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Rebuke returns to Drumcode with a trio of timeless dancefloor weapons.
The Irishman’s ‘Rattle’ was a standout of 2019, judged by DJ Mag as their no.22 top track of the year and is etched in the Drumcode discography as one of the most original releases to date. A valued part of Adam Beyer’s extended collective; he would have made his Drumcode event debut at WMC in Miami this March. Without a doubt, a sophomore EP was always on the cards.

‘Instatik’ kicks the work into gear, a rugged, reverb-heavy cut with industrial drums that pump like pistons and an undulating synth effect that makes you feel like you’re on a turbo-charged rollercoaster. ‘Livewire’ has the trademark Rebuke brain-scrambling stamp on it, a flurry of steelyard percussion bring the track to life, before a low-end melody swells to attention, rubbing shoulders deliciously with driving drumlines, for an uplifting second half. The title track ‘Obscurity’ is a dark slice of techno funk, filled with synapse-tickling arpeggios, before a rollicking groove takes hold and launches the track home at full-flight. Another thrilling and innovative release to add to the Rebuke canon.

“I think 2020 will go down in history as the craziest year of our lifetime. The future is still pretty unknown right now and things are drastically changing week to week. With that in mind, I felt ‘Obscurity’ would be a fitting title for my second Drumcode EP. It represents the state of being unknown, unclear or difficult to understand – feelings I’m sure most of us are going through right now. Most the tracks aside from ‘Livewire’ were written in quarantine; ‘Livewire’ was written right before the virus shut the world down, in a hotel room in Lima, Peru in January. This EP is my favourite to date as I think it shows a different side to my musical palette, whilst still developing the signature sound heard in all my music.” – Rebuke

Clarinetist, composer, singer & spiritual jazz soothsayer Angel Bat Dawid presents this powerful live document alongside her band, Tha Brothahood. LIVE was mostly recorded on November 1st, 2019, at Haus der Berliner Festspiele in Berlin, Germany, during the 2019 edition of JazzFest Berlin. For Angel and Tha Brothahood - which includes Deacon Otis Cooke (vocals, synth), Viktor Le Givens (vocals, auxiliary instruments), Xristian Espinoza (tenor sax, percussion), Norman W. Long (electronics, synths), Dr. Adam Zanolini (double bass, bass guitar, soprano sax, flute, percussion), Isaiah Collier (drums), and Asher Gamedze (drums) - it was the first stop of their first European tour. Angel and her band experienced a number of difficult, racially charged interactions during their two days in Berlin. But despite, or perhaps in light of the difficulties they faced, they performed a set at Berliner Festspiele that Angel considers to be one of their best ever. "The show was very deep, and really helped me to process all the rage, and uncomfortable things I was feeling... It made me think of all the artists of the past who endured way more than I ever will with this music industry. It was a very freeing and beautiful show... we played our ass off!!"

TERMINAL BLISS makes their Relapse Records debut with the unrelenting album Brute Err/atta! A veritable who’s who of Virginia punk, the band features vocalist Chris and guitarist Mike Taylor (Pg. 99 and Pygmy Lush), drummer Ryan Parrish (Darkest Hour, Iron Reagan, City of Caterpillar) and bassist Adam Juresko (City of Caterpillar). Inspired by the likes of Born Against, Gauze and Void—not to mention Black Flag, Crass, Negative Approach, Disrupt, Necros, Crossed Out and Disclose—TERMINAL BLISS conducted their first band practice on January 14 th, 2020. Just six weeks and five practices later, they were recording their full-length debut with Majority Rule frontman Matt Michel in the engineer’s chair. The name TERMINAL BLISS was born out of the merciless consumerism and environmental destruction that are America’s enduring legacy. From dystopian, sci-fi themes in tracks such as “March of the Grieving Droid”, to the apathy of the checked-out masses on “Small One Time Fee” and the personal recount of loss and the inefficacy of our healthcare system in "Clean Bill of Wealth", it’s the merging of personal experience and social critique that has informed the punk edge behind the members of TERMINAL BLISS for decades now. For TERMINAL BLISS, it’s become a crucial combination born of decades of playing live. (Unfortunately, the band’s first show was cancelled when the US began its COVID-19 lockdown.) “I realized early on that if you don’t write something that resonates with yourself on a fundamental level, it’s going to get trite when you’re performing night after night,” Chris Taylor says. “So, with the idea in mind that we’ll eventually play shows, I always try to write something that will resonate.”

