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Secret Weapons are those cheeky little tunes that lie at the back of a DJ’s box. It might be a skanky-looking old Osmonds album with a brilliant song on it, or a long-forgotten techno record that only s/he remembers. They’re the songs that fell between the cracks, got lost in the shuffle. They could be worth a mint or be located in your local Heart Foundation. The one thing that unites them all is the effect they have on a dancefloor.

Co-ordinated by DJHistory.com’s Frank Broughton and Bill Brewster (co-authors of esteemed dance bible ‘Last Night A DJ Saved My Life’ and the soon to be released ‘The Record Players: DJ Revolutionaries’), the pair have gathered together some of their favourite DJs and asked/persuaded/threatened them to divulge their own secret DJ weapons.

With track contributions from Prins Thomas, Moonboots, Chris Duckenfield, Kelvin Andrews, Gerd Jansen, Luke Solomon, Rhythm Doctor, Jon Marsh, Psychemagik, Frank Tope, Lexx and Bill himself there’s everything here to keep the dancefloor going that extra mile. From the raucous post-punk of The Diagram Brothers to the classy house of Sound Patrol, the wayward electrofunk of Jesse Rae and the Latin disco of Skylite. Now the secret is out of the (record) bag. Handle with care.

THE SECRET WEAPONS ARE:

1. Jesse Rae – Rusha (chosen by Bill Brewster)
2. Carmel – Sapho (chosen by Moonboots)
3. Boxsaga – Zen & The Art Of Deadlines (chosen by Prins Thomas)
4. Anneli Drecker – Sexy Love (Röyksopp Mix) (chosen by Chris Duckenfield)
5. Suede – Determination (chosen by Kelvin Andrews)
6. Red Hook Dreams – Your Love (Kenny Dope Remix) (chosen by Gerd Jansen)
7. Diagram Brothers – We Are All Animals (chosen by Rhythm Doctor)
8. Derrick Carter’s Sound Patrol Orchestra – Tripping Among The Stars (chosen by Luke Solomon)
9. Mr. Gone – Mosquito Coast (Down To The Bone Club Mix) (chosen by Jon Marsh)
10. Nubian Mindz – Samba 909 (chosen by Frank Tope)
11. Bullet Train – Bang Bang (chosen by Psychemagik)
12. Skylite – Boogie Butt (chosen by Lexx)

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SECRET WEAPONS SLEEVENOTES
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1. Jesse Rae – Rusha (chosen by Bill Brewster)
Jesse Rae has worked with an array of incredible people, including Ruth Copeland, the Brecker Brothers, Patrick Adams, Roger Troutman, Odyssey and longtime collaborator Bernie Worrell (Jesse’s also a member of the P-Funk posse). Although he released a series of excellent leftfield pop records under his own name, his greatest success was arguably ‘Inside Out’, a brilliant slice of soul he originally wrote for Slave but was later recorded by Odyssey (he also performed background vocals on the song). This version of ‘Rusha’ (different to the one included on The Thistle LP) was released as 12-inch in 1982 and still sounds as disorienting and funky as it did then.

“Most of my favourite ’80s records are strange collaborations between Brit artists groping for the button marked ‘funky’ and some black dudes mussing it all up (see also: Ruts DC and Mad Professor, Dennis Bovell and The Raincoats). Jesse Rae’s ‘Rusha’, a tune I bought when it came out in 1982, but never fully appreciated until a good few years later, is one of those. Of course, Jesse had genuine chops when it came to his collaborations, having played in Ruth Copeland’s band, served in sessions for Slave and added BVs to Odyssey’s ‘Inside Out’ (which he also wrote), but this song is strangely unsettling in the grand ’80s tradition. Is it really Russian or is the vocal on tape reverse? What is he singing? Personally, I don’t really care, I’m happy to go along with the mystery, secure in the knowledge it’s one of the best British funk records of all time – and certainly the best Brit P-funk (or should that be B-funk?).” Bill Brewster

2. Carmel – Sapho (chosen by Moonboots)
Moroccan artist Danielle Ebguy (better known by her stage name of Sapho) is something of a polymath, having published novels, produced films, acted as well as sung (in three different languages). She immigrated to France as a teenager and released a series of rock records in her adopted country, before recording the more obviously Middle Eastern-influenced Passions, Passons for the innovative Franco-American label Celluloid (from which Carmel is culled). Since then she’s worked on a variety of projects, several of them dedicated to bridging the tensions between religions, including Orients, a classical album made with Jewish, Christian and Muslin musicians. The edit of ‘Sapho’ was done by Cosmic Jane and is exclusive to the album.

