Manual Sweetheart Rolando - an erotic fantasy

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This four cut album is the blend of Italo-disco changing the landscape of disco music which we knew from the late 70s. The energy became more of the focus and electronics were the solution for the sound of this continuum. It takes the dance floors on a trip back to the underground feel of disco music where the beat was only there for the chorus and remained light and almost unnoticed though the story of a man so in love with losing himself on the dance floor he compares it to his romance.

A favorite project of mine and one which took me back into the basics of disco once again. It has more of the top layer of percussion with claps and high end to give it more power. The duo created a synth-pop dance sound which used a touch of the nu-wave edge to give their music a 80s feel. It is a beat pounding rhythm with a challenge from our lead vocalist to create the celebration that their music weaved. It was a huge hit for me during its release and always brings to mind the power of electronic dance music and the fusion it was discovering during the early and mids.

It is more of an arrangement which focuses on the heavy parts of the rhythm and chorus pieces of the song. It is another tribute to the electronic and synth-pop influence on disco music during a new era. The Lovers is a studio project from disco producer, Jacques Morali who began the success of the disco medley. The success of the medley both in clubs and radio brought the following of the mash up of hits tracks in the disco medley form. The production by Giacomo Maiolini was the turning point in Italo-disco and the once again influenced by the high energy movement. Almost haunting at times when the sweeping keyboard movements slide into a new verse or chorus.

One of the big high energy hits for my dance floor on weekends and another need to build up to that momentum that fast paced dance records would mold in a set. Gregg Diamond is a pioneer of disco music. His productions combined the funky sound of pop-rock and a fusion of disco. Much of his work including projects by Bionic Boogie, Starcruiser, Andrea True Connection and Gloria Gaynor have always been considered classic and the best always.

Hardware is a disco ensemble from for Mercury Records where he creates the disco edge with more of a rock feel. An attribute which always made his music unique. It blends out several parts into a main focal groove of segments in this new mix. A new intro and fade are plays for a method that always seems adequate for a classic groove as this.

Araxis is a disco project from producer Jurgen Korduletsch — a progressive producer, arranger, writer and musician who also gave us Claudja Barry, Disco Circus, Lipstique, Ronnie Jones and Gaz.

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  6. Another piece that follows the experimental and imaginative projects which were being released by Giorgio Moroder during the same period. It is one of my underground favorites and always brings me back to the mature disco sound of electronics with a simple outline. There are some new raging elements put into place to bring out more of the drama which is light yet effective in this rolling number. A few breaks are added to continue the space journey of this hero.

    Taana Gardner is the one of the disco artists that brought the deeper side of funk out within disco music. The track was a huge hit and gave hope to a new era of dancing in clubs and radio program that specialized in bringing the new edge disco to the airwaves. More of the underground is injected into this mix with more breaks aimed at striping away at the motion.

    Taana is again here to let us know how a heart can feel when under a new sensation with love and a funky groove. Her achievements have been her versatile approach to each song. This rolling version is a great vehicle for Ms. Marie and she surely takes advantage of the stage once again. I have reworked the original with the emphasis of an all-night party breaking loose and Kelly is right there…once again! Their heavy use of pounding beats and heavy bass along with themes that follow another realm are the encompassing addiction to Italo disco.

    Produced by Joseph Angelli and Renzo Luchetta — this all electronic production is a fierce deep pounding 80s dance number that resonates. The sensual vocals are wonderful throughout the song even in spoken verses. I big hit for me during the high energy period and one of my favorites for those afterhours programs and a big leap for Italo-disco. It is a longer and more use of those vocal tracks and sharp keyboard pieces are one which I also imagined.

    Carolyne Bernier is a Canadian disco artist who made the mids dance floors a beautiful place to be. This production is the essence of the touch disco period. There is a longer intro and fade out to allow the dreamy and sexy sound another opportunity to make its way back into the heart. An alternative edge with backing from many radio stations dedicated to the 80s nu-wave dance market. A heavy layer of make vocals give it a sleaze feel with a touch of punk. One of the memorable pieces of the 80s and the open creative field for producers and artists. Focusing on the spell that the lead vocals seem to work and making every turn a new one.