Fountains of Wayne is one of those rare bands that digs back into what pop music is all about -- good, fun tunes. Their self-titled debut studio album was released in 1996. Recorded when the band was just a duo, Chris Collingwood and the late Adam Schlesinger provided almost all the instrumentation during the recording. Schlesinger and Porter had also been members of The Belltower, and bassist Danny Weinkauf later played with Lincoln before joining They Might Be Giants. Although the songs were written over a period of years (as outlets to make each other laugh through inside jokes and references to suburban New York and New Jersey), the album was recorded in just five days. The songwriting is straightforward and wonderful; nearly every song is a pop gem. The result is an innovative album - very few albums released in the 90’s are this pleasant, charming, and all-round likeable. The record is now available on transparent red coloured vinyl, in a limited edition of 1500 copies.

Originally released in 2010, Mirage is the fourth studio album by renowned Dutch trance DJ and producer Armin van Buuren. Widely regarded as a astaple in Van Buurens impressive career, Mirage peaked at number 3 in the Dutch Album Top 100, as well as reaching the top 5 of the US Top Dance/Electronic Albums. It contains the popular single ‘Not Giving Up On Love’, featuring British singer Sophie Ellis-Bextor. As the record lasts nearly 80 minutes total, it is released as a double LP. It is pressed on red coloured 180 gram audiophile vinyl. The package includes a gatefold with spot varnish and lyrics, as well as an insert with pictures and credits.

Born in Newtownards, County Down, Northern Ireland, singer/songwriter/guitarist Ricky Warwick was cut from the cloth of a mill workers’ jacket. Raised on a diet of Patsy Cline, Johnny Cash, Thin Lizzy, Stiff Little Fingers, Motown and everything in between. Saving his money from a newspaper round and a little help from his father, Ricky got his first electric guitar at age 13. “That cheap electric guitar changed my life....it saved me, it was more than just notes on a fretboard, it was the deepest breath of life I ever experienced.“ explains Warwick.
At age 14 Ricky and his family relocated to Strathaven, Scotland. It was here that Warwick fully immersed himself in the sonic seas of Rock n Roll. Writing and practicing every free moment he wasn’t working on his father’s farm, Ricky got a call to join acclaimed U.K. Punk/Folk band New Model Army as rhythm guitarist on their 1987 ‘Ghost Of Cain‘ World Tour. Following New Model Army, Ricky went on to form The Almighty in Glasgow who enjoyed ten top forty singles and four top twenty albums in the U.K. during the late 80’s/early 90’s, touring worldwide with such iconic bands as The Ramones, Motorhead, Megadeth and Iron Maiden.
In 2002, after relocating back to Ireland, Ricky recorded his first solo album ‘Tattoos & Alibis‘ in Joe Elliott of Def Leppard’s studio in Dublin with Joe also handling production duties. It marked a shift in direction “I realized that I didn’t need to yell over a wall of sound to make my point...less is more, stripped back instrumentation could achieve the same goal just as effectively. I learned so much making that record, primarily about myself”. Warwick would go on to release two more solo albums between 2002 -2010 and tour globally opening for the likes of Def Leppard, Cheap Trick, Bryan Adams and Lynyrd Skynyrd.
In January 2010 Ricky received a call from his old friend Scott Gorham who was spearheading a reformation of Ireland’s favourite sons Thin Lizzy and wanted Ricky to front the new line up. ”I was shocked, terrified, excited and extremely humbled when I got that call. Phil Lynott was my hero and Thin Lizzy were the soundtrack of my life. I realized that I could never hope or even dare to try and stand in Phil’s shoes. All I could do was try and stand beside them and sing his songs with as much heart, soul and passion possible. In late 2012, with a necessity to write and perform new material, out of respect for the Thin Lizzy name, Black Star Riders were born. Warwick is the frontman and main songwriter for the band and 2013 saw the release of Black Star Riders acclaimed debut album


‘All Hell Breaks Loose‘.

