Real McCoy adapted their pop hooks for the dance floor.

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The Cure

Lullaby

$ 46.74*

Slave To The Rhythm (Blooded) / Jones The Rhythm

Release: 1989 / UK – Original

Genre: Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: Generic

• Vinyl has a few light surface marks and faint hairline scratches
• DJ stamp on the label
• Promo copy sticker on the label

The 12" “Lullaby,” released on Fiction, gathers the single from the band’s Disintegration era and, on the UK edition, includes the extended remix of “Lullaby” as well as the B-sides “Babble” and “Out of Mind.” The recording was produced by Robert Smith together with Dave Allen; Mark Saunders was responsible for both the single version and the longer remix, which clearly identifies the release as a single-focused edition.

Musically, “Lullaby” combines dark soundscapes infused with string arrangements, a distinctive rhythm, and Robert Smith’s whispering vocals. The song incorporates elements of both gothic rock and dark wave, while the melodic writing and sparingly used synthesizers create a dense, atmospheric, almost cinematic mood. Lyrically, the track works with uncanny imagery and recurring lullaby motifs that leave room for multiple interpretations.

For the recording, the studio lineup featured Robert Smith (vocals, six-string bass, keyboards), Simon Gallup (bass), Porl Thompson (guitar), Roger O’Donnell (keyboards), and Boris Williams (drums/percussion); Lol Tolhurst is listed in the credits as “other instruments.” As the lead single taken from Disintegration, “Lullaby” is regarded as one of the band’s most successful chart singles and represents a key release in The Cure’s body of work.

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Grace Jones

12" | 1985 | EU | Original (Manhattan Island)

YUNGMORPHEUS & Theravada (THRVD)

Release: 1985 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

• Good copy
• almost in Near Mint condition
• cover shows the beginning of a seam split at the top of the spine

The 12" “Slave To The Rhythm (Blooded) / Jones The Rhythm” by Grace Jones was released on the Manhattan Island label and brings together key versions of the track from the concept album of the same name. The A-side features the extended “Blooded” version with a running time of about 8:26, while the B-side contains excerpts under the title “Jones The Rhythm.” This edition was conceived as a single release and is aimed at both DJs and collectors looking for the extended version.

Musically, the piece combines elements of R&B, art pop, and electronic production; the arrangements work with dense percussion layers, fractured horn lines, and choral sections, giving the track both orchestral and club-friendly qualities. The 12" version emphasizes the dynamic shifts of the original and provides longer passages in which rhythmic subtleties and production details can fully unfold.

Producer Trevor Horn was responsible for the production; the recordings feature contributions from, among others, Stephen Lipson, spoken-word material by Ian McShane, and ensembles such as the Ambrosian Singers, highlighting the theatrical side of Grace Jones’s presentation. The single documents a period in which Jones combined her distinctive voice and carefully staged persona with elaborate studio productions.

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Up Against The Wall; A Degree Of Lunacy

LP | 2022 | EU | Original (Bad Taste)

$ 33.38*

LP | 1982 | JP | Original (Capitol)

Release: 2022 / EU – Original

Genre: Hip Hop

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Used Vinyl

Medium: Sealed, Cover: VG+

• sealed copy
• slight damage at upper back (top spine)

The LP “Up Against The Wall; A Degree Of Lunacy,” released on the Bad Taste label, brings together the collaborative work of YUNGMORPHEUS & Theravada (THRVD) from 2022. The release presents ten compact tracks with a total running time of about 20 minutes and focuses on concise, tightly constructed arrangements that leave room for dense producer–vocal interactions. The record is clearly conceived as a collaboration: YUNGMORPHEUS provides the lyrics and vocal performances, while Theravada handles the productions and, together with YUNGMORPHEUS, is responsible for the arrangements.

Musically, the duo moves between alternative hip-hop and underground rap; the beats are characterized by raw, jagged samples and sparse drum patterns that circle around YUNGMORPHEUS’s rough, free-flowing delivery. Thematically, the lyrics draw on atmospheric imagery and laconic punchlines, so that short song formats and abrupt transitions are part of the concept. Guest appearances by Ahwlee and Starker introduce accentuating moments within the track sequence.

Key production credits for the LP are clearly documented: the producer is THERAVADA, the songs were written by YUNGMORPHEUS, and Zeroh handled the mastering; the artwork is by Okey Ofomata. The brief running time and stripped-down instrumentation make “Up Against The Wall; A Degree Of Lunacy” a focused work that clearly brings out the signature of both protagonists.

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Steve Miller Band

Abracadabra

$ 26.70*

12" | 1990 | US | Original (Columbia)

Release: 1982 / JP – Original

Genre: Rock & Indie, Pop

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Used Vinyl

Medium: VG+, Cover: VG+

Japanese pressing without OBI but with insert!

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George Michael

Freedom

Release: 1990 / US – Original

Genre: Electronic & Dance, Pop

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Used Vinyl

Medium: VG, Cover: VG

Carlos Santana & Buddy Miles

Carlos Santana & Buddy Miles! Live!

LP | 1972 | NL | Original (CBS)

$ 12.01*

Release: 1972 / NL – Original

Genre: Organic Grooves, Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG

LP | 1975 | EU | Reissue (CBS)

Herbie Hancock

Man-Child

$ 30.71*

2LP | 2022 | EU | Original (UMC)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Cover and vinyl are close to NM. EU reissue.

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Amy Winehouse

Live At Glastonbury 2007

$ 45.40*

Release: 2022 / EU – Original

Genre: Organic Grooves

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Used Vinyl

Medium: Sealed, Cover: Sealed

12" | 2023 | DE | Original (30D)

Yogg

They Want It All EP

LP | 1986 | US | Original (Capitol)

Release: 2023 / DE – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: Generic

The 12-inch EP "They Want It All EP" by Yogg is released on the 30D (ExoPlanets) label and brings together four tracks conceived as a clearly coherent unit: "The Try Out," "They Want It All," "Sometimes," and "To Whom It May Concern." The record is available both as a vinyl edition and in digital form, and over just under 24 minutes it offers dense arrangements featuring precisely placed pauses and finely crafted transitions.

Musically, Yogg operates at the intersection of experimental techno, broken beats, bass-oriented structures, and IDM; at times, traces of jungle and footwork aesthetics emerge. The tracks combine complex rhythms with finely tuned sound processing, with basslines and percussive elements driving the forward momentum. The result is a blend of club-ready moments and focused sonic exploration.

Behind the name Yogg is a project listed on Bandcamp whose releases are repeatedly associated with the 30D label; the EP was released in 2023 and underscores the label’s programmatic focus on exploratory, dance-oriented electronics. The 12-inch edition is aimed at listeners and DJs who value precision in rhythm and timbre, and documents a clear, distinctive approach within the current electronic scene.

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Skyy

From The Left Side

12" | 2024 | IT | Original (Mondo Groove)

Release: 1986 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

• nearly in VG+ condition
• US pressing

The LP "From The Left Side," released on Capitol, documents Skyy's move to a major label and condenses the recordings released in 1986 into a compact album format. The concept of the release combines danceable cuts with quieter moments, giving the album a balanced dramatic arc that accounts for both radio play and club appeal.

Musically, the project moves between funk, contemporary soul, and pop, with distinctive horn arrangements meeting synthetic textures. Skyy is characterized by sibling vocal harmonies and a rhythmic groove that links their disco‑rooted origins with mid-1980s production techniques. Several tracks rely on prominent bass lines and catchy choruses that define the album’s sound.

Key producers on the release are Randy Muller and Solomon Roberts Jr., who were responsible for arrangement and sound design on the opener and the single "Givin’ It (To You)." The latter single cracked the top ten of the R&B charts, making it the most prominent single success from this phase of the band.

The band, originally hailing from Brooklyn, brings longtime members and session musicians together on "From The Left Side"; songwriting and production stem predominantly from the Roberts and Muller circle. The LP preserves the group’s instrumental funk core and complements it with contemporary electronic elements, allowing the work to be read as a documented step in Skyy’s artistic development.

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Kaoru Kuroki

The Age Of Innocence

$ 120.20*

LP | 1988 | UK | Original (Jive)

Release: 2024 / IT – Original

Genre: Electronic & Dance, Pop

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Used Vinyl

Medium: Sealed, Cover: VG+

• sealed copy
• slight damage to the lower back of the sleeve

The 12" “The Age Of Innocence” by Kaoru Kuroki compiles the few musical recordings by the Japanese artist and appears on the Mondo Groove label as a picture-disc reissue. The release brings together four tracks and is based on the original master tapes; the new edition has made this brief, unusual chapter of her work accessible again.

Outside of music, Kaoru Kuroki is best known as an actress and public figure; musically, this EP leaves a distinctive mark. In addition to sung pieces, the record includes an erotic poem performance written and performed by Kuroki herself, which gives the concept of the release a very personal tone. The release is officially licensed and aimed equally at collectors and listeners who want to explore unusual pop creations.

Musically, the 12" moves between accomplished synth-pop, experimental text passages, and distinctly danceable moments: the title track draws on elements of an Okinawan folk melody and transforms them into an idiosyncratic pop composition, while other tracks work with techno-leaning, DJ-friendly rhythms. The arrangements remain clearly focused, shifting between melodic restraint and strongly electronic production, allowing the record to combine both nostalgic and contemporary aspects.

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Billy Ocean

Tear Down These Walls

12" | 1991 | EU | Original (MCA)

Release: 1988 / UK – Original

Genre: Organic Grooves, Pop

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Used Vinyl

Medium: VG+, Cover: VG

• Cover has a small seam split

The LP “Tear Down These Walls” by Billy Ocean, released on Jive, brings together the singer’s work from the late 1980s in a cohesive pop and R&B context. The album bears the smooth arrangements and pronounced studio sound of the era, blending dance‑pop elements with soulful ballads and electronic accents, and it marks the close of a particularly radio‑friendly phase in Ocean’s career.

Alongside Ocean’s own compositions, a number of outside producers left their mark on the material: Barry Eastmond and Wayne Brathwaite shaped the warm, keyboard‑driven tracks, while Robert John “Mutt” Lange and Teddy Riley provided a tightly produced pop sound on selected cuts. Guest vocals, including contributions from the Manhattans, Will Downing, and Carroll Thompson, complement the dense background arrangements; the session players range from keyboard and Fairlight programmers to guitarists such as Mike Campbell.

The singles pulled from the album include the worldwide hit “Get Outta My Dreams, Get into My Car,” which underscores the record’s commercial strength; additional tracks like “Calypso Crazy” and “The Colour of Love” were also released as singles and contributed to chart performance and national certifications. Overall, “Tear Down These Walls” presents Billy Ocean as an artist who combines catchy melodies with polished studio production.

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Heavy D. & The Boyz

Now That We Found Love

Release: 1991 / EU – Original

Genre: Hip Hop, Electronic & Dance, Pop

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Used Vinyl

Medium: VG, Cover: VG

• Sleeve in VG+ condition, but with a sticker on it

The 12" “Now That We Found Love” by Heavy D. & The Boyz was released on MCA and puts the single taken from the album “Peaceful Journey” onto the 12" maxi format. The release brings together the dance‑oriented main version as well as, on various pressings, club remixes and instrumental versions that adapt the track for DJ use and radio play.

Musically, this take on blends hip‑house elements with influences from new jack swing: driving beats and catchy choruses meet Heavy D’s distinctive rap lines. Aaron Hall is responsible for the striking chorus, while Teddy Riley as producer shaped the track and gave the arrangement his polished, era‑typical sound. The version goes back to a song by Gamble & Huff, best known from recordings by the O’Jays and the reggae‑disco take on it by Third World.

Key features of this 12" besides the production itself are the remix contributions, including work by David Morales, and the combination of club suitability with a radio‑friendly structure. The release documents the commercial and stylistic opening of Heavy D. & The Boyz toward dance‑oriented pop‑R&B and remains a striking example of early‑1990s crossover between rap and urban dance music.

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Logical Progression Level 3

3x12" | 1998 | UK | Original (Good Looking)

$ 106.85*

Release: 1998 / UK – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG+

• Vinyl in consistently VG condition throughout

The LP “Logical Progression Level 3,” released on the Good Looking label, is a compilation presented by Intense that brings together the spectrum of melodic drum and bass associated with the Good Looking brand. Issued under the various‑artists (V.A.) banner, the release assembles both early classics and contemporary cuts from the label, creating a consistent, atmospheric flow carried by expansive synth pads and rolling breakbeats.

