Easily the most successful Miami Bass label, Pandisc in many ways has been at the forefront of Miami Bass and Electro Funk music since its inception; responsible for helping bring to the spotlight many artists like Maggotron, Freestyle, Debbie Deb, Pretty Tony, and Beat Dominator ( Bass Mekanik ) just to name a few.
Through the decades, many of the label's releases penetrated through the different genres, especially affecting the direction of not just the Electro Funk and Miami Bass Sound, but also what became the Miami Techno Bass movement that was heavily influenced by the works of artists like Dynamix II, Maggotron, and Neil Case aka Beat Dominator. Pandisc releases even made their way into Raves at the height of the scene, and in many ways became the backbone of influence for what would become the "2nd Wave" of the Electro Bass scene in the early 2000s.
Founded in 1981 by Bo Crane and preceded by "Red Rooster Records", the label came into fruition at a time when Crane mainly focused on remakes of Disco hits, as well as Blues and R&B, running a popular local record pool; even supplying Cruise Ship DJ's with the latest vinyl records. During that time, Crane is said not to have been very well "seasoned" to the street scene. Even after the label's inception, Pandisc was in many ways just following suit to Red Rooster, and so it would be later around 1984 when one of his own record pool DJs would begin to show him the way, and helped him begin to take the label to the next level.
That year in '84, "Planet Detroit" - a collaboration between James McCauley of Maggotron, Hal Oppenheim, and Derrick Ray - was born, and the release of the iconic Electro Funk record "Invasion From Planet Detroit" came to be; and so Pandisc began to earn more underground street credibility, and began to focus on some of the harder, and more obscure sounds that were beginning to permeate through the industry. Still however, it would become a mix of things, as Bo Crane did not necessarily stop releasing the local R&B, Blues, and Disco talent that had built his early career in the scene as a promoter, record pool manager, and young label entrepreneur.
With the success of Planet Detroit's release, the label followed soon with the infamous "Streetwars" by another one of James McCauley's collaborations called "Palmerforce Two". At this time, Hip Hop, or should we say, Electro Funk (the term often used for early 80s Hip Hop) was well into clearly being a force to be reckoned with, as the sounds were beginning to proliferate overseas, and out unto the world. The time was ripe for Miami to have its own imprint on what would become a mix of strong influences over Pop, Hip Hop, Electronic Music, and even Rock. But it would not stop at Electro, but rather evolve into what would truly become a unique sound for the region, and one that even still today has lasting influence over the styles of Electro Bass, Hip Hop, and even mainstream music to come out of the area.
In 1986, another one of Pandisc's iconic releases would come to fruition, this time with the precursor to Afro-Rican, kicking off with "Bass Attack" as We Down Express. There would also be the classic "Bass Rock The Planet" by McCauley as M.C.C. ( Maggotron Crushing Crew ), as well as the return of We Down Express as their newly re-invented "Afro-Rican Connection" with "Its Live". By this time Miami Bass was beginning to gain ground, as Amos Larkins and 2 Live Crew were pushing the sound forward and garnering big success; including nationally. It would not be very long until we would see artists like Maggotron and Dynamix II follow suit, and take the Bass sound even further than expected, and into realms yet unchartered.
Throughout the rest of the late 80s, the label continued to be a strong platform for Miami Bass artists, but also, interesting enough, served as an outlet for some of the most prolific Electro Funk artists at a time when the sound was considered to have been over, or at least, in a heavy decline in popularity. Releases like Freestyle's "Don't Stop The Rock", or Pretty Tony's productions with Debbie Deb and the hits "Lookout Weekend", and "When I Hear Music" are still considered to be icons of a time that would seem to have been one of Electro Funk's strong time periods. It would seem perhaps, that Miami, and labels like Pandisc were pushing the sounds heavily still, even if the rest of the country and world were beginning to adopt the sounds of groups like N.W.A. and Run DMC. What is important about this, is that what we see is a city, that like Detroit, still felt a strong connection to the early sounds of Hip Hop, and the influences of groups like Kraftwerk, and continued forward to eventually help bring about the second wave of Miami Bass, and what would eventually be considered Electro Bass, or "Techno Bass".
The rest of the 90's and 2000's were quite fruitful for Pandisc, releasing a mix of Hip Hop, Rap, and Commercial dance music, but also important Miami Techno Bass releases like Beat Dominator's "Techno Bass" and "Bass Station Zero (Techno Bass II)", as well as the many other works by Neil Case as Bass Mekanik, not to mention Maggotron's later releases, that along with other albums of this time, were primarily aimed at the Car Audio market, and the sounds of Intelligent Miami Bass.
In the early 2000s, the label seems to have ceased its output of new releases, culminating with Trip Theory's "In The System/Bite It!", as well as Flow's (Wil Warren) "The Future Of This"; featuring Billy E, Hypnotek, and Alien Kru.
Though the label's Discogs page claims the label is still active, online searches have turned up nothing more than what seems to be the digital re-cataloguing of their entire discography going all the way back to the early 80s. Anyone who may have missed out on some of the most legendary of Electro Funk, Miami Techno Bass, and "straight up" Miami Bass releases can now obtain them fairly easily through sites like Beatport. So go on, and get down to the Bass that ate Miami!