Black Star Riders have now released four critically-acclaimed and commercially successful albums, the most recent being 2019’s ‘Another State Of Grace‘. They have achieved two U.K. top 15 albums and one U.K. top 10 album as well as mainstream radio play which includes claiming two “singles of the week” on BBC Radio 2.
Following 2016’s lauded ‘When Patsy Cline Was Crazy... And Guy Mitchell Sang The Blues’, Warwick is getting ready to unleash his 5th solo album in 2021. Titled ‘When Life Was Hard And Fast‘, it was recorded in Los Angeles and produced by Keith Nelson (ex-Buckcherry), who also co-wrote the majority of the songs on the record with Warwick. “Keith Nelson and I share a passion for good, honest, rock ‘n’ soul. Making the album with Keith who shares a similar outlook and work ethic as myself was a no brainer ....also the fact that he has a killer collection of vintage guitars contributed greatly”
“I wanted to create an album that had the simplistic melodies of Tom Petty and the Heartbreakers charged with the electric hedonistic fury of Johnny Thunders And The Heartbreakers. Recording the album as live as possible with a full band was requisite to achieving the desired effect”. Xavier Muriel (Ex-Buckcherry) on drums and Robert Crane (Black Star Riders) on bass completed the core band and turned in stellar performances, giving the songs a real lease of life.
Also, once again, Warwick tapped some of his closest friends for guest appearances on the record, including Andy Taylor (Duran Duran & Power Station) Luke Morley (Thunder), Joe Elliott (Def Leppard), Dizzy Reed (Guns n Roses). Ricky also duets with his daughter Pepper on the song ‘Time Don’t Seem To Matter‘. “I can’t wait for people to hear this album and to hit the road touring it whether it’s with my band The Fighting Hearts or just myself and my acoustic - it will be amazing. I’m grateful that after 30 years of making records my appetite for writing and playing is the same as it was that day all those years ago when I got my first electric guitar”
For those intrigued by the album cover, it depicts a crash scene from the famous Ards TT Motor Car Race in County Down Northern Ireland. The race ran from 1928 until 1936 was watched by over 250,000 spectators annually. The embankment in the photograph that the spectators are on is actually a field belonging to Ricky’s Great Grandfather’s Farm, which he grew up on for the first fourteen years of his life.

At Cloud’s Length is a collaborative compilation of musical works from artists on Melbourne/Naarm based collective WAT artists, using the vehicle of music as the driving force of connection.

While the opportunities to gather have been put on hold, this compilation is a collaborative release rising from a challenge set to the WAT artists roster to connect and create using isolation as a creative parameter from which to generate new music, resulting in surprising and powerful musical cross-pollination.

At Cloud’s Length - an ode to the use of cloud storage as the last front of musical collaboration during lockdown - reaches through the veil of isolation, passing overland, gathering energy and offering a release saturated with creativity and collaboration from afar.
This compilation is both a confluence of unique and diverse creative minds and a narrative of humanity's desire for deeper meaning and connection.

Music contributors:

30/70, Adam Halliwell (Mildlife), Alex Albrecht, Barney McCall, Bell Towers, Big Yawn,
Edd Fisher, Fantastic Man, IN2STELLAR, Kris Baha, Loure, Mike Callander, Morgan Wright, Michael Ozone, Rings Around Saturn, Sleep D, Sui Zhen, Toni Yotzi, ZFEX

Paranoia is a 2013 American thriller film directed by Robert Luketic. Its score was created by Tom Holkenborg, better known as Junkie XL, a Grammy nominated multi-platinum producer, musician, composer and educator. His other scoring credits include Mad Max: Fury Road, Deadpool, Man of Steel and The Dark Knight Rises. This special edition of the Paranoia soundtrack includes 4 extra songs from the movie: “The Hurry and the Harm” by City and Colour, “Alive (Zedd Remix)” by Empire of the Sun, “1, 2” by Lissie and “Demon Dance” by Surfer Blood. This release comes out as a limited edition of 500 individually numbered copies on translucent blue vinyl and includes an insert with images from the film.