“I first heard ‘Sapho’ on a Dangereuses Liaisons radio show. It took me a while to ID it, but it’s not left my box since. Any tune that sounds like Siouxsie & The Banshees meets Arabic dub disco is worth the hunt.” Moonboots

3. Boxsaga – Zen & The Art Of Deadlines (chosen by Prins Thomas)
Originally released on Filter, the innovative offshoot of Dorado set up by London DJ Ross Allen, Boxsaga originally comprised Nick Phillips and Sarpong Adjaye (Allen’s then flatmate) before being reduced to a solo project when Adjaye moved to New Zealand to become a golf professional. Culled from their first EP on Filter (they’d previously released ‘Radio Rhythms’ on their own Radio Rhythm Records. Phillips has gone on to work as a producer for various acts including Cobra Dukes, Man Like Me and Keith. He is currently threatening to release more Boxsaga material.

““A few words” does not justify Boxsaga's ‘Zen & The Art Of Deadlines’. More and more often I tell friends I've bought a 3rd or 4th copy of a record due to wearing out the grooves. With this one I can honestly say I've picked up every copy I've come across for the last 10 years or so. When this record originally came out, Oslo nightlife was suffering its most boring deep house phase ever and for a disco kid like me this perfect combo of abstract Dinosaur L-ish dirt and a simple ‘tool’ record made it stand out in a sea of mediocrity. Not only that but it has also stood the test of time. Now in 2010 we've re-circled back to the same old dull deep house, I'm happy to browse through the back of my record box, blowing bits off ash and dust of my precious newest copy of Boxsaga so I can let this mother of a groove roll.” Prins Thomas

4. Anneli Drecker – Sexy Love (Röyksopp Mix) (chosen by Chris Duckenfield)
Norwegian Drecker has had a long and varied career both as part of a band with Music Channel and, more famously, with Bel Canto, as well as releasing two solo albums, Frolic and Tundra, from which ‘Sexy Love’ was taken. Röyksopp remixed the tune, but their version never made it past a limited EMI Norway promo. This is its first full release.

“My friend Geir, who was resident at the amazing Skansen club in Oslo, gave me this record. It’s a completely addictive, sonically mindblowing and irresistible groove. The artist is a Norwegian songstress and Röyksopp were the darlings of the nation at the time having released their LP Melody A.M. to universal acclaim. The combination is one of those times, all too rare these days, that a major label A&R gets it totally right. Unfortunately, and far more common, the label bosses decided to shelve it, so as far as I know only a few copies of this promo sneaked out. No other tune reminds me more of my time as resident at Scuba in Sheffield, where it became probably the biggest I ever played there.” Chris Duckenfield

5. Suede – Determination (chosen by Kelvin Andrews)
No relation to the fey British rockers, this Suede made one release for Canada’s Neige Records before disappearing. There are actually two version of this song, both produced by Kym Yancey, this rub being the first (the other, credited to Kym Yancey and released on Critique is also excellent). Yancey and his co-songwriter Keith Cheatham were originally members of the Ohio disco-funk band Sun. This has never appeared on CD before.

“I first heard Suede's ‘Determination’ on a DJ mix  about five years ago. After searching for another two years I finally found out what it was (thanks to Mark Seven for the heads up) Since then, it’s been a prized dancefloor bomb in my record box. The first time I played it was at a warehouse party in east London and the reaction from the floor was both instant and ecstatic, despite nobody knowing it. A kind of Prince meets space boogie proto-house with a positive message in the lyric. It sounds so fresh, despite being 20 odd years old.” Kelvin Andrews

6. Red Hook Dreams – Your Love (Kenny Dope Remix) (chosen by Gerd Jansen)
Red Hook Dreams is yet another pseudonym of Johnny De Mairo and Nicky Palermo, better known in house circles as JohNick. Johnny D is a New York face who ran the Henry Street label for many years and has worked for Atlantic Records for a long time. Included here is the Kenny Dope remix.