Musically, the compilation moves between jazzy harmonies, warm pads, and precisely placed drum patterns; the arrangements often rely on dense basslines, subtle string textures, and sparse yet effective melodies. Standout contributions come from Intense themselves as well as Blu Mar Ten, Blame, Tayla, Big Bud, Artemis, and Seba, whose differing production approaches provide variety and help shape the characteristic Good Looking sound.

As a triple LP, “Logical Progression Level 3” presents the curated sequence in a format that appeals to collectors and listeners alike; the selection works both in the club and for focused listening at home. The compilation documents a phase in which the label consolidated its aesthetic focus on melodic, highly detailed drum and bass productions.

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Logical Progression Level 2

3x12" | 1997 | UK | Original (Good Looking)

$ 120.20*

Earth, Wind & Fire With The Emotions

Release: 1997 / UK – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG+

• Records play VG+
• Original inner sleeve
• Small tear on left side of back cover

The LP "Logical Progression Level 2," released on the label Good Looking, is a compilation put together by Blame with contributions from various artists (V.A.). It condenses the label’s aesthetic direction into a continuous DJ mix. The concept fits into Good Looking’s Progression series and presents selected tracks in a seamless flow that emphasizes both suitability for club play and atmospheric depth.

Musically, the record shows the typical hallmarks of the Good Looking sound: melodic harmonies often inspired by jazz and soul, expansive synth washes, and a calm yet precisely broken drum & bass rhythm. This combination of warm bass foundations and airy pads shapes the mood and sets the selection apart from the genre’s harder currents; the sequencing uses transitions that reinforce the mix’s narrative aspect.

Among the featured producers and acts are Source Direct, Blu Mar Ten, Nookie, LTJ Bukem, Seba & Lotek, as well as Artemis and The Chameleon, covering a range from soulful, melodic D'n'B to stripped-back, detail-oriented productions. The LP thus serves both as a snapshot of the label and as a DJ-driven presentation of individual artists, which keeps it particularly relevant for listeners interested in the subtle, orchestral side of the genre.

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Boogie Wonderland / Let's Groove (U.S. Remix) / Fantasy

12" | 1986 | UK | Reissue (CBS)

$ 25.37*

Keep On Dancin' b/w Do It At The Disco

Release: 1986 / UK – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

The 12" released on CBS under the title “Boogie Wonderland / Let’s Groove (U.S. Remix) / Fantasy” brings together a DJ-oriented selection of classic Earth, Wind & Fire tracks, presented here in extended and remixed versions. The release is documented as a CBS issue (TA 7253) and listed in the discography as a 12" maxi single with three tracks.

Musically, the record stays true to the blend of funk, soul, and disco: tight horn arrangements, orchestral string sections, and dense groove-based rhythms form the foundation, while The Emotions complement the arrangement with their high, smooth harmony vocals. “Boogie Wonderland” is based on compositions by Allee Willis and Jon Lind and was produced by Maurice White and Al McKay; their signature style also shapes the extended and remix versions included here.

The 12" contains the Extended Dance Mix version of “Boogie Wonderland” (approx. 8:20) as well as a U.S. Remix version of “Let’s Groove,” alongside “Fantasy,” making the single appealing to both collectors and DJs. The longer versions give the arrangements more space for instrumental sections, solos, and altered transitions, presenting the tracks in a club-ready context.

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Gary's Gang

12" | 1979 | UK | Original (CBS)

The Miseducation Of Lauryn Hill

Release: 1979 / UK – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

The 12" released on CBS under the title "Keep On Dancin' b/w Do It At The Disco" presents Gary's Gang as exponents of the late disco sound, with clean studio production and dance-oriented arrangements. Issued as an extended disco release, the record brings together the driving rhythms of both sides for club play.

Musically, the release combines elements of disco, soul, and pop: syncopated bass lines, layered horn and keyboard textures, and multi-part background vocals shape the sound. Gary's Gang hails from the greater New York area and, with this material, landed in the dance as well as the pop and R&B charts, with the tracks receiving particular attention on the club charts.

Eric Matthew and Gary Turnier are credited as the key writers and producers or arrangers behind the songs; the band functioned as an ensemble of studio musicians who worked with a live-inspired approach and defined the groove-oriented character of the tracks. As a result, this 12" offers not just a single, but a documentary snapshot of the late‑1970s disco universe.

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Lauryn Hill

2LP | 1998 | US | Original (Ruffhouse)

$ 133.56*

LP | 1972 | US | Reissue (Mercury)

Release: 1998 / US – Original

Genre: Hip Hop, Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

The LP released on Ruffhouse, *The Miseducation of Lauryn Hill*, presents Lauryn Hill as an independent artist, songwriter, and producer; the album brings together dense, song‑oriented arrangements in which vocals, rap, and instrumentation are tightly interwoven. Hill bears primary responsibility for the composition, production, and arrangement of most tracks and incorporated guest contributions as well as a core team of collaborators, sometimes referred to as New Ark; the breakthrough single “Doo Wop (That Thing)” decisively shaped how the release was perceived.

Musically, the work sits at the intersection of neo‑soul, R&B, and hip‑hop, often using warm‑sounding live instruments alongside classic hip‑hop elements; the productions move between understated, almost chamber‑like passages and powerful, soulful choruses. Lyrically, the themes range from personal relationships and self‑affirmation to social observations, giving the record a greater thematic density than straightforward radio‑pop formats.

The album’s creation was characterized by close collaboration with producers and musicians, as well as subsequent disputes over production credits; some contributors later sought recognition for their work, which was settled out of court. Critically acclaimed and honored with multiple Grammy Awards, the album is regarded as a milestone and established Lauryn Hill, beyond her status with the Fugees, as a defining voice of the late ’90s.

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Rod Stewart

Never A Dull Moment

Release: 1972 / US – Reissue

Genre: Rock & Indie

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Used Vinyl

Medium: G+, Cover: VG+

• almost in VG+ condition
• US reissue
• vinyl is warped

The LP "Never A Dull Moment" by Rod Stewart was released in 1972 on the Mercury label and marks the singer’s fourth solo album. The record presents a tight set of songs that traces Stewart’s development after his early successes with the Faces and underlines his stature as a song interpreter and arranger.

Musically, "Never A Dull Moment" moves between rock and roll, blue-eyed soul, and folk rock; the production combines driving guitars with mandolin-backed passages and multi-part arrangements. Standout tracks include "True Blue" and the hit "You Wear It Well," alongside carefully chosen covers such as Bob Dylan’s "Mama, You Been on My Mind," Jimi Hendrix’s "Angel," Etta James’s "I'd Rather Go Blind," and Sam Cooke’s "Twistin' the Night Away," which together showcase the range of Stewart’s voice and his interpretive sensitivity.

Members of the Faces and numerous guest musicians contributed to the characteristic sound: Ronnie Wood supplied guitar and bass parts, Ian McLagan played organ and piano, Kenney Jones and Micky Waller shared drum duties, joined by Pete Sears, Martin Quittenton, Ronnie Lane, as well as violin and percussion. Rod Stewart took on production duties, supported by experienced engineers, giving the recordings an organic and transparent sound.

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Caught Up - Music From The Motion Picture

LP | 1998 | EU | Original (Noo Trybe)

2LP | 1996 | UK | Original (Virgin)

Release: 1998 / EU – Original

Genre: Hip Hop, Soundtracks

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Used Vinyl

Medium: VG+, Cover: VG

Released on Noo Trybe, the LP "Caught Up - Music From The Motion Picture" gathers contributions from various artists as the soundtrack to the film of the same name and, style-wise, moves between hard-hitting hip-hop and urban R&B. The compilation was released in 1998 and reflects the production trends of late-’90s rap, featuring both street-oriented gangsta tracks and more melodic cuts.

The album includes appearances by Snoop Doggy Dogg and Kurupt with the track "Ride On/Caught Up!", Gang Starr with "Work", KRS-One together with Mad Lion and Shaggy on "Ey-Yo! (The Reggae Virus)", as well as contributions from Lost Boyz, AZ, Luniz, Do or Die, and Joe, resulting in a broad stylistic spectrum. Among the producers involved are names such as DJ Premier, DJ Quik, Jermaine Dupri, Daz Dillinger, Mike Dean, The Legendary Traxster, and Soulshock & Karlin, who give clear definition to the album’s shifting moods.

Executive producers Eric L. Brooks and Byron Phillips were responsible for the curatorial direction; the track sequence links cinematic moments with club-ready beats and street-ready narratives. The release attracted attention from the public and reached higher positions in the U.S. Billboard charts, underscoring the compilation’s commercial impact.

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Bounty Killer

My Xperience

$ 65.44*

12" | 1988 | UK | Original (CBS)

Release: 1996 / UK – Original

Genre: Hip Hop, Reggae & Dancehall

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Used Vinyl

Medium: VG+, Cover: VG

• almost in VG+ condition
• price sticker on the front of the cover

The 12-inch release "My Xperience" by Bounty Killer on Virgin brings together the wide spectrum of his work, from dancehall to hip-hop collaborations. The record combines characteristic digital dancehall rhythms with influences from American rap and features guest appearances by acts such as the Fugees, Barrington Levy, Raekwon, Busta Rhymes, and Jeru the Damaja. Standout tracks like "Virgin Island," "Living Dangerously," and "Hip-Hopera" exemplify the album’s cross-genre approach.

A lineup of producers and scene heavyweights is responsible for the sonic variety: RZA and Wyclef Jean work alongside King Jammy, Sly & Robbie, Bobby Digital, and Jah Screw on arrangements and production, while Collin "Bulbie" York and other engineers handle the mixing. Bounty Killer is involved in arrangement and production and draws on both programmed riddims and conventional reggae elements, giving the sequence of tracks expression and contrast.

Rodney "Bounty Killer" Price hails from Kingston, Jamaica, and with "My Xperience" he established his reputation as a distinctive 1990s dancehall deejay; the album gained lasting attention in the United States and spent several months on the reggae charts. The 12-inch edition documents this phase of his work and, through its high-profile featured guests and the multitude of renowned producers, underscores the international orientation of the release.

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Earth, Wind & Fire

System Of Survival

12" | 1988 | EU | Original (Warner)

Release: 1988 / UK – Original

Genre: Organic Grooves, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG

• Record shows some light surface marks and fine hairline scratches
• Stamps on label and sleeve

The 12" “System Of Survival” by Earth, Wind & Fire was released on CBS and documents the band’s return to a dance-oriented yet political soul sound. The track comes from the LP “Touch the World” and was issued in extended and dub form on a maxi-single; the 12" versions emphasize extended space for drum programming and horn arrangements.

Musically, the song combines funk-driven riffs with contemporary late-80s production techniques: syncopated basslines, programmed drums, and punchy horns form the framework, joined by the characteristic falsetto and lead vocals of Maurice White and Philip Bailey. Lyrically, “System Of Survival” takes a socially critical perspective, focusing on the struggle for survival in everyday urban life.

Maurice White and Preston Glass are behind the track as producers; songwriter Skylark was directly involved in its creation and contributed the original demo that helped shape the final sound. The 12" edition includes special mixes such as the remix known as “Dub 1 Mix (Everybody Get Up/House Party Mix),” which reframes the song for club contexts.

As a CBS release, “System Of Survival” marks a clear attempt to connect the classic Earth, Wind & Fire aesthetic with danceable, radio-friendly arrangements and to reintegrate the band into the R&B and club context of the late 1980s.

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Fleetwood Mac

Everywhere

$ 37.39*

12" | 1986 | UK | Original (R & B)

Release: 1988 / EU – Original

Genre: Rock & Indie, Pop

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Used Vinyl

Medium: VG, Cover: VG

The single “Everywhere” by Fleetwood Mac, released on the 12-inch edition, brings together the band’s characteristic pop sound from the Tango in the Night phase: catchy melodies, shimmering keyboard layers, and multi-part vocals form the core of the arrangement. The recording is taken from the album Tango in the Night and reflects its polished, production-forward sound.

Songwriter and lead singer Christine McVie shapes the tone of the piece with her clear, warm vocals and melodic sensitivity; lyrically, the song remains optimistic and approachable in its simple, image-based language. The track was produced by Lindsey Buckingham and Richard Dashut, whose meticulous work on layering and sonic textures—such as the combination of half-speed recorded acoustic and electric guitars in the intro—plays a crucial role in creating the atmosphere.

The 12-inch edition includes an extended version of “Everywhere” as well as the B-side “When I See You Again,” documenting the band’s single strategy during this phase. The label Warner released the single worldwide, supporting it with the era’s characteristic, detail-oriented production approach that makes the song both radio-friendly and appealing to collectors.