Nonesuch releases a remastered, special edition of the 2005 record Our New Orleans for the first time on vinyl. The two-LP set, also available digitally, includes five previously unreleased tracks: ‘Do You Know What It Means’, by Davell Crawford; ‘Let's Work Together’, by Buckwheat Zydeco and Ry Cooder; ‘Crescent City Serenade’, by Dr. Michael White; ‘Walking By the River’, by Dr. John; and ‘Do You Know What It Means’, by The Wardell Quezergue Orchestra featuring Donald Harrison.

The $1.5 million raised from the 2005 release went toward providing housing in partnership with low-income musicians and others through the New Orleans Habitat Musicians’ Village, a concept that was developed by New Orleans Area Habitat for Humanity, working with Branford Marsalis and Harry Connick, Jr. Habitat–built homes in the village now provide musicians and others of modest means the opportunity to buy decent, affordable housing. The centerpiece of the village is the Ellis Marsalis Center for Music, dedicated to celebrating the music and musicians of New Orleans and to the education and development of homeowners and others who live nearby.

For Our New Orleans, many of the Crescent City’s best-known musicians recorded songs that are integral to their lives and that express their feelings about the city and the trauma of Katrina. The album was made swiftly and simply, over the course of a month, in one-day sessions across the country. Nick Spitzer, host of public radio’s New Orleans–based American Routes, contributed liner notes to the record, as did Pulitzer Prize–winning author Richard Ford, also a Crescent City resident. Other producers who made enormous contributions include Mark Bingham, Ry Cooder, Joel and Adam Dorn, Steve Epstein, Joe Henry, Doug Petty, Matt Sakakeeny, and Hal Willner.

Nonesuch’s parent company – Warner Records, part of the Warner Music Group – donated all production costs for Our New Orleans as part of the Group’s larger efforts on behalf of hurricane victims on the Gulf Coast. Many others involved in creating the album also generously donated their time and services.

Nonesuch President David Bither recalls, “What was most remarkable to me was the immediate response of the musicians. Many were in New Orleans when Katrina struck. Many lost everything they owned including even the musical instruments that are their livelihood. Yet they responded within days to the question of whether they might participate in this project. The emotion and the power of Our New Orleans come both from their anguish and from their incredible generosity.”

And the label’s Chairman Emeritus Bob Hurwitz said, “When we pick up a CD booklet, we usually skip over the page that says, ‘Special thanks to…’, but in the case of Our New Orleans, it is, after the listing of the musician’s names, the most important part of this package. Everyone wanted to help – studios that insisted on contributing free time, caterers, photographers and videographers, instrument rentals, producers, engineers – every step down the line, people gave, not only their profits, but absorbed all of their costs. It was an incredible outpouring of generosity.”

“Our New Orleans is a testament to the power of music to heal and provide a sense of community,” said Marguerite Oestreicher, Executive Director of New Orleans Area Habitat for Humanity. “Musicians helped the city heal after Hurricane Katrina, and Musicians’ Village helped them come home. We’re grateful to Nonesuch and everyone who worked on this album. This year has brought new challenges to everyone, but especially to our culture-bearers. This re-release could not be more timely.”

‘‘I am not as other detectives!’
Presently in triple gatefold vinyl for the very first time, Dirk Gently – The Long Dark Tea-Time of the Soul sees Harry Enfield return as the singular detective in this full-cast BBC radio dramatisation of the novel by Douglas Adams. First broadcast on Radio 4 in 2008, these fantastically entertaining comedy sci-fi dramas are adapted and directed by Dirk Maggs, acclaimed for his dramatisations of The Hitchhiker’s Guide to the Galaxy, Good Omens, Neverwhere and many others.
When Dirk Gently’s long-suffering secretary, Janice, resigns to work in an airport, it’s the beginning of a very strange adventure for both of them. The detective takes to reading palms whilst dressed as an old gypsy woman, but meanwhile the ancient Norse God Odin has fallen into the hands of an unscrupulous advertising executive (and her husband). Bring on Odin’s son, Thor, a godlike curse that turns Janice into a vending machine, and countless other interconnected things…
Starring Harry Enfield as Dirk Gently and Olivia Colman as Janice, with Billy Boyd as Richard MacDuff, Laurel Lefkow as Kate Schechter, Stephen Moore as Odin, John Fortune as Dr Standish, Philip Jackson as the Vagrant, Jan Ravens as Cynthia Draycott and Peter Davison as Simon Draycott, with a guest cast including Rupert Degas, Morwenna Banks, Sally Grace, Jon Glover, Michael Fenton Stevens and Susan Sheridan, and music by Philip Pope. Adapted by Dirk Maggs and John Langdon from the novel of the same name by Douglas Adams. Directed by Dirk Maggs.
Three 140g coloured vinyl discs – in Holistic Red, Yellow and Blue - are presented in an illustratedc triple gatefold sleeve, with an exclusive sleeve note by Dirk Maggs.

