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PAT LOK & MEGAN VICE make their vinyl debut with "SPECTRUM" on Brooklyn's T TOUCAN SOUNDS. Blending R&B, house, and hip-hop, the EP celebrates strength and self-expression, winning support FROM MARTIN GARRIX, JAMIE JONES, CLAPTONE, SAM DIVINE, and more.

The Money Records 2” multi-track tape of ‘Sugar Love’ and ‘You Bet I Would’ revealed an unknown title ‘We’ve Reached A Dead End’. This turned out to be a beautiful Richard Cason-penned ballad which featured a lush, dramatic arrangement by Los Angeles musician Ray Jackson, complete with male backing vocals.

Cason co-produced the three songs with producer Hadley Murrell who licensed the recordings to Ruth Dolphin at Money. ‘Sugar Love’ only appeared on the flip of the second pressing of ‘You Bet I Would’, the instrumental was used initially. ‘Sugar Love’ is in itself in-demand as a dance track. Money 606 did not sell enough to warrant a further release and the track lay unmixed in the vault until now.

Interestingly the tape was dated May 1973, just prior to the two releases, and was described on the box as a rework of a tape from July 1971 - the music certainly wasn’t rushed.

Comet presents the first release from its new Disco Highlife series, featuring remastered originals by Ghanaian legends Ebo Taylor & Pat Thomas and disco reedits by LeonxLeon and Leo Nanjo.

Founder of Comet Records, Eric Trosset, started working with those great heroes of West African music, back in 2010. Taking on the role of manager/publisher, Comet teamed up with Strut Records
and musician/producer Ben Abarbanel Wolff to revive Ebo Taylor‘s international career with a string of album releases: Love & Death, Appia Kwa Bridge and Life Stories. In 2014, he collaborated with
Pat Thomas & The Kwashibu Area Band on a new album, gathering together the old ‘pals’ (Ebo Taylor, Pat Thomas, Tony Allen) in producer Kwame Yeboah’s studio in Accra.

It is with great pleasure that Comet launches this new series. Let's make this beautiful and timeless music the soundtrack to an unforgettable summer!

On side A, comes “Enye Woa” by Pat Thomas, originally released in 1988 on Nakase Records and taken from the album Me Do Wiase. It’s killer disco cut, and as innovative a piece of highlife as it
was 30 years ago. Paris-based producer LeonxLeon has been cooking up songs in his Parisian home-studio since 2013. He did a remarkable remix of Cerrone's "Funk Makossa" and more recently released his new Rokanbo EP on Cracki Records. His remix of “Enye Woa” is a classy modern disco cut with funky bass and spacey synths.

On side B is “Atwer Abroba” by Ebo Taylor, a stand out up-tempo track from the album Twer Nyame, originally released in 1978 on Philips West African Records. Tokyo-based multi
instrumentalist/producer/arranger Leo Nanjo formed the first Japanese afrobeat group, Kingdom
Afrorocks. Since the band broke up in 2014, Leo has been producing and arranging music with various collaborations, such as DJ Muro, Pushim and Misia. This is a trippy afro-futurist, broken
beat reedit with highlife grooves flying to deep space

Celebrated guitar virtuoso and composer Pat Metheny returns with Side-Eye III+, a new 8 song jazz project with his latest group, featuring Chris Fishman on piano and keyboards, Joe Dyson on drums, and Jermaine Paul on bass. In partnership with Green Hill Music, the 20-time Grammy award winner launches his own label imprint, Uniquity Music, and embarks on an extensive world tour with his new ensemble. The all-original album includes “In On It”, “Don’t Look Down”, and “Make a New World”.

Project Pat, the older brother of Three 6 Mafia’s Juicy J, is a legend in the Memphis rap scene. He began rapping in the 90s with Killa Klan Kaze and released several independent mixtapes. In 1999 he released his debut album Ghetty Green via Hypnotize Minds/Loud Records. In December of 2000, he released a new single and video “Chickenhead” which blew up on the charts and led to the release of his second album Mista Don’t Play: Everythangs Working. Mista Don’t Play produced by Three 6 Mafia’s DJ Paul and Juicy J was certified Gold a mere two months after its release.

Pat Orburn serves up a wicked nine-track offering for Cassette Blair — a project built from pure resourcefulness and raw imagination. His vocals glide over synth-driven textures crafted from all around, including a battered Yamaha psr 175 keyboard that his flatmate rescued off the street. Pat leans into the beauty of imperfection, shaping found sounds through analog tools, tape warmth, and gritty modulation.

“good” marks the second release on Cassette Blair — a label founded by Gavsborg, dedicated to uplifting his extended global family of artists. True to its mission, the record feels communal, handmade, and deeply personal: a celebration of creativity that thrives outside of traditional studios, born instead from curiosity, friendship, and the joy of sound exploration.

“Good news. Good it’s out, good of Gav to help, all round completely good!"

- Pat Orburn

Digi- Cover art & Design by Pat Orburn (London, UK)

Cassette- Cover art & Design by Gavsborg, Sherice Bromfield & Pat Orburn (Kingston Jamaica & London, UK).

Mixed by Pat Orburn (London, UK).

Mastered by Mario “Syantis” Lawerence (Kingston, Jamaica).

Recorded in concert at the University of Sheffield in March 2025, Reality Is Not A Theory is the first collaboration between Mark Fell and Pat Thomas. Major figures in British experimental music since the 1990s, Fell and Thomas have developed their rigorous practices from radically different backgrounds and perspectives: where Fell’s singular take on synthetic abstraction emerged from Sheffield’s electronic underground, Thomas is a virtuoso improvising pianist steeped in jazz and modernist art music who has simultaneously worked with sampler-based electronics for decades. As the record’s wonderfully academic subtitle explains, we are presented here with two sides of ‘algorithmic and improvised music for computer and piano’, exemplifying both players’ insatiable search for new (and sometimes uncomfortable) playing situations.

The performance begins with Fell’s electronics close to the timbres of acoustic percussion, attacks that suggest wood, metal or glass threaded along a rapid pulse while Thomas focuses on the lowest registers of the piano, deadening the strings. As Fell’s electronics start to ring out and occupy more harmonic space, Thomas turns to wide, repeated clusters, which slowly expand into patterns of chords. Like in his recent solo recordings and his trio work with Joel Grip and Anton Gerbal, Thomas’ playing combines extreme dissonance with a deep lyrical sense. Fell’s work gradually shifts its focus toward drum sounds, drawing on the microtemporal processes that have characterized his practice in recent decades. Heard together with Thomas’ probing piano, the computer sounds call up unexpected associations with the klangfarben antics of improv drummers like Paul Lovens or Tony Oxley. Throughout its second half, the music grows increasingly frenetic, as Thomas sounds out rapid, irregularly repeated figures and beautifully sour chords in the upper register, while Fell’s percussion develops into angular pan-pipe-like feedback and waves of glissandi.

With great confidence and patience, Fell and Thomas often let their individual contributions remain rhythmically distinct and unsynchronised, allowing unexpected correspondence and coincidence to guide the music’s development. Recorded in a hall named after Sheffield steel manufacturer and Master Cutler Mark Firth, the location might suggest a model for understanding how Fell and Thomas interact here: two workers in the same workshop, each immersed in their own part of the production process. Arriving in a striking sleeve designed by Mark Fell, with liner notes by Francis Plagne, Reality Is Not A Theory is an invigorating document of the meeting of two mavericks of contemporary music.

DJ KENTA and DJ SOULJAH have launched a new B2B (Back-to-Back) style DJ unit, "OMAKASE"!
This is the second 7-inch of DJ-friendly edits, dubbed "OMAKASE 3-Minute Cooking," featuring a superb on-the-ground feel!

