DEL combs though his collection to bring us 14 of the best of these curious, often anonymous and sometimes unloved Disco mixer records.

[ Foundations’ Essential Guide to Disco Mixers ]


Big Apple 2

(’91) (’82-’83) – Post-disco “Prelude-era” with some of my favorite songs ever such as David Joseph’s “You Can’t Hide (Your Love from Me),” “Hip Hop Be Bop” by Man Parrish, and “Weekend”… if you don’t know by whom, you better do the research!


Bits & Pieces I/II

’80s Medley/III

Let’s Do It – More of the ’80s Medley

(’79 / ’80 / ’81) – The most appropriately named of the mixers, the “Bits & Pieces” series had seven disco-funk leaning mixers then a bunch (some just using the moniker I believe) in the late ’80s to late ’90s that were more house-centric. These three are each around 16 minutes of OG goodness for me!


Dedley Medley

(’77-’78) – Nobody ever said spelling counted on records! This mixer was actually by my man John Morales. It was an acetate and the mix is split across side 1 & 2. It contains huge commercial and club hits like “Boogie Oggie Oogie” and “Le Freak” as well as the rarer Boney M, “Nightflight to Venus.”


Disco PAR-R-R-TY – Non-stop Music

(’74) – Included this because although not a “bootleg white label,” it is the oldest mixer that I have. It was “formally” released by Spring Records (who are they?) but doesn’t list who made the mix. The mix quality is just ok but includes Lynn Collin’s “Think It Over,” the Chakacha’s “Jungle Fever” and “Sex Machine” from you know, right?!



(’76-’77) – One of my favorites: 15 minutes and 42 songs (by my count)! So many Cerrone, Donna Summer and some Italo-Disco chart busters along with some that most won’t know, even with me providing the song names: “Surprise,” “Celestial Vibes,” and “Touch Me Take Me.”


Hollywood 2

(’78) – I loved this one because it was so break-filled. A lot of great percussion and vocal overlays in a concise six minute mixers. My highlights include how he/she/they worked “Love Disco Style,” “Disco Party” and “Hollywood” (yes, by the Village People but only the break). Don’t even listen to the four minute short version.


Hits of ’79

(’80) – Includes one of my all-time songs that reminds me of my late brother Jimmy: “Don’t You Want My Love” by Debbie Jacobs. Really a favorite of mine for the selection. Side B is unique in that it contains one of the few mixers focused on New Wave. Found out years later while listening to Disconet (remix service) that this was actually a bootleg of their OG… no wonder I loved it!


The Horizon Plate #1

(’91) – Remixed by “The Boogieman.” I have to include this one if for just the opening mix of “I Specialize in Love” into “Burning Up” into The Whispers’ “In the Raw!” Mad respect Mr. Boogieman, whoever you are. As it states on the label: “Buy This Record!”


Original Big Apple Production Volume II

(’82-’83) – Really great B-boy grooves with “Rock It,” Soul Sonic Force, Newcleus, Hashim, and Art of Noise’s “Beatbox” all prominently featured. Rumored to have been done by the Latin Rascals. The flip side had “Genius of Love” and bonus beats.


Spooks In Space – The Amazing Adventures of Jungle Jenny

(’81) – With hysterical label descriptions like “Aural Stimulation or Masturbation Music”, this 13 minute Canadian mixer (NOT… remember, these were illegal, so likely done in the US) by the 52nd St. KID (yeah right) is well done with some hits (GQ) and sleepers (“Watermelon Man”) from the late ’70s along with ’81 songs such as “Come Let Me Love You” and the smooth “I Can’t Go for That (No Can Do).”


Sportswear for the Flasher

(’81) – Another “Canadian” entry, this one from the Raincoat Brigadier (nice play on the title). This mixer runs the gamut from funk-dance grooves like, “For Those Who Like to Groove” by Raydio and Vaughan Mason & Crew’s “Jammin’ Big Guitar” to higher NRG and rock-tinged hits by Kano, La Flavour, Kim Carnes, and Rod Stewart.


Trammps Medley

(’78) – This one was an acetate from the legendary Sunshine Sound label. As the title conveys, it contains only songs from The Trammps but it was highly appreciated by DJs and had a great, danceable flow rather than the more choppy, quick-mix sound that many mixers possessed.

Read more about Disco Mixers in DEL’s Foundations.