“There was a time in the mid-’90s when records like these were a dime a dozen: classic and not so classic disco records plundered by troops of producers and tortured with over-compressed kick drums for the lack of originality (see the often-brilliant DJ Sneak for further reference). Luckily, Brooklyn’s Johnny D and Nicky P had Kenny Dope to push the right buttons. The Dope Man builds one of his immaculate and durable beat monsters that just goes too well with a looped and hypnotizing sample. Used right, this will tolchock any dance floor. Forever and ever.” Gerd Jansen

7. Diagram Brothers – We Are All Animals (chosen by Rhythm Doctor)
‘We Are All Animals’ was the debut single of The Diagram Brothers, a Mancunian band who made a delightful racket that often included household objects and hilariously off-the-wall lyrics (somewhere between Half Man Half Biscuit and Slim Gaillard). John Peel was a big fan of the band and they wound up recording three sessions for his show before they split up in 1982. Andy Diagram has continued to play music, as a member of bands like Pale Fountains and James and, more recently with his collaborative project the Spaceheads.

“One of the many gems we have to thank John Peel for introducing to the world. I’ve completely battered this 7-inch which I know I will never find another copy of but thankfully since the advent of digital DJing i can now keep it well under wraps. The cover, which is just holding together, is a great piece of DIY graphic art and unlike other punk-funk favourites of mine such as Glaxo Babies or The Bloods, The Diagram Brothers had this twisted, almost Pythonesque, sensibilty and they even invented a new genre for their music: Discordo. ‘We Are All Animals’ is raucous punk-disco at its best, with just the right amount of musical mayhem versus tight slick playing. This record sounds so contemporary and stands tall alongside music from modern bands such as New Young Pony Club or Shit Disco. Someone once called The Diagram Brothers Manchester’s answer to Devo. I so wish I could have seen them live!” Rhythm Doctor

8. Derrick Carter’s Sound Patrol Orchestra – Tripping Among The Stars (chosen by Luke Solomon)
Organico Records only lasted four years and appeared to be primarily a conduit for the work of Derrick Carter, Chris Nazuka and Dubtribe (both Carter and the ’Tribe released excellent early albums on the label), fusing house with a freer, more experimental spirit. The label ceased in 1997, but its catalogue has stood the test of time. This edit was done exclusively for the compilation by Luke Solomon.

“The memory attached to this record is pretty much my entire first visit to Chicago. I travelled with one of my closest friends (who is now sadly passed). I met Derrick for the first time in his loft space.
He had just received promos of the album that features the extended original. He gave me a white label with a customized squiggle.
We got high. Chez Damier cut people’s hair. We got drunk. Listened to music. We were young and carefree. I miss those days and this record always returns me to that wonderful place.” Luke Solomon

9. Mr. Gone – Mosquito Coast (Down To The Bone Club Mix) (chosen by Jon Marsh)
Named after the Weather Report album, Mr. Gone is the alter ego of jazz-funk bassist Simon T. Bramley. They released two albums through the now defunct Internal Bass label (‘Mosquito Coast’ was included on their debut Looking At The Future In The Rear View Mirror). His band also backed several visiting American jazz legends including Reuben Wilson, Eddie Henderson and Gary Bartz on UK tours. Simon has also produced albums under the name Black Gold Massive and Afro Elements and still remixes under the name Mr. Gone.

“I first heard Jon Marsh play this at a Faith party in what used to be Velvet Underground on Charing Cross Road. It was one of those times when you rush up to the booth and demand to inpect the sleeve to glean all the information before heading off on an odyssey to find out – no Discogs and internet shopping was in its infancy then. It took my a while to find it, but in the meantime Jon played it regularly and that’s how I got my fix. Although it was played in house sets by both Jon and I, it isn’t a house record and the tempo is only about 119bpm. In fact it’s more of a chunky acid-jazz tune than anything, but it’s got real balls and – in that insistent keyboard line that drives it – a killer hook. Despite the inherent jazziness, it kicks like a mule.” Bill Brewster


10. Nubian Mindz – Samba 909 (chosen by Frank Tope)
Colin Lindo’s production career began with releases on EKO as Da Elite before joining 4Hero’s vaunted Reinforced Records in the mid-’90s and there’s something about Lindo’s style that betrays the ever-present influence of Marc Mac and Dego over his output. He made a name for himself as Alpha Omega in drum and bass circles before adding the Nubian Mindz moniker to his portfolio, which displayed both his drum programming skills and a wide interest in all forms of dance music. ‘Samba 909’ is where broken beat meets Detroit on a dancefloor revolving high above the cosmic universe.

