Saturday, February 28, 2009
Update: I've uploaded the full 12 and download link has been updated. Enjoy. This is a catchy and addicting track..
Sup my Vinyl Vault Fam!!! This is not the full 12 inch just the english and spanish tracks.
If anybody has this full 12 inch please send it to Rob, 12 Inchjunkie, Summoned Knight , Mastrchief, Chicagojackin, or myself to post... I couldn't find any information on Bernardo so i do apologize... Enjoy!!!
A1 Why Did You Quit On Me (English Radio)
A2 Why Did You Quit On Me (Spanish Radio)
A3 Why Did You Quit On Me (Instrumental)
A4 Why Did You Quit On Me (Poesia)
B1 Why Did You Quit On Me (Latin Alternative)
B2 Why Did You Quit On Me (Percapella)
B3 Why Did You Quit On Me (Club Mix)
Friday, February 27, 2009
Coro, of Dominican heritage, first had roles in numerous episodes of the star's hit television series "Miami Vice." While appearing on "Vice," Coro struggled to put together a group to get his singing career off the ground. His first efforts never took off, but in 1987, Coro met freestyle sensation Stevie B. who was enjoying the success of his first hit record and getting ready to tour. After a stint as a back up vocalist and dancer for Stevie B., New york born and Miami raised Coro made the move back to his native Manhattan to initiate a solo singing career.
Success came quickly to Coro as he hooked up with dance producers Zahid Tariq and Todd Terry in 1989, and found the creative partners he had been searching for. The result of the chemistry was the release of Coro's first single, "Where Are You Tonight," an emotional, up tempo freestyle track which rocketed onto the turntables to become the #1 dance record in New York and Florida. The song reached the Top 25 on Billboard's club chart and put Coro on the road doing shows in dance clubs across the country. On his self titled debut album, Coro collaborated with producer Zahid Tariq to create a tasty selection of up tempo dance tunes like "Can't Let You Go", "Where are you tonight", "Fallen Angel" and tender, emotive ballads such as "Missing you" all of which are infused with the distinct Latin flavor that has come to be Coro's musical signature.
Since then, Coro is currently in the studio working with numerous producers and focused on reentering the world of television and film.
A1 Where Are You Tonight (12" Version) (5:55)
A2 Where Are You Tonight (Bonus Beats '91) (3:40)
A3 Where Are You Tonight (Radio Version '91) (4:10)
B1 Where Are You Tonight (Waiting To Be Touched Mellow Mix) (4:11)
B2 Where Are You Tonight (Mellow Mix Instrumental) (4:07)
B3 Where Are You Tonight (Dub Mix) (4:57
Thursday, February 26, 2009
|1||Kerri Chandler||Rain (Vocal Mix) (4:10)|
|Written-By - Kerri Chandler|
|2||Dennis Ferrer||Son Of Raw (5:02)|
| Mixed By, Arranged By - Jerome Sydenham |
Written-By, Producer - Dennis Ferrer
| Cello [Electric Zeta] - Kotaro 'Monsieur' Salto* |
Chorus - Arvin Homa Aya , Yurai
Written-By, Producer, Programmed By, Piano - Ryota Nozaki
|4||Laurent Garnier||Man With The Red Face (Live Version) (9:05)|
| Featuring - Bugge Wesseltoft |
Written-By, Producer - Laurent Garnier
|5||Carl Craig||At Les (5:06)|
|Written-By, Producer - Carl Craig|
|6||Tes La Rok||Lick Shots (4:18)|
|Written-By - Tes La Rok|
|7||X-Dream||The First (2:48)|
| Vocals - Ariel* |
Written-By, Producer - X-Dream
|8||Emperor Machine, The||Emperor Machine (6:02)|
|Written-By, Producer - Andrew Meecham|
| Mixed By, Engineer - B. Jamieson* , C. May* |
Producer - Coma (13)
