Electric Blue | 03

"We Want To Play (JKriv Edit)" - Brief Encounter

"Party Track (Original Mix)" - Mr Fox

"Good Times (Compression Dub Mix)" - Charanga 76

"Dance, Dance, Dance" - Marta Acuña

"In And Out" - Willie Hutch

"The Beat Goes On (Labor of Love Dub)" - The Whispers

"Passaro Selvagem" - Os Carbonos

"Get On Up (Situation Edit)" - Jazzy Dee

"Come Let Me Love You (François K Instrumental)" - Jeanette Lady Day

"I'm So Hot" - Denise LaSalle

"Every Girl" - Ziggy Phunk

"Heaven Labor of Love Dub" - Funk Hunk

"The Apple (Hober Mallow Dub)" - Rainbow Team

“We Want To Play (JKriv Edit)” — Brief Encounter

Brief Encounter’s “We Want To Play For You” first surfaced on a 7 inch via Athens of the North as ATH029 with “Sweet Tender Loving” on the flip, reviving a late-70s modern soul side. A hard-touring Southern unit that once ran close to a major-label deal while Maze got the nod, then built its own studio to control output and sound (Dream Studios) in North Carolina. The track resurfaced through boutique reissue culture, and JKriv’s edit respects the original while squaring the phrasing and extending the rhythm-guitar pocket. 

“Party Track (Original Mix)” — Mr Fox

Mr. Fox’s “Party Track” rolled out on Peter Brown’s Golden Flamingo label, the P&P satellite known for raw, street-level disco and proto-rap one-offs. Featuring raw drum machine programming, rubbery bass, and street vocals. Issued as the flip to “Smooth Talk,” it later resurfaced on comps (most notably BBE’s Private Wax) which helped pull the B-side into modern sets that kept the imprint’s street-level disco alive for new audiences. Like much of the P&P family, credits are sparse and pressings were small.

“Good Times (Compression Dub Mix)” — Charanga ‘76

The “Compression Dub Mix” is a contemporary rework of Charanga ’76 Latin Disco mixes (released  in 2022), built from the group’s 1979 charanga-disco source material. The original “Good Times (Cómo Vamos a Gozar)” appears across late-70s 12-inch issued by the same NYC salsa-disco outfit.  This compression-forward mix by DJ Brian Biffo strips most of the vocals, pulls the strings back, and foregrounds congas, timbales, and bass to bring the rhythm to the fore. 

“Dance, Dance, Dance” — Marta Acuña

A cult NYC disco single from 1977, cut for P&P Records and issued on both 7 and 12 inch, “Dance, Dance, Dance” became a crate-standard thanks to extended percussion breaks and the strong conga line in the mix. A sparse but insistent bass and hand claps anchors this dancefloor gem. The record was produced by the Peter Brown/Patrick Adams web of small labels and session players, with Adams playing all the instruments other than congas.

“In And Out” — Willie Hutch

A boogie-funk driver, this title cut from Hutch’s 1982 Motown LP In and Out was tracked in Los Angeles and released as a 12 inch and LP single with vocal and instrumental variants. By 1982 Willie Hutch was a veteran songwriter, arranger, and producer with Motown lineage, from soundtracks to Jackson 5 sessions. “In And Out,” the title track to his Motown album, pairs his taut rhythm with radio-ready vocals and added synth bass while keeping his trademark strings intact. The single made noise on R&B playlists and was part of the arc that runs from Foxy Brown and The Mack through his early-80s adult-soul productions. 

“The Beat Goes On (Labor of Love Dub)” — The Whispers

This dub' original is the 1979 SOLAR records smash “And the Beat Goes On” by The Whispers, issued in multiple 12 inch configurations worldwide and topping US soul and dance charts while peaking at UK No.  2. The source was written by Leon Sylvers III, Stephen Shockley, and William Shelby and produced by Dick Griffey, with some album editions crediting Leon Sylvers as co-producer on the track. The “Labor of Love Dub” circulating among DJs pares the vocal to phrases, and spotlights the rhythm guitar, claps, and extended basslines for long blends. 

“Passaro Selvagem” — Os Carbonos

Brazilian modern-soul burner recorded by Os Carbonos in the late 70s and issued domestically, a period where the band’s soul instrumentation met MPB melodicism and an emerging boogie pulse in Brazil. Fat bass lines, handclaps, and bright rhythm guitar make it friendly to both Latin-boogie sequences and deeper Brazilian sets. Reissues and comp placements have kept it circulating in DJ circles.

“Get On Up (Situation Edit)” — Jazzy Dee

Jazzy Dee’s 1983 boogie single “Get On Up” appeared on Laurie Records in the US and licensed 12-inch issues in the UK and Europe. The Situation Edit gained physical life coupled with The Quantic Soul Orchestra on a DJ-focused 12-inch release. Octave bass, Linn-style snare, and chant vocals made this pure boogie disco gold. 

“Come Let Me Love You (François K Instrumental)” — Jeanette Lady Day

New York disco classic on Prelude in 1981, mixed by François Kevorkian with an instrumental on the 12 inch B-side. Mastering on period copies credits Herb Powers Jr. at Frankford/Wayne or Sterling, depending on run. The FK instrumental is the no-vocal, arrangement-forward version featured on this mix. The FK pass and period mastering give the epic steel drums space without losing the low end, and the bassline carries the melody in the vocal’s absence. The record fits neatly alongside Unlimited Touch and Inner Life in the Prelude ecosystem, with Abraham Day shepherding production and Jay Mark on engineering. 

“I’m So Hot” — Denise LaSalle

Denise LaSalle’s MCA period leaned into contemporary dance-soul without losing her songwriter’s bluntness. “I’m So Hot,” the 1980 title cut, was produced under her own direction, then pushed to 12 inch and club programming, registering on the R&B and Dance charts while keeping her voice front and center. It is part of the long arc that runs from Trapped by a Thing Called Love through her Malaco years. The vocal plays with call-and-response patterns that loop to tease the sexy chorus. 

“Every Girl” — Ziggy Phunk

Copenhagen’s Ziggy Phunk built “Every Girl” within the Midnight Riot label orbit that helped codify nu-disco’s blend of classic chords and modern production. Sampling Aretha Franklin's vocal's, the kick and bass are tight, more house than boogie, giving the track a contemporary feel. The broader Ziggy discography shows a consistent focus on bass-heavy mixes and arranged breakdowns that slot easily next to the vintage sources and present-tense reworks.

“Heaven (Labor of Love Dub)” — Funk Hunk

An ’80s-leaning source rebuilt with wide drums and low, steady bass. This unofficial dub edit by Funk Hunk circulated through his online channels under the “Labor of Love Dub” banner, known for slow-burn dubs that extend breaks, re-EQ the drums, and leave vocals as seasoning.

“The Apple (Hober Mallow Dub)” — Rainbow Team

Drawn from Rainbow Team’s early-80s Full Time catalog, where Italian studios answered U.S. disco with sleek Italo-boogie. It has been repeatedly recompiled and remixed on label retrospectives and digital platforms. The Hober Mallow Dub is an unofficial version subtitled “The Apple Edit,” looping the clavinet-driven sections and lengthening breaks for mixing. An elegant closer for this bass heavy set.