• From the mod 60s the legendary Brunswick label had the cream of Chicago soul, with the hits by Jackie Wilson and The Chi-Lites to go with it. But beyond that, in the cracks and crevices they has some of the greatest and most influential rare soul, and this compilation brings you the best of that.
• So we have the classics which defined the genre by the likes of the Adam's Apples with their Don't Take It Out On This World, Marvin Smith with the Have More Time, Leroy Taylor with Oh Linda and of course Jackie Wilson's opener The Who Who Song.
• We have more recent discoveries such as Tony Drake's spectacular Suddenly, The Sweetest Thing by Channel 3 Billy Butler's pounding George Clinton written 'I'll Bet You', and Jackie again with the swaying Because Of You.
• In between we have rare and collectible records by The Artistics, Gene Chandler, Jackie Ross and more. Together original copies of the records contained on this LP would cost you thousands, all gathered here for the price of a round of drinks.
• Pressed on 140g black vinyl with new artwork and printed inner sleeve

Terry Gross is an engrossing trio composed of guitarist Phil Manley (Trans Am), bassist Donny Newenhouse, and drummer Phil Becker. The trio are also connected as owners and engineers at Bay Area recording spot El Studio, where they began improvising together as a way to test the boundaries and gear of the studio. Their loose, organic chemistry burgeoned into a deep camaraderie and a sound both expansive and exacting. The three experienced musicians crafted their first fulllength album through the pure joy of playing together with no expectations. With the tapes rolling on their rehearsals, the band captures the exuberance of live performance and elevates those recordings through a deft use of the studio as their collective instrument. On their debut LP Soft Opening, Terry Gross channels their cosmic powers and considerable chops into a gleefully mesmerizing odyssey fit for an arena. Soft Opening took shape over the course of 2016-2019, with Terry Gross writing and refining their songs. "Space Voyage Mission" and "Worm Gear" parallel one another as sinuous jams that pulse with adamantine fervor. Each mountainous epic churns spellbinding repetition and simplicity into dizzying gallops that take hairpin turns into sinewy riffing and elysian vocal melodies. Phil Manley's guitar takes on a constellation of tones across "Space Voyage Mission" with drifting delays soaring over the Newenhouse and Becker's driving rhythm section which all succumb to frothing overdrives that spin the song into entirely new pastures. The hypnotic throb of "Worm Gear" grows all the more enchanting as Newenhouse and Becker add subtle shifts to the single-chord barrage. "Specificity (Or What Have You)" contrasts these two in its more traditionally pop-oriented structure while retaining its predecessors wide-eyed energy and delves further into the album's lightheartedyet-earnest take on sci-fi tropes from space and time travel to the singularity. As Terry Gross, Phil Manley, Donny Newenhouse, and Phil Becker are sonic scientists traversing the borderlands of rock. Soft Opening captures the simple joy of a no-holds-barred trio in stunning detail, transporting the listener into the splendor and freedom of rock.

Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar. He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues. Carn"s newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his "70s classics. There"s no mistaking the musical mind that created legendary albums like Infant Eyes and Adam"s Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn"s past work but which could only have been made right now.

INDIE EXCLUSIVE, LTD PURPLE VINYL! Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar. He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues. Carn's newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his '70s classics. There's no mistaking the musical mind that created legendary albums like Infant Eyes and Adam's Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn's past work but which could only have been made right now.