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Imagination

Streetmix

12" | 1994 | UK | Original (Positiva)

Release: 1986 / UK – Original

Genre: Organic Grooves, Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG

The 12" single "Streetmix" by Imagination, released on the R & B label, brings together a DJ‑mixed medley track and is listed under the catalog numbers RBL 1804 / RBLX 1804; the record was issued in the United Kingdom as a 12" maxi single and appears in discographies as a 1986 release.

Musically, the piece functions as a compact potpourri of the band’s well‑known original compositions: the medley weaves together sections from "Music And Lights," "Just An Illusion," "Flashback," "Changes," "State Of Love," "Body And Soul," and "New Dimension," while the B‑side offers a live version of "Body Talk." The mix comes from the DJ scene (mixed or megamixed by Sanny X) and concentrates the funky bass lines, synthetic string pads, and dance‑oriented groove that defined Imagination’s early singles.

Imagination, the British trio centered around Leee John, Ashley Ingram, and Errol Kennedy, is known for theatrical vocal lines, carefully arranged rhythm sections, and work with producers such as Steve Jolley and Tony Swain on many early hits; the "Streetmix" concept offers a compact documentation of this phase by bringing together the band’s characteristic elements in a single sequence tailored for club play.

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Barbara Tucker

I Get Lifted

2LP+CD | 2013 | US | Original (Little Idiot)

Release: 1994 / UK – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG

The 12" single "I Get Lifted" by Barbara Tucker is a central contribution to the New York house scene and was released in 1994 on the Positiva label. The track was produced by "Little" Louie Vega, with Tucker contributing as a co-writer to the creation of the song. The single releases feature several remix versions, including ones by Masters at Work, Loveland, and DJ EFX, aimed at different club contexts.

Musically, "I Get Lifted" blends soulful gospel inflections with a classic house groove; Tucker’s voice delivers the positive, spiritually tinged lyrics with powerful presence, lending plenty of warmth to the arrangements. The production leans on percussive elements, deep bass, and catchy piano motifs that make the song suitable both for club play and for radio airplay.

The participating remixers approach the material in different ways: Masters at Work emphasize swing and rhythmic detail, Loveland provides a rendition more geared toward UK dance floors, and DJ EFX contributes sparse dub versions that give DJs additional tools to work with. "I Get Lifted" reached high positions in the dance charts and established itself as a recurring classic in DJ sets.

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Moby

Innocents

$ 49.41*

LP | US | Original (Captured Tracks)

Release: 2013 / US – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Sealed, Cover: VG+

• slightly bumped corner on the cover

The LP "Innocents," released on Little Idiot, brings together twelve tracks that combine the spectrum of Moby’s electronic work with organic elements. The production took place in Moby’s home studio; the album was released in 2013 and appeared on the Little Idiot label (in cooperation with Mute in some regions). The record includes both purely instrumental passages and songs with guest vocals and offers a running time of over an hour.

For "Innocents," Moby worked with a number of well-known voices: Cold Specks appears on two tracks, while Damien Jurado, Wayne Coyne, Skylar Grey, Inyang Bassey, and Mark Lanegan contributed guest vocals. Moby was responsible for composition and instrumentation; Mark "Spike" Stent was involved as an external engineer for mixing and production, and Joe Lambert handled the mastering. These collaborations shape the sonic character of the LP and expand Moby’s electronic foundation with folk-, gospel-, and rock-leaning influences.

Musically, "Innocents" relies on synthetic strings, reduced piano motifs, and sparingly used choral backing, for example on the duet-like track featuring Wayne Coyne. Many tracks follow a slow, melancholic course, while others open up into hymn-like moments through multi-part vocals. For listeners who appreciate Moby’s connecting play between ambient textures, song structure, and guest contributions, this LP stands as a carefully arranged chapter in his body of work.

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Mac DeMarco

Another One

$ 29.37*

12" | 1981 | NL | Original (Epic)

Release: US – Original

Genre: Rock & Indie

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Used Vinyl

Medium: Sealed, Cover: Near Mint

• Very light wear, barely visible
• Slightly bumped corners

The LP "Another One" by Mac DeMarco, released on Captured Tracks, brings together a compact sequence of tracks that extends the song-focused songwriting of the Canadian singer-songwriter while at the same time creating a distinctive, cohesive mood. The release comprises several short, melodic tracks in which catchy guitar lines and laid-back vocal parts combine into a warm overall sound.

Musically, "Another One" moves between gentle pop, lo-fi aesthetics, and retro elements; the arrangements are mostly stripped-down but make deliberate use of tonal colors and harmonic shifts. Characteristic for Mac DeMarco here is the combination of relaxed vocals, lean instrumentation, and a subtle sense of melody, giving the songs both nostalgic and contemporary traits. Lyrically, many of the songs revolve around romantic relationships and personal observations, presented in a direct and unpretentious way.

The production and recording are entirely handled by Mac DeMarco himself; he wrote the songs, played the instruments, and oversaw recording and mixing at his home in Far Rockaway, Queens. Accompanying videos and digital extras were also released, underscoring the conceptual closeness between the song material and his artistic practice. The released version thus documents a compact, self-contained phase in Mac DeMarco’s body of work.

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The Jacksons

Walk Right Now

12" | 2010 | DE | Original (Etui)

Release: 1981 / NL – Original

Genre: Organic Grooves, Electronic & Dance

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Used Vinyl

Medium: VG, Cover: G+

• Heavy signs of wear
• Cover with creases and wrinkles
• Writing on the cover
• Cover has a seam split

The single “Walk Right Now” by The Jacksons showcases the group’s funky, dance-oriented approach particularly well and was released as a single from the album “Triumph.” The song was written by Michael Jackson, Jackie Jackson, and Randy Jackson and produced by The Jacksons themselves, so the family collaboration and their distinctive touch in the arrangement remain clearly evident.

Musically, “Walk Right Now” combines driving bass lines with prominent synthesizer lines, percussive accents, and tight guitar riffs; the song structure relies on shifting builds and releases of tension and places Michael Jackson’s lead vocal front and center. Lyrically, the track deals with openness and confrontation in a relationship, putting it in line with the more personal songs on the album.

For DJs and dancefloors, a 12-inch version with special remixes was issued: John Luongo provided an extended disco mix as well as an instrumental version, which can be found on various pressings of the 12-inch maxi-single; the B-side features the song “Your Ways.” These club-ready versions extend the instrumental passages and emphasize the rhythmic foundation.

Commercially, “Walk Right Now” reached different positions on the charts: in the United States the single made its impact primarily on the dance charts, while in the United Kingdom it became a Top Ten hit. For collectors and listeners who appreciate the combination of band arrangements with contemporary disco remixes, the 12-inch edition of this track documents an interesting aspect of the later phase of The Jacksons’ career on the Epic label.

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Nico Grubert

Excalibur

LP | 1983 | JP | Original (Virgin)

Release: 2010 / DE – Original

Genre: Electronic & Dance

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Medium: VG, Cover: Generic

The 12-inch release “Excalibur” by Nico Grubert comes out on the Etui label and brings together three club‑oriented tracks that bridge the gap between tech house, techno‑leaning structures, and neo‑trance. The A‑side is titled “Excalibur,” and the release is rounded out by the tracks “Forbidden Fruits” and “Me Gusta,” all penned by Grubert and conceived for the dancefloor setting. The record was published in 2010 and joins the line of the artist’s earlier vinyl releases.

Musically, “Excalibur” combines driving kick drums with melodic lead elements and occasional Latin inflections; syncopated percussion and dense, forward‑pushing basslines provide the groove, while atmospheric pads add neo‑trance shadings. The arrangements rely on clear structures and recurring motifs that work both in after‑hours sets and in classic club programming. Track titles and style descriptions can be found in the label’s catalog entries and dealer listings.

Behind the project is Nico Grubert as producer and DJ, known for a number of vinyl releases and remixes within the electronic scene. The release fits into Etui’s profile, which has long been committed to a more atmospheric, deeper techno aesthetic, but here it deliberately brings dancefloor‑oriented elements into play. In doing so, the 12-inch record documents an intersection between club functionality and melodic orientation in Grubert’s work.

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Culture Club

Colour By Numbers

LP | 1986 | JP | Reissue (Motown)

Release: 1983 / JP – Original

Genre: Rock & Indie, Electronic & Dance, Pop

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Japanese pressing without OBI but with insert! Like new.

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Stevie Wonder

In Square Circle

$ 25.37*

LP | 1981 | JP | Original (RCA)

Release: 1986 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG+

Japanese pressing. No OBI but insert is included.

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Daryl Hall & John Oates

Private Eyes

$ 18.69*

LP | 1983 | IT | Original (Harvest)

Release: 1981 / JP – Original

Genre: Rock & Indie, Pop

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Used Vinyl

Medium: VG, Cover: VG+

Japanese pressing. OBI and insert are included. Slight foxing on the record.

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Pink Floyd

The Final Cut

$ 36.05*

LP | 1986 | US | Original (Motown)

Release: 1983 / IT – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG, Cover: VG

Vinyl with a couple of light hairlines, close to VG+. Cover with shelf wear

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Lionel Richie

Dancing On The Ceiling

$ 9.34*

2LP | 1978 | IT | Original (RCA)

Release: 1986 / US – Original

Genre: Rock & Indie, Electronic & Dance, Pop

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Used Vinyl

Medium: VG+, Cover: Near Mint

Sleeve is still in shrink.

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David Bowie

Stage

$ 30.71*

12" | 1984 | JP | Original (Arista)

Release: 1978 / IT – Original

Genre: Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: VG, Cover: VG

Cover with ring wear

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Thompson Twins

Lies

$ 20.02*

George Adams - Don Pullen Quartet

Release: 1984 / JP – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Japanese pressing with Obi.

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More Funk

LP | 1981 | IT | Original (Palcoscenico Records)

$ 30.71*

LP | 1967 | UK | Original (CBS)

Release: 1981 / IT – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Vinyl is close to NM.

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Miles Davis

Sorcerer

$ 66.77*

LP | 1968 | IT | Original (CBS)

Release: 1967 / UK – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

UK mono pressing. Vinyl has slight hairlines and marks, still so superficial that it is VG+. Laminated cover with some creases but no peeling.

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Miles Davis

Nefertiti

$ 53.42*

Curated By Record Store Day

Release: 1968 / IT – Original

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG

Vinyl looks superfresh. Sleeve has some wear and two small stickers on it.

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Patti Smith

2LP | 2022 | EU | Original (Arista)

$ 36.05*

Release: 2022 / EU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: Sealed, Cover: Sealed

LP | 1970 | JP | Original (CBS/Sony)

Blood, Sweat And Tears

The Great

$ 12.01*

LP | 1981 | JP | Original (Mercury)

Release: 1970 / JP – Original

Genre: Organic Grooves, Rock & Indie, Classical Music

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Used Vinyl

Medium: VG+, Cover: VG

Japanese pressing. No OBI but insert is included.

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Quincy Jones

Plays Standard Hits

$ 16.02*

12" | 2007 | UK (Not On Label (Modjo))

Release: 1981 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG+

Japanese pressing. OBI included.

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Modjo

Lady

$ 45.40*

Release: 2007 / UK

Genre: Electronic & Dance

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Used Vinyl

Medium: VG, Cover: Generic

LP | 1982 | DE | Original (Milestone)

McCoy Tyner

13th House

$ 26.70*

LP | 1977 | US | Original (ABC)

Release: 1982 / DE – Original

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG+

Pristine condition.

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Les McCann

Music Lets Me Be

12" | 1985 | EU | Original (Elektra)

Release: 1977 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

• Record shows a few fine surface scratches and some paper scuffing
• US pressing
• Gold promo stamp on the cover

The LP "Music Lets Me Be," released on ABC, documents Les McCann’s move to the ABC/Impulse label and presents the pianist and vocalist in a band setting rich in rhythmic variety and carefully arranged horn and percussion parts. Issued in 1977, the record brings together instrumental excursions and vocal-led pieces into a cohesive whole.

Characteristic of Les McCann is the fusion of jazz, soul, and funk, with his warmly timbred vocals and distinctive piano playing always in the foreground; this signature is also evident throughout "Music Lets Me Be," combining catchy grooves with more open, improvisatory passages. McCann is also known for his contribution to the live album "Swiss Movement" and his interpretation of "Compared to What," which underscores his background as a soul-jazz-oriented performer.