    The Beach Boys are one of the iconic sounds in music history. Their music brought on the reflection of a time and place. As disco mirrored balls and dance floors were brought to life by disco, The Beach Boys sound gave an outline of the Southern California surfer scene on the shore. Their harmonies were the immediate lure of their music along with the smooth rockin sound of their guitars. It was brought to life with the magic of disco producer Bob Esty who took the song and gave it the feel of what disco music and dance floors were feeling.

    I can remember the excitement of this single when it was released and the cornerstone of disco music it represented. A great bouncy number with the vocals which make The Beach Boys just how they are remembered. Gioia and J. De Blasio.

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    This release from the Canadian dance label Uniwave Records from is a hint of the changing face of disco music as it moved into a full electronic production. The music here sounds like early Italo-disco and our lead vocalist Claudia Hart performs this love song in the same vein. A sexy and yearning number for a lover who needs to know how much desire is involved. Heavy on the percussion and bass synthesizers for one of those 80s disco moments. I have also attempted to take the BPM of this song under control and a new bongo pattern is overlaid throughout this new version.

    Harry Chalkitis is best known for his work with the disco group Queen Samantha. A bit more on the pop edge yet this style is still as satisfying as the hardcore dance numbers of the time. A few new elements have been added to insure the beats make ever second worth it and some breaks to mesmerize this great dance number. Voyage is a band from France whose dance music shaped disco music for the finale of anthems.

    This one plays out like a 70s Euro-disco track with a beautiful resonance. It defines their sound in its entirety with the beautiful lyrics, sweet chorus and uplifting rhythms. One of the most wonderful sounds for the end of the disco era. The intro and chorus parts are dissected to give more of what this song brings alive. More of the song is better and a fade out with the chorus is the curtain call you may have been waiting for.

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    A big stamp on the Canadian disco import label Tojo Records in where much of the electronic dance tracks were creating a stir again on dance floors. This was the dawning of high energy music which was given its name since the electronic sound produced a nonstop rolling edge. It is the return to the underground feel of disco music where the rhythm was the true essence.

    The keyboard synth is extended the way I hear it in my head and the chorus still shines. A great track that helped to save the dance floors again in the early 80s with a return to the disco passion that had not yet ended. Lisa R. This one is aimed at a somewhat suggestive idea that moving to dance music brings on the need for intimacy and release. A bit more could only enhance the feeling that we have all been experiencing for years.

    It is one of the sleepers from the project yet it still presents that sound which Lisa brought alive in the early 80s. It holds more breaks and surprises where my aim was to go deeper into the moves as it promises more. The early 80s were the movement towards an electronic dance sound which Soccio embraced in his own creative mind.

    The track is a notable one since it gives his percolating and ambient feel a full on effect. One of the hidden gems from his many genius productions. The dreaminess is embraced with a few drop out breaks and some phasing. One of my favorite styles of Soccio in a new package. Crystal Grass is a French disco group created by Lee Hallyday. Most of DJs the clubs allowed for long play. Kristi Barton is the guest vocalist on this project and takes us around the world with standards and a few pop disco covers with a Cerrone-like chorus alongside. Much like the Voyage concept from Roger Tokarz.

    A nice full orchestrated disco number that is by all means sophisticated as most emerging French disco was. This one plays out with bongos and congas beating a sexy pattern for Jeannie to express her love for passion fruit and her lover. A nice soul and sexy disco number with soaring strings and some moans and sounds that may bring to mind romance to the hilt.

    It plays out much like the original with only a couple of new breaks and some nice fruity percussion pieces to accent this sexy song. Juicy are a brother and sister duo featuring Katreese and Jerry Barnes. The rolling bass and jittery keyboards create a contagious rhythm that moves the mind and feet. Juicy lends their vocals in that disco chorus feel where a celebration is obvious and shouting is done with excitement.

