Suche:b legend

Eastern Bloc Warsaw is a new Polish record label founded by Piotr Klejment, based in Warsaw, Poland - the first country in Europe where the transition from the communist system to democracy took place. It is a definition of desire for freedom combined with respect and a sense of belonging to places. The main goal of label is to promote music and artists from former Eastern Bloc.

Piotr Klejment started music journey as a DJ in 2005. His DJ sets mixed together very disparate styles. Years ago, along with friends, he founded a group called Underground Perception. They invited a lot of prominent artists (for example Juan Atkins, Kevin Saunderson, Joey Beltram, Marcel Dettmann) and gave them a chance to play for the first time in Poland in the legendary M25 Club. He stayed there as an artistic manager and resident for three years. His two first releases appeared on Technosoul Records (also a collective of DJ's & producers from Poland, which member he also was). The releases came out with remixes by Perc, Sleeparchive and Polish techno legend - Echoplex.

Photography on the cover of EP 'Midnight Confessions' shows authentic Warsaw bloc .

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, its catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

High Voltage is one of the more familiar names in the P&P / Queen Constance galaxy. Led by Peter Brown and Patrick Adams right hand man and producer Michael Campbell who presided over some of the biggest and best sides the labels put out. This one is a must, essential, do not sleep business. 11.00 minutes of Disco fury! One is forgiven in thinking that this would've been huge had it have come out on one of the 'bigger' Disco labels, but that hasn't stopped 'Rock, spank, freak' becoming a true blue club anthem. Appearing in the playlists of DJ's and selectors as diverse as Larry Levan, Danny Krivit and Daniele Baldelli. Rough n'ready, unpolished but musically explosive the sounds contained on this here 12" are indeed High Voltage! As with a lot of these jams, this one's been badly bootlegged, so ignore those wack counterfeits that are out there and bag you a fully licensed reissue of this absolute bomb. Dope.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

Look! Ultra rare and super dope Disco-Boogie reissue alert!

That's right, Distinction's 1982 jammer 'That's the way I like it' is back! Fully licensed in conjunction with the rights holders and remastered for 2018 by Above Board distribution. This one's long been at the top of the wants lists of DJ's and dancers for ages, a masterclass in UK Boogie flavour brought to you by the production and writing prowess of Roy Carter who was a member of the UK's legendary Soul and Funk legends Heatwave and who worked extensively with Central Line, Junior Giscombe, Dee C. Lee and many many more throughout his long career. Pretty much all of Distinction's output is tough to find with the majority appearing on tiny labels, and second hand prices for these gems are always on the high side with this particular 12" being one of the most sought after. This is a proper and full reproduction of the original Hansa 12" from 1982 with the added bonus of the 7" mixes being included of both 'That's the way I like it' and b-side winner 'Looking for love'. This one has been booted before with severely lacking quality control, but we are proud to say this reissue has been fully licensed and made using the original tapes with all remastering handled lovingly by Optimum Mastering, Bristol, UK. This is an unmissable reissue if you dig this sound, don't miss out! Pure fire.

The name Hugo Mari might not ring a bell just yet, but we've got a feeling this is about to change real soon. He's released a handful of EP's under his former alias Books on Omena and XVI including his own edit series on the latter label (check out his killer track 'in the groove or his jazzy deep house collaboration with Zodiac called 'Feel it in my Bones'). Considering he's also remixed well known artists like afrobeat legend Dele Sosimi and grime master Trim, you might share our view of this amazingly talented and versatile producer. His 'Change ur ways' EP for Heist is soulful, jazzy, deep and energetic with three varied originals and a classic soulful house remix by man of the moment, NDATL label head Kai Alcé.

'Get Loose' features the silky-smooth vocals of Zodiac, some lovely solo work on the Rhodes and a 'free jazz' vibe on the horns. There's a constant funk bassline looping throughout the track to keep the energy going while the loose arrangement as well as the drum programming give the track that care-free feeling of a never-ending live jam. With that, 'Get Loose' is a great club track that crosses the boundaries between funk, jazz and house.

The title track still has that jazzy feeling but moves towards a quirkier territory with some 'Frits Wentink' style harmonization, detuned piano's and loosely chopped samples. There's a definite gospel feel to the track, thanks to the choice in vocal chops, which is complemented perfectly by a filtered disco bassline. The percussion layer and rhythmic elements are full of energy without ever crossing the line where of subtlety that makes this track so catchy.