The opening break, "Montego Bay," is a DJ favorite, featuring synchronized bass and cowbell for a hip-pumping groove.
It's also featured on Usher's "Good Kisser"
And on the B-side, we've got the long-awaited DJ edit of a classic break from "Ultimate Breaks & Beats"! They've cooked up Foster Silvers' "Misdemeanor,"
which also samples The D.O.C. and Aaliyah!

Hikmah is an astonishing solo piano work from virtuosic and far-ranging
sound scientist; deep and compassionate thinker and musical treasure: Pat
Thomas
Pat Thomas was Born in Oxford, UK to Antiguan parents on July 27, 1960.
Interestingly, just over 4 months separate his birth to that of fellow modern piano
master Matthew Shipp (Dec 7, 1960) - whose The Piano Equation was TAO Forms
inaugural release. Thomas is most certainly among the Black Mystery School Pianists
of which Shipp elucidates in the title essay of his recently published first book.
Eight thoroughly focused improvised and otherwise compositions recorded at Fish
Factory studio in London. The album's title, Hikmah, means "wisdom" in Arabic. The
title is also presented in two different forms of Arabic calligraphic script on the cover
artwork. This album brings the information. The vibrantly living jazz tradition and new
modes of expression in abundance are brought forth from a lifetime of work and a
decades long devotion to Sufism, understanding that the practice and performance of
this music is an elemental form of spiritual practice. As William Parker writes in the
liner notes, "the music becomes the prophet and the prayer all in one gesture." And,
"If you haven't yet heard the music of Pat Thomas, get hip to it quickly."
Attuned American audiences are most likely to have become familiar with Pat
Thomas through his work with the quartet [Ahmed] , whom over recent years have
amazed with their mesmeric, long-form explorations on the compositions of Ahmed
Abdul-Malik, and more recently, Thelonious Monk. Their debut US performance took
place in March 2025, and TAO Forms were lucky members of the rapt audience at
Roulette in Brooklyn that night; the group flew to Knoxville the next day to perform to
an equally rapt audience at Big Ears.
Available on 6- panel digipak CD printed on heavyweight board, with liner notes by
William Parker and LP with insert featuring liner notes by William Parker & Pat
Thomas Discography + download card. Ltd edition of 500.

Pat Boone or Elvis Presley? That was the burning question on
the lips of Fifties teen America. Certainly, the two were the most
successful solo artists of rock’s breakthrough years. But while
Presley was the good-looking ‘white kid who sang black’, Boone
was married, God-fearing and covered hits by African-American
artists to chart-topping if unthreatening effect. Elvis, of course, is
no longer with us though his image and influence will never fade.
Pat Boone is still alive and there’s no doubting he was
responsible for some of the best-remembered classic pop of the
era.

Pat Kelly out of all the Jamaican singers was influenced most by the voice of American soul singer Sam Cooke.As were indeed many of the singers from that time,few however could carry out this daunting task as well as Pat Kelly.
His delivery was perfect and so was his ability to carry any song that came his way.
Pat Kelly (born 1949,Kingston,Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of The Techniques,his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin.
Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 slot in Jamaica for the six weeks.
For this release we have focused on material that Mr.Kelly had recorded with legendary Jamaican prodcer Bunny'Striker'Lee.
A match made in heaven and one that produced some of their finest work.
Tracks such as 'One In a Million','One Man Stand','Man Of My Word','I Started a Joke'.. .
So sit back and you better get ready for an albums worth of great songs sung and delivered as only the great Pat Kelly could...
Respect Jah Floyd........

Pat Kelly possesses one of the great soul voices to come out of Jamaica. Influenced by the fantastic American singer Sam Cook, Pat Kelly could ride over any tune that came his way and with his outstanding falsetto voice always added a little magic to each recording.

Pat Kelly (born 1949,Kingston, Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of the Techniques, his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin. Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 position in Jamaica for six weeks. Their next hit was another Curtis Mayfield cover of the Impressions 'Minstrel and Queen' again retitled for the Jamaican market as 'Queen Minstrel'. Further hits followed with such cuts as 'My Girl' and 'Love is Not a Gamble' before in 1968 Kelly decided to become a solo artist and hooked up with producer Bunny Lee. Bunny decided not to break the tried and tested formula and put Kelly on another Curtis Mayfield track 'Little Boy Blue' a style that
suited his voice so well. This paid dividends and was followed with 'How Long' (will I love you)' which gave them the biggest selling Jamaican hit of 1969. A track which broke the mould in that often used tradition where Jamaican tracks are sweetened
for the foreign markets by adding string arrangements. This was reversed on this occasion as the tune had already been released in the UK and dubbed over with strings so came back to the Jamaican shores and released there.
Another string to Pat Kelly's bow was his engineering skills. Having already spent a year in America studying electronics he put this to good use and became little known to many
one of the chief engineers at Channel 1 studios in the late 1970's and early 1980's.

For this release we have focused on the fabulous singing skills of Mr Kelly and have compiled some of his finest recording moments for your listening pleasure. The aforementioned timeless cuts to 'How Long ( Will I Love You )', 'Little Boy Blue'
alongside some other killer lost classics, as our set opener 'It's a Good Day', 'Somebodys Baby', 'Give Love a Try' and 'I'm In the Mood for Love'. His version of 'Twelfth Of Never' in a Rocksteady Style sounds as good now as it did then. We have
also included his interpretation of the James Carr soul hit 'Dark End of the Street' which has Pat Kelly working over the same rhythm as 'How Long' but giving it a different slant
with these fresh lyrics. A fine set from one of the Islands finest, Jamaican Soul indeed... hope you enjoy the set.

Pat Thomas returns to OTOROKU for his fourth collection of solo piano improvisations, this time
recorded in a studio setting at London’s Fish Factory. For 25 years now, beginning with Nur (Emanem)
and continuing through Al-Khwarizmi Variations (Fataka), The Elephant Clock of Al-Jazari (OTOROKU),
and now The Solar Model of Ibn Al-Shatir, Pat Thomas has drawn on the Arabic world for titles for his
solo piano work - specifically the long-standing Islamic tradition of astronomical invention.

Pat Benatars Platin-Debütalbum, neu remastered! Enthält den Durchbruchshit und die Hymne „Heartbreaker“ sowie „I Need A Lover“ und „We Live For Love“.

FIRST TIME ON VINYL! AVAILABLE IN A BROWN & WHITE COLORED VINYL PRESSING IN A GATEFOLD JACKET WITH OBI LIMITED TO 1000 NUMBERED COPIES.

Memphis Rap legend Project Pat released his third studio album Layin' Da Smack Down in 2002 on CD and Cassette via Loud/Columbia/Hypnotize Minds. Following up Mista Don't Play, Project Pat spits rapid-fire street tales of the dirty south over DJ Paul and Juicy J's signature Three 6 Mafia bangin' 808 beats. From rowdy club tracks to smoother pimp tales and true-to-life stories of being incarcerated, Project Pat delivers another Hypnotize Minds North Memphis classic. The album also contains the single "Choose U" which would be reworked in 2007 for UGK's "International Players Anthem." Get On Down in partnership with Sony Music's CERTIFIED is proud to present Layin' Da Smack Down for the first time on vinyl. Pressed on colored vinyl packaged in a gatefold jacket with a printed insert and numbered OBI limited to 1000 copies.