    One of the big moments for me where the rhythm became the set during its release and those playlists following. More effects are added and several pieces from the original are sampled and looped to give more challenge to your energy. A special appearance from Sharon Redd finished this remix with more for your moves. Hotline is a project from Bobby Orlando who took the underground feel of disco music back to the basics of rhythm with his heavy percussion and beats emulated in a street fashion.

    A new sound which would soon become the high energy music of the 80s. The instrumental plays out identically with a few changes in EQ and lyrics. Man Parrish is one of the New York artists who took an early part of the 80s to rejuvenate electronic dance music. His first album introduced a fierce blend of street-beats, electro-vibes and an early high energy sound to dance floors.

    Man also produced many artists and continues to make dance floors his art form for club goers and dancers. This cover of The Rolling Stones classic is a dance intelligent move for a work which follows anything but standard. It keeps the magic beats that Parrish has created and honors them in a new way. Amanda Lear has taken disco music literally throughout her career.

    Her material has always been of the abstract and of the strange and dark edge of life. Throughout the material Amanda has always remained true to her talent to perform and her persona. More of an early morning feel and worked for me during many sets at that time. It blends many parts and loops to recreate the transition and also re-works those heavy bass beats and synths. This one plays out with the exaggerated appeal of the persona which Morris Day reflected in play. The keyboards are the 80s style of funk and punk rolled into one yet the vocals are as funky as possible.

    This one stands out for me since it created quite a stir every Friday and Saturday night on my dance floor. Ronnie Jones has always been the Motown voice of disco music. His smooth and sweet delivery has always brought to mind the sound of a generation of the 70s which brought soul music to the disco curve. The track is an exciting dive into the night where the spotlights are aimed at a good time. This track was a winner for my club at the time as the build from early evening to high energy music was taking place.

    The wonderful Jurgen Korduletsch electronic sound that gives off the disco power of the 70s still works like magic here. A few more break inserts and played out choruses give it a new edge. Silent Circle is a German synth-pop band that was formed in Their sound gently took the edge of bands like Modern Talking with the gentle love themes and rolling bass synthesizers. Silent Circle fits into the 80s dance scene perfectly as its vocal play out in a somewhat alternative fashion.

    It is one of their most memorable and one which provided a nice transition from early evening to peak hour music for me. The extended feel gives way to more of the instrumental yet the vocal hook closes it quietly. Linda Clifford is one diva who was on top of the world in Linda set a precedence for disco music with this recording with her sophisticated soulful interpretation which reflects the late 70s female persona.

    Above and beyond the pop music sound this disco performance still represents a stylish and slick edge. Lana Pellay is a high energy artist in the vein of the successful band Dead Or Alive with the help of P. Productions — with Phil Harding engineering.

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    It uses some bits of Ms. West at the intro and a touch of what made it all happen at the end. Ganymed is an Austrian disco band who took the futuristic feel of the 70s a step further and displayed their music as a group of space aliens and a hippie-esque lead singer. It is somewhat moody but every bit as disco music is. The deep beats resonate with a pounding that echoes the feel of another time. Keyboards help to place this one in that realm of the 70s galactic feel — something that CGI could not produce. It takes a new trip for those who find that 9 minutes passes quickly when you are in hyperspace.

    One of my favorites of the late 70s and indeed one of the most unique bands in disco music. High Fashion is an electronic-funk band produced by Jacques Fred Petrus whose past projects included solidifying the energy of disco music with Peter Jacques Band and the beginnings of a New York funk sound with Change. I have added a few new pieces to enhance the new mix and also a fade out to make the feeling last longer.

    True Example is one of Salsoul Records hidden gems with their disco archives. This single is the disco era outlined by Salsoul and influenced by the Philly groove and perfected by dance floors. The production by T. Conway lays out the Salsoul disco era in one piece. For those who like to fade along with the music there is also an ambient fade out. The song has been given a ReStructure Mix where pieces of the sounds that make it memorable are used in edits and loops to create lasting power.