Programmed By [Additional] - L. Leite*
Written-By - A. Coe* , B. Jamieson* , C. May* , D. Forbes*
| Producer - Darren Emerson , Karl Hyde , Rick Smith |
Written-By - Underworld
|11||Zero dB||Bongos, Bleeps & Basslines (5:57)|
|Written-By - C. Vogado* , N. Combstock*|
|12||Nightmares On Wax||Flip Ya Lid (3:43)|
|Written-By - Evelyn* , McKenzie*|
|13||DJ Krust*||Malice (4:08)|
|Written-By, Producer - DJ Krust*|
|14||LCD Soundsystem||Movement (3:27)|
| Mixed By - Andy Wallace |
Written-By - James Murphy
|15||Alice Russell||To Know This (6:16)|
| Programmed By, Producer - Alex Cowan |
Written-By - Alex Cowan , Alice Russell
Wednesday, February 25, 2009
Tuesday, February 24, 2009
Monday, February 23, 2009
|A1||Give Us A Break (Boyee) (Original Freestyle Mix) (8:11)|
|A2||Give Us A Break (Boyee) (Give Us A Break Beat) (7:07)|
|B1||Give Us A Break (Boyee) (House Us A Break Mix) (6:35)|
|B2||Give Us A Break (Boyee) (Melting Acid Microdub) (8:30)|
|B3||Give Us A Break (Boyee) (Jazzy R&B Instrumental) (5:02)|
|A1||A Touch Of Salsa (Superdope Remix) (5:45)|
|A2||Happy Rose (Bonus) (3:30)|
|B1||Angelo's Groove (Bust The Basever) (4:05)|
|B2||Petey Wheatstraw Returns (Demand Mixxx) (6:10)|
Sunday, February 22, 2009
|A1||Keep On Pumpin' It Up (Extended Mix) (6:25)|
|A2||Keep On Pumpin' It Up (Accapella) (3:48)|
|B1||Keep On Pumpin' It Up (Zanzibar Mix) (5:30)|
|Remix - Tony Humphries|
|B2||Keep On Pumpin' It Up (Groove Me Mix) (4:30)|
|B3||Keep On Pumpin' It Up (Radio Mix) (4:00)|
|A1||Planet Rock (7:30)|
|A2||Looking For The Perfect Beat (7:03)|
|A3||Renegades Of Funk (6:47)|
|B1||Frantic Situation (3:47)|
|B2||Who You Funkin' With (6:22)|
|B3||Go Go Pop (6:01)|
|B4||They Made A Mistake (5:30)|
I Couldn't find an official pic anywhere of the 12" or heck a CD. It's been discontinued last time I heard years ago. Anyway, this "Latin House" single is from radio personality Speedy from radio broadcasting in New York's KTU and La Mega. This single wasn't really a hit maker. Nor I thought at the time it was done seriously. But many people were feeling it at the time of it's release. I can't stand hearing it. But it was "aight" way back when. Lol. I'm sure when you listen to it you'll know from where they sampled it from. The "I Need Some Speeeeed-y" version doesn't sound it would be part of the single. Probably the best out of the three. I still have both 12"'s. One given to me for free after I had already bought one, lol. Enjoy:
A1 - Speedy's Anthem (Speedy's Party Mix)
A2 - Speedy's Anthem (Radio Edit)
B1 - I Need Some Speeeed-y (Original Mix)
|A1||When Does It End ? (The Bonesbreaker Mastermix) (5:00)|
|A2||Six Hours To Phoenix (90 M.P.H. On Interstate 10 Mix) (6:20)|
|B1||Pure Ecstacy (The Recall Remix) (4:33)|
|B2||In The Eyes Of A Child (Trip 4 Daze Mix) (5:01)|
|B3||In The Eyes Of Another (Stormrave Remix) (4:22)|
A classic favorite of mine. One of a couple versions of this great track. Enjoy!
A1. Move Your Body (House Music Anthem)
B1. Move Your Body (The Move Mix)
B2. Move Your Body (The Body Mix)
Friday, February 20, 2009
Classic Underground Freestyle song by Ian Iyce! ---12inchjunkie
|A1||Fatal Attraction (12" Mix) (6:02)|
|A2||Fatal Attraction (Dub Mix) (5:21)|
|B1||Fatal Attraction (House Mix) (5:55)|
|B2||Fatal Attraction (Radio Edit) (4:00)|
|B3||Fatal Attraction (Accappella) (2:14)|
Thursday, February 19, 2009
I couldn't find any info on this post so i do apologize but its a good mix for mix thursdays so everybody enjoy!!!!
