Talk about giving your fans more than just a plain old music release…

One of (the, perhaps?) most influential albums from the whole mid-90s Wu Tang stable is getting re-issued at the end of next month with, yes, its very own chess set. Now THAT is good marketing.

Here’s an interview with the GZA himself, from the most recent SXSW, where he discusses performing with a band, lecturing at Harvard, science, the cosmos, sampling and actually drops the immortal phrase “Rock Sucks! Disco Lives!”:
 

 
Of all the disco labels active during the genre’s golden age, very few match Harlem’s P&P records for cult status and obscure collectability (you see, I’m not immune to wanting great music!)

Founded by NYC in the late 70s by Peter Brown and Patrick Adams (hence the name P&P), the label was responsible for some of the era’s biggest dancefloor hits, songs that still get played out today, and have formed the backbone of many a modern track, even thirty years later.

P&P had a distinctive sound that is almost instantly recognisable. Very heavy on the drums and percussion, their productions were a direct progression from the raw funk of the early 70s. This was music that came from the street rather than the nightclub, and while it was rougher and tougher and a lot less slick than the bigger labels like Salsoul or Prelude, in terms of pure dancefloor funkability it matched them step for step.

P&P worked with many different artists, under many different aliases and with a dizzying array of off shoot labels, but the core songwriting (and playing) was always down to Adams & Brown, who would often knock out the work of entire band on their own, overnight, in the studio. To this day, Patrick Adams is one of the most respected back-room technicians (and commercial songwriters) working in the biz.
 

 
There have been a few different compilations of the P&P catalog before (most notably the Disco Juice compilations on Counterpoint Records, and an introduction to the label compiled the respected NYC DJ Danny Krivit) but this one is different. It is basically the ENTIRE output of P&P and associated labels, and stretches to an incredible 15 CDs. And, most surprising of all, at roughly $40/£20, it’s nowhere close to busting your wallet! That’s a hell of a lot of bang for your buck.

The set comes in MP3 download format, a 15 CD box set, and a deluxe box set that is a bit more pricey but includes bonus materials like liner notes, original promotional material, and two special 12"s for use with Serato or on normal turntables. UK readers can find the box set at decent dance music retailers like Phonica, while Stateside it seems like the MP3 and deluxe versions may not be out, but you can still get the CD collection via Amazon. It’s probably worth rooting around your preferred independent retailers for this, too.

I can’t recommend this set highly enough, especially for our readers who STILL linger under the misapprehension that disco was a commercial fad that sprung fully formed, shiny and covered in glitter, from the belly of the corporate beast. This is REAL disco, with its roots in the streets, the block parties and the underground clubs and bars. Here is one of my all time favourite disco tracks, ‘Out Of Work” by Jesse Gould, a socially aware disco record whose sentiment still rings very true 35 years later.
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After the jump there’s more great music from this incredible label, all of which is available on ‘Hits Hits Hits’...

 
Ah, the joys of the box-set, the artfully designed collectible that allegedly adds value to your music collection. Of course, sometimes it’s a damn fine thing, especially when it includes lots of unreleased goodies. Or when the set is cheaper than buying the individual discs. Other times, it’s little more than a cunning scam to sell you something you already own.

Last year, Elvis Costello warned his fans off purchasing his box of delights, claiming he was “unable to recommend this lovely item to you, as the price appears to be either a misprint or a satire…” The price was $258.70 (£212.99) - ouch. Some bands are undeterred in extracting the cash - how many box sets have U2 released? (Too many?) While others see it as a way of celebrating their oeuvre - last week Blur announced the release of their mega box 21, out on July 31, this year. Yet, often the cost of these box-sets suggests they are really meant for the thirty-plus professional, who can afford to shell out the big bucks on such shiny trinkets.

Which brings me to Kraftwerk, who have announced the release of a limited edition black box set of their 2009 box-set The Catalogue. The main selling point here is it’s a “black box set” and it’s “a limited edition”, limited to “2000 individually numbered copies”. The box includes:

...all 8 remastered and repackaged albums in a 12"x12” box. To celebrate the 35th anniversary of their landmark electronic début, Autobahn, pioneers Kraftwerk re-release the digitally remastered of all of their albums. These include redesigned sleeves and all original titles restored. An absolute must for collectors and anyone with an interest in the electronic music culture. This edition also includes large format booklets and expanded artwork:

Autobahn (1974)
Radio-Activity (1975)
Trans-Europe Express (1977)
The Man Machine (1978)
Computer World (1981)
Techno Pop (1986)
The Mix (1991)
Tour de France (2003)

So, if you’re tempted, then follow the trail here to find out more. Or, maybe you can hang on until the 40th anniversary of Autobahn comes around?