    The early 80s was a whole new layout for dance music as many genres of rhythmic music were fused to recreate the disco aura. The Twins were a dance sound which mimicked the nu-wave feel on vocals and sharp edged synthesizers as pop bands like Duran Duran used sparingly. Soon to become high-energy in the mids with the help of bands like The Twins and their influence. It is perhaps one of the most innovative in this genre of the time where beats were often accented with percussion and unique auto-effects.

    A big move as bands like Dead or Alive were participating in. A huge dance floor hit and the start for this great 80s band that also sparked the careers of Holly Johnson and Paul Rutherford. This track from is one of the early Italian recordings which marked the success of this genre of dance music around the globe. The extensive use of the sequencer and keyboards are not a hint of disco music — but a statement. The productions of the early 80s became streamlining and more acceptable in the electronic form — since synth-pop had become the new arena for dance music.

    Inserted between the vocoder chorus and dramatic backing vocals which are somewhat operatic is the electronic cowbell which many may recognize as a staple of Klein and MBO. Flagio released only two single and their focus is definitely the deep Italian disco edge along with the more pop-street edge in a light dosage. This one plays out with more with the synthesizer loops and chorus build which made it one of the classics of Italo-disco that it is today.

    Aretha Franklin is the talent of soul music history. Her voice has released so many deep emotions in a soulful and somewhat operatic delivery. The strength of this voice has marked many moments in history and even today ignites a feeling of freedom and cause. Her recent passing has given me a moment to reflect not only on the power of music — but also the strength of the human spirit.

    Aretha has given that spirit many times around and I believe that her legacy will be one of the last of true soul. This pop-funk number speaks of the work in a loving relationship and in many ways expresses the freedom once again of love and emotions. This ReStructure Mix is a salute to this talent and to keep reminding me that the loss of this woman is more than anyone or I could ever conceive. It is weaved a bit more like a dance floor piece yet the message is always clear thanks to Aretha.

    This blend of fast and frantic rhythms with plenty of swirling electronic keyboards and disco horns and strings is one of the innovative albums of its time. Soon to become the sound of the late 70s disco era this play is more of what the dance floor was feeling during the peak.

    It is laid out in a new way and looping provides a new angle for the basslines and powerful vocals lead by Leroy Burgess. It was the street beat of the early 80s which influenced electronic beats and formulation of a new kick beat and groove. The female vocal announces in a defiant manner a need for a romance to materialize. It is one of the tracks that I would love to play either warming up the floor or casting it at 4 am into another world.

    A great innovative approach for the mids and a mark in Italo-disco that is quite memorable. Their past rock operatic numbers are the highlight of Queen and the fabulous lead vocal from Freddie Mercury. This one plays out as a heartbreak number vs. It is the true rock edge played out in full. I have taken the album version, instrumental and accapella to recreate this standoff in ReStructure Mix format. There is a new arrangement and use of the classic lead and bass guitar riffs.

    Jessica Williams is one of the true divas of disco music. Her vocals gave many nights of dancing and celebration an experience that would soon become a high energy form of dance music. She creates a whole new prescience for the song as she towers above the disco orchestral sound of this production. It is one of the moments in disco music where one can be truly grateful. This one proves that a voice like this can bring disco music to its knees. Gayle Adams is an important artist from the Prelude Records roster.

    In the mid and late 70s Prelude was focused on bringing the new sounds of disco music to the clubs and dedicated their artists in this direction. As the close of the disco era became more of a reality the label focused their touch on the funk dance scene and in their own flavor became the New York funk sound in the early 80s with singers like Gayle and bands like Unlimited Touch and Secret Weapon.

    This anthem became quite the stir of a new and funk driven sound being produced by Willie Lester and Rodney Brown. The track has the sweetness of essence of disco with a funk infused rhythm. One of the big shifts in dance music during the early 80s. The sound of soul music began its early shift with Barry White brining the full orchestra into the funky grooves and interludes — where the disco connection to European dance music began its full orchestral production.

    It was indeed another big moment for music in its history. The track plays out in sweetness with a touch of lighthearted comedy as the film did. Love and Kisses featured vocalists from many sessions from the Trident Recording Studios in London who became the sound of Euro-disco in the late 70s. A new bottom beat and clap are added to pump the energy into a Friday Night feel. More loops are added to remind us of the disco concept which was a powerhouse for the late 70s.