1 Shampale Cartier I'm Talking To You (Bitch) (4:49)
Written-By - E. Miah* , M. Mucci*
2 Old School Junkies Work Me Gadamit (4:49)
Written-By - A. Van Helden*
3 Rosabel La Puta (5:44)
Written-By - A. Aguilera* , R. Rosario*
4 Miss Lady Bunny* Shame, Shame, Shame (3:50)
Written-By - S. Robinson*
5 RuPaul Supermodel (You Better Work) (4:07)
Written-By - J. Harry* , L. Tee* , RuPaul
6 Funkella Loca Vida: Tu Chocha A Pesta (5:02)
Written-By - B. Canzano* , J. Blake*
7 Circuit Boy Get Funky (4:52)
Written-By - M. Mucci*
8 Tronco Traxx Walk 4 Me (3:40)
Written-By - R. Tronco*
9 Fierce Men On Wax You Go Girl (4:32)
Written-By - J. Issa* , M. Walker*
10 Zen Experience The Message (5:15)
Written-By - D. Nutt* , W. Correa*
11 Junior Vasquez If Madonna Calls... (6:01)
Voice - Madonna
Written-By - J. Vasquez*
12 Club 69 Drama (3:23)
Written-By - Loco (3) , P. Rauhofer*
13 Bodega Queen Bodega Queen (3:51)
Written-By - E. Miah* , N. Sanger*
14 Inhouse It's Not Over (2:56)
Written-By - C. Zippel*
15 Various Bitch Megamix (6:00)
Max Music & Entertainment Inc.
Wednesday, February 18, 2009
Well I see everyone responding to the classics like Rob said and I know today isn't the day for what I'm posting but I'm posting it anyway for fun...I know you guy's remember this record! 2 classic tracks from this man "Mentirosa" & "Welcome to my groove" Whatever happen to this guy??..lol I couldn't find the record cover to this on discogs so I posted this one. Enjoy..---12inchjunkie
|A1||Mentirosa (Radio Edit)|
|A2||Mentirosa (Extended Remix)|
|A3||Welcome To My Groove (Hurley's House Of Trix Mix)|
| Remix - Steve "Silk" Hurley |
Vocals - Jeaneette
|B1||Welcome To My Groove (Hurley's Deep House Mix)|
| Remix - Steve "Silk" Hurley |
Vocals - Jeaneette
|B2||Welcome To My Groove (Hurley's Hip House Mix)|
| Remix - Steve "Silk" Hurley |
Vocals - Jeaneette
|B3||Welcome To My Groove (Latin Hip House Mix)|
Tuesday, February 17, 2009
Deep in da jungl-l-l-l-l-l-e! First time I ever this record was when Armand Van Helden use to drop it on his Radio Sets on KTU. The Modwheel Safari Mix is the best mix on here with some kool jungle drums and some African Safari samples. Playboy is producer Orlando Voorn who is from Amsterdam great techno producer he got alot of other tacks that are worth a listen...This is a must download for your collection.
|A1||In Da Jungle (Original Mix) (6:21)|
|A2||In Da Jungle (Outsider Expedition Mix) (6:58)|
|AA||In Da Jungle (Modwheel Safari Mix) (10:01)|
Monday, February 16, 2009
I consider this record a Techno House record maybe alittle more towards the House side but this can fit well into a Old School Techno Set well atleast into one of my sets. This is a great record which was produced by Frankie Bones & Tommy Musto and it was released in the UK in 1989. I was looking for this for quite some time and I finally digged it up. ---12inchjunkie
|A1||Energy Dawn (I Wanna See You Dance) (Club Mix) (7:10)|
|A2||Energy Dawn (I Wanna See You Dance) (Techno Energy) (5:23)|
|A3||Energy Dawn (I Wanna See You Dance) (Bassline Energy) (5:40)|
|B1||Let It Take Control (Pumped Piano Mix) (7:12)|
|B2||Let It Take Control (Heartbeat Mix) (6:36)|
|B3||House The Crowd (Dub The Crowd) (5:14)|
Well fellas I'm back from Atlantic City and I'm ready to do some postings. Here's a Techno-House Record I always found interesting, Drift and Dream is the choice cut and this record. Here's a Review from freddy fresh that was posted on discogs- This record has one of the dopest futuristic riffs known to electronic music and sounds like something made for the future even today in 2008. Incredibly this record was made in 1991 which is amazing considering that even with todays technology few records equal this in sheer brilliance (the main track I'm reffering to is Drift & Dream, although the others are good as well they are not as amazing as that specific track.