Regarding the production: Les McCann serves as producer and arranger on most tracks; Esmond Edwards is credited as a contributing producer. He is supported by Jimmy Rowser on bass, Kevin Johnson on drums, guitarists Miroslaw Kudykowski and Steuart Liebig, and percussion veteran Paulinho Da Costa; recording took place at The Village Recorder and at Burbank Studios.

Musically, the instrumental "Vallarta" stands out with its samba-like rhythms, while the extended title track leaves room for longer improvisations and ensemble interaction. Overall, the LP presents a mix of compact song forms and expansive instrumental sections that showcase McCann as a bridge between soulful melodies and joyful jazz improvisation.

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Simply Red

Come To My Aid

LP | 1978 | US | Original (United Artists)

Release: 1985 / EU – Original

Genre: Organic Grooves

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Medium: VG+, Cover: VG

The 12" single "Come To My Aid," released on Elektra, goes back to the debut album Picture Book and showcases Simply Red’s early sound between pop and soul-oriented R&B. The song was written by Mick Hucknall together with Fritz McIntyre and is an integral part of the album’s track sequence, which was produced by Stewart Levine.

Musically, "Come To My Aid" combines distinctive lead vocals with warm keyboard figures, subtly arranged horn parts, and a rhythmic foundation that recalls classic soul forms; this approach shaped Simply Red’s style in the mid‑1980s and illustrates the balance between catchy melodies and understated instrumentation. Mick Hucknall’s voice remains the defining element, complemented by the contributions of Fritz McIntyre and the band lineup of that period.

The 12" edition, with its extended and dub versions, is aimed at DJs and collectors: on various pressings you’ll find longer mixes such as the extended version known as the "Survival Mix" as well as a dub version, complemented by the cover of "Grandma’s Hands" on the B‑side. The production, arrangement, and participating musicians help the single carry the album’s characteristic sophisti‑pop approach over to the single format.

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Ronnie Laws

Flame

LP | 1973 | US | Original (United Artists)

Release: 1978 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: G+

• Cover has a tear
• Cover has a seam split

The LP "Flame" by Ronnie Laws, released on United Artists, presents a blend of jazz-funk and soul-jazz that puts the bandleader’s warm saxophone sound front and center. This 1978 album combines smooth melodic lines with rhythmic finesse and relies both on instrumental solos and catchy song structures that mark the transition from jazz toward a more accessible, soul-like sound.

Ronnie Laws, known for his work as a saxophonist and flutist and his early association with Earth, Wind & Fire, assumed both artistic direction and production on "Flame," making his personal tone and arrangements highly prominent. The record showcases his penchant for melodic, pentatonic lines and the warm tone of the alto and tenor saxophone; at the same time, there are vocal passages that broaden the repertoire.

The lineup and guest musicians shape the overall sound: alongside Laws, renowned players on keyboards, percussion, and background vocals contribute to the dense, organic production. Arrangements and production details create a balanced connection between groove and melody, with select voices and percussion adding extra color to the album. "Flame" remains an example of Ronnie Laws’s ability to fuse jazz tradition with contemporary soul.

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Bobby Womack

Facts Of Life

LP | 1983 | JP | Original (CBS/Sony)

Release: 1973 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG+

• Shrink-wrap still present, but opened
• Some storage wear

The LP “Facts Of Life” by Bobby Womack, released on United Artists, brings together soulful and funk-based arrangements that mark the artist’s transition to powerfully produced studio work. The album includes both original compositions and his takes on songs such as “That’s Heaven to Me,” “The Look of Love,” and a powerful version of “All Along the Watchtower,” complemented by the single “Nobody Wants You When You’re Down and Out,” which placed on the R&B charts.

Musically, Bobby Womack distinguishes himself on this record through his unmistakable guitar work and a direct yet nuanced vocal delivery; he also handled production as well as the string and horn arrangements. The songs move between compact soul numbers and more expansive, groove-oriented tracks, with the production drawing clear outlines while leaving room for Womack’s melodic storytelling.

Recorded in Muscle Shoals, the session benefited from experienced studio musicians: contributors include, among others, Pete Carr, Jimmy Johnson, and David Hood, as well as Barry Beckett and Roger Hawkins, who provide the rhythmic foundation. The record reached high positions in the U.S. charts and confirms Womack’s status as a defining figure of early‑1970s contemporary soul.

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Herbie Hancock

Future Shock

$ 40.06*

2x12" | 1987 | UK | Reissue (Music For Nations)

Release: 1983 / JP – Original

Genre: Hip Hop, Electronic & Dance

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Used Vinyl

Medium: Near Mint, Cover: VG+

• Japanese pressing
• including OBI and insert
• sleeve almost like new

The LP "Future Shock" by Herbie Hancock was released in 1983 on the CBS/Sony label and set the musician on an overtly electronic path that combines his jazz tradition with urban club sounds. The release was created in close collaboration with Bill Laswell and Michael Beinhorn (Material), while Hancock recorded most of the synthesizer parts in his home studio in Los Angeles.

Musically, "Future Shock" blends funk, electro, and early hip hop elements: prominent drum machines, Fairlight sampling, sequenced synthesizers, and the first prominent use of scratching techniques shape its sound. Contributors include Grand Mixer D.ST on turntables as well as musicians like Pete Cosey, Sly Dunbar, Daniel Ponce, and Bernard Fowler, who give the album its dense, rhythmic texture.

The single "Rockit" became the defining hit of this phase and played a major role in broadening Hancock’s recognition beyond the jazz world; the video won several MTV awards in 1984, and the album achieved strong sales. "Future Shock" is regarded as an example of how electronic production methods and street culture were translated into pop and jazz contexts.

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Metallica

Master Of Puppets

$ 173.63*

Mike Bloomfield And Al Kooper

Release: 1987 / UK – Reissue

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG

• almost in VG+ condition
• overall in very solid condition
• gatefold cover
• cover shows the beginning of a seam split along the top edge
• spine slightly damaged near the corner
• shelf wear

The LP “Master Of Puppets” by Metallica, released on Music For Nations, is considered a milestone of thrash metal and powerfully channels the band’s raw energy and compositional maturity. Released in 1986, the album presents a balance of aggressive tempos, intricate guitar arrangements, and dynamic song structures that have secured its central place in the genre to this day.

Musically, “Master Of Puppets” combines precise riff work, multi-layered guitar lines, and shifting rhythms with melodic passages, as in “Welcome Home (Sanitarium),” as well as instrumental excursions like “Orion.” The tracks range from short, focused assaults to extended compositions, giving the record both technical finesse and immediate impact. Lyrically, the songs deal with manipulation, war, and inner turmoil.

For the recording, the band once again used Sweet Silence Studios in Copenhagen; production was handled by Metallica together with Flemming Rasmussen, giving the record a clear and punchy sonic signature. The contributions of James Hetfield, Lars Ulrich, Kirk Hammett, and bassist Cliff Burton are essential to the character of the album; “Master Of Puppets” remains the last studio album with Burton in the core lineup and marks a defining moment in the band’s history.

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The Live Adventures Of Mike Bloomfield And Al Kooper

2LP | 1968 | JP | Reissue (CBS/Sony)

LP | 1979 | US | Original (Gordy)

Release: 1968 / JP – Reissue

Genre: Organic Grooves, Rock & Indie

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Used Vinyl

Medium: VG, Cover: VG

The two-sided LP *The Live Adventures Of Mike Bloomfield And Al Kooper* documents the joint performances of Mike Bloomfield and Al Kooper at the Fillmore West and compiles material recorded over three nights in September 1968. Released under the Columbia/CBS umbrella (in many regions also branded as CBS/Sony), it presents just under an hour and a half of live material consisting of extended blues and rock takes.

Musically, the duo ranges between electric Chicago blues and improvisation-heavy blues rock; Bloomfield’s guitar-centered solos meet Kooper’s organic, tonally rich organ and piano parts. Striking are the long, open-ended arrangements and the shifts between instrumental density and vocal presence, with Bloomfield here also emerging as a singer for the first time. Guests such as Carlos Santana and Elvin Bishop expand the band and provide additional solo contrasts; bass and drums are contributed by the duo John Kahn/Skip Prokop.

A key factor in the character of the recording is Al Kooper’s production and selection work: he supervised the project and distilled the live material into a compact double LP. The album is regarded as a continuing step from the earlier studio session between Kooper and Bloomfield and documents the collegial rapport between the two musicians on stage. The CBS/Sony label offers corresponding pressings, including Japanese editions.

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Rick James

Bustin' Out Of L Seven

LP | US | Original (De-Lite)

Release: 1979 / US – Original

Genre: Organic Grooves

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Medium: VG, Cover: VG

The LP “Bustin’ Out of L Seven,” released on Gordy, presents Rick James on his second solo album and captures his transition from a funk-oriented songwriter to a producer-arranger. The 1979 record combines dense funk grooves with R&B and disco influences and includes “Bustin’ Out (On Funk),” one of the album’s more successful R&B singles. The work was produced by Rick James in collaboration with Art Stewart; recording sessions took place, among other locations, at well-known studios such as Sigma Sound.

Musically, “Bustin’ Out of L Seven” is defined by expansive arrangements and long tracks that leave room for instrumental bridges, horn parts, and rhythmic variations. The pieces move between tight funk riffs, warm keyboard textures, and soulful vocal passages; short interludes structure the LP and provide additional context for the longer suites. This compositional balance gives the album’s style its characteristic profile and highlights James’s feel for melody and groove.

For the production, Rick James brought in his Stone City Band ensemble as well as established session players: among others, Michael and Randy Brecker can be heard on horns, Dorothy Ashby on harp, and Teena Marie on backing vocals. Such guest contributions add extra tonal colors to the arrangements and underscore the symphonic side of funk on this LP. “Bustin’ Out of L Seven” thus remains a striking document of Rick James’s early creative period on the Gordy label.

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Kool & The Gang

Open Sesame

LP | 1974 | US | Original (United Artists)

Release: US – Original

Genre: Organic Grooves

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Medium: VG, Cover: G+

• US pressing
• gatefold cover
• shelf wear on the cover
• ring wear on the cover
• damage on the spine of the cover

The LP "Open Sesame" by Kool & The Gang was released in 1976 on the De-Lite label and marked a deliberate move by the band toward more dance-oriented arrangements. The title track of the same name was successful as a single and was later included on the Saturday Night Fever soundtrack, which brought the album additional attention.

Musically, "Open Sesame" combines classic funk elements with a pronounced disco influence: driving bass lines, distinctive horn fanfares, and dense percussion all contribute to the character of the record, as do atmospheric production effects. The opening theme of the title track uses a scale with an Eastern feel as its hook before dropping into a funky breakdown. Ballads such as "Whisper Softly" and more melodic pieces like "Little Children" showcase the band’s quieter side, alongside tracks like "Super Band" that put the rhythm front and center.

In terms of personnel, the core members are decisive: Ronald Bell is responsible for many of the arrangements, Robert "Kool" Bell shapes the foundation with his bass, Claydes Smith contributes guitar parts, and George Brown is credited not only as a drummer/percussionist but also as co-producer. The production and arrangements are largely handled by the band themselves; additional voices and guest musicians round out the sound. This combination of self-production, dense horn arrangements, and danceable grooves characterizes this De-Lite release.

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Bobby Womack

Lookin' For A Love Again

LP | 1980 | US | Original (T.K.)

Release: 1974 / US – Original

Genre: Organic Grooves

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Medium: VG, Cover: VG

• cover with cut-off corner

The LP "Lookin' For A Love Again" by Bobby Womack condenses his early‑seventies songwriting and stage presence into a compact album and was released in 1974 on United Artists. The title track, a reworking of the Valentinos number, was successful as a single and reached both the R&B and pop charts; on the album, soulful vocals, concise guitar work, and immediately gripping grooves come together.

Musically, Bobby Womack moves between gritty soul fervor and funky rhythms, complemented by more slow-paced ballads; his distinctive guitar playing remains a constant presence throughout. For the sessions he worked with musicians from the Muscle Shoals circle (including Barry Beckett, David Hood, Roger Hawkins, Jimmy Johnson, Pete Carr) as well as family members on background vocals. René Hall contributed string arrangements, Truman Thomas is credited as keyboard player and co-writer, and Womack himself was responsible for production and arrangements.

The album’s repertoire ranges from driving funk tunes to more conciliatory moments such as "Copper Kettle," with songwriting and arrangements taking center stage. "Lookin' For A Love Again" also underlines Womack’s standing in the soul field of the time and documents his collaboration with United Artists and the Muscle Shoals team in a vivid, solid way.