‘Chorochronos’ is a collection of four gorgeous experimental works for clarinet, percussion and electronics.
Red Desert Ensemble (Katie Porter and Devin Maxwell) lovingly recorded duos they’ve performed for almost two decades in small spaces, for even smaller audiences all over the US (and Canada) by Andre Cormier, Lucie Vitkova and Michael Pisaro alongside a huge new spectral work for clarinet and electronics by Maxwell.
The result is exceptional, a document of music trapped in ether or volcanic rock, both unearthed stillness and totally jarring, a perfect music-as-art for our time. With cover artwork by Christine Heindl, liner notes by Adam Tinkle, design by Phillip Niemeyer and video art by Svavar J natansson.

Born out of a love for extended live performance and late night studio jams, Adam Collins' and Marky Star's much revered Omni A.M. collaboration released their debut LP 'Key' 23 years ago, also launching their label Euphoria Records. A very limited amount of CDs were pressed and sold exclusively at Euphoria events throughout Chicago at the time, and with Omni A.M. and Euphoria's stock rising over the following decades, this timeless classic has become a Holy Grail amongst music heads and collectors alike, as the eye watering discogs prices will attest.

Although heavily influenced by the Chicago house scene and it's luminaries Derrick Carter, Gemini, DJ Heather and Tyree Cooper, the pair embarked on a remarkable mission to record an album that owes much to their love of The Orb and KLF, the experimentalism of Psychic TV and Cabaret Voltaire, industrial favourites Skinny Puppy and the mind bending dub of Lee Scratch Perry, through to San Fran's West Coast house scene and the Tech-House sounds emanating from South London in the late '90s.

LP opener 'space horse' rolls out the breaks before swathes of synths and sonic trickery abound, 'wo ist meine bier?' is characterised by haunting IDM-esque melodies, underpinned by the chug of a 4/4 beat. Over onto the flip where Villalobos favourite 'naked groove' unleashes an infectious rhythm, bass riff, synths and vocal, before 'splendid idea' moves into a more tripped out acidic territory, keeping the musical elements and energy to the fore. On disc 2, the aptly titled 'fusion' turns up the breakbeat heat, adds a hypnotic dub-funk b-line, building into an inspirational lead line. 'v.23's other-worldly throb neatly segues into the moody burning breaks of 'bitch', and closing track 'ready to know' is playful and confident in it's execution, without ever losing any depth or substance.

What comes across is an unwavering dedication to creativity and pushing the boundaries of what's sonically possible, whilst defying the genres through a unique and essential collection of musical moments and psychedelic jams underpinned by beats that deliver the funk. These tracks have stood the test of time and have remained exciting and relevant throughout, this is the first time they have ever been released on vinyl.

This double LP features exclusive edits and never heard before versions, lovingly remastered by Lawrie Curve Pusher from the original DATs and artwork recreated from, and inspired by the original release.

We are back on Boogie Butt with a soul track just like back in the days, this time with a Lord Funk & Samm Culley collaboration. We’re bringing back to your ears this giant artist, who crosses decades of music with its great personality and many groovy songs.

Samm Culley is an R&B, soul & funk keyboard player and a dope songwriter. His music career started within the band Tiny Tim & The Hits with Tom Price & Bill Collier. This trio soon left Tiny to form their own group The Diplomatics with Irving Waters as the lead singer. They later on became the legendary Skull Snaps.

Over the years, Samm co-produced and/or played with many unforgettable famous artists such as Hot Chocolate, The Fatback Band, George Kerr, Patrick Adams, Vaughan Mason, Reggie Griffin, De-De, Van Mc Coy, Lloyd Price & even later in Hip Hop music with Marley Marl or Freddie Foxxx.

“Let It Go” brings you back in 1970 with a great killer dance floor track for Bboys and soul lovers: the dru break is hot and on the same time, the guitar hook and bassline make you feel James Brown on the scene. Close your eyes and easily imagine John Shaft dancing on “Soul Makossa”.

The B side is the instrumental reworked by our well-known Lord Funk, with Samm on bass. Enjoy & play loud!