And boy is this 75 words thing a royal pain.
|A1||Drift & Dream (4:30)|
|Producer - George Polania , Mundo Muzique|
|A2||Save The Whales (4:05)|
|Producer - George Polania , Mundo Muzique|
|Producer - Daniel Damien , Mundo Muzique|
|B2||Protagonistic Cry (3:07)|
|Producer - Daniel Damien , Mundo Muzique|
Friday, February 13, 2009
My bad. I wanted to create a new post for a house track and went to this link for reference start. Little did I know I was making a new post in place of this one. Anyway, I re-upped it again. So, Enjoy!
2.Party Your Body-Stevie B
3.I'll Be All You Ever Need-Trinere
4.Point Of No Return-Expose
5.Highway Of Love-Johnny O
7.Can You Feel The Beat-Lisa Lisa & Cult Jam with Full Force
11.Come Go With Me-Expose
12.There's A Party Going On -Yvonne
By the spring of 1986, Freestyle was exploding in New York clubs. New York radio however, was not impressed. Nor were radio stations around the country. With the exception of HOT 105 in Miami, and Power 106 in Los Angeles, who made the first singles by TKA, Nayobe, and Expose #1 hits in South Florida and Southern California respectively, radio station program directors ignored Freestyle.
Power 106 (KPWR) and Hot 105 (WQHT) were pioneers of a new type of station that were starting up in early 1986 - crossover radio. These were CHR stations that leaned heavily toward Dance music. The target audience for Power 106 and Hot 105 was the large English-speaking Latin population of these two cities. The success of those stations brought attention to the large hole left in New York radio when WKTU signed off the air three years earlier. On August 13, 1986, WAPW, a fledgling CHR station in New York, changed its call letters to WQHT and switched its format to that of its sister station in L.A. (Power 106). WQHT (Hot 103) began playing much of the hits by TKA, Sweet Sensation, and Expose in the same rotation as Pop superstars like Michael Jackson and Madonna. Freestyle tracks like TKA's "One Way Love" and Sweet Sensation's "Hooked On You" received new life and the success of these tracks as well as the just- released "Show Me" by the Cover Girls helped get them added to stations around the country. Freestyle was now getting national attention.
Despite the renewed interest in the older Freestyle tracks, these artists were already releasing their follow-up singles. In the fall of 1986, Sweet Sensation released "Victim of Love" and TKA released "Come Get My Love," a raw, more club-oriented and less pop sounding record than "One Way Love." It set the tone for a new crop of Freestyle records produced by Mickey Garcia and Elvin Molina that were released in late 1986 and early 1987, including "I Won't Stop Loving You" by C-Bank and Judy Torres' follow-up single "Come Into My Arms." Both of these tracks became huge hits in a new club called Heartthrob, which opened up in the old building that had housed the Funhouse. The owners of Heartthrob were able to convince Little Louie' Vega to leave the Devil's Nest to play at the new club. At around the same time a new club, 1018, opened a half a mile away and directly competed with Heartthrob, often outbidding each other for the exclusive performances of Freestyle artists. The demand for Freestyle was so great that both clubs prospered and the artists wound up performing at both clubs, often on the same night.
In early 1987, Sa-Fire also released her follow-up single, "Let Me Be The One." Like "Come Get My Love," this song was a departure from the sound of her first single. It proved to be a welcome one as the song outperformed its predecessor in chart performance and sales.
The Cover Girls second single "Spring Love," again a departure for them, didn't fare as well. They were, however, able to bounce back in a major way with their third single. "Because Of You." The song, produced by Louie Vega and Robert Clivilles and written by David Cole before the latter two went on to become mega-producers with C&C Music Factory, became perhaps the favorite Cover Girl song of all. It reached #24 on the Pop charts and top 10 on the Dance charts in the spring of 1987 and propelled their debut album to nearly gold status.