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KC & The Sunshine Band

Greatest Hits

12" | 1987 | UK | Original (Def Jam)

Release: 1980 / US – Original

Genre: Organic Grooves

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Medium: VG+, Cover: VG+

• Record shows fine surface scratches
• US pressing
• Cover with sticker on the back

The LP "Greatest Hits" by KC & The Sunshine Band, released on T.K., brings together the band’s most distinctive hit singles from their creative period and offers a concise selection of well-known tracks such as "Get Down Tonight," "That's the Way (I Like It)," "Shake Your Booty," and "Please Don't Go." The release condenses the group’s hit-focused side and places the songwriting partnership between Harry Wayne Casey and Richard Finch at the center.

Musically, the collection combines disco and pop with funky bass and groove structures, pronounced horn arrangements, and distinctive guitar lines by Jerome Smith; the prominent drum and percussion foundation plays a major role in shaping the rhythmic profile of the tracks. On the production side, the titles were overseen by H. W. Casey and Richard Finch, who also wrote most of the compositions. As a special feature, the compilation includes two tracks newly recorded for this edition, among them "All I Want" and "Let's Go Rock and Roll."

For listeners and collectors, the LP offers a focused overview of the band’s commercial side and their concise arrangements that shaped the dance clubs of the time. The compilation documents the production and personnel structure behind the hits and highlights the role of the T.K. label as a distribution platform for the group’s sound in the 1970s.

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LL Cool J

I'm Bad

LP | 1984 | EU | Reissue (RCA)

Release: 1987 / UK – Original

Genre: Hip Hop

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The track sequence on the 12-inch single opens with the self-assured title track “I’m Bad,” which leads into the harder-edged side of late ’80s hip-hop while at the same time pointing to LL Cool J’s role as a leading voice in the New York scene. The single is taken from the album “Bigger and Deffer” (1987) and was released on Def Jam; “Get Down” appears on the B-side.

Musically, “I’m Bad” combines aggressive, amped-up beats with prominent DJ cuts and a distinctive hook built around samples. The track draws on motifs from the TV theme tradition (including the “S.W.A.T.” melody), as well as references to earlier LL Cool J tracks and signature siren sounds that give the arrangement its striking sense of drive. The track is generally classified as Golden Age / hardcore hip-hop.

Production is handled by the L.A. Posse together with LL Cool J, with Russell Simmons serving as executive producer. The producers and DJs involved — including voices from the L.A. crew such as Dwayne “Muffla” Simon and Bobby “Bobcat” Ervin — shaped the gritty, sample-based sound that firmly situates the single within the Def Jam era.

As a collector’s edition, the 12-inch single still represents the early phase of LL Cool J, when self-assertion and solid, hard-hitting beat craftsmanship defined his artistic signature and helped further solidify his career.

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Slade

Slade On Stage

$ 18.69*

LP | 1979 | EU | Original (Blue Sky)

Release: 1984 / EU – Reissue

Genre: Rock & Indie

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“Slade On Stage” by Slade documents the band in its live phase as a focused hard rock and glam outfit; the LP was released by the RCA label and captures the audience’s immediate involvement and the group’s powerful choruses. The concert was deliberately chosen for release and boils ten live tracks down to their essence, including numbers that have since become classics such as “Take Me Bak ‘Ome” and “Mama Weer All Crazee Now.”

Characteristic of Slade are Noddy Holder’s distinctive voice, the compact, catchy compositions by Holder and Jim Lea, and the direct interplay between Dave Hill and Don Powell, which generates tremendous drive on stage. Musically, the recording moves between raw rock and anthemic glam, with the band structuring the songs around sing‑along choruses and dynamic shifts in tempo; critics and later retrospectives highlight the unusual intensity of this live recording.

The technical production was kept deliberately simple: Slade handled the production themselves, the recordings were captured with the RAK mobile unit and then reworked in London, so the album preserves its live character while still feeling tightly edited. From a chart perspective, the record entered the UK album chart, underscoring the band’s enduring significance in the early 1980s.

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Dan Hartman

Relight My Fire

12" | 1981 | FR | Original (Motown)

Release: 1979 / EU – Original

Genre: Organic Grooves

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Medium: VG+, Cover: VG

• includes original inner sleeve
• DJ sticker on the cover
• seamwear

The LP "Relight My Fire" by Dan Hartman brings together the artist’s disco-oriented material on the Blue Sky label and is regarded as a direct continuation of his success with "Instant Replay." The production is clear and dance-oriented without ever becoming generic; characteristic elements include sophisticated bass lines, layered string arrangements, and striking vocal melodies that clearly structure the song forms and give the record a distinctive flow.

Dan Hartman wrote, produced, and played most of the instruments himself, underlining his role as a multi-instrumentalist and songwriter. The tracks fuse disco, soul, and pop with catchy choruses and finely detailed rhythms; at the same time, the harmonic ideas and arrangements that define the artist’s style remain clearly audible. The 1979 LP showcases Hartman’s feel for memorable hooks and studio-focused precision.

Standout aspects of this release include the prominent guest contributions and elaborate orchestral parts: Loleatta Holloway can be heard on the title track on vocals, while MFSB strings under the direction of Don Renaldo provide a wide sonic backdrop. Edgar Winter contributed sax solos, Stevie Wonder appears on the record on harmonica, and John Luongo and Michael Barbiero were responsible for the mixes.

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Commodores

Lady (You Bring Me Up)

$ 12.01*

12" | 1989 | EU | Original (London)

Release: 1981 / FR – Original

Genre: Organic Grooves

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The Commodores’ single “Lady (You Bring Me Up)” was released as a 12" single on Motown and presents the band in their funky, soulful pop mode of the early 1980s. Written by Harold Hudson, William King, and Shirley Hanna-King, the track reached high chart positions in the United States and also placed in international charts, making it one of the most successful releases from the album *In the Pocket*.

The recording was produced by James Anthony Carmichael together with the Commodores; Lionel Richie sings the lead vocal, thereby shaping the character of the track. Carmichael was also responsible for the horn and string arrangements, while additional instrumental tracks were contributed by musicians such as David Cochrane, Harold Hudson, and Darrell Jones. This lineup ensures a balance between a driving funk groove and carefully crafted horn and string textures.

The B-side of the 12" single, “Gettin’ It,” comes from earlier sessions and is credited to Walter Orange and David Cochrane; the song rounds out the single’s program with a more rhythm-driven, soulful tune from the Commodores’ repertoire.

Stylistically, “Lady (You Bring Me Up)” is defined by a blend of funky band dynamics, catchy melodies, and a clean Motown-style arrangement tailored for both radio airplay and the dance floor. The release also marks one of the last major hit periods with Lionel Richie as the prominent lead voice in the band’s history.

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Fine Young Cannibals

Good Thing

Delicate Sound Of Thunder

Release: 1989 / EU – Original

Genre: Rock & Indie, Electronic & Dance, Pop

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Medium: VG+, Cover: VG

• Cover almost in VG+ condition

The 12-inch single “Good Thing” by Fine Young Cannibals was released on the London label and documents the song as a single taken from the album often referred to as “The R*** & the Cooked.” The 1989 release presented the trio’s characteristic sound in a club-ready format and was received internationally as a single.

Musically, “Good Thing” combines pop and soul with distinctive rhythmic work, sparse horn arrangements, and Roland Gift’s unmistakable voice. Andy Cox’s guitar lines and David Steele’s bass form the backbone of the track; the band is marked by a lean yet catchy song structure that moves between R&B influences and alternative pop. The production was handled by Fine Young Cannibals with contributions from external producers, giving the track a precise yet organic sonic character.

The 12-inch edition includes remix-style and instrumental versions, such as the variant known as “Nothing Like The Single Mix,” which presents the track from a different perspective and offers DJs additional room for creative use. For the single production, renowned engineers and mixers were brought in alongside the band, so the release offers both radio-friendly and extended versions for club play.

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Pink Floyd

2LP | 1990 | EU | Reissue (Мелодия)

$ 34.72*

LP | 1980 | US | Original (Polydor)

Release: 1990 / EU – Reissue

Genre: Rock & Indie

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Medium: VG+, Cover: VG+

• Ring wear on the cover
• USSR pressing
• Gatefold cover
• Red labels

The LP "Delicate Sound Of Thunder," released on Melodiya, documents Pink Floyd’s live show from the A Momentary Lapse of Reason tour and was assembled from recordings of the five concerts at Nassau Coliseum, New York. The double LP captures the band’s shift to a Gilmour-centered lineup and gathers tracks from their then-current repertoire as well as selected classics of the group.

Musically, the material ranges between progressive rock and large-scale stadium pop, with extended guitar passages, atmospheric keyboard textures, and sophisticated studio production that clearly defines the live arrangements. A striking aspect is the expanded touring lineup: David Gilmour leads the band, supported by Richard Wright and Nick Mason as well as additional musicians such as Jon Carin, Guy Pratt, and Tim Renwick; backing vocals and percussion lend the pieces additional depth. The selection runs from “Learning to Fly” to live versions of “Comfortably Numb” and “Sorrow.”

David Gilmour was responsible for production; the live recordings were subsequently edited and mixed for release, with Buford Jones and other engineers involved, and Doug Sax handled mastering for the original editions. Historically noteworthy is that this release became the first rock album to travel into space, when Soviet cosmonauts took a cassette aboard Soyuz TM-7—a fact that underscores the special significance of this edition in the Eastern Bloc.

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Roy Ayers

Love Fantasy

$ 40.06*

LP | 1978 | JP | Original (CBS/Sony)

Release: 1980 / US – Original

Genre: Organic Grooves

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Medium: VG+, Cover: VG

• original inner sleeve
• writing on the cover
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The Polydor LP "Love Fantasy" by Roy Ayers documents the fusion of jazz improvisation and funky soul arrangements that emerged in 1980; the recordings were made at New York studios Electric Lady and Sigma Sound, and the album was produced by Roy Ayers himself.

Musically, "Love Fantasy" builds on Ayers’ characteristic use of vibraphone, electric keyboards, and vocals, combining them with densely arranged string passages, for which William Allen provided the arrangements. Several vocalists shape the stacked vocals and leads, notably Sylvia Striplin and Dyan Venter; on guitar and bass, Chuck Anthony and Peter Brown can be heard, respectively, while drummers include, among others, Omar Hakim and Bernard Lee "Pretty" Purdie. Technical contributors such as engineers David Wittman and Carla Bandini, along with mastering by Greg Calbi, round out the production.

The record contains six extended tracks, including the singles "Rock You Roll", "(Sometimes) Believe in Yourself" and the title track "Love Fantasy"; most of the compositions are by Roy Ayers, with co-writing credits for Cindy Prioleau. Stylistically, Ayers here showcases the blend of jazz-tinged improvisation, warm soul vocals, and precise funk grooves that characterized his work in the late 1970s and early 1980s.

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Billy Joel

52nd Street

$ 20.02*

2LP | 1997 | EU | Original (Virgin)

Release: 1978 / JP – Original

Genre: Organic Grooves, Rock & Indie, Pop

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Medium: VG+, Cover: VG+

• in almost Near Mint condition
• Japanese pressing
• includes original inner sleeve
• OBI strip missing
• includes insert (booklet)

The LP “52nd Street,” released on CBS/Sony, documents a turning point in Billy Joel’s body of work: the album expands his songwriter pop with pronounced jazz elements and more opulent arrangements without neglecting the catchy melodies. The songs combine piano-centered writing with horn arrangements, unconventional harmonies, and rhythmic variety that underscores the title’s reference to New York.

Stylistically, the spectrum ranges from concise pop songs such as “My Life” to ballad-like numbers such as “Honesty” and the orchestral epic “Until the Night”; at the same time, tracks like “Zanzibar” open the door to jazz improvisation. Producer Phil Ramone contributed significantly to the sonic balance with understated yet meticulously detailed production work. The core ensemble includes longtime associates such as Richie Cannata, Doug Stegmeyer, and Liberty DeVitto; in addition, renowned jazz and session musicians were brought in for solos and orchestral colors.

In its historical context, “52nd Street” cemented Billy Joel’s status as an artist with greater stylistic range and was honored, among other things, with the Grammy for Album of the Year, underscoring the artistic and commercial impact of that period. The CBS/Sony edition forms part of the international circulation of this milestone release.