“I personally feel this is a great record and recommend it to everyone. It’s positive and hot and simply
excellent.” – Gary Burton, in the liner notes.
Pat Metheny hatte sein Debüt bei ECM als Mitglied von Gary Burtons Band auf dem Album Ring im
Jahr 1974 gegeben, aber Bright Size Life, seine erste Studioaufnahme als Leader überhaupt, war das
Album, das ihn schlussendlich als neue kreative Kraft mit einem frischen Ansatz im Kontext des zeitgenössischen Jazz profilierte. Das im Dezember 1975 in Ludwigsburg aufgenommene und von Manfred Eicher
produzierte Album wurde von Methenys damaliger Stammband mit Bob Moses am Schlagzeug und dem
virtuosen, aber damals weitgehend unbekannten Jaco Pastorius am Bass eingespielt.
”Ich könnte die gesamte Musik von Bright Size Life auch jetzt noch spielen”, sagte Pat Metheny in
einem Interview für die Library of Congress im Jahr 2021. ”Es fühlt sich immer noch relevant an; die
Argumente darin erscheinen mir immer noch gültig und sie sind es wert, darüber zu reflektieren.... Damals
hatte ich das Gefühl, dass ich eine Platte machen wollte, die vielleicht die einzige sein würde, die ich je
machen würde. Ich hoffte, ein Statement zu Dingen abzugeben, die mir in Bezug auf Melodie, Harmonie,
Triospiel und sogar das Leben im Allgemeinen wichtig waren.”
Diese Luminessence Vinyl Edition des Albums erscheint in einem Tip-on Klappcover und enthält Fotos
aus dem Archiv.

2024 repress.

Ever dreamed to travel to Trinidad & Tobago? Disco Segreta makes this dream come true with it’s 6th release: the much awaited officially licensed reissue of this tropicalo-disco synth bass boogie atomic bomb, from the original analog masters.

Written in late 1983 by Mario Baldoni aka Miro of “Real Life Games” LP (1977) and Brina’s “Stranamore” (1984) fame. Originally released in July 1984 on the small Pineapple label – a sublabel of Armando Sciascia’s “Vedette” – with close to no success and a pressing fault: a glitch on the vocal version, that affected all copies.

This tropical summerish blend of italo and boogie, along with the male/female alternate spanish/english singing, turned into a true classic of the genre over the years, slowly making the playlists of the most respected DJs and diggers worldwide. The 4-tracks 12″ features the original vocal and instrumental versions in their original length, carefully dubbed from the analog stereo masters and taken back to new life through Disco Segreta’s usual respectful mastering. Also, two new remixes are featured.

Patt Todd & The Rankoutsiders die Underground-Rock'n'Roll-Ikonen aus Los Angeles sind in Höchstform mit einem neuen Album zurück. "Keepin' Chaos At Bay" ist ein genreübergreifenden Album von knurrendem 70er-Jahre-Punkrock, Country, Blues und Roots-Rock voller Hooks.

Jahrzehntelang hat Pat Todd die dunklen Ecken und hinteren Regale der Americana Thrift Stores durchforstet und einen außergewöhnlichen Sound daraus entwickelt. Das neue Album destilliert alles, was er im Laufe seiner Karriere darüber gelernt hat, in einer genreübergreifenden Dosis von knurrendem 70er-Jahre-Punkrock, Country, Blues und Roots-Rock voller Hooks, die mit Hirn und Herz vorgetragen werden. Während diese Erfahrungen schon immer die hymnischen Songs der Rankoutsiders kreiieren, kommen sie auf Keepin' Chaos at Bay in einem der härtesten und zugleich gefühlvollsten Alben von Todds Karriere voll zur Geltung, und niemand, aber auch wirklich niemand, spielt die Songs wie Pat Todd himself.

Renowned for his effective ability to de-wrinkle even the stiffest of faces in a crowd, Pat Kalla is recognised as a natural propagator of potent and highly positive vibrations Alongside his faithful band The Super Mojo, they now reveal their new and unsuspecting powerhouse of an album 'Belle Terre'. * The return of PAT KALLA & LE SUPER MOJO, with an album that mixes AFROGROOVE & CHANSON FRANCAISE, PRODUCED BY GUTS ! * PAT KALLA, the successful voice of VOILAAA, a well-established name on the French groove and tropical scene * A true " SUPERVITAMINE" album, a real remedy to the ambient gloom! * Prestigious French Featuring: Bonbon Vodou (Heavenly Sweetness), Dowdelin (Underdog Records), Kolinga... * Deluxe packaging: Gatefold Double Vinyl (printed sleeves) and digipack CD

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

Celebrating his 70th year in show business, Pat Boone, legendary singer, actor, songwriter, and author is reconnecting with his Nashville roots with a milestone country music project, Country Jubilee

Included in the 25 tracks are 5 Pat Boone Top 100 Country recordings, Boone's recordings of classic hits by Country legends, plus a new recording of the classic duet and Billboard #1 'You and I' (with featured guest artist Crystal Gayle), and Pat's new song, 'Grits' (with featured guest artists Ray Stevens, The Gatlin Brothers, Lorrie Morgan, Deborah Allen and Dean Miller), tailor-made for the line dancing crowd.

The Commemorative Edition 2CD format includes a 56- page booklet with 'The Story Behind the Song' (compiled by hit Country songwriter Frank Myers), 'I Remember Red' (influence of father-in-law and Country music pioneer and Grand Ole Opry co- founder Red Foley), lyrics, and archival and behind- the- scenes photographs.

Restocked!

Two classic tracks from one of Jamaica's finest singers,.Mr.Jamaican soul himself the great Pat Kelly

Released for the very first time in the format it was recorded for. • The Holy grail of Bolan’s unreleased soul recordings as producer • Includes completely unheard version of Do Your Thing taken from newly acquired original reels. • Features completely reworked version of classic T. Rex Tracks ‘Jitterbug Love’, ‘Get it On’, ‘Sunken Rags’, and the never released in Marc’s lifetime ‘Sailors of the highway’. • Besides some self-released gospel recordings Pat Hall never released anything again. This album remains the sole released recordings of this extraordinary singer.

Carry On, issued in 2000, is Pat Green's third album and his last before signing to Universal Republic. One can hear transition in the sound of this record, and traces of Nashville's mighty presence in the production, but this is still very much a Texas record. Carry On is a more mature and artfully rendered collection than anything Green had released before.

Murderers & Robbers is the first album by American rapper Project Pat (Patrick Houston). Pat is the brother of Juicy J (Jordan Houston) of the Three 6 Mafia. The album was released on July 25, 2000, through Project Records. Labeled as an “underground album”, it is mainly a compilation of the rapper’s mixtape material from the early 1990s before a prison sentence interrupted his career.

It’s similar to Three 6 Mafia’s Underground series of compilation albums released from 1999-2000.

Produced by Juicy J & DJ Paul.
Featuring: Lord Infamous. Juicy J, DJ Paul and T-Rock

Marked by resilience, maturity, and the optimistic joy of a creative resurgence, Pat Green’s Miles and Miles of You is the work of an icon reclaiming ground only he himself could have ceded. Ten fresh tracks feel like the spiritual exhale of a celebrated troubadour, taking fans on a journey to the other side of turmoil… and to a place where the old ways feel new again.

Credited as one of Texas country’s modern-era founding fathers, Green has traveled many roads in the 25 years since his debut album, Dancehall Dreamer. A Grammy nominated singer-songwriter with a restless creative spirit, his career has gone beyond the bounds of a “country star” to include the work of a painter, sculptor, philanthropist, family man and more. But one constant has remained – his vision.

Green’s 14th album overall, Miles and Miles of You is also his first in nearly seven years – since his inspiration-first writing style means he won’t force a song into existence. But that philosophy also makes it possible for a whole album to arrive in a dam-burst of expression, and Green now calls Miles and Miles of You an “effortless” project.