    Ennio Morricone is An Italian composer whose work is best known in films. Adding a deeper beat to accentuate the rhythm and a few electronic effects to make this ambient flowing beauty into a listening experience as well as a nice early morning awakening. It is clever in the use of a harmonica to bring out the saucy lead vocal which sounds like an over the top lovelorn teen. It is fun and has some of the great brass that Cerrone is known for.

    It is also one of his plays during the early 80s where he was being experimental to find where the disco sound was heading on dance floors that were not quite done moving to new rhythms. It has more of the keyboards that weave a whole new feel to this song for an intense disco-fied experience. The early 80s were soon to become the synth-pop era once this sound was exposed to dance floors with the expression and creative possibilities. The light synthesized keyboard riffs help to play out this rolling dance track in an effective and mysterious manner. It was released on Moby Dick Records in the US during the early 80s as proof that disco was quickly becoming high energy soon.

    Using more of the rolling sequencers to outline the pulse of the song. More Charly is added to outline the title and of course play out this play. This track is one of the innovative electronic pieces which was responsible for the success of this new edge of disco music highly influenced by the work of 70s pioneers as Giorgio Moroder. There is a touch of fantasy in the lyrics however the music reflects a moody and underground feel. The stage for this one is indeed a well-deserved moment. Time has proven the success of Italo-disco in the 80s is indeed due to productions as this.

    The composer and musician had focused on jazz and a fusion of rhythms, Latin and Brazilian style. His venture into the dance realm was well accepted with this project which produced classic tracks, "Whistle Bump", "Space Dust" and "Shazam". The high energy instrumental feel of "Shazam" is what drew me to the album. This was a nice percussion and bongo dance number that lays itself out in several sections of rhythm guitars, bongo fills, horns and eventually the 70s string sweep.

    Thelma made the disco era a home with many tracks which outlined not only the scene but a fusion her soulful voice bringing a layer of emotions to life in an era of great disco music. Band and Janet Jackson. A nice reminder of how dancers and the club energy created the sounds which topped the 80s dance scene as it did in the disco 70s. The progression of disco and dance music continued even though the industry and critics claimed it was dead. This sexy number is an enticing and fast paced dance track which follows closely the sound created by Dead Or Alive but in a new package. The production by Italian disco producers Miki Chieregato and Roberto Turatti is another time when Italo-disco used a fusion of the dance floor elements of the time and transforming it into a sound of its own.

    Lekakis in this ReStructure Mix. Are George Michael and Andrew Ridgeley who began in the early 80s as a pop duo bringing a funk and synth edge to radio music. Their success began the solo career of George who later became one of the biggest selling artists of the late 80s. This one was always a favorite since it delivers that sound which WHAM! Mutiny is a funk band with members from both innovative groups Funkadelic and Parliament — sounds created in the early 80s moving soul music into a new edge called funk. This sound used the fusion of hard-rock guitars and funky grooves moving over a new focus of themes in a bit of distortion.

    The blaring chorus is a take on the sound that Funkadelic made use of to create Parliament. The wah-wah guitars and deep bass grooves are the elegance of hardcore techno soon to come. The piece has always stood out as one of the forerunners of taking the late 70s disco dance floor again into a hardcore state.

    There is more instrumental provided by the guitar distortion pieces and a classic key riff from Herbie Hancock. His beautiful strings with a disco lullaby edge are always accentuated by a chorus of alluring females in a frame of disco ecstasy. It eventually sounds out in an operatic arrangement that is everything that European disco promised us from the start.

    The funky guitars and groove is the perfect layer for the strings, horns and percussion. More of the sensual feel is played out and extended. Vera is Patti Masi — a high energy dance project from producer Louis Toteda who worked on classic disco projects as Nightlife Unlimited and Nite Life from The soft synthesized arrangement always left the sweet vocal delivery very haunting.

    The piece falls under the early 80s dance movement where many new wave tracks were emerging and high energy music created its own fusion of both. A nice electronic piece and another moment for Patti Masi to give dance floors that dreamy yet darling sound. This time around it is the sock hop with the appropriate edge. Alphonse Mouzon is producer, arranger, and drummer who worked from the early 70s creating his brand of fusion-jazz. During the late 70s he is known on dance floors as the force behind the disco band, Poussez!

    One of the beautiful numbers that reminds me of a sweet ballad from Barry White and his great ensemble. I have taken the outline of the original mix and moved its mood into a more underground-early morning feel with some new bass synths and drum patterns. This anthem written by Jackie and Michael Jackson not only gave the world promise and hope — but it also brought the dance floor to its knees with a stomping rhythm and ringing message. The opening presents the strings as the video does and into a new arrangement and rhythmic edit to continue this powerful message. Dance music was becoming a roaring wall of electronic sound in the mids transforming dance into a fast moving sweat factory.

    Meccano took a light jazz fusion and layered it along with this energy. The mix itself is extended for more play with some of the haunting elements and more of the sweetness if given more chances to lure hearts and feet. Chaka Khan is the voice of 70s funk. In the early 70s during her work with Rufus an introduction to a new layer of funk and soul was created with the extensive and outward delivery of her voice.

    This funky and rhythmic injected tune has the sound of Chaka that made her voice the sweetness and the power of funk that we all know today. It has a new arrangement using the original instrumentation in loops and edits for a new experience and a new rolling drum track to give more push for the hips. A dark but great anthem for clubs and huge dance floor filler. I have kept the flow in a new arrangement and also working that rolling sequencer into frenzy at the close. This single is an emotional piece that yanks at a broken heart when a relationship creates a separation.

    Val delivers her performance like a 50s heartbreak song can be haunting. Always a favorite of mine in the early evening build up sets. This formula is the finale innovation of years of adhering to the disc jockeys and their dancing throughout the mid and late 70s. A sweet disco number with all of the bells and whistles that make dancing fun and exhausting in the late 70s. Adding a touch of a 80s house classic drum pattern and of course a play at those teasing lyrics and the fantastic breaks. His work includes many of the elements which made Italian disco soar in the 80s.

    The electronic work that took over where Giorgio Moroder left off is written all over this period. A bit more experimental perhaps but even with the simple keyboard riffs there is an element of energy to this sound. A great synthesizer work leads this one into a somewhat dark and eerie passage. However the energy is high with the performances. A great 80s dance piece and proudly from the Italo-disco catalogue.

    Still as rolling and more hidden messages to pull you in with headphones or on the dance floor! Tom Moulton taking the tracks into a deeper dance floor level. One of the chants that quickly caught my ears at the time thanks to the many riffs and the cleaver remix by Mr. The new drums and percussion added are to give the disco beat in the afro sound more of a powerful presence.

    Paulette Reaves is a soul-funk singer who began her recording career in It has the arrangements that made soul music and funk a piece of the disco era. Paulette performs here in a teasing and convincing enough to make that move. One of the big early 80s tracks I can remember luring the fans of soul and that Miami sound onto the dance floors.

    The vocal is the key here so a repeat is added to give Ms. Reaves her stage once again. Vera is a vocalist who brought the sweet melodic feel back to dance music in the early 80s with her wonderful falsetto delivery. Her beautiful vocals along with the hardcore electronic dance production which gave the 80s hope and later high energy music a new found hope. A great number where Patti Masi Vera sings about the new generation taking over the time and at times over stepping and wanting more. This is an opportunity to salute both Patti Masi for her lovely vocal talents and Louis Toteda for an array of wonderful dance productions aimed at the discotheques and the dedicated dancers.

    It is a bit haunting yet the energy builds over and over with the chorus. A big part of my peak hour program of the time. The intro and arrangement are given some new breaks and kick to give the energy more of a challenge. A few winding electric breaks are added to give the track more of an underground message.