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Daft Punk

Homework

$ 120.20*

LP | 1996 | DE | Original (Put Da Needle To Da)

Release: 1997 / EU – Original

Genre: Electronic & Dance

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Medium: VG, Cover: VG+

• The records show some light surface marks and fine scratches
• Cover shows signs of storage wear
• including original inner sleeves

The LP "Homework" by Daft Punk, released on Virgin, marks the debut of the French duo and brings together formative 1997 material that helped make the then‑young French touch scene known worldwide. The record compiles catchy singles such as "Da Funk" and "Around the World" and traces back to the isolation of the home studio as a place of production, which gave the album its title.

Musically, "Homework" moves between house, techno, and acid, shot through with disco sounds and stripped‑down, loop‑oriented arrangements; the production is by Thomas Bangalter and Guy‑Manuel de Homem‑Christo themselves. Characteristic features include sparse leads, springy basslines, and the deliberate use of drum machines and sampling, creating a direct, dance‑oriented aesthetic that works both in clubs and for radio‑friendly singles. Critics highlighted the stylistic range and the album’s influence on late‑1990s club music.

Notable aspects of this release include the explicitly cited influences and samples: "Da Funk" uses material from "Bounce, Rock, Skate, Roll," while other tracks incorporate motifs from disco and pop sources; the track "Teachers" is a deliberate tribute to key house artists. The visual design stems from a conceptual idea by the band and complements the musical homage to their influences.

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Fast Forward

Ich Und MC Bibabutz

$ 80.13*

12" | 1997 | DE | Original (Jazzanova)

Release: 1996 / DE – Original

Genre: Hip Hop

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Medium: G+, Cover: VG+

• overall in VG+ condition
• cover shows signs of storage wear
• record plays significantly better than it looks
• writing on the inside of the cover

Released on Put Da Needle To Da, the LP “Ich Und MC Bibabutz” by Fast Forward brings together eleven tracks that tap into the raw underground sound of 1990s German hip-hop while also integrating elements of English-language passages. The arrangements rely on punchy beats, scratches used subtly, and varying song lengths, giving the album its concise yet varied structure.

Fast Forward, real name Peter Sreckovic, shapes the record’s tone as both rapper and producer; his style is characterized by direct, pointed lyrics and a gritty delivery that oscillates between personal reflection and more provocative statements. Guest contributions enliven the tracks and introduce stylistic breaks without undermining the cohesion of the work as a whole.

Production was handled primarily by Peter Sreckovic; the raps were recorded at Blitz-Labor in Cologne, while the instrumentals were created at Puffbar Studio in Aachen. Mixing involved Future Rock, and mastering was done by Simon Davey at The Exchange in London. Among the contributors listed in the credits are Echo Vee, DJ Stylewarz, and other peers from the scene.

The release also marks the starting point for the label Put Da Needle To Da, which Sreckovic initiated to put out independent projects from the German-speaking underground; from this perspective, the LP is regarded as a defining document of the label’s early history.

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Jazzanova

Jazzanova EP

LP | 2026 | US | Reissue (Rhino)

Release: 1997 / DE – Original

Genre: Electronic & Dance

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The 12" Jazzanova EP, released on the JCR label, brings together the three early tracks with which the Berlin-based collective marked its recording debut: “Fedime's Flight,” “Bohemian Sunset,” and “Allee der Kosmonauten.” The release is regarded as the project's first EP and is listed on the official Bandcamp page as an early 1997 release; at the same time, it served as a starting point for later singles and compilation appearances.

Musically, the Jazzanova EP combines laid-back jazz harmony with electronic broken beat elements and hints of Brazilian rhythms; the arrangements make use of Fender Rhodes textures, warm bass lines, and organic percussion. Individual members of the collective such as Jürgen von Knoblauch and Alexander Barck were involved in the productions; the tracks were created in part in collaboration with Extended Spirit (Axel Reinemer & Stefan Leisering), Claas Brieler, and Kosma (Roskow Kretschmann). Markus Krätzig is credited as the Rhodes player; mixing took place, among other locations, at Calix Studios in Berlin.

The release positioned Jazzanova early on at the intersection of club culture and contemporary jazz and yielded, with “Fedime's Flight,” a track that gained international attention and appeared in DJ sets as well as on compilations. As an early signature of the band, the 12" already points toward Jazzanova's later development into sophisticated productions and remix work.

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Van Morrison

Moondance

$ 44.07*

12" | 2001 | UK | Original (Kismet)

Release: 2026 / US – Reissue

Genre: Organic Grooves, Rock & Indie

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Medium: Near Mint, Cover: VG+

• Minor damage on the top spine of the cover

The LP “Moondance,” released on Rhino, brings together Van Morrison’s most popular tracks such as “Moondance,” “Into the Mystic,” and “Crazy Love,” presented here as a 1LP (orange vinyl) edition featuring the 2013 remaster. The album transfers the concise arrangements of the original production to vinyl and keeps the focus on melodies and rhythms that remain present in radio playlists to this day.

Van Morrison is known for a blend of soul, jazz, pop, and Irish song tradition; on “Moondance” he transforms that mix into clearly structured songs that remain both down-to-earth and stylistically open. The 1970 album marked his first major commercial breakthrough and established the stylistic direction for which Morrison remained known in the following decades. Lyrically, the work moves between images of nature, spirituality, and personal intimacy, with catchy refrains and piano-based arrangements dominating.

Characteristic of this recording is the collaboration with a steady band of Woodstock musicians and the inclusion of a horn section and background choir, which lend the songs warmth and definition. Van Morrison handled production; Lewis Merenstein served as executive producer. Key contributing musicians include John Platania (guitar), Jef Labes (piano/organ), Jack Schroer (saxophones), John Klingberg (bass), and Gary Mallaber (drums), whose playing shapes the album’s jazzy, horn-driven sound.

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Coco Da Silva

@Night

LP | 1985 | JP | Original (Solar)

Release: 2001 / UK – Original

Genre: Electronic & Dance

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Medium: VG, Cover: Generic

"@Night" by Coco Da Silva was released as a 12-inch single on the Kismet label and belongs to the early-2000s output; the track was offered for club use in an extended original version and appeared as part of the Kismet releases.

Coco Da Silva is not a solo artist in the traditional sense, but a joint project built around Portuguese producer Rui da Silva and British DJ/producer Chris “Coco” Mellor; this collaboration merges the production aesthetics of both musicians and reflects the curatorial direction of the label. The release is part of Kismet’s body of work, which is known for carefully arranged house productions.

Musically, "@Night" operates in the realm of melodic and progressive house; the composition relies on lush synths, suggestive melodic arcs, and a steady, dance-oriented groove that unfolds over several minutes. The running time is in the seven-to-eight-minute range, which gives the track, as a long-form club version, room for building atmosphere and targeted DJ use. Sonically, the record bears the continental signature of Kismet productions: elegant, warm, and focused on the flow of the set.

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Midnight Star

Planetary Invasion

LP | 1976 | US | Original (H & L)

Release: 1985 / JP – Original

Genre: Organic Grooves, Electronic & Dance

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Medium: VG, Cover: VG

Japanese pressing with Obi.

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Van McCoy

The Real McCoy

(Who's Afraid Of?) The Art Of Noise!

Release: 1976 / US – Original

Genre: Organic Grooves

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Medium: VG, Cover: VG

The LP “The Real McCoy,” released on H & L, documents Van McCoy’s work as a songwriter, arranger, and producer and brings together his characteristic mid‑1970s orchestrated disco and soul arrangements. Van McCoy is also credited with production here; the record was issued in 1976 on the H & L label.

Musically, the album moves between lush string and horn arrangements, funk‑oriented rhythmic foundations, and accessible melodies, thereby combining orchestral pop aesthetics with a focus on the dance floor. Characteristic of McCoy’s style are dense orchestrations, sophisticated string and vocal shading, and a clear emphasis on groove‑based instrumentals and short‑format songs. Contemporary reviews and catalog entries describe these stylistic features as defining the sound of the record.

Among the standout tracks are “Jet Setting,” “Night Walk,” “Party,” and the instrumental version of the “Theme from Star Trek”; three cuts from the record enjoyed chart success. The sessions featured renowned studio musicians including Richard Tee, Hugh McCracken, Eric Gale, and Steve Gadd, who helped shape the warm, precise sound of the production. Taken as a whole, “The Real McCoy” presents Van McCoy as a skilled orchestrator and arranger working at the intersection of soul, disco, and light pop.

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The Art Of Noise

LP | 1984 | JP | Original (ZTT)

$ 37.39*

LP | 1971 | JP | Reissue (CBS/Sony)

Release: 1984 / JP – Original

Genre: Electronic & Dance, Pop

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Medium: VG+, Cover: VG+

• vinyl nearly in Near Mint condition
• cover nearly in Near Mint condition
• Japanese pressing
• missing OBI strip

The LP “(Who's Afraid Of?) The Art Of Noise!”, released on ZTT, is the debut album by the British group The Art Of Noise and came out in 1984. The record brings together the early singles and album tracks in a concept that combines sampling practice, electronic sequences, and unusual arrangements. The release was produced by Art of Noise; composing credits go to Anne Dudley, J. J. Jeczalik, Gary Langan, Trevor Horn, and Paul Morley.

Musically, the LP moves between synth-pop, experimental sound collages, and New Wave influences. Characteristic features include the use of samplers and drum machines, as well as working with the Fairlight-like sound vocabulary of the early eighties, resulting in short, concise motifs and longer, atmospheric pieces densely sequenced together. The production fuses pop structures with a laboratory-like studio aesthetic that emphasizes both rhythmic directness and fragmented sound snippets.

Key tracks include “Beat Box,” “Close (To The Edit),” and the extended “Moments In Love,” which showcase different sides of the project—from danceable rhythms to meditatively shimmering ambient passages. Important hallmarks of the release are its experimental sampling techniques, the distinctive studio signature of the contributors, and the conceptual and visual input by Paul Morley along with photography by Anton Corbijn; taken together, these elements make the LP a reference point of early electronic pop avant-garde.

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Mountain

Flowers Of Evil

$ 33.38*

LP | 1978 | US | Original (Cotillion)

Release: 1971 / JP – Reissue

Genre: Organic Grooves, Rock & Indie

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

• Few paper scuffs
• Very slight signs of use
• 1977 reissue
• Japanese pressing
• OBI missing, with insert

Released on CBS/Sony as an LP, Mountain’s “Flowers Of Evil” combines studio recordings with documented concert sections, showcasing two sides of the band: a tight studio presence and an extended live performance. The first half of the record features new studio tracks with melodic depth and blues-based riffs, while the second half offers the long “Dream Sequence” medley and a live version of “Mississippi Queen,” capturing the group’s live power.

On this album, Mountain appears in its classic lineup: Leslie West (guitar, vocals), Felix Pappalardi (bass, keys, vocals), Corky Laing (drums), and Steve Knight (keyboards). Hallmarks of the band’s style include West’s distinctive, heavily distorted guitar lines, Pappalardi’s deep, warmly produced bass foundation, and dynamic, often dramatic arrangements that weave together blues, hard rock, and progressive elements. This LP edition, released in Japan on CBS/Sony, is also documented on the market as a reissue.

Felix Pappalardi serves as producer, giving the sound clear contours and organic depth; he also contributed as co-writer and additional vocalist, underscoring the close interlocking of songwriting and production. For listeners who appreciate Mountain’s live energy alongside concise studio arrangements, “Flowers Of Evil” brings together both aspects of the band’s work in pointed fashion.

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Mass Production

Three Miles High

LP | 1979 | US | Original (RCA)

Release: 1978 / US – Original

Genre: Organic Grooves

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Medium: G+, Cover: G+

The LP “Three Miles High,” released on Cotillion, captures Mass Production at a moment when funk and disco are tightly interwoven and the ensemble oscillates between driving horn sections and sensuous keyboard arrangements. Issued in 1978, the record presents the band with concise, well-focused arrangements that make room for both danceable passages and quieter, melodic moments.

The album gathers nine tracks, including the singles “Just Wanna Make a Dream Come True” and “Sky High,” as well as cuts like “Watch Me Do It,” “I Don’t Want To Know,” and “Slow Bump.” Hallmarks include spacious horn harmonies, syncopated bass lines, and precisely placed synthesizer textures that lend the material a warm, supple groove. Songwriting duties are shared among several band members, giving the record a collective momentum and stylistic variety.