“It was just so smooth and natural,” he says. “I write the song when it comes, and it was like ‘Man, we’re on a roll.’”

Recorded outside Austin with producer Dwight Baker (Bob Schneider, Josh Abbott Band), more of that story is revealed with each track, as Green and his band mirrored the loose vibe of the songwriting with country balladry, dancehall energy, soul-baring reflection and at times, a swampy blues strut. “The older you get, you just have more to think about,” he says. “So that’s
what this record is – a guy with more to think about, coming through a hard time and into something as fun and beautiful as creation. I’m just gonna take the ball and run with it.”

Detroit influenced 4 tracker by Patty Pat on Nighttripper! Heavy grooving fast-paced classic techno tracks on this versatile release. From stripped-down dubby techno to fierce peak time techno tools.

The album was recorded over a series of nights in Sept. 2019 in NYC at Sony Hall with a live audience The album also contains new recorded material.
The release date is set for September 10th because on September 14th the worldwide tour will start in US and will last until 2022.

Released for the very first time in the format it was recorded for. The Holy grail of Bolan's unreleased soul recordings as producer for SISTER PAT HALL, includes completely unheard version of Do Your Thing taken from newly acquired original reels features completely reworked version of classic T. Rex Tracks 'Jitterbug Love', 'Get it On', 'Sunken Rags', and the never released in Marc's lifetime 'Sailors of the highway'. Besides some self-released gospel recordings, Pat Hall was a much sought after vocalist in the late 60's early 70's, having worked with Joe Cocker as one of the `Sanctified Sisters' along with Gloria Jones. In 1972 Pat (& Hloria) became backing singers on the u.s T.Rex concerts and in mid to late 1973 Marc Bolan decided he was going to produce an album by Pat, being well ahead of the then interest in black american soul by fellow pop stars David Bowie John Lennon and Elton John. The album was recorded but never released (on vinyl), until now! Pat Hall never released anything again, this album remains the sole released recordings of this extraordinary singer.

Bosq & Pat Kalla have been traveling parallel paths from across the Atlantic ocean without ever intersecting for too long. They have both been deeply involved in the modern / retro Afro Disco scenes in their respective countries but it wasn’t until the legendary French producer & label head GUTS asked Bosq to remix Pat Kalla & Le Super Mojo “Canette” that they met musically. That remix was received so well by the public as well as the artists themselves that they decided to work on an original track together.

“Mouna Power”, sung in a mix of French, English & the Cameroonian dialect of Pat’s heritage places Pat’s smooth vocals over Bosq’s raw & heavily layered, percussion & horn driven Disco Funk. The Dance Dub strips back some of the vocals, pushes the percussion even further up in the mix, and stretches out the grooves, focusing more on the infectious B-section than the original. This makes for a perfect body moving excursion that will let the dancers delve deeper into the groove while being carried along by the horn blasts and Pat’s chanted vocals.

The record features the renowned horn section of the Bogota Orquesta Afrobeat, and djembe work from “Beto” Salas, a world class percussionist from Turbo on Colombias Caribbean coast. Bosq as usual handles all the rest of the percussion, instrumentation & production.

Two classic cuts from the Presidentcatalogue.

Doris Willingham ‘You Can’t Do That’ - A big Northern floorfiller from a renowned soul backing singer who cut her own material later as Doris Duke.

Her only release under the Willingham name, originally out on the super cool UK Jay Boy imprint in 1968 (the label’s debut release - BOY1).

Produced by Bernard Purdie (Funky Donkey label) who was at the controls for a number of super rare Northern sides.

An early gem from the artist who ended up working with the legendary Swamp Dogg (Jerry Williams) charting with the ballad ‘To the Other Woman (I’m The Other Woman)’.

Pat Hervey With The Tiaras ‘ICan’t Get You Out Of My Mind’ - An anthemic, handclap-friendly gem that goes for anywhere between £50 to £100. Released on the UK President label from 1966.

Blue-eyed Canadian soul backed by black Canadian harmony group The Tiaras (not to be confused with the LA harmony outfit).

A slow burner that ramps up the horns and strings behind some funky guitar chops and Hervey’s euphoric vocal, her one-off stab at the soul charts guaranteeing obscurity and legendary status.

Guitarist and composer PAT METHENY has won 20 Grammy Awards in 12 different categories including Best Rock Instrumental, Best Contemporary Jazz Recording, Best Jazz Instrumental Solo, Best Instrumental Composition. The Pat Metheny Group won an unprecedented seven consecutive Grammies for seven consecutive albums.

Pat Metheny is one of the few artists in the world who can lay claim to such a description. On his latest album, Road To The Sun, Pat Metheny surprises us once again with his seemingly endless ability to harvest new vistas while retaining the instantly recognizable Metheny sound.

With two major new works, performed by five of the world´s leading guitarists, Metheny charts a new way of obliterating boundaries between genres while simultaneously unveiling new facets of an already expansive personal language.

Grammy-winner Jason Vieaux, described by NPR as “perhaps the most precise and soulful classical guitarist of his generation” was tapped by Metheny to perform his four-movement solo guitar suite Four Paths Of Light.

The centerpiece of this landmark recording is Road To The Sun, a six-movement piece for fellow Grammy-award winning Los Angeles Guitar Quartet LAGQ – Metheny describes them as “one of the best bands in the world”.

Scofield and Metheny. What more needs to be said? A masterpiece meeting of musical minds, these two guitar virtuosos entered the studio in December 1993 with Steve Swallow on bass guitar and Bill Stewart on drums to create one of the greatest jazz guitar albums of all time. Produced by Lee Townsend, I Can See Your House From Here is an 11-track set of Scofield and Metheny originals including Sco’s expansive title track and Pat’s rocking “The Red One” and the stunning ballad “Message To My Friend.”

Tucked away in their cover, but never for long, Guts' musical eyebrow wands have once again panicked, this time aggressively marking Africa.

Letting his instrument guide him towards the one he felt was the next signature of his label Pura Vida Sounds, the beatmaker-producer found himself face to face with an old acquaintance: Pat Kalla aka the voice of the Voilaaa Sound System, aka the one with which he crossed the funk on his album Philantropiques and the title "Daddy Sweet".

Convinced to follow him in studio, Pat, accompanied by his Super Mojo celebrates this collaboration by decapsulating La "Canette". Long groove in the mouth, acidic notes of synths and attacks of precise guitars, despite the bitterness of his words, a drink that suits every hour of the day and that strengthens the legs most numb. Heckled by her journey to the bottom of Pat’s musical bag, shaken by the syncopes of the beat, she spreads her funk foam from the very beginning into the A-side furrow.

Bartering the beige trench coat of Commissioner Joss against a colorful toghu, Kalla and his Mojo revisit on the B side the "Requiem Pour Un Con" de Gainsbourg. The martial groove, dark and hypnotic leaves its place to a polyrhythmic afrodisco production, surrounded by a low velocity.
More than a recovery, they are making a real diversion.
A hijacking driven by Pat Kalla and his Super Mojo, with Serge Gainsbourg and Jean Gabin sitting in the back seat like two "Pachas".

Eduardo De La Calle presents his new 12 inches in the new Rhod platform...

4 very sequential techno cuts with synoptic reviews and clearly syncopatic reactions produced with the intention and need of an intense search for new sounds and structures.

Eduardo always shows influences from the early and old pioneers who took control in the techno music business on previous decades...

we can name a few artists like New World Aquarium, Luke Slater or more recently Aubrey that have strongly influenced Eduardo in recent and format times also labels like Shelter Records or Solid Groove are important to be mentioned, they are platforms where Eduardo has also received notable influences when making this record.