"Like A Child" was the second single from Noel. "Silent Morning" was a tough act to follow, and although it did not match the success of "Silent Morning," it set the pace for his successful self-titled debut album. Joyce Simms, although not Hispanic, was enjoying the distinction of having the first Freestyle record to cross over into the R&B market with the classic "(You Are My) All and All." It was also one of the first Freestyle records to crack the European market.Although Freestyle was still in its early stages, it was fast becoming dance music for the 80s.
By the summer of 1987, WQHT (Hot 103) was on top of the ratings in New York, and it was their heavy emphasis on Dance music, especially Freestyle, that got them there. The success of Hot 103 broke down the walls for Freestyle at the mainstream station WHTZ (Z-100) in New York, which was one of the most influential Top 40 stations in the country at the time. When Z-100 started playing the biggest Freestyle hits happening on Hot 103, other mainstream stations around the country followed. Power 96 in Miami, whose playlist was loaded with the latest Freestyle tracks, rose to the top of the ratings in Miami, as did Power 106 in Los Angeles, following the same formula.
Soon after, another city - Chicago - came on board. Through the exposure of club D.J.'s and a college station called WCRX at Columbia College, Freestyle began making noise in the Windy City. Clubs like the Riviera and venues like the Navy Pier Ballroom began throwing Freestyle jams with performances by Sa-Fire, TKA, and the Cover Girls.
In June of 1987, TKA released their third straight hit single, "Scars Of Love," the title track from their first album. The album would go on to become a Freestyle classic, spawning six hit singles. The fourth single, "Tears May Fall," was played as an instrumental on a bootleg tape in clubs for over a year before it was released in November 1987. This streak of hit singles earned them their title "Kings of Freestyle."
The fight for the title of "Queens of Freestyle" was more competitive. The Cover Girls' third single was the ballad "Promise Me," another hit for them. "Inside Outside," their fourth and final single from the hugely successful "Show Me" album brought them back to the clubs in a big way and continued their hit streak. But the abundance of female artists in Freestyle as well as the fact that the Cover Girls would be taking time off to record their second album, left the door wide open for someone to step in and swipe their title.
India, whose real name is Linda Bell Caballero, made brief appearances with TKA in their early shows. Although she never sang on any of their singles, she did record a version of "Dancing on the Fire" with TKA and performed it at a few of their shows. When India decided to record on her own, she took the idea to remake Jellybean's "Dancing on the Fire" with her. Jellybean, reproduced the track (without TKA) and released it as her first single.
Nayobe, along with India, was one of the most gifted female vocalists in Freestyle. She proved this with her slamming performance on her fourth single, "Second Chance for Love."
|01||TKA||Come Get My Love (4:37)|
|02||Cover Girls, The||Because Of You (5:53)|
|03||Noel||Like A Child (5:19)|
|04||Lisa Lisa & Cult Jam||Can You Feel The Beat (5:35)|
|05||Sweet Sensation||Victim Of Love (4:55)|
|06||Safire||Let Me Be The One (6:42)|
|07||Nayobe||Good Things Come To Those Who Wait (5:16)|
|08||Judy Torres||Come Into My Arms (7:12)|
|09||C-Bank||I Won't Stop Loving You (5:57)|
|Vocals - Diamond Eyes|
|10||Giggles||Love Letter (5:06)|
|11||Joyce Sims||(You Are My) All And All (6:08)|
|12||Sequal||It's Not Too Late (5:13)|
"What is Freestyle? In order to answer that question you'd have to go back as far as the death of Disco back in the early 80's. Disco was Pop music in the late 70's and one of the biggest radio stations in the country was Disco 92 (WKTU-FM) in New York. Disco 92's core audience was made up primarily of Hispanics and Italian Americans. When Disco faltered in the early 80's, so did WKTU's ratings. In a move to bolster their sagging ratings, WKTU changed their format (and eventually their call letters) to a more mainstream pop format and eventually to rock. Another station cross-town, WXLO (99X) also was changing its format. By 1981, 99X changed to 98.7 KISS-FM, an urban station hoping to chip away at WBLS' stronghold on New York's African American audience. In 1983, WHTZ (Z100) went on the air to take on WPLJ for the mainstream, primarily white audience abandoned by WKTU. Through all these format changes, one demographic - the huge Hispanic audience in New York went - overlooked. Most Latins opted for KISS-FM and WBLS, who did play the occasional club record, but other Latins found an alternative to hear new music. They went underground.