“Three Miles High” was co-produced by Mass Production and Ed A. Ellerbe; the sessions took place in New York studios such as Media Sound, engineered by Doug Epstein, with Dominick Romeo handling mastering. Photography and art direction are by Steinbicker/Houghton and Bob Defrin, respectively, completing the LP’s visual presentation. As a documentary waypoint in the band’s history, the album illustrates the shift from straightforward dancefloor drive to more refined ensemble arrangements.

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Evelyn King

Music Box

LP | 1976 | US | Original (Casablanca)

Release: 1979 / US – Original

Genre: Organic Grooves

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Medium: VG+, Cover: VG

• US pressing

The LP "Music Box" by Evelyn "Champagne" King was released in 1979 on the RCA label and features the title track "Music Box" as well as the two-part number "Steppin' Out" as central pieces of the album. The material ranges from dance-oriented tracks to slower soul ballads; some songs were later issued in longer 12" versions on expanded editions.

Style-wise, the album combines disco, soul, and R&B elements; compared to her debut, the record shows a somewhat jazzier coloring and a more heavily produced approach that puts Evelyn "Champagne" King's vocals front and center. Songs like "I Think My Heart Is Telling" and "Let's Start All Over Again" give her voice room for restrained, soulful passages, while the uptempo tracks rely on concise groove-based arrangements.

In terms of production, the album clearly bears the stamp of Theodore Life (T. Life); Warren Schatz served as executive producer. Among the contributors are background vocalists such as Luther Vandross and Irene Cara, as well as studio musicians including Will Lee on bass and Sam Peake on saxophone and keyboards, complemented by horn and string arrangements. The production was carried out in Philadelphia.

As an LP, "Music Box" documents a transitional phase in King's career: the combination of disco danceability with soulful moments and sophisticated studio production makes the record a characteristic document of her work on the RCA label.

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Donna Summer

Four Seasons Of Love

Blue Order (Mega-mix) / Bonus Bronski Beats

Release: 1976 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

• in almost VG+ condition

Donna Summer’s LP *Four Seasons Of Love* presents a through-composed concept that tells the story of a love affair using the four seasons as its framework. The album was released in 1976 on Casablanca and produced by Giorgio Moroder and Pete Bellotte; the producers set clear accents in both the arrangements and the overall sound. The compositions are deliberately conceived as a continuous sequence, giving the theme room to unfold.

Musically, Donna Summer combines classic disco rhythm with prominent synthesizer and string parts; bright, driving arrangements characterize “Spring Affair” and “Summer Fever,” while “Autumn Changes” and “Winter Melody” feature more subdued tempos and soulful shades. The long, suite-like pieces make use of dynamic shifts and recurring motifs, which preserves the album’s narrative arc. Also noteworthy is the brief “Spring Reprise” as a connecting element.

In terms of production, the electronic textures of the Munich scene dominate alongside orchestral touches; the recording and mixing are modeled on the studio sessions of the era and support Summer’s vocal versatility. As a result, several singles were released that underscored the album’s disco-oriented approach and complemented its conceptual framework. The release documents a clear step in the evolution of Donna Summer’s collaboration with Moroder and Bellotte.

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New Order / Bronski Beat

12" | 1990 | US (ON-USound)

12" | 1979 | US | Original (Solar)

Release: 1990 / US

Genre: Electronic & Dance

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Medium: VG+, Cover: Generic

"Blue Order (Mega-mix) / Bonus Bronski Beats" delivers an unofficial megamix as a 12-inch on ON-USound and is cataloged as a bootleg edition that was released around 1990. The A-side contains the eponymous New Order mega-mix, while the B-side offers a shortened second version plus the bonus mix featuring Bronski Beat; the label ring is printed with abbreviations such as (B. Somerville / P. Hook).

Style-wise, the mega-mix draws its energy from synthesizer-driven post-punk and New Order’s electronic pop tradition; characteristic elements such as prominent bass lines, sequenced synthesizer figures, and singable melodies are fused into a dense mix. The compilation works with excerpts from well-known singles and extended club passages, turning the material into a DJ-ready reassembly. Bronski Beat rounds out the release with a compact bonus mix that picks up the band’s characteristic synth-pop aesthetic.

In terms of production and credits, the release remains anonymous: the remixes are not credited by name on the cover, and the mixes are treated as uncredited megamixes. In collector listings, the running times of the individual mixes are given as approximately 13:02, 9:52, and 5:24; the record turns up in specialized vinyl archives and private shops as an ON-USound pressing. For collectors and DJ-minded listeners, this 12-inch documents a characteristic bootleg practice of the late eighties / early nineties.

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Dynasty

Your Piece Of The Rock

12" | 1988 | US | Original (Tin Pan Apple)

Release: 1979 / US – Original

Genre: Organic Grooves

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The 12-inch single by the group Dynasty pairs the extended club version of “Your Piece Of The Rock” on side A with a continuation on side B; on the familiar U.S. pressing, the A-side runs about 7:54, while the second version carries on and reduces the vocal in favor of the groove. Released on the Solar label as a single, it shows the characteristic length and dramaturgy of a disco title track, deliberately designed as an extended arrangement for DJ use.

Musically, “Your Piece Of The Rock” combines funky basslines with driving drum patterns, syncopated percussion accents, and multi-part vocal passages that shift between male and female voices. Producer Leon Sylvers III was responsible for the arrangement; the release stands in the tradition of the SOLAR universe co-founded by Dick Griffey, which linked studio work in Los Angeles with clear, vocal-driven R&B arrangements. Dynasty was a project initiated by Griffey and Leon Sylvers that soon made a name for itself with its polished harmonies and grooving riffs.

Characteristic of the recording is the alternation between a dense rhythmic bed and stringent chorus hooks, complemented by orchestral underlayers and occasional string arrangements that lend the track additional warmth. The blend of dance-oriented energy and meticulous studio work lets the piece function both as a club track and as a document of late-seventies R&B, making the single a striking early statement by Dynasty on Solar.

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Fat Boys

Are You Ready For Freddy

12" | 1992 | US | Original (Soiree)

Release: 1988 / US – Original

Genre: Hip Hop

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Medium: VG+, Cover: VG+

The 12-inch single “Are You Ready For Freddy” by the Fat Boys was released in 1988 on Tin Pan Apple and was simultaneously used as the title song for the horror film *A Nightmare on Elm Street 4: The Dream Master*; the recording also appears on the album *Coming Back Hard Again*.

Musically, the track combines typical late‑1980s hip-hop elements with a tongue-in-cheek horror aesthetic: driving beats, catchy hooks, and narrative rap sections that highlight its connection to the film. A distinctive feature is the guest appearance by Robert Englund in the role of Freddy Krueger, which gives the track a cinematic voice and a striking signature element. The song was produced by Chris Richards and Tony Bongiovi, which explains the pop‑oriented, clean studio sound of the production.

As a work by the Fat Boys, “Are You Ready For Freddy” falls into the period when the group increasingly engaged in media crossover projects, blending their humorous, performance-driven style with commercial concepts. Among collectors, the 12-inch release on Tin Pan Apple is regarded as a documentary addition to that era in which hip-hop and film marketing appeared in close alignment.

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Lockstep

Lockstep EP

$ 57.42*

12" | 1988 | EU | Original (London)

Release: 1992 / US – Original

Genre: Electronic & Dance

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The 12-inch Lockstep EP by Lockstep brings together four tracks that oscillate between driving techno and deep house, thereby incorporating characteristic elements of the Detroit school. The selection ranges from the atmospheric “Ce Soir” and the hypnotic “Sensuasm” to the more distinctive, more techno-leaning cuts “Heatsync” and “I Am.” The release comes out on Soiree Records International and is aimed at both DJs and listeners looking for clearly structured dancefloor tracks with warm bass.

Lockstep works in a style that fuses a deep house aesthetic with electro-punk elements; concise rhythms are combined with stripped-down melodic lines and recurring sequences. Characteristic is the pared-down yet powerful use of synthesizers and drum machine patterns, which results in a sober, focused sonic space. The tracks reflect a classic Detroit perspective, as can also be found in the work of Drivetrain. Behind the project is producer Drivetrain (Derrick Thompson), which explains the connection to the scene and to the label’s in-house production practice. The record credits not only the production but also technical contributors and the artwork by V.G. Blevins; the sound was meticulously arranged and overseen in the studio by a dedicated team. For collectors and DJs, the 12-inch EP offers a piece of the Detroit archive that documents early-1990s approaches to electronic dance music.

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Bananarama

Love, Truth & Honesty

$ 9.34*

Stop To Love (Special 12" Remix)

Release: 1988 / EU – Original

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG

The 12-inch single titled “Love, Truth & Honesty” by Bananarama documents the track that was issued as an advance single for the compilation Greatest Hits Collection and drew attention to the line-up change at the time. The song was co-written by Sara Dallin, Keren Woodward, Jacquie O’Sullivan and the production trio Stock Aitken Waterman, and was released on the London label. The single version and various maxi remixes provided both radio-friendly and club-oriented versions.

The 12-inch edition features notable remixes, including the so-called Balearacidic Mix and the Hot Power 12" version, both reworked by Phil Harding and Ian Curnow; in addition, the release was coupled with the B-side “Strike It Rich” in various countries. This configuration makes the 12-inch a sought-after maxi single for collectors and DJs who value alternate versions.

Musically, “Love, Truth & Honesty” sits in the realm of catchy dance-pop arrangements with prominent hooks, clear multi-part harmonies, and the characteristic Europop sound shaped by Stock Aitken Waterman that had accompanied Bananarama since the 1980s. Jacquie O’Sullivan’s involvement as a co-writer also marks a formal turning point in the band’s history. The release on London underlines the single’s commercial context and its placement in the charts of the time.

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Luther Vandross

12" | 1986 | EU | Original (Epic)

Love Unlimited / Love Unlimited Orchestra

Release: 1986 / EU – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

The 12-inch single released on Epic under the title "Stop To Love (Special 12-Inch Remix)" presents an extended remix version of Luther Vandross’s hit and is aimed at collectors and DJs who prefer the longer version. The “Special 12-Inch” designation and the 12-inch pressing document the track’s release as a single alongside the regular album versions and 7-inch singles.

Musically, "Stop To Love" stays true to Luther Vandross’s soulful, R&B-oriented style: a driving groove, smooth horn and synthesizer arrangements, and Vandross’s warm, nuanced voice shape the song, which established itself as a catchy pop/R&B track from the album Give Me the Reason. Marcus Miller, credited as co-writer and defining producer, is responsible for the bass lines and the cool, funky foundation; Vandross himself is listed as producer and vocal arranger.

The 12-inch remix version extends the intro and instrumental passages, giving the motifs in the arrangement more room; for that reason, this version was later reissued on remix and best-of compilations. Renowned session musicians such as Paul Jackson Jr. (guitar), Paulinho Da Costa (percussion), and Buddy Williams (drums) contribute to the dense, precise production, which sharpens the character of the track.

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I'm So Glad That I'm A Woman / Vieni Qua Bella Mi

12" | 1981 | EU | Original (Unlimited Gold)

12" | 1985 | UK | Original (Cooltempo)

Release: 1981 / EU – Original

Genre: Organic Grooves

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The 12-inch single “I'm So Glad That I'm A Woman / Vieni Qua Bella Mi” is issued as a split release by Love Unlimited and the Love Unlimited Orchestra on the Unlimited Gold label. The pairing combines a vocal-driven R&B track by the vocal group with an instrumental orchestral piece and, in doing so, documents Barry White's dual role as songwriter, arranger, and label head.

“I'm So Glad That I'm A Woman” epitomizes the characteristic Love Unlimited sound: harmonious three-part vocals, a mature soul aesthetic, and an arranged, orchestral production that frames the piece as a celebratory statement of female self-affirmation. The song appears on the album “Love Is Back”; the compositions are credited to Barry White along with co-writers such as Frank Wilson and Paul Politi, with Barry White also handling production.

The B-side, “Vieni Qua Bella Mi,” represents the project's instrumental side: the Love Unlimited Orchestra works with lush strings, sustained horn sections, and a funky backbone that emphasizes the disco and orchestral soul of the late-seventies, turn-of-the-decade transition. The piece was composed by Barry White in collaboration with Tony Sepe; the recording is taken from the album “Let ’Em Dance.”

A key characteristic of this release is the tight integration of vocal trio and orchestral unit under Barry White's distinctive production signature: the combination of warm arrangements, a precise rhythm section, and a melodic string section shapes both the vocal and instrumental sides of this 12-inch edition on Unlimited Gold.