In general terms a very solid 12" inch with character an over all... a work with personality for the most demanding DJs.

Mastered by Javier 'KTC Mastering'
Design - Antonio Romero

Rhod Records.

Hard-to-obtain, vintage highlife from three true giants of the sound; Ebo Taylor, Pat Thomas & Uhuru Yenzu. Originally released in 1982.
In 'Hitsville Re-Visited', the mighty trio add a dose of uptempo funk into traditional highlife grooves.
The legendary Ebo Taylor was involved in many funk and highlife records to emerge from Ghana in the 70's and 80's. He worked with bands such as Apagya Show Band, C.K. Mann as well as Pat Thomas, on this, and several other records.
Taylor recorded another album with Uhuru Yenzu in 1980 – 'Conflict' – which is also available on Mr Bongo.
Pat Thomas career began in 1969 with the ‘Broadway Dance Band’, leaving a year later to join the ‘Uhuru Dance Band’. He then played with Ebo Taylor’s ‘Blue Monks’ and finally formed the ‘Sweet Beans’ in 1973 where he really made his name.
Thomas and Taylor's careers span more than 50 years now and they both still tour to play around the world.

Estetika Steps Up With It's Second Release Estetika002 To Bring You A Various Artists Ep Featuring Tracks From Pat King, Jason Patrick, Mattias Fridell, And Francesco De Luca.

Pat King Kicks Off The Ep With misery Loves Company' A Swinging Deep Techno Piece Laced With Emotive Atmospheres, Subtle Dubbed Out Vocals, And Rhythm Elements.

contour Subtracts' A Driving Techno Track Comes By Way Of Jason Patrick Bringing Ominous Pads, Dark Synth Elements, And A Jacking Modulating Clap.

Francesco De Luca Contributes The Third Track Of The Release With twisted' A Stripped Down Deep Moody Techno Number Laced With Polyrhythmic Synth Grooves.

Mattias Fridell Closes Out The Ep With semeldagen' Delivering A Dose Of His Signature Machine Funk Techno And Hypnotic Synth Riff Pivots In Conjunction With Rhythm Elements.

Favorite Recordings proudly presents Combattant, first EP by Pat Kalla produced by Bruno Patchworks' Hovart (aka VOILAAA).

PAT KALLA is a musician, singer and storyteller. Patrice of his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course. Born in Lyon, from a Cameroonian father, musician and political activist, and a French and literary mother, he explores from his childhood the Soul, the Slam, the Funk ... and the art of telling stories, life being a great one...

After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), and several acclaimed titles on the two albums by Voilaaa, he comes back with this project to put a bit of primordial lightness in a rainy world: A tribute to the African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa.

Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti & The Black Style, all these legends' vinyls have turned on the family turntable and the collection has whetted the child's appetite. Through this new trip, he revisits styles that are sometimes little known to Western audiences, such as High-Life, Makossa, Angolan Music, Afrobeat, Afro-Disco and others. We could talk about Franc CFA', we could talk about Jacques Foccart, but we will rather dance, because "the dancer seems naive, but his feet must be connected with earth to understand history..."

Backed by the "Super Mojo Disco", a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware « c'est médicament » (it's medicine)!!

'Pat Thomas Introduces Marijata' is a seminal Ghanian album that fuses highlife, reggae, folk, funk and soul, from legendary vocalist Pat Thomas. Originally released in 1976 on Gapophone Records.
'Marijata' was a group made up of three members - Kof 'Electric' Addison on drums, Bob Fischlan on organ and Nat Osmanu on guitar, hailing from Ghana. Pat Thomas career began in 1969 with the 'Broadway Dance Band', leaving a year later to join the 'Uhuru Dance Band'. He then played with Ebo Taylor's 'Blue Monks' and fnally formed the 'Sweet Beans' in 1973 where he really made his name. The group released 'False Lover' in 1974, split and then reformed as Marijata, releasing 'Marijata' (also available on Mr Bongo) and this album, 'Pat Thomas Introduces Marijata'.

Thomas career spans more than 50 years and he stll tours regularly across the world.

Replica original artwork, ofcial Mr Bongo reissue. Licensed from Gapophone Records courtesy of George Prah.

Pumpin and hardtek... 4 tunes to offer a cool old school groove, full of a natural dancefloor feeling...

Alex Ferrazzi and Matteo Keemani a.k.a. Blue Mondays, longtime Laterra friends and collaborators (with releases on Sonar Kollektiv, Rebirth, Snatch!,Memento, Manocalda as well), strike again. They do it, as usual, their very own way: shades of Balearic flavours in there, but with a very dark and malicious twist. Marvin & Guy add some disco nuances (keeping it raw and obscure, though), while Nick Anthony Simoncino delivers a solid, strict, gloomy dancefloor affair. No frills, mad quality.

Muzik & Friendz purple patch continues, literally, with a purple screen printed vinyl release from Belgian duo Le Babar & Pat Lezizmo 'Last Call' featuring Anano delivers two impressive originals coupled with a heavyweight international remix package making this the 7th outing for the Belgianbased label.
'Last Call' the original mix brings together tight classic house grooves a killer bumping bass line and the sexy vocals of Anano into a house track with real crossover potential. Denmark based Alvaro Hylander's mix goes deep, balearic and full of filtered rhodes, lush percussion with a tribal edge and breaks highlighting the sweet vocals, a perfect bar grooves shoulder shaker.
London based Frenchman Giom plays the ace card in the package with a foot stomping remix full of his own signature drum workout and ability to weave melodies and filtered breaks into a
package that has seen him release on the likes of Defected, Bunny Tiger, Toolroom and top the charts with his own label Supremus. Already tried and tested on his last US & Canada festival tour we fully expect many outings at the closing parties and festivals later this year.
Closing off the EP nicely the piano led 'Move Me' brings an upbeat and old school vibe full of stabs, vocal chops and a lush sax infused break perfect for sunsets and warm ups to boot.
Designed with the music collector in mind the limited vinyl release will be available packaged in hand made sleeves made from recycled materials.

4 solid techno tracks from Paty Pat. Joined by the Nighttripper himself on Unknown Synth.

Mambo style R'n'B rocker backed with excellent guitar blues

The Rude Boy moniker has its roots firmly set in the downtown districts of Kingston, Jamaica.
Alongside the regular Ska/Rocksteady sounds coming out of the sound systems, there was an undercurrent theme to some songs that spoke of the struggles of the youth, of their confrontation, arrests and run ins with the establishment.
Some of these songs praised the Rude Boys for their stance and style while other songs were more in contempt with the Rude Boy's attitiudes, comings ,goings and violent behaviour.
For this release we have put together a set of tunes that the Jamaican Rude Boys would have been listening to at the sound systems on the lawns and street corners.
Not only the more obvious Rude Boy tunes like 'Gunmen Coming to Town' , 'Dreader than Dread', 'Moon Hop' but also some of the tunes that made the sound systems rock well into the night.
Hope you enjoy the set,,,,,

Pursuing their explorations of international Funk and Disco music, Favorite Recordings and Bruno "Patchworks" Hovart present us Voilaaa. With this first 2 tracks single revealing the Afro-Disco inspiration of this new experience, Favorite also expands its new series of Disco 12inch singles recently launched with several fine reissues.

Under the imprint of the label and after their long years of collaboration in the achievement of projects such as The Dynamics, Mr President, Mr Day, Patchworks Galactic Project, or Taggy Matcher, the insatiable French producer therefore returns to his first love and specialty, Disco music, staring this time at the African and Caribbean influences.

