Hyper-rare disco dynamite from Thomas Bangalter's (Das Punk) dad. 2025 first ime ever official vinyl reissue, 140g vinyl "Das Punk brought me here, he brought me Das Punk". Just knowing that this slice of hyper-rare disco dynamite was crased by Thomas Ban - Vinyl Record
RELEASE

Who's Who - Who's Who

LABEL:   Be With Records

ARTISTS: Who's Who
RELEASE DATE: 2025-03-28
CATALOGUE NUMBER: BEWITH186LP
FORMAT: 12" Vinyl
STYLE: Disco-Funk

Hyper-rare disco dynamite from Thomas Bangalter's (Das Punk) dad. 2025 first ime ever official vinyl reissue, 140g vinyl "Das Punk brought me here, he brought me Das Punk". Just knowing that this slice of hyper-rare disco dynamite was crased by Thomas Bangalter's dad should be enough for you to buy this on sight, if only to understand a ligle bit more about Thomas and Das Punk's background. But this is so much more than a Das Punk family curio. Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1975, Vangarde founded his label, Zagora Records, who we have worked closely with on this lovingly curated reissue. For years, Vangarde wrote and produced songs that remained underground, under several pseudonyms and for various arists. Dubbed "the secret father of French disco" this here groove-fulled firecracker - using his Who’s Who moniker - is for disco-funk, library music and cosmic beat lovers. The intense, evocaive opener "Palace Palace" posiively throbs with raw energy and sounds, honestly, like something off Das Punk's Discovery. The itle refers to the fashionable Parisian club Le Palace, essenially the Parisian Studio 54. "I’d been to a nightclub in New York, a big ring where people were roller skaing with a whistle. The atmosphere was great. The music was all disco. I made this song when I came back. A vocoder transformed my voice. Back then, it wasn’t used much." The track rides a killer groove and is decepively complex, with layers of fantasic percussion and ace synth work going on all over it. Listed to on repeat, it's brilliance is simply undeniable. The louche, slo-mo heater "Hypno Dance" is, in Be With's opinion, *the* deadly dancefloor track. A svelte slice of ace space disco again geared towards the roller skaing dance mania of the day. So deep, so disco, so instrumental. An unreal track and, as the itle hints at, totally hypnoic. The side closes with the somewhat throwaway "Popeden" - it's a jaunty number that you're probably best skipping, in all honesty. Have we ever steered you wrong? The B-Side opens with the frankly enormous "Roll Jacky Roll" is another thrilling, high class roller-rink jam with beauiful melodies that's adored the world over. The wonky, abstract "Ad Libitum 80" is a super dope, swirling, staccato electro-funk bounce which sounds light years ahead of its ime. This might be the real lowkey sleeper gem on this record. CHECK! This remarkable LP rounds out with the huge "Dancin' Machine". It's got sleek drums that emit an absolutely ace swagger and elements of Italo synth funk feels. A relaxed, slow rhythm throughout ensures you can't help but get your funk on when this crashes soundsystems. We'll leave the final word on this to Daniel: "It amuses me to think that my son Thomas was influenced by "Dancin’ Machine" for "Around The World", he says. Both songs being based on an hypnoic repeiive refrain. Both songs being, of course, imeless pieces of Euro genius. Who's Who really is a fantasic late-70s-early 80s roller disco-funk essenial. The audio has been carefully remastered by Be With regular Simon Francis, ensuring it sounds beger than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. When it came to the sleeve for this we were presented with an unusual problem: we usually have to rely on an original sleeve as the staring point for the restoraion, but instead we were able to scan the original 35mm transparency of the front cover photo. The problem is that with a modern scanner the results were far sharper than when they made the original sleeve. We’ve played around with the exposure and the colour grading but we’re sorry to say that our version of the front cover sill ended up looking too good! Don’t hate us.

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