On the flip, there's 'Feel ur senses', the most straightforward deep house track of the release, that gets its mood from an ongoing tremolo on the Rhodes pads. Space bleeps, bells, a hidden arp and 'reverbed-out' hits give the track an almost balaeric sound that will certainly put a smile on your face.

The B side is complemented with a vocal and instrumental remix of 'Get Loose' by Kai Alcé, who has been throwing out one killer tune after the other, remixing Volcov's Isoul8 project (one of our favorites of the year), as well as kicking out releases on his own NDATL label. Kai goes for a full-on soulful house vibe, giving his own chord progression center stage along with a set of rimshots. He chooses to leave the horns out, and instead work the vocal, Rhodes, and cowbells from the original to great effect, adding a little solo work of his own on a bell-like piano where he freestyles happily throughout the track and copies the vocal for added harmonies.
The instrumental version is perfect for those moments where you're done with all the vocals and just want a tight soulful groove.

We couldn't be happier with this release so play it loud and get loose!

Yours Sincerely,

Maarten & Lars

Superb sleeve of the trip to Sri Lanka.. A new traveller adventure, Epic... and a superbe Funkt Ixindamix to remember Reno23. Tragic.... Legendary Hydrophonic records produkt !

Major Keys is a brand-new audiophile label focusing on fully licensed reissues of jazz classics, pressed on 12' for a fuller, louder version compared to the original album cut. What better way to kick of the series than housing Herbie Hancock's imitable 'Chameleon' and 'Watermelon Man', loud and proud on either side of a 12' - remastered and cut by the engineer of the original Head Hunters LP from 1973.
They don't get much more iconic than 'Chameleon'. Nestled on the incredible 1973 'Head Hunters' album it's a 16-minute exploration of legendary jazz funk - having all the sensibilities and solos of a jazz record, yet grounding its rhythms in funk, soul and R&B. Even, as its title suggests, morphing from a low slung slow jam into a full-on, fast paced spiritual gem. Lock in for one of the most iconic basslines around courtesy of Paul Jackson, alongside some of the sweetest synth and Rhodes playing you're likely to hear from Herbie, all tied together with Harvey Mason's mythical drumming. Sampled the world over by the biggest and the best this is a truly timeless and hugely influential piece of music.

On the B side, the equally intriguing 'Watermelon Man'. This version, again taken from the Head Hunters LP, differs from the Blue Note bop '62 original, with Hancock developing it into a jazz fusion expedition. Bill Summers top and tails the track with a style of beer bottle blowing imitating a type of whistle playing found in Central African Pygmy music, giving a unique flavour to Hancock's jazz funk stylings that focus on the rhythmic interplay between each instrument. From Dilla to Digable Planets, Madonna to Massive Attack it's a classic that's sampled time and time again for good reason.

This is the second release from the Parisian label Aperçu, which has uncovered European producers for this compilation featuring 4 titles.The story of this compilation came about gradually, with one thing leading to another as the artists involved met up all over Europe and their musical affinities became apparent. Two years after their EP Stara Zagora,Metshka and Roman Delore are issuing the second release of their label, Aperçu, promoting three producers well deserving of attention. Ben Kaczor, the resident DJ at the legendary, intimate Elysia Club in Basel, Switzerland has his own label, KCZ, and is an adept of dark, sharp-edged sounds such as in 'Navel,' which plays out like a hypnotic, melancholy adieu but with well-defined kicks.Temiri, a native of southern France having spent time in Berlin, now lives in Switzerland as well. With the Swiss mountains and Geneva's rave parties shaping his sensibility, he created 'Love Intentions' - a soft gift to the world. HiromaKeo, a Lisbon-based French producer, champions a wide-ranging, contemporary approach to electronic music. After three years spent comanaging the collective and label ESITU (between Lille and Brussels), he has started a new project in Portugal: Vilamar. In 'SonheiContigo' we find his signature precision and the Japanese influences he likes.
Last but not least, Metshkaand Roman Delorecontinue to appear at parties and events in Paris and to work on hybrid events through their Pauza collective. At the crossroads of techno, ambient and experimental music, here they give us 'Ocre,' a work of slow violence.

Mr. Savio is a Stockholm underground legend and a good friend of Born Free since the early days. On BF36 he's serving up three house jams paying homage to Lovisa, Valle, Hjalle and Manfred, his immediate family. The vibe is soulful, deep and simple, just like a warm heart pumping at 120 bpm.

'Sounds from the Great House! Outernational Sounds proudly presents a Nimbus West spirit jazz essential: the Creative Arts Ensemble's classic debut One Step Out. Mastered at 45rpm on double vinyl for enhanced sound, this release features all tracks at full length for the first time on wax.