In 1982, when Afrika Bambaataa and the Soulsonic Force released "Planet Rock," a new sound was born. Some called it "hip-hop be-bop" or breakdancing music. While most of the neighborhood clubs were steadily closing their doors for good, some Manhattan clubs were suddenly thriving. Places like the Roxy, the Funhouse, Broadway 96, Gothams West, and Roseland who played this new sound were packed. Records like "Play At Your Own Risk" by Planet Patrol, "One More Shot" by C-Bank, "Numbers" by Kraftwerk, "Al-Naafiyish (The Soul)" by Hashim and "I.O.U." by Freeze became huge hits in New York. Some producers wisely copied the sound and made songs that were more melodic. Records like "I Remember What You Like" by Jenny Burton, and "Let The Music Play" and "Give Me Tonight" by Shannon were all over New York radio. Many of these performers performed at the Funhouse and Roseland to packed dance floors. The people packing these dance floors were young Latins, mainly Puerto Rican. The D.J.'s who played the music, (i e. Jellybean, Tony Torres, Raul Soto. Roman Ricardo, etc.) were also Hispanic. However, those on stage performing these songs were not, neither were most of the producers making the music.
There were exceptions. In 1984, Nayobe released her first single "Please Don't Go." Nayobe, a Cuban American who was sixteen years old when she recorded the song, was the discovery of Andy Panda who co-produced and co-wrote the song "Please Don't Go" became an instant club classic and served as a bridge between the Shannonesque records that were flooding the market and the sound that developed the following year - Latin Hip-Hop. This was also true of Jellybean's remake of the classic "The Mexican." The single that many consider the first true Latin Hip-Hop record was Lisa Lisa and Cult Jam's "I Wonder If I Take You Home." The song was originally signed to Personal Records in New York and not released in the U.S. It was licensed to CBS Records in England and became a big club record on import. The response the record received from the Latin Hip-Hop clubs led Columbia Records to pick up the single for U S release where it became an anthem for teen-age girls. The song reached #34 on the Pop charts in August of 1985 and Lisa Lisa became a role model for young Hispanics all over her hometown of New York.
It was also 1985 when I discovered three young Puerto Rican teens named Tony, Kayel and Aby - TKA. Kayel came to Tommy Boy Records, where I worked at the time, with rap demos, but I turned them all down. When he told me he could also sing, I agreed to go to a performance at a sweet sixteen party in the basement of a church in East Harlem. It was there I first heard "Scars of Love," a song Kayel wrote that they would perform over the instrumentals of the biggest rap tracks of the moment. When I saw the reaction of the largely Latin crowd of kids, I knew I had to do something to get them signed. It was at this party that I also met the Latin Rascals - Tony Moran and Albert Cabrera, whose names I knew from their editing work on Arthur Baker and John Robie productions and their D.J. work on WKTU and KISS-FM. We went into the studio and recorded a rough version of "Scars Of Love." By summer of that year TKA had begun to build a following in New York performing the song for free wherever someone would let them, such as radio station events and benefit concerts. Word of mouth finally reached Tommy Boy Records who decided to sign the group. Although we had recorded a rough version of "Scars Of Love," we felt it needed reworking and decided to record a new song to be TKA's first single.
At the same time, Andy Panda was working on a new girl group he envisioned as being a Latin version of the Supremes. The group was the Cover Girls. He and the Latin Rascals produced a demo for the group and began working on a stage show for the girls. Andy and I were Iooking for the same thing; a group that Hispanics could look up to and feel represented by.
On August 2, 1985, a club called the Devil's Nest opened its doors on the corner of Webster and Tremont Avenues in the Bronx. The club was originally intended to be a salsa club but the turnout was very light and the club owner, Sal Abbatiello, knew he had to think fast to keep the club alive. After a visit to a Manhattan club called Inferno which was packing in a large Latin teen crowd, he decided he should try to make Inferno's formula work in the Bronx. In order to succeed, he needed the right D J., the most popular new D J. on the street, to draw the crowd to the Devil's Nest. He heard about a young Puerto Rican D.J. who didn't play in clubs because he was too young, but when he played at local street jams, crowds followed him. The D.J. was Little Louie Vega. Two weeks later the Devil's Nest booked Expose, hired Little Louie, and Sal crossed his fingers. Luck he didn't need. The combination of Little Louie's following and the popularity of Exposé's hits "Point Of No Return" and "Exposed To Love" paid off. The club was packed and stayed packed week after week.