Indeed, as everywhere in the 70s and 80s, Funk and Disco movements were extremely influential in these regions, and in most cases, the combination of the festive, yet sometime futile nature of Disco, and the instinctive, deep, sometimes rough nature of African music, sounds like a perfect balance. Aiming to respect this energy and specific sound, Patchworks quickly began producing a few tracks, Using his unique and ruling beats and bass lines as foundations, this time he dresses all with guitars, keyboards and brass distorted with vintage and DIY effects pedals and boxes.

Surrounded by a very dynamic music scene, where there is no shortage of artists with African origins, Patchworks decided to work with local singers, even if it means to accompany them on unusual musical paths. A more than successful bet with a result surprising of authenticity, as it's unveiled by these first two titles alongside Sir Jean and Pat Kalla, both from a musical background as rich than different.

With an album planned for the end of the year, that promises to be as explosive and magnetic, Patchworks and Favorite Recordings make a strike again... Voilaaa tout (Thaaat's all)!!

brique rouge is celebrating 5 years of great existence

2022 Repress
The Sound of Studio One can be identified by the great singers that it cultivated along the many great songs that these singers released. But as studio 1's dominance was slowly pulled away by the up and coming new breed of producers many of the artists would inevitably end up working for these new camps and so the songs and singers found a new audience. The reggae sound of the Studio 1 would make a great combination and the man to pull this was together Bunny Lee.
The 1960's in Jamaica was run by two main factions, Coxsonne's Studio 1 and Duke Reid's Treasure Isle. These two leading protagonists saw what some of the other great Sound System men like ' Tom The Great Sebastian' had not taken onboard, that when the tunes they imported began to dry up from the USA, their future lied in producing music. Tunes that suited the musical styles that the people of Jamaica still enjoyed. By the late 1960's thse supremacy was being challenged by the up and coming new producers on the scene, Lee Perry being one, and the other being 'Ghost of the Studios' himself, Bunny Lee. Bunny 'Striker' Lee may have inherited the moniker 'Striker' from his liking of a particular TV show called 'The Hitch-Hiker', but it would soon stand also for the considerable hits he would obtain as he was declared producer of the year in Jamaica in 1969, 1970,1971 and 1972.
For this release, we have compiled many of the great Studio hits that Bunny Lee recorded with the singers that had originally cut at the famed Studio 1. Bunny Lee's sprinkling of magic over some classic tunes....the sound of Studio 1 backed up this time Bunny 'Striker' Lee's set of star musicians The Aggravators. Proving you can't keep a good tune down, or a great producer pushing forward.....Bunny Lee strikes back....
Hope you enjoy the set.....

Repress

Drum + Bass super duo, The Vanguard Project, continue their reign at the top with the Identity Crisis EP. This 5 track EP spans the full spectrum of soulful D&B sounds. From the eerie yet compelling atmosphere of "Fallout," to the lively and uplifting "Rise & Fall" (feat. the powerful vocals of Leo Wood), this one has something for everyone.

Countless incredible records were made in Kingston between 1968 and 1971 that has never been able to lose the stigma of being described as 'Skinhead Reggae' but in Jamaica the term never meant anything. However Bunny Lee's Aggro Sound's both at home and away.
They were tougher then tough ,rougher then rough ,kicked like a 'bovver' boot and were sharper then a razor cut trim.
Raw, pure and undiluted every time...some even troubled the UK national charts..
To say the man and his music dominated at the time would be a complete understatement.
'Striker' was everywhere...travelling between Kingston, where he opened his Agro Sounds record shop at 101 Orange Street and London where he set up his Unity label with the Palmer Brothers for the exclusive release of his productions and his Jackpot subsidiaries with both Trojan and Pama records.
Ubiquitous does not start to come into it.
We sincerely hope that this compilation helps to point you in the direction of some of the best music from this often overlooked period from one of the greatest producers EVER!
'The Aggro Man' himself Bunny Lee

Repress!

Just when you think that the well of obscure music from around the world has run dry, Analog Africa returns to put the record straight. Pop-Makossa shines a light on a glorious but largely overlooked period in the story of Cameroonian makossa, when local musicians began to replace funk and highlife influences with the rubbery bass of classic disco and the sparkling synth flourishes and drum machines of electrofunk. The resultant compilation, which apparently took eight years to produce, is packed full of brilliant cuts, from the heavily-electronic jauntiness of Pasteur Lappe's "Sanaga Calypso" and horn-totin' Highlife-disco of Emmaniel Kahe and Jeanette Kemogne's "Ye Medjuie", to the dense, organ-laden wig out that is Clement Djimogne's "Africa".

Die Neue Kitsuné America-compilation Mit 18 Tracks Zwischen Pop, Indie & Electro. Kurz Nach Eröffnung Des Neuen Kitsuné-flagship-stores In New York Im Herbst 2018 Erscheint Vol.5 Als Limitierte Erstauflage In Kooperation Mit Der Nba (national Basketball Association), Der Karten Aller 18 Künstler Im Basketball-style Beiliegen.

2018 played host to a bumper crop of sounds from some of Philly's grittiest, including Great Circles mainstays M//R and Chaperone. To close out the year that was, we are pleased to present Heckadecimal's 'Murder Tape.'

A Minneapolis-based producer and acid auteur, Heckadecimal has been a fixture within the vibrant Midwestern electronic music community for nearly 20 years. Founder of the legendary 'Anti-human' events and co-curator of the ever-prolific Always Human Tapes imprint - alongside Ryan Wurst and Peter Lansky - Heckadecimal's reputation is one of unrelenting creativity and tireless advocacy for sonic experimentation. His work has found its way to light via a slew of pseudonyms and stage monikers, including The Worm, noface and Wonder Sirens.

In short - Heckadecimal lives and breathes the sonic matter that he leaves pouring out of studio monitors, busted bar systems and finely tuned rave stacks, wherever his travels take him.
Live performance lies at the core of Heckadecimal's practice. When he stormed through Inciting HQ in Philly earlier this summer, he took command over an arsenal of hardware that reminded us of how Octave One or Shawn Rudiman might show up. These were machines that he had lived with; touched with custom modifications, hand-drawn stickers and pockmarks incurred in battle, one got the sense that the gear was a personal extension of the artist.

Perhaps it's a bit maudlin, but we feel a certain kinship with this project. Indeed, these tracks at times feel very much of a piece with the gnarled tonalities in which our stable typically traffics; all low-slung riddims that reach at equal lengths towards mutated IDM aesthetics and post-Packard Plant techno extrusions. These are future perfect grooves that glide along under the vast Midwestern sky, providing a fertile communication conduit with the City of Brotherly Love.

Give thanks for acid. Great Circles will see you in the New Year..

2018 played host to a bumper crop of sounds from some of Philly's grittiest, including Great Circles mainstays M//R and Chaperone. To close out the year that was, we are pleased to present Heckadecimal's 'Murder Tape.'

A Minneapolis-based producer and acid auteur, Heckadecimal has been a fixture within the vibrant Midwestern electronic music community for nearly 20 years. Founder of the legendary 'Anti-human' events and co-curator of the ever-prolific Always Human Tapes imprint - alongside Ryan Wurst and Peter Lansky - Heckadecimal's reputation is one of unrelenting creativity and tireless advocacy for sonic experimentation. His work has found its way to light via a slew of pseudonyms and stage monikers, including The Worm, noface and Wonder Sirens.

In short - Heckadecimal lives and breathes the sonic matter that he leaves pouring out of studio monitors, busted bar systems and finely tuned rave stacks, wherever his travels take him.