One of the most sought after and highly regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, the Creative Art Ensemble's One Step Out is a timeless work of spiritualised jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group.

A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through PAPA tenorist Michael Session, who took him to the famous 'Great House' at 2412 South Western Ave., LA - a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. 'When I walked in there,' recalled Kaeef, 'it was like this whole rush came over me, just from going in the front door...It was like a very, very warm feeling of love. I went and I came out with 'Flashback of Time', and that was my first arrangement.'

Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook - his piece 'New Horizon' would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But 'Flashback of Time' would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. 'I would like to form a group that would be an extension of the Pan Afrikan Peoples Arkestra,' he told Tapscott. The group was to be known as the Creative Arts Ensemble, and One Step Out, released in 1981 by Nimbus West, was their debut.

Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody 'Sonship' Theus and altoist Gary Bias, with veterans Henry 'The Skipper' Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energised independent jazz music. Community uplift and sacred vision straight from the Great House, back on vinyl for the first time since 1981!

Mopo presents a 7" with their scorching tune "Riisto" taken from the LP "Mopocalypse" on side A and a brand new cosmos-searching version of "Panama" on the flipside. "Acid Panama", as it's now called, features the Finnish scene legend Jimi Tenor on sax and various other instruments.

Cómeme delivers to you one of the freshest rhythms of 2018, recorded in Johannesburg, the new residency for the renegades of the beat. This is 'Rain' - starring Matias Aguayo and the actress, dj and singer Ayanda Seoka aka Mujaji The Rain. She's resident at the legendary Bar Kitchener's all femme 'Pussy Party', a space for feminist / queer action and dancefloor joy, right in the centre of Joburg.

Cómeme has been since some time in a serious and passionate relationship with that city. Radio Cómeme transmitted shows from there with electronica legend Felix Laband, Mpumelelo Mkatha from BLK JKS, the queer performance duo Faka, Gqom pioneers RudeBoyz and also Kwaito's legacy keeper Spleef McZaul. Matias Aguayo ventured into a beautiful collaboration with DJ Spoko, released two years ago on this label.

'Rain' is a deeply rhythmical track, inspired by the grooves that converged when Cómeme swing crossed the paths with the syncopations people in Joburg were dancing to. It has become quite clear in the recent years that elegantly shuffled triplets are marking a way to the future in dance music, especially in the southern hemisphere, no matter if you're in Durban, Rio or Santiago.

On top of this modern groove we can hear Mujaji the Rain enjoying how she gets wet under a dark and tropical sky. Laughter, joy and ecstasy is what she emanates while hypnotically involving you into this atmosphere of dense drumming and trance. (side note: Cómeme has been consequently evading the description hypnotical in press releases but this time it was unavoidable).

For further jacking fun we generously included a 'Club Mix', including more drum frenzy towards the second half of the track, and a 'Just Drums Mix' for the skilful DJ.

Side B features the jam 'Serious', which comes along with another killer beat, reminiscent of Michael Jackson or Cheri. A late-night track in which Mujaji The Rain turns into a sensual but slightly annoying creature that doesn't want to leave the dancefloor. and for sure doesn't want to go home.

We added an instrumental version to this complexly arranged tracks, which feature pianos, strings, and heavy synth bass stabs.
All tracks on this 12' are written in a 6/8 signature, which some normative DJs might shy away from, but be safe: both tracks are in 120 bpm and carry the seal of official Cómeme dancefloor approval by the label's highly respected DJs.

