"Orbital’s exploratory debut album re-wrote the rule book for rave" - DJ Mag
Originally released on September 30, 1991, Orbital’s eponymous debut album became known as “The Green Album” to distinguish it from their second album (known as “The Brown Album”) The Green Album includes the seminal ‘Belfast’ and a live version of ‘Chime’, the landmark dance track that launched their career in 1990.All audio fully remastered, overseen by Orbital

There's no overestimating the importance of Screamadelica, the record that brought acid house, techno, and rave culture crashing into the British mainstream – an impact that rivaled that of Nirvana's Nevermind, the other 1991 release that changed rock. Prior to Screamadelica, Primal Scream were Stonesy classic rock revivalists with a penchant for Detroit rock. They retained those fascinations on Screamadelica – one listen to the Jimmy Miller-produced, Stephen Stills-rip "Movin' on Up" proves that – but they burst everything wide open here, turning rock inside out by marrying it to a gleeful rainbow of modern dance textures. This is such a brilliant, gutsy innovative record, so unlike anything the Scream did before, that it's little wonder that there's been much debate behind who is actually responsible for its grooves, especially since Andrew Weatherall is credited with production with eight of the tracks, and it's clearly in line with his work. Even if Primal Scream took credit for Weatherall's endeavors, that doesn't erase the fact that they shepherded this album, providing the ideas and impetus for this dubtastic, elastic, psychedelic exercise in deep house and neo-psychedelic. Like any dance music, this is tied to its era to a certain extent, but it transcends it due to its fierce imagination and how it doubles back on rock history, making the past present and vice versa.

"Special collector's edition" 150 tracks on 15 compact discs. The story of the House Sound - from the very beginning to the latest Acid Trax.

After the incredible success of their "Doctorin' the Tardis" single in 1988 (better known as that theme from Dr. Who), Drummond and Cauty had plenty of money to hire talented musicians (instead of merely sampling them, as on their early recordings). The White Room is the result, an album bursting with hit singles that nevertheless flows as well as any concept album. Often overlooked as a classic from the acid house era (mostly because of the KLF's retirement one year later), The White Room represents the commercial and artistic peak of late-'80s acid-house. Japanese edition includes 3 bonus tracks.

For this uniquely personal retrospective spread over twelve vinyl discs, Sven Väth takes us back to the early days of his DJ career. On What I Used To Play we meet great pioneers of electronic music, gifted percussionists, obscure wave bands, and innovative producers of a bygone ‘new electronic’ era. Rough beats and irresistible grooves from the identification stage of house, techno, and acid remind us not just how far electronic music has evolved over the past four decades, but how great it was to dance to EBM, techno, and house for the very first time.

A home is not a house without this great collection from Chicago's finest: Marshall Jefferson, Frankie Knuckles, Farley Jackmaster Funk and more!!

This is a special 7inch boxset limited to 500. To celebrate a quarter of a century playing whatever the hell they like, they have carefully handpicked 20 tracks, and cut these onto that most wondrous of wax formats: the 45 rpm single.Some of these tunes, especially the more recent ones, have never before existed on vinyl, let alone on 45.

The White Room is the fourth and final studio album by British electronic music group The KLF, released in March 1991. Originally scheduled for 1989 as the soundtrack to a film of the same name, the album's direction was changed after both the film and the original soundtrack LP were cancelled. Most tracks on the original album version are present in the final release, though in significantly remixed form. In 1993, NME staff and contributors voted the album the 81st best of all time, and in 2000, Q magazine listed it as the 89th best British album of all time. The US version of 'The White Room' was strongly edited for its official commercial release. It has a total playing time of 39:39, and it contains 9 tracks. The original UK version presents the first five tracks ('What Time Is Love?' through 'Last Train To Trancentral') as a kind of 'mini-concert' with sampled crowd noise from, among other places, U2's 'Rattle And Hum'. All five tracks are segued and mixed. It has a total playing time printed of 45:05, but in reality it's only 43:54. It lists 9 songs, but only has 8 indexed. The US version eliminates the crowd noise, with some tracks fading out near the end.