Live performance lies at the core of Heckadecimal's practice. When he stormed through Inciting HQ in Philly earlier this summer, he took command over an arsenal of hardware that reminded us of how Octave One or Shawn Rudiman might show up. These were machines that he had lived with; touched with custom modifications, hand-drawn stickers and pockmarks incurred in battle, one got the sense that the gear was a personal extension of the artist.

Perhaps it's a bit maudlin, but we feel a certain kinship with this project. Indeed, these tracks at times feel very much of a piece with the gnarled tonalities in which our stable typically traffics; all low-slung riddims that reach at equal lengths towards mutated IDM aesthetics and post-Packard Plant techno extrusions. These are future perfect grooves that glide along under the vast Midwestern sky, providing a fertile communication conduit with the City of Brotherly Love.

Give thanks for acid. Great Circles will see you in the New Year..

The 8th record from Muzik & Friendz sees Pat Lezizmo joined by a few especially picked artists.

People who have their own take on Electronic Music and typify the sound the label is pushing.

The Obdurate Session EP brings in Al Bradley, Replika, Dsitb and Harry Light for four different trips on this.

Al Bradley takes us on an atmospheric and 80's tinged dreamstate workout with his Move A Little Closer, a refined production as we have come to expect. Pat & Dsitb keep things strictly deep with their Sea Cake cut. A sampler workout with a close groove that keeps things bubbling. Harry Lights Basement Dub brings a bit more heft to this heavy collection of tracks, pure driving House music whilst finishing the EP Replika's sample based slice of classic House On the Spot warms things up a tad, pitting washed out melody against a funked up groove.

The Suedehead Sound Of The Early 70's Followed The Skinhead Style Of The 1968-70 Period.
The Notable Difference Could Be Seen And Heard, The Sharp Jerky Upbeat Rhythms Were Slowing Down A Notch To What We Soon Be Calling That Early Reggae Sound.
The Tougher Harder Look Of The Rude Boy/skinhead Style Was Relaxing A Little To Almost Meet With The Less Frantic Rhythms To A More Slowed Down Groove Like Sound. The Hair Got A Little Longer, Going From A Mark 1 To A Feather Cut Style..
The 'rude Boy Out Of Jail' Type Lyrics Were Becoming More Conscientious, This Was Another Twist And Turn In The Ever Evolving Sound Of Jamaican Music,
But What Is Sure The Artists And Producers Never Disappointed Us In This Period , So Here Is A Compilation Of Some Tunes That The Suedehead Crowd Were Grooving To....
Hope You Enjoy The Set....

Producer, multi-instrumentalist, composer, songwriter and vocalist Devonté Hynes returns with his fourth album as Blood Orange, Negro Swan, released on Domino on August 24, 2018.

Raised in England, Hynes started out as a teenage punk in the UK band Test Icicles before releasing two orchestral acoustic pop records as Lightspeed Champion. In 2011, he released Coastal Grooves, the first of three solo albums under the moniker Blood Orange. His last album, Freetown Sound, was released to critical acclaim in 2016, and saw Hynes defined as one of the foremost musical voices of his time, receiving comparisons to the likes of Kendrick Lamar and D'Angelo for his own searing and soothing personal document of life as a black man in America. He has collaborated with Solange Knowles, Skepta, fka twigs, Carly Rae Jepsen, A$AP Rocky, Charlotte Gainsbourg, Blondie, and many other artists, and was recently one of four artists invited to the Kennedy Center to perform alongside Philip Glass. In addition to his production work, he scored the film Palo Alto, directed by Gia Coppola.

Negro Swan was written and produced by Hynes. Says Hynes:

'My newest album is an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of HOPE, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.'

At a time when on every street corner, adolescent wannabe gangstas believed they had to tell everyone and their dog about their greatness and the inferiority of all others, there was a cadre of Munich-based Hip-Hop artists producing incredibly fresh and imaginative music, inspired, of course, by the golden era of the 90s. They played gigs in small clubs in front of some dozens of people, spread mixtapes and Eps and were celebrated by their friends and the rest of the scene. The world took no notice - until now ! Tramp Records, specializing in unearthing forgotten pearls of musical art, documents with "Golden Hits", an era of Munich underground Hip Hop which flew completely under the radar, spanning ten years from 2005 to 2015. The musical bandwidth and quality of the tracks is astonishing, but so much more could have been possible. Much of this music remained fragmented or unreleased for a host of reasons, families, stressful jobs, musical reorientation, and even lost hard disks... but one story has a happy ending! When Masta Ace had a live show at the legendary Atomic Cafe, Primatune's Fid Rizz was able to hand over a CD with demo beats. Unfortunately the CD was blank by mistake! But the curiosity of Masta Ace had been piqued, and he got back to him, the rest is history. Features of other stateside rap heroes like Wordsworth or Declaime followed.

The very best of this era, including tracks never before heard and ideas remaining fragmented, has now been compiled by Tramp Records to take you for a fascinating listening journey.

Hip Hop, as it was since it's inception in the Bronx, fresh and real, and made with passion by neighborhood kids spitting truth about life and the struggle!

Key selling points:

- including many unreleased songs
- the vinyl LP comes with a full album download code

'Oonops Drops' is the eponymous name of DJ Oonops' monthly broadcast on Brooklyn Radio (NYC). It's not your average radio show without talk and comments for which he invites renowned guests with their exclusive mixes from around the globe to create timeless and thematic episodes. In the last sixty shows he got visited by artists like Morcheeba, Guts, Nickodemus, The Herbaliser, Nostalgia 77, Boca 45, Blundetto, Chinese Man and many more.

Born in 1977 he got in contact with music at an early stage and soon discovered his medium of choice: vinyl. Oonops is a dj, selector, digger and is known for his smooth mixing skills to rock parties in his unmistakable wildstyle of jazz, soul, funk, hip hop, beats, edits, reggae, dub and afro. He shared the stages with acts like Nightmares on Wax, The Beatnuts, Jeru The Damaja, Ebo Taylor, Myron & E, Akua Naru and The Artifacts to name just a few.

As a longtime friend of the label and as a resident of its own club night he now gets his own compilation series to showcase his manifold taste in digging, selecting and mixing. His matter was to create a compilation of manifold genres of undiscovered, previously unreleased and for the first time on vinyl delicacies for any avid and discernable listener and dj. Especially for the vinyl lovers he dug many tracks which are treats for every set from warm-up until peak time. This compilation will stay for a long time in the bags.

Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.

Exclusivo! was the group's debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.

After what can only be described as a storming start to their label, Luke Hazell, Ben Murphy and Elliott Owen continue the exciting evolution of their brand Music Related with their first vinyl release and it's nothing short of sublime.
This spring, Music Related makes its bold entrance into the ever growing vinyl market with a heavy dose of minimal and house cuts in the form of a 4 track Various Artists, EP. MRRV001 drafts in the talents of Salva Stigler & Dubquest, Pat Ondebaak, Duky and Manuel De Lorenzi, and it's easy to see why as these 4 artist each bring a unique flavour to this well rounded minimal infused record.
The listener is welcomed on the A side by Salva Stigler & Dubquest - 'Dead Men Tell No Tales', which teases dark techno elements with a rolling progressive baseline. Definitely a track for the later hours, this dance floor weapon is sure to send heads tripping with the dark eerie vocals taunting the equally as impressive clicky percussion.
A2 takes a more laid back approach from A1 as Pat Ondebaak's track Matter offers up a low slung dubbed out groove with a sprinkling of crisp skippy high hats and a highly seductive mix of low and high percussion elements setting deep in the mix.
As we flip the record, Deep Tech records head honcho Duky brings an absolute club banger in the form of 'It Takes One'. Built around an old school drum break this hypnotic hard hitting track seduces you with its repetitive vocal stabs only to find yourself slapped hard in the face with the powerful 4 or 5 note synth line. Built for the big systems this high impact track is a certified party starter!
Closing of proceedings we have Manuel De Lorenzi's slightly more house oriented 'Whole Night'. This deep groove conveys a sweet mix of bouncy baseline, heavily swung hats and rides with a spaced out mix of filtered chord stabs and pads. Manuel's warm up vibe really rounds off what is a brilliant entry into the vinyl market for Music Related.