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Released in 1976, Distinctive Themes / Race To Achievement is legendary arranger Nick Ingman exploring the two distinct ideas of 'impressive themes varying in style from 'Basie to Elgar'' and 'a study in the pressure and rewards of achievement'.Distinctive Themes is a veritable indulgence of variously-tempoed, full orchestra, big band workouts, from relaxed swing to more propulsive themes. The progressively building 'Expanding Markets' is a true highlight, with its rolling pianos, contemplative electric guitar solos and moody horns over skipping beats.
The dramatic 'Against The Odds' is another stand-out.
Race To Achievement is all rugged funk with stabbing chords and strutting horns and it's probably our favourite side. Of course we have to acknowledge the fantastic 'Tense Preparation', sampled by Prince Paul and Dan The Automator for Handsome Boy Modeling School's seminal 'Magnetizing' with Del Tha Funky
Homosapien. But the whole side's range from tense underscores to fast and punchy chase themes makes this is a gem of the KPM catalogue.
As with all ten re-issues, the audio for Distinctive Themes / Race To Achievement comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current
custodian of KPM's brand identity.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Alan Hawkshaw (piano/Hammond) and Shadow's drummer Brian Bennett are responsible for some of the slickest, funkiest and most sought-after library records ever made in the UK, particularly ones recorded on the legendary KPM label. Their work has now become the go-to place for sampling in music today.
Artists such as Dilla, Nas, and the xx, right through to the billion selling Kanye & Drake have taken Hawkshaw's and Bennett's immaculate beat-driven soundscapes for their own usage.
Their new album, in full, iconic KPM cover is a return to the laidback jazz-funk that helped Alan and Brian demonstrate their library chops. The album is classic Hawkshaw/Bennett. It swings, it grooves, moves and thrills with a fair these two have perfected over years.
Standout tracks such as "Hole In One", "In The Clouds", "Interchange", "Oasis", "On The Nile" and "Corcovado" are no mere excursions in nostalgia, for they carrylots of deft studio work that many a producer would give their right arm for.
Hawkshaw's arrangements allow the drums, guitar, bass, strings, Hammond, fute and brass to swirl elegantly around the 12 original tracks; a masterclass in recording.
Cut by Pete Norman, housed in a beautifully designed Richard Robinson sleeve and pressed at 180g by Record Industry in Holland, this release has been aforded the care and attention it rightly deserves. Essential.

Recorded already in 1983/84, these soulful songs still show a relation to 1970s soul pop with lush
arrangements that work with real instruments and have a vibrant atmosphere. An all in all memorable songwriting
and the incredible vocals of Mavis Staples from The Staple Singers make the album stand the test of time, even 35
years after the initial recording sessions and 25 years past its first CD/MC release. Licensed by legendary BRIAN
HOLLAND and for the first time on vinyl now by EVERLAND!

Mavis Staples has come to fame and fortune as member of the family vocal group THE STAPLES
SINGERS from the late 50s onward to the mid 80s and she has released a fair amount of solo albums as well,
many of them in recent years. - Love gone bad' is a solo effort from 1993, originally titled - Mavis Staples' and only
released on CD and cassette back in the days. So EVERLAND have now done the right thing and put out the first
ever vinyl of this gem. And a real gem can be found here. Soul music in a down tempo with a slick production and
lush arrangements that still have this vivid expression making it real music by real musicians. The songs contained
on this album all date back to the early 80s, from a session not released until 1993. The melodies and the way the
compositions flow go back to a mid to late 70s soul pop style that incorporates elements of funk and dance music
but in a moderate pace. You can easily float upon the dancefloor and drift away in silky dreams. Some tunes have
a synthesized beat with a typical 80s sound, but these are compositions that stand the test of time and 25 years
after their initial release and 35 years after these recording sessions they shine on as diamonds of black soul pop
and R'n'B music (not to be confused with Rhythm & Blues). Mavis sings like a grand lady of soul with a timeless
quality that makes her stand out from the crowd of similar crooners. Even in the most gentle moments here the
tunes have an irresistible groove that moves the listener. But you can also sit and listen and explore piece by piece
digging deeper into the arrangements to unearth great bass and guitar lines. You will sing these vocal melodies
over and over again in the days to come until you throw this onto your turntable once again. I wonder why this did
not see a regular release back in the 80s as it would have led Mavis Staples to the top positions of the charts, Pop,
Black Music and Billboard. She was meant to make an impact and although she was already in her mid 40s when
she recorded this collection of soul nuggets, she brought a lightfooted youthful spirit in, which gives so much life to
her songs. A must have for all aficionados of female fronted soul pop.

After a long time in the works, Mothball Record is proud to present a lost album from legendary Italian wave band: Ruins.

Hailing from Venice, Ruins are one of the pioneering artists of the Italian new wave scene beginning in the late seventies: an explosion of new and exciting art, music and film.

The tracks on 'New Record' were taken from the self-distributed, tape only release from 1983 'Side Roads'.
This album was timed directly before their most well-known releases in contemporary times, the 'Fire / Crime' 12' and the eponymous 4 track EP on Black Square.

Taken from the original master tapes and selected by Ruins themselves, the album should be listened as a whole to gain the full experience, but immediate 'must-hear' tracks are 'I Don't Know', 'I Love You' and 'Last Night DJ Killed My Wife' featuring early use of Roland TB303.

