Sources is a brand new series which will examine the output of a number of extremely influential independent U.S. labels throughout the 1970s, 1980s and 1990s. In an age where corporate anonymity reigns supreme and music is being treated like aural wallpaper, the Sources series will go back to a time when record labels really meant something via their A&R policies, their ground-breaking releases, their everyday modus-operandi and their general philosophies. What made these operations unique? How did they manage to compete with the major companies? How did they protect their artist rosters? What sort of
people ran these operations and how did they manage to survive in the cut-throat music business?

The fourth package in the Sources series covers one of the most loved New York independent record labels ever, the iconic Sam Records. Formed by industry veteran Sam Weiss in 1975, the label launched with a the killer atmospheric funk anthem “Woman Of The Ghetto” by Doris Duke before heading into Disco territory with several hugely successful albums from John Davis & The Monster Orchestra before hitting big internationally with a brace of Disco smashes from Gary’s Gang including their most successful single “Keep On Dancing”. By the beginning of the 1980s Sam managed to deftly circumnavigate the Disco backlash and re-invent themselves as a bona-fide 80s Dance label immediately scoring with Rhyze’s “Just How Sweet Is Your Love”, Convertion’s “Let’s Do It”, Scandal’s “Just Let Me Dance”, K.I.D.’s “Don’t Stop” and Mike & Brenda Sutton’s “We’ll Make It” among others. This proved to be a fortuitous direction and by the end of 1982 Sam had scored high-profile successes with Vicky ‘D’’s “This Beat Is Mine”, Komiko’s “Feel Alright”, The Evasion’s “Wikka Wrap”, K.I.D.’s “Hupendi Muziki Wangu?! (You Don’t Like My Music)” and the sumptuous “Dreaming” by Greg Henderson. Sam’s impressive dance hit tally continued into 1983 with further successes like Steve Shelto’s pumping “Don’t Give Your Love Away” and Klassique’s “Somebody’s Loving You” before the label wound down for much of the next decade. Over the ensuing 30+ years Sam’s 70s and 80s releases have seldom been off DJs turntables whether via the Disco, Rare- Groove and Electro scenes or by the almost relentless re-edits that appear of Sam’s main output throughout this period. ‘Sources: The Sam Records Anthology’ continues the run of comprehensive anthologies of the most important labels in the evolution of Dance music.