THE ADAMANT SESSION - 'Various Artists' (Muzik & Friendz Records)
Showcasing the ethos of the imprint by bringing together a collective of friends for the next musical instalment, Belgian label Muzik & Friendz present a four track Various Artist EP of deep, classy productions that will appeal to crate diggers, selectors and collectors alike.
Tune On 'Rice City' kicks off the EP with a moody, atmospheric and haunting cut that blends growling bass and lush pads over dreamy arpeggios creating warm up material heaven. Jazzawesz & Pat Lezizmo 'Playing Games' the second track on side-A warms things up with a groove laden track tinged with deepness and a funk that will fit into any set where quality is the key, sweet keys and clever percussion throughout make this stand out. Tominori Hosoya 'Pray To Father' leads on side-B with a lead line and vocal awash with ethereal reverb over tough driving drums and classy percussion perfect for bringing some vibes from up above. Finally Melodymann 'Let him be heard' closes of the EP packing in a sweet piano hook, disco looped samples and bouncing bass overswinging drums.
Designed with the music collector in mind the limited vinyl release will be available packaged in hand made sleeves made from recycled materials.

Voilaaa is one of the many projects led and produced by Bruno Patchworks' Hovart, who's proven over the past 15 years, his place amongst the finest producers of groove music in all genres.
This time exploring the wide spectrum of the African and Tropical Disco scene, he received a massive international support for Voilaaa's first album, On te l'avait dit, released late 2015 on Favorite Recordings.With a second effort already planned for spring 2017, Voilaaa has not finished to feed international dancefloors with heavy Afro-Disco vibes.Here comes the first single from Voilaaa's upcoming second efforts, made of 3 new killer tunes featuring Lass, Sir Jean, and Pat Kalla.

20 track Album from Various Artists released by Dub Store Records

Celebrating the 50th anniversary of the creation of the Rocksteady music genre, 17 North Parade presents "First Class Rocksteady". The collection captures early work from some of the genre's defining artists, and here are further 24 hot tracks additionally to the tracks of the limited edition 7x7Inch box set of the same name. Available as double vinyl with deluxe printed inner sleeves featuring sleeve notes and images.

Tracklisting: Side One A1. Hold Them - Roy Shirley with Lynn Taitt & His Band A2. I Am Lonely - The Heptones with The Supersonics A3. Dance All Night - The Tartans A4. Rock Steady - Alton Ellis and The Flames A5. Ba Ba Boom - The Jamaicans with Tommy McCook & The Supersonics A6. Pata Pata Rock Steady - Patsy & The Count Ossie Band Side Two B1. You Don't Care - The Techniques with Tommy McCook & The Supersonics B2. Little Boy Blue - Pat Kelly and The Uniques with Bobby Aitken & The Carib Beats B3. I'm A Loving Pauper - Dobby Dobson with Tommy McCook & The Supersonics B4. Return Home - Alva Lewis with Lynn Taitt & His Band B5. Just Like A River - Stranger Cole & Gladdy B6. El Casino Royale - Lynn Taitt & The Jets feat. Count Sticky Side Three C1. The Beatitude - The Uniques C2. Revelation - Alva Lewis C3. A Change Is Gonna Come - Ken Parker with Bobby Aitken & The Carib Beats C4. The Big Takeover - The Overtakers C5. I Am The Upsetter - Lee Perry C6. Musically - Keith Blake with Lynn Taitt Band Side Four D1. Lonely Heartaches - The Clarendonians with The Aubrey Adams All Stars D2. Napoleon Solo - Lynn Taitt & The Jets D3. Intensified - Desmond Dekker and The Aces D4. Hold Me Tight - Johnny Nash D5. Seeing Is Knowing - Stranger Cole & Gladdy with Lynn Taitt & The Jets D6. Darling Jeboza Macoo - Stranger Cole

This is France in the Mitterrand years: fashions fleet as fast as governments. In the early eighties, the happy-go-lucky gather the nectar of each and every new release.
Believing in a bright future for videotex, and loosened up by the sexy talks broadcasted on the budding pirate radios, the new generation dreams of dance floors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams.

What the web now refers to as French Boogie is some synthetic funk reflecting the spirit of those days when nothing was impossible, or so it seemed. Its syncopated flow heralded the dawning of French rap. Often considered as some kind of post-disco, inspired as much by black music as by new wave, this carefree pop music with bawdy lyrics indulged in simple pleasures: holidays, swank and sun were recurrent themes. Totally in tune with its time, it incidentally glorified luxury, success, and a certain consumerism embodied, for instance, in Bernard Tapie.

In popular clubs such as La Main Bleue in Montreuil, or L'Echappatoire in Clichy-sous-Bois - where Micky Milan could be seen behind the decks - an enthusiastic audience discovered this new sonic wave, influenced as much by French pop as by Sugar Hill Gang or Kurtis Blow. The artists who first launched the movement engaged in it wholeheartedly, but as often the case with new music trends in France, humour and casualness quickly became a decoy to impose a new style. This explosive mixture, in which startling and typically Frenchy French lyrics go along New-York-style tunes, is sometimes reminiscent of the kinky comedies directed by Max Pécas or Claude Zidi. On this prolific scene, partly originating from the Jewish community, everybody was looking for success, trying to hit the jackpot with what was to hand. Famous media personalities, one-hit wonders or John Does in quest of fame, all had a go at French Boogie - more or less successfully. Apart from « Vacances j'oublie tout » by Elégance, « Un fait divers et rien de plus » by Le Club, or « Chacun fait ce qui lui plaît » by Chagrin d'amour (produced by Patrick Bruel), very few songs became hits: the story of funk in France is that of a half-baked robbery.

In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh and hybrid style. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), or Jean-Pierre Massiera (Anisette, Pirate Scratch Band, Mandrake, Scratch Man...) added an eccentric touch to this sound-wave, making it often entertaining, and sometimes showy.

Capture d'écran 2015-10-26 à 12.55.43Singers like Agathe (the author of 'La Fourmi' and of the hit song 'Je ne veux pas rentrer chez moi seule') were far more than just window dressing. They even tried to give an ironic and subversive twist to this rather harmless genre. The very vindictive rebel Gérard Vincent shared in this spirit, but as a whole, French Boogie became associated with nonchalance and sauciness. Thus, Stéphane Collaro, Gérard Jugnot, Alain Gillot Pétré and other TV clowns would clumsily contribute to this French variation on funky sounds. In a few but intense years, French Boogie gave all the tips to party with style.

If some hits made it possible for the happy few to get a real house under truly exotic palm trees, the wave actually ebbed away very quickly, leaving quite a few musicians stranded on the shore. Whether they were sincerely motivated, or simply opportunistic, they had failed. In 1984, French Boogie was already breathless, and got merged with other genres: on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Sydney's show, H.I.P.H.O.P, and Dee Nasty's broadcasts on Radio Nova; on the other, italo, new beat and house began to rule over dance floors, even more strongly asserting the will to develop music for clubs.

Squeezed in between the age of disco and that of modern electronic music, French Boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless bass lines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French Boogie is what you need to party.