At times unsettling, beautiful, violent, harmonious, these songs will finally get the audience and exposure they deserve 35 years later.

* New 7' from ultra-cool Helsinki-based roots, dub and reggae label / sound system Intergalaktik Sound.
* Featuring the vocals of the legendary Sandeeno who sadly passed away in September of this year.
* Produced by IGS Riddim Force, mixed, voiced and dubbed up by Dougie Conscious.

The latest release on Arma comes from Dutch legend and devoutly deviant underground operator Ruud Lekx, aka Rude 66. With a legacy that reaches back to the early 90s and the rough and ready Dutch electro sound of Bunker Records and The Hague, he's maintained a distinctly non-conformist approach that touches on acid, Italo, techno and more besides, all finished with the punky attitude that sets him and peers like Unit Moebius and I-F apart.

The tracks gathered together on The Witch Trials EP come from throughout Lekx's career. As the artist himself says, 'tracks from wildly different eras and sessions suddenly can combine to form one coherent EP. It's almost like the A-side tracks were waiting for 20 years to be combined with the B-side tracks.'

The overriding theme that binds together these timeless machine excursions is that of medieval witch trials - a global phenomenon that peaked in the 15-1600's. Considering the suspicion, propaganda and mass moral panic involved in this strange curio of distant history, Lekx points to the parallels with the current age, 'of political polarization and fake news accusations flying all over.' The EP title is also a tribute to two records close to his heart: The Fall's Live At The Witch Trials, and the one-off Witch Trials project by members of the Dead Kennedys, Adrian Borland and Christian Lunch.

'Werewolves & Poisoners' and 'The Crusade Against Idolatry' are both archive tracks from the 1994-5 period when Lekx made his first albums for Bunker Records. The first track's charging arps, rugged kicks, nagging acid lines and discordant paranoia all speak to that trailblazing period, while 'The Crusade...' revels in canny programming of interwoven synth lines feeding into an unhinged, psychedelic rampage that reflects the righteous fervour and spiritual confusion of the EP concept.

'The Absence Of Diabolism' opens up the B-side with a different tone, having been produced in 2016 and demonstrating the deeper acid undulations Lekx has become known for in more recent years. Still delivered via the same trusted tools he was using in the 90s, the sound feels like an extension of the Rude 66 vision rather than a separate entity. 'Envious Are All The People, Witches Watch At Every Gate,' a cut from the late 90s, closes the EP out in a spacious, snarling exploration of broken acid electro laden with cinematic sweeps of synthesizer and a constant sense of unresolved tension.



Across these four tracks, Lekx displays the scope of his craft as Rude 66 while also proving that timeless music can make sense in any context, and that the threads of inspiration in an artist's journey can be followed, explored and even resolved 20 years later, when you least expect it

Manana presents a new remix EP bringing together some essential re-works of Sound Species and Ache Meyi's collaboration recordings.
Originally recorded in 2016 in Santiago de Cuba during the lead-up to the Manana Festival in the city, the original sessions were an inspired fusion of Ache Meyi's deep folkloric Afro-Cuban styles with Sound Species' subtle electronic touches. The new re-works have attracted some familiar names from clubland: broken beat don IG Culture keeps the roots of 'Ogún Meyi Meyi' intact with a bass-heavy, percussive attack; brilliant UK drummer and producer Tom Skinner strips back 'Egrem Bata Jam' on a pulsing new version; Chicago legend Ron Trent creates a more melodic dancefloor re-work of 'Alina's Calypso' while Sound Species themselves beef up the original Afro-Haitian rhythms of the same track for a dubbier treatment.

NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers.

From the West End vaults we are pleased to present Ednah Holt's 'Serious, Sirius Space Party', a thundering, slo-mo, bass-heavy slab of NYC electronic funk that will sound familiar to those who paid close attention to what the maestro Larry Levan was doing in his sacred booth at the Garage in 1981, or to those who tuned in to peep what the master Afrika Islam was doing on his now semi-religious, hip-hop blueprint 'Zulu Beat Show' on WHBI. That's right, you can guarantee if those 2 guys were playing your record in the city at the same time then you had an underground 'hit' on your hands. The fact that it crossed over from the discotheques to the streets and back again speaks of the appeal of this super heavyweight jam, the legendary team up of Kenton 'Kenix' Nix, Larry himself on the mix, and former Ritchie Family vocalist Ednah Holt makes for some heady listening. One for the after hours dancers, B-Boys and B-Girls and lovers of the downtempo workout. A true and essential NYC classic.

All tracks featured re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG.