Arriving at their fourth release, Emotional Rescue's knowledge of forgotten musical gems and their commitment to give them the chance of wider appreciation they fully deserve cannot be in question! After digging out that Bob Chance classic, the focus switches to something of an equally balearic nature with the release of Jaki Whitren & John Cartwright's lost folk rock album International Times. Originally released as a private press on the obscure French label Living Records back in 1983, this eight track album is filled with dusty soul nuggets which are given extra life by the silky vocal stylings of Whitren - formerly a backing singer for Alan Parson. Opening track "Stay Cool" sounds quite ahead of it's time, whilst there are some true dancefloor gems for the more adventurous DJs out there, such as the title track and the laid back bump of "Go With The Flow."
Francisco Allendes, a classic violinist with a synth rock background, one of the most interesting electronic music artists from Chile, already released on Ghostly, Cadenza and several other labels. Italian born DJ, producer and Ibiza resident Paola Poletto, is not only the 'first female DJ to ever perform at Pacha' - she is also a graduated sound engineer. Together Francisco and Paola are not only the nicest couple of dance music, but as a producer team they are also about to leave a deep mark on the musical landscape. Their Desolat debut is a 4 track EP with their unique view on house music, full of optimism, fun and sundrenched grooves. Enjoy!
This is the 5th release in the now popular vinyl series personally compiled by Detroit producer & DJ Terrence Parker. This project features two very talented women from different parts of the world who have the love for soul music in common. The 'A' side features the song 'Finally' with lyrics written, vocals arranged and performed by Reno Ka. Reno Ka is a soul singer originally from Vienna/Austria but now living in Hamburg/Germany. The 'B' side features the song 'Where Do You Want Me' with lyrics written, vocals arranged and performed by Kelly Gunn. Kelly is a soul singer from Detroit who currently tours as a background singer for the R&B artist Kem. Both tracks were produced & mixed by Terrence Parker to make another funky soulful classic TP release!
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Brooks Mosher's return on Dolly with three hot new tracks, with his trademark analog synths and catchy hooks all present, effectively shape-shifting between moody Detroit / classic Chicago house and just plain & uplifting comtemporary underground club music. Three tracks that will unite dancefloors worldwide.
Acid techno killer : 303 hand numbered edition, packed in a classious printed sleeve. 2 long tunes, very expressives and efficient, with fat reprises. Check the amazing sound quality... Both sides pressed 33rpm for Crazy Djs to play these 45RPM.
UK stalwarts Jamie Anderson and Owain K team up again for another sumptuous slice of contemporary house music on Steve Bug's Dessous Recordings. Jamie Anderson has been exploring and manipulating the links between house and techno for over 15 years, having released on numerous influential labels, both solo and as a collaborator with other top artists. But it's his work with Bristolborn hot-property Owain K that is currently exciting discerning dancefloors worldwide. 'Do You Know', their latest collaboration, sees Jamie and Owain drop some serious sunshine grooves - shuffling hi-hats and a classic, Chitown synth let you know that this is all about the good times. The spoken word vocal pays homage to forgotten jazz legends - the uplifting vibe sure to put a smile on the faces of dancers all summer long. Jamie and Owain switch it up on the other main track in this release. 'Keep It Pumping' drops the tempo to 118bpm and digs its toes into the sand for a balearic-tinged nu-disco stomper. Disco toms fire, the sub bass rumbles, and spacey synths and vocal samples wash over this expertly crafted sunrise/ sunset groove. A dub of 'Do You Know' rounds off the release from this hugely talented combo.
Special tracks have a special story behind them. And this one certainly does. After Mario & Vidis recorded a couple of tracks with Ernesto for their debut album Changed they invited him to perform in their home country. During his short stay in Lithuania Ernesto performed two times and both times closed his set with a track called Care. It was kind of a mash-up - Swedish singer & songwriter was using lyrics of his old song to sing over Metro Area's classic Caught Up to a big effect - leaving the packed dance floors to a sing along to lyrical hook of 'sisters and brothers, smokers and lovers, care for me' every time. Big fan of Metro Area's sound Vidis offered him to do a reversion of this mash-up using Caught Up as a reference and inspiration. The vocals were re-recorded, new arrangement was done, and the song was tested in the clubs as well as live on stage. So here it is - another big tune from the three to sing and dance along
5 KING'S "Love & Then Sum" : 5 KING'S is five motherfuckers and this one from Chicago shows once again his very natural heritage/memory of Ron Hardy. Taking you into a more than 11 minutes deep house classic blend, classy, spiritual and dj friendly. Once again, core and essence of house music in its purest form ; continuity of & by the pioneers.
Tracklisting:
With a bunch of releases on various labels Dynamic is now preparing for the release of his second LP on Fokuz. The LP consists of 12 tracks: 8 drum and bass, 4 in various other tempos. The Modal Lounge LP will bring you to a dreamlike state, it's smooth, jazzy drum and bass definetely not for the masses. Like Dynamic said in his KMAG interview ''I dont just write dnb for the club - I'd never feel comfortable being restricted in that way''. The album however is not just for home listeners, already receiving support by the likes of LTJ Bukem and former BBC1 Radio hosts Fabio and Grooverider this LP is already promising to be a Fokuz classic.
SKYLAX RECORDS