    The vocal is written in several places that may be Dora Carofiglio — where many of these Italo-disco projects were studio projects with artist creation aimed at the songs mood itself. In any wonder, this one is a beauty. One of my favorite Italo-disco numbers and performances. The difference in the instrumental EQ is worked to preserve the weight of the moody feeling brought on by the vocals and keyboards which tend to be a bit more emotional on both ends.

    It is slim re-edit with some of the loops and effects to bring on a new trip. The Miami band recorded several singles in and were one of the bands which outlined the disco feel in real time. Goody Goody is a Vincent Montana, Jr. It was a crossover again for disco as the producer could command the mood and edge of a themed project. This one definitely is one of the most memorable. The bongos are the element which brings the top layer of this disco track its lure.

    More of Denise is added in new loops and edits to give a new part of this celebration her identity again. Petrus was a master at assembling a recording studio full of musicians whom played the heck out of the new period of dance music as disco progressed through it final years. His credits include Change, Macho, Revanche, B.

    In this second project we hear the same in many different areas. A great title track is presented in a hypnotic yet patterned beat that stomps out of the disco beat in a new way. It is one of the moments where Petrus again delivers another masterpiece of disco innovation.

    It is a great keyboard performance so the original is left intact and only re-looped to give it new life. The sensuality of disco music can be felt in her words as the European disco artists did so well. One of the last of the big disco production songs I can remember on a US label.

    A nice return to the big disco sound that made dance floors excited with the spotlights and glamour. This beautiful mid-tempo love ballad is a touch of the beauty that disco music brought with sweeping strings and horns in an arrangement. This synth-pop built piece has a melodic chorus along with a touch of Italian-rap that is also as simple and sweet.

    One of my favorites of the time and one of the tracks I would love to build a program at the start of a weekend night. This new edit gives the track a new arrangement and a long fading exit. It will haunt the hearts of those who love that Italo-disco direction and also give another twirl to those who love romance on the dance floor.

    Brenda Jones is a soul vocalist from the group The Jones Girls and made an impression on DJs and dance floors in the early 80s. Lord and Mark S. Berry brought dance floors into an emotionally charged funk experience. Brenda was one of the soulful female artists of the time worthy of attention. I have always admired the beauty of the song and the real dance potential is exposed here. Hugh Bullen is a funk-soul-disco artist whose recording career spanned the late 70s throughout the late 80s.

    Preacher's Pet. Becca Sinh. The Billionaire's Sissy Slave. Annie DuBois. Claire Elise. Cupid's Candy. Cordova Skye. The Summertime Twink. Veronica Halstead.

    Reward Yourself

    Owned by the Earl. Bred For Her Birthday. Lexis Sommer. Happily Ever After. Neal Litherland. The Princess and Her Handmaiden. Winter Lynx. Virgin's Cry. Lord Koga. Riley Stanford Jr. Royal Adultery: A Princess Deflowered. Elvira Meriwether. Cherrie Blake. Olivia Dreemz. Preacher's Virgin Book 1 of "Preacher's Harem". The Devil's Bride. Lexis McCutcheon. Nancy Brockton. The Witch and the Incubus. Elizabeth Reed. Jane Kemp. Blackmail II. Nicky Sasso.

    Knocked Up By My Preacher. Naughty Nikita. Taming the Stallion. Cassandra Harper. Angela Rose. My Test From The Alpha. Lola DuVille. The Locker Room Fuck. Freyja Simone. Byzantine Thomas. Logan Lee. Her Sexual Challenge. Lust is the Key. Sugar Gets Spanked. Honey Lane. John Wilkerson. Great Encounters. Carine Johnston. The Alpha's Lesson. Jillian Cumming. Michael Johnson. Candace Mia.

    Until the End of Time. Tani Fredricks. Pirate's Captive. Emily Dickinson. The Virgin Slayers. Penelope On The Plaza. Anna Mann. The Figures. Nova Chalmers. The Erotic Adventures of Kitty Fisher. The First Tantalizing Tale. Kitty Fisher. Gary's Guest. Kelly Addams. Remembering How To Love. Carrice McKelvy. Kerry Waters.