2015 three CD collection. Following the huge success of Edsel Records' six deluxe 2 CD/DVD album reissues in 2013, the label now presents an accompanying 3 CD case bound book set, featuring 36 mixes. None of these were included on the album re-issues, and indeed 14 of them are previously unreleased. Put together with the co-operation of Sarah and Keren, this package is compiled and annotated by acknowledged SAW expert Tom Parker.

The party series FETENHITS turns 25 this year! We're celebrating this occasion with a special release that includes the best of this long period: as a 5CD in a noble digipack. Included are classics by The Police, Queen and ABBA as well as more recent songs by Billie Eilish and The Weeknd. Loosely based on P!NK: Get The Party Started!

Yasmin Evans, 19 May 1963, Shepherd’s Bush, London, England. Dance-pop singer who began her career in the music business as part of a quickly forgotten act, the Biz. After becoming a catwalk model and working as George Michael’s stylist, she laid plans for a return to recording work. When she did so, she found rewards immediately, joining with DJs Coldcut on the February 1988 Top 10 hit ‘Doctorin’ The House’. In its wake her revamped version of Otis Clay’s ‘The Only Way Is Up’ soared to the top of the UK charts in August, while ‘Stand Up For Your Love Rights’ reached the number 2 spot. Both of the latter were credited to Yazz And The Plastic Population. After three further Top 20 hits and tours Yazz took time out to have her first baby. She returned alongside Aswad in 1993 for ‘How Long’, but this failed to break the Top 30. A new solo single, ‘Have Mercy’ and the attendant One On One were further evidence of her attempts to re-establish herself via a contract with Polydor Records. Yazz recorded 1997’s The Natural Life at UB40 frontman Ali Campbell’s Kuff Studios. This pleasant reggae-inflected album proved to be her final release of the decade.

UK three CD collection. I Grew Up in the '80s not only features top chart hits of the decade, but also club hits and a healthy dose of music from television and the movies! Includes tracks from Human League, Simple Minds, Culture Club, Spandau Ballet, Tina Turner and many others.

The eighth release in the Sources series is the sister label to DJ International and an equally good source of authentic House music from one of the pioneer labels, Underground Records. In fact Underground records can be credited with scoring House music’s first No.1 hit with Steve ‘Silk’ Hurleys infectious “Jack Your Body” which hit the No.1 slot in the U.K. at the beginning of 1987 and was probably responsible for spreading the growth of House music throughout Europe. Despite having scored such a huge hit with their first release, Underground stayed true to its name and released scores of incredible records which have since become very collectible and have spawned some of the biggest names in House music history - Liz Torres featuring Kenny Jammin’ Jason, MD111, Tyree, E.S.P., Fingers Inc, Fast Eddie Smith, Sterling Void, K-Alexi to name a few. Recent years have seen a boom in the amount of interest in the label and now many of the original 12” releases have leapt in value and are commanding huge prices. Records like Cool House’s “Rock This Party Right”, MD111’s “Face The Nation”, Tyree’s “Acid Over” and E.S.P.’s “It’s U” among others, continue to rocket in price. All are included in this exceptional package! As with all Sources releases, ‘Sources: The DJ International Records Anthology’ has been lovingly compiled using the best mixes as chosen by Bill Brewster and lovingly re-mastered to make these slices of 1980s dance music history sound the best they’ve ever sounded. If you’re into original authentic House Music direct from one of the richest sources, then look no further. “Sources: The Underground Records Anthology” is a must for any serious House music collection.

Celebrating, as the title hints at, ten years of work together, 808:88:98 makes the brilliant case for 808 State's place as a modern techno pioneer. Time has shown that while a rougher breakbeat approach ended up defining much of dance in the broad public eye during the '90s, 808 State's own slightly cleaner approach was no less energetic and instantly compelling. Starting with the hyperactive shimmer and smooth flow of "Pacific," an instant trip back to the acid house days of the late '80s, 808:88:98 merrily makes its way through the years, touching on both the smash hits and some side diversions.