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Change

Oh What A Feeling

Lisa Lisa & Cult Jam With Full Force

Release: 1985 / UK – Original

Genre: Organic Grooves, Electronic & Dance

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Medium: VG, Cover: G+

"Oh What A Feeling" by Change was released as a 12-inch single on the Cooltempo label and is one of the band’s later singles from the mid-1980s. For the British market, the release was accompanied by a remix by Paul Hardcastle, who extended and rearranged the single for club play.

Change is an Italo-American studio project initiated by Jacques Fred Petrus and Mauro Malavasi that moves musically between post-disco, contemporary R&B, and funk. Characteristic are carefully crafted arrangements, smooth horn sections, striking basslines, and multi-part vocal parts that steer the song in a grooving yet pop-oriented direction.

The production of "Oh What A Feeling" stands in the tradition of the Petrus/Malavasi productions: commercially oriented, yet densely arranged and performed by studio professionals. Davide Romani, Mauro Malavasi, and Paul Slade are among the creative forces behind the writing and production work; the remix versions made the track attractive for DJs.

The 12-inch edition emphasizes the danceable elements of the piece, extends rhythmic fragments, and puts the focus on groove and variations of that groove without losing sight of the melodic line. For collectors and listeners who want to explore Change beyond the early hits, this single documents a late, workmanlike entry in the band’s discography.

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Can You Feel The Beat (Full Force Remix)

12" | 1985 | UK | Original (CBS)

A Love Supreme (Jazz In The House Mix)

Release: 1985 / UK – Original

Genre: Hip Hop, Organic Grooves, Electronic & Dance

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Released on CBS, the 12" “Can You Feel The Beat (Full Force Remix)” by Lisa Lisa & Cult Jam With Full Force presents the title dance track in an extended remix version tailored for clubs and rounds out the release with a dub version as well as the song “Private Property.” The single documents the close collaboration between the band and the production team Full Force and was issued as a maxi edition specifically aimed at use in DJ sets.

Musically, the record sits in the realm of freestyle and mid‑1980s urban dance music. Characteristic elements include syncopated drum patterns, deeper basslines, and clear, melodic vocal lines that place Lisa Lisa’s voice prominently up front; the Full Force production emphasizes rhythmic drive and memorable hooks that underscore the track’s club‑focused character. The remix version expands on the original with longer instrumental passages and dub elements.

The release is part of the early success story of Lisa Lisa & Cult Jam With Full Force and reflects the sound of a period when remixes were gaining importance as independent club formats. Collectors value the CBS pressing of the 12" for its DJ‑friendly running time and the distinctive production signature of Full Force.

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Will Downing

12" | 1988 | EU | Original (Island)

Your Love / Baby Wants To Ride

Release: 1988 / EU – Original

Genre: Organic Grooves, Electronic & Dance, Pop

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Medium: VG, Cover: VG

The 12-inch single “A Love Supreme (Jazz In The House Mix)”, released on Island, presents Will Downing in an unusual combination of soul vocals and house aesthetics: the track brings Coltrane’s classic into a club‑friendly context without losing its melodic essence. Issued as a maxi-single with several versions, including the titular Jazz‑in‑the‑House Mix as well as album and dub variants, it was aimed both at dancefloors and at listeners with an affinity for contemporary R&B.

Musically, the production combines warm piano figures and syncopated house grooves with Downing’s rich baritone; the interpretation of the piece remains committed to its underlying melancholy, but gains rhythmic drive through percussive elements and extended refrains. The recording deliberately incorporates jazzy solo passages, which keeps the cover palpably close to the original composition while at the same time opening up a modern, dance‑oriented approach.

Crucial to the character of the 12-inch are the producers and remixers involved: Arthur Baker was responsible for the house remixes, while certain editions include additional versions by David Morales and Frankie Knuckles that carry the song into different club contexts. Throughout, Will Downing’s voice remains the central element, forming the bridge between jazz tradition and late‑’80s house structures.

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Frankie Knuckles

12" | 1989 | UK | Original (Radical)

$ 33.38*

12" | 2007 | UK | Original (F1 Dubstars)

Release: 1989 / UK – Original

Genre: Electronic & Dance

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Medium: VG, Cover: VG+

Originally released as a 12" single, “Your Love / Baby Wants To Ride” brings together two early house classics and came out on the Radical label; the record thus serves as a documentary witness to the late 1980s, marking the transition of the Chicago club sound into the international scene.

Musically, both tracks epitomize characteristic Chicago house: warm, flowing synthesizers, restrained basslines, and a distinctly floating groove create space for sensual, almost intimate vocal lines. On “Your Love” and “Baby Wants To Ride,” formative contributions come from Jamie Principle, credited as co-writer and vocalist, while Frankie Knuckles shaped the productions and carried the tracks from the club context of the Warehouse into record collections. This combination of songwriting and DJ aesthetics explains the lasting significance of these titles.

Central to the sound is the sparse, dancefloor-focused approach to arrangement: expansive keys, precisely placed percussion, and targeted breaks allow the vocals to function as the central element without sacrificing rhythmic clarity. In this way, the release has established itself as a reference point for early house and is still featured in historical compilations and DJ sets today.

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F1 & Kromestar

F1 Dubs

12" | 1996 | US | Original (EastWest Records America)

Release: 2007 / UK – Original

Genre: Electronic & Dance

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Medium: VG, Cover: Generic

• almost in VG+ condition
• promo copy

The 12" “F1 Dubs” by F1 & Kromestar, released on F1 Dubstars, is present here as a promo pressing and documents the close collaboration of two formative producers from the early Dubstep scene; the label also carries the distribution credit “Distributed by Southside.”

Musically, the record moves within a dark Dubstep aesthetic with clearly audible dub and reggae references: deep sub-bass, sparingly used, echoing effects, and pinpoint percussion shape the sound. The tracks rely less on rapid breaks and more on spaced-out arrangements and room for bass modulations, allowing the typical dub elements to come through in an electronic context.

Here, F1 acts not only as producer but also as operator of the associated label, while Kromestar has long been a fixed part of the scene, with releases on labels like Deep Medi and related imprints. This release fits into a local network of dubs, promo pressings, and club distribution and reflects the practice of making exclusive records available to DJs and collectors.

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MC Lyte

Cold Rock A Party

12" | 1990 | EU | Original (10)

Release: 1996 / US – Original

Genre: Hip Hop

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The 12" “Cold Rock A Party” by MC Lyte, released on EastWest Records America, brings together the single in its club-oriented single version alongside alternative remixes plus instrumental and a cappella versions. The release connects thematically and sonically to her fifth studio album “Bad As I Wanna B” and presents MC Lyte in an R&B-tinged hip-hop setting that moves between punchy rhythms and melodic hooks.

Defining for the track is the combination of MC Lyte’s precise, confident rap technique with large-scale samples and contemporary production elements. The album version is built around a sample of Audio Two’s “Top Billin',” while the single version—the well-known Bad Boy remix—was produced by Sean “Puffy” Combs and uses the Diana Ross element from “Upside Down”; the remix also features Missy Elliott as a guest. These versions highlight the tension between classic hip-hop feel and radio-friendly catchiness.

Key features of the 12" are the multiple remix versions (including the Bad Boy remix and the so-called Milk remix), as well as instrumental and a cappella cuts that appeal equally to DJs and producers. “Cold Rock A Party” achieved high chart positions, including No. 11 in the U.S. and No. 1 in New Zealand, and thus played a major role in bringing MC Lyte to a broad audience in the late 1990s.

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Soul II Soul

A Dreams A Dream

What You Gonna Do When The Grid Goes Down?

Release: 1990 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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The 12" single "A Dreams A Dream" by Soul II Soul was released on the 10 label as a single taken from the album *Vol. II: 1990 – A New Decade*. The A-side features the "A Night At The Opera Mix" of the track, complemented by a club dub version and the instrumental piece "Courtney Blows" on the B-side, making the release appealing to DJs and collectors alike.

Musically, "A Dreams A Dream" follows the signature Soul II Soul sound: a blend of contemporary R&B aesthetics, smooth grooves, and refined arrangements. The tracks from this period were shaped in large part by Jazzie B and Nellee Hooper; songwriting and arrangement contributions came, among others, from Trevor Beresford Romeo and Simon Law. The vocal part of the recording is delivered by Victoria Wilson-James, whose expressive performance defines the character of the track.

Hallmarks of this release include the sophisticated remix versions that steer the song toward club play, as well as the instrumental interlude with saxophone inflections. The production leans on soft string pads, a distinctive rhythmic foundation, and sparse yet effective electronic textures; as a result, this 12" single fuses elegant soul with dance-oriented remix strategies and underscores the stylistic breadth of Soul II Soul during this phase.

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Public Enemy

LP | 2020 | EU | Original (Enemy)

$ 38.72*

12" | 2009 | UK | Original (Tempa)

Release: 2020 / EU – Original

Genre: Hip Hop

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Medium: Sealed, Cover: Sealed

• gatefold cover
• includes poster and stickers

The LP "What You Gonna Do When The Grid Goes Down?" by Public Enemy brings together seventeen tracks that present the project as a collaborative statement. Released on the Enemy label, it features numerous guest appearances, including Nas, Rapsody, Black Thought, DJ Premier, George Clinton, Cypress Hill, Run‑DMC, Ice‑T, as well as Mike D and Ad‑Rock of the Beastie Boys; the track “Fight The Power: Remix 2020” was reconceived for the BET Awards stage.

Musically, the album operates in the realm of politically engaged hip-hop, with a clear emphasis on verbal directness and dense, sample-based arrangements. Public critique and self-determination form the thematic cornerstones; the productions alternate between hard-hitting beats and fragmentary interludes, allowing the record to deliberately spotlight the vocal presence of Chuck D and Flavor Flav. The guest contributions are particularly noteworthy, broadening the spectrum from old-school icons to contemporary voices.

On the production side, C‑Doc handles the bulk of the work, supported by contributions from, among others, Racer X, DJ Infinite, and DJ Pain 1; DJ Premier provides the production for “State Of The Union (STFU).” This LP edition gathers this collaboration and the diverse range of features into the format and, in doing so, documents a chapter in the work of Public Enemy that underscores their role as a politically oriented voice in hip-hop.

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SP:MC

Taiko Dub / Bad Dreams

Larry Heard aka Mr. Fingers

Release: 2009 / UK – Original

Genre: Electronic & Dance

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Medium: VG+, Cover: Generic

• Label on the cover

The 12-inch “Taiko Dub / Bad Dreams” by SP:MC, released on Tempa, brings together two powerful dubstep tracks and captures a defining moment in the producer’s body of work. The A-side is titled “Taiko Dub” and the B-side “Bad Dreams,” which sees SP:MC collaborating with Joker D; the release is dated to 2009 and is listed in the Tempa catalog.

Musically, SP:MC operates in his usual realm of dark, half-time dubstep beats with focused percussion, deep sub-bass and sparse, atmospheric pads. The compositions prioritize weight and precision over lavish ornamentation; as a result, both cuts develop a dense, club-ready presence that was picked up by key figures in the scene.

The production credits name the respective creators: the A-side was written and produced by S. Procter, while the B-side was created in collaboration between S. Procter and A. Morgan (Joker D). The record gained early support in DJ sets and radio shows, which helped its spread within the dubstep community.

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Rebirth 10

2LP | 2024 | IT | Reissue (Rebirth)

$ 38.72*

LP | 1985 | US | Original (Motown)

Release: 2024 / IT – Reissue

Genre: Electronic & Dance

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Medium: Sealed, Cover: VG

• bumped corners

“Rebirth 10” by Larry Heard aka Mr. Fingers brings together a selection that puts the first decade of the Rebirth label center stage and was personally curated and mixed by Larry Heard. The compilation was originally released as a limited double CD and was then adapted for a later vinyl edition as a numbered double LP, made available for the first time as part of Record Store Day.

Musically, the compilation moves in the realm of warm deep house with expansive melodic textures, velvety chord progressions, and restrained yet effective grooves—elements that define the characteristic sound of Mr. Fingers. Alongside originals, there are numerous remixes and renditions by heavyweights such as Ron Trent, Roy Davis Jr., and Palms Trax, as well as remixes and contributions from other producers from the Rebirth catalog, giving the record both a retrospective and contemporary feel.

Essential to the character of this edition is its curatorial throughline: Heard chose defining label cuts and placed them in a flowing context that emphasizes the release’s melodic sensitivity and soulful undertone. The artwork designed by Emil Schult complements the compilation while also documenting the aesthetic direction of the label, which since its founding by Daniele “Shield” Contrini has served as a home for melodic house.

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The Supremes

Sing Motown