Little Louie started playing "Show Me" by the Cover Girls and "One Way Love" by TKA on demo reels. They soon became Louie's biggest records even before they were officially released. On March 1, 1986, one week after the release of "One Way Love," TKA performed at the Devil's Nest. The club was packed with kids waiting to see who sang the record that they had heard in the club for weeks. When TKA walked on stage, the crowd went crazy. In all honesty, the show was rough around the edges, but the crowd loved them. They were happy to see one of their own on stage. TKA wound up repeating their entire show twice that night.
The same response greeted the Cover Girls at their first performance at the Devil's Nest. Dressed in sequined gowns, Caroline Jackson, Sunshine Wright and then lead singer Angel Sabater nervously took to the stage to perform "Show Me" for the first time. By the first few notes of the intro to the song, the crowd was screaming and pushing to the stage to get a closer look at the Cover Girls. By the song's end, the whole audience was singing the chorus and the Cover Girls, no longer nervous, exuded the confidence of twenty-year veterans of the business. To the Devil's Nest, they were the Supremes - their Supremes. Although Freestyle was not conceived at the Devil's Nest, this is where it was born."
|01||TKA||One Way Love (5:15)|
|02||Cover Girls, The||Show Me (4:43)|
|03||Noel||Silent Morning (4:23)|
|04||Lisa Lisa & Cult Jam||I Wonder If I Take You Home (5:39)|
|05||Sweet Sensation||Hooked On You (5:10)|
|06||Nayobe||Please Don't Go (5:54)|
|07||Leather & Lace||Tender Heart (3:37)|
|08||Jellybean*||The Mexican (5:18)|
|09||Safire||Don't Break My Heart (5:21)|
|10||Information Society||Running (7:43)|
|11||Judy Torres||No Reason To Cry (8:58)|
|12||Exposé||Exposed To Love (3:35)|
Wow! I don't Realize how much crack & pop the club mix had until I heard it in the car...So If anyone has a better quality club mix can you send it to us and I will replace it thanks.--12inchjunkie
Here is C-Bank featuring Geminis I actually got this from another blog the guy's name DJ Thunder He postes alot of good rare 12 inches. I'm posting this before going to work but the club mix has some cracks and pops. Over all I love this freestyle song.---12inchjunkie
|A1||Perfect (Club/House Mix) (11:11)|
|Mixed By, Edited By - Elvin Molina , Mickey Garcia|
|A2||Perfect (Radio Mix) (3:48)|
|Mixed By - Al Pizarro , Wayne Burgois|
|B1||Perfect (Drumulator) (5:39)|
|Mixed By - Al Pizarro , Wayne Burgois|
|B2||Perfect (Drumapella) (4:45)|
Updated: Fellas I put my copy of the Club House mix, found two other copies of the Drumapella & Drumulator. The Radio Edit mix is the same just normalized volumes.
Robs Cleaned Up Copy
Thursday, February 12, 2009
1988-11-05 - Mojo - Live On HOT 97 FM From The Palladium, New York
Wednesday, February 11, 2009
Tuesday, February 10, 2009
Another Breaking Bones Record classic! This is Anthony Acid taking samples from the track French Kiss by lil louis and making a mutated house track. This also includes remixes by Frankie Bones, Lenny Dee, & Jammix. My favorite cut is the Lenny Does London Mix which has a speed garage bassline sound.---12inchjunkie
|A1||Rock And Boogie Down (Anthony Goes Acid Mix) (5:45)|
|Mixed By - Anthony Acid|
|A2||Rock And Boogie Down (Frankie's Seduction Groove) (3:14)|
|Mixed By - Frankie Bones|
|A3||Rock And Boogie Down (Jammix Summer Revenge) (2:22)|
|Mixed By - Jammix|
|B1||Rock And Boogie Down (Lenny Does London Mix) (4:58)|
|Mixed By - Lenny Dee|
|B2||Rock And Boogie Down (Electric Warehouse Mix) (5:04)|
Monday, February 9, 2009