“I bought this on a sampler EP for an Italian broken beat compilation back in 2005 and like so many anonymous 12s you buy, you start off with the best of intentions but then never actually play it out (and as far as I know, neither did anyone else). Then it ends up gathering dust on the shelf. Randomly pulled it out maybe a year later and was blown away by it and immediately started playing it in every set, always getting an amazing reaction on the floor and people asking what it was. The drum programming is a jazzy broken beat style, but one that works perfectly as a house track, but that lively, jazzy feel really makes it stand out in the mix. Also, unlike 90% of dance records it’s structured to have clear beginning, midle and end, rising to a massive climax that demands you play it from beginning to end.

I also realised, looking at the credits, that it’s produced by one Colin Lindo. Around 2002, when I first started working in music publishing, Colin was the production part of a – in retrospect pretty rubbish – UK garage outfit. Anyway for my sins they were my first signing, they went on to do absolutely nothing and the whole affair was discreetly forgotten by all parties. But I did hear Colin bought a ton of studio gear with his portion of the advance, before splitting with the MCs due to the age old ‘musical differences’. So perhaps my clearly ill-judged faith in his ability to make commercial UK garage helped make it possible for him to make this largely forgotten but utterly brilliant underground gem.” Frank Tope

11. Bullet Train – Bang Bang (chosen by Psychemagik)
Scobie Ryder’s main claim to fame is as collaborative partner with former Bay City Roller Les McKeown, with whom he launched Egotrip, McKeown’s post-Rollers band. Although they had little success in the UK, they were huge in Germany and Japan, securing a string of gold records. Ryder – real name John Baxter Connor Devine Wright – also had a solo deal with EMI, the fruits of which are included here. Bang Bang is the B-side of ‘Don’t Hold Back My Bullets’, a straight-up disco-funk tune (boy-meets-girl-at-fairground). We can only speculate as to what the bullets actually were… Anyhow, the B-side, ‘Bang Bang’, is a dub, stripping the song back to little more than drums and bass with some guitar and keyboard for extra seasoning. Probably knocked out in five minutes at the end of the session, it sounds brilliant now.

“I'd been selling records in the Horse & Groom in East London for a while which involved getting smashed for 12 hours and making more and more favourable deals as the day rolled into the evening. Then Bill Brewster organised a night there and asked few of us to come and play records, all of which were for sale to punters/collectors. I dropped a white label promo of the 12-inch and Bill was bugging on this jam so I thought I'd include it. Written and produced by Scobie Ryder and recorded in Morgan Studios in 1979 it features a who’s who of session players including Trevor Morais (The Peddlers) on drums, Norman Watt-Roy (Ian Dury & The Blockheads) on bass and Pete Gage (Vinegar Joe) on guitar; typical of the time it was edited the hard way: on tape. You gotta love that. By Scobie's own admission back then it was considered a funky jam. It still is.” Psychemagik

12. Skylite – Boogie Butt (chosen by Lexx)
No relation to Eddie Murphy’s classic ‘Boogie In Your Butt’, Skylite was a studio act put together by East LA label Rampart Records (mainly known for their Latin recordings). For a brief period – and a lucrative one, given how many hip hop acts have sampled their catalogue – Rampart released a series of excellent disco tunes, bringing Latin funk band Eastside Connection out of retirement for ‘You’re So Right For Me’ and ‘Frisco Disco’ (sampled by Slick Rick on ‘Mona Lisa’). Co-written and arranged by jazz violinist and songwriter Harry Scorzo Jr, ‘Boogie Butt’ is a studio jam with Scorzo’s brilliant fiddle playing to the fore, driven by the basic vocal exhortations, “Swing to the music” and “Boogie butt, baby”. Bob Dylan, watch out.

“A steamy little disco funk number from ’79 that i first found on a 7-inch while working at Zero Zero in Zurich. The French female vocals give it a seductive note, while the bottom heavy groove keeps moving at a perfect pace. I played this often during the first hour of our weekly Dosci-Night at Club Zukunft in Zürich.” Lexx