Various Performers – DMC Commercial Collection 066 [DMC Records] — Post-Disco, Synth-pop, Acid House, Hip Hop 1988

Various Performers – DMC Commercial Collection 066 [DMC Records] — Post-Disco, Synth-pop, Acid House, Hip Hop 1988

UNRELEASED /PROMONew Release

Various Performers – DMC Commercial Collection 066 [DMC Records] — Post-Disco, Synth-pop, Acid House, Hip Hop 1988

Label
DMC Records
Genre
Post-Disco, Synth-pop, New Wave, R&B, Hip Hop, Acid House, Breaks, Freestyle, New Jack Swing
Release Date
July 1988
Cat#
DMC 065
Tracklist
Audio Specs: MP3 (VBR / Joint Stereo) Tracks Count: 10 Tracks Total Time: 01:11:45 Size: 120 MB Tracklist: 01. Bros Twin Spin (Alan Coulthard) 121 8:26 02. Sabrina-Boys Peter Slaghuis 117 8:01 03. Coldcut Crew - Off To Work (Ahead Of Our Time Orch) 97 3:45 04. Matt Bianco - Wap Bam Boogie (Sanny-X) 118 5:28 05. Va - Ample Sample (Mike Gray) 114 7:46 06. Icarus - Stone Fox Chase 110 7:00 07. Derek B Megamix Mega Mixer Les Adams 103 7:53 08. Beat Repeat - Mixed By Bizzie Bee (Mixes 1) 128 10:42 09. Bill Withers - Lovely Day - Remixed By Ben Liebrand (Mixes 1) 100 6:27 10. Technocutz - Mixed By The Mixbusters (Mixes 1) 121 6:24 [About the Release & Vibe] 🚀 High-energy club energy. A driving peak-time weapon engineered for maximum sound system impact. The Vibe: Legendary classic DJ-only promo material tracking early acid house developments, old-school hip hop megamixes, and essential freestyle edits. Now available for streaming and high-fidelity discovery on MusicVibez. 💬 HUMAN PERSPECTIVE / МОИ МЫСЛИ RU (Мои мысли): Шедевральный артефакт золотой эпохи диджейских промо-релизов DMC родом из лета 1988 года. Плотная, упругая бочка, ранний брейкбит и зарождающийся эйсид-хаус звучат грязно, сыро и невероятно аутентично. Легендарный ремикс Бена Либранда на Билла Уизерса «Lovely Day» и безумный олдскульный мегамикс от Леса Адамса на Derek B — это стопроцентный ходовой хит для ценителей винтажной клубной культуры. EN (DJ Review): An exceptional snapshot of late-80s club culture, acting as a definitive masterclass in early megamix production. The sonic delivery carries phenomenal dancefloor driving force, blending raw drum machine programming, post-disco breaks, and heavy low-end loops. Prime historical cuts like Ben Liebrand’s classic flip for Bill Withers and Peter Slaghuis’s iconic production treatment on Sabrina serve as peak-time weapons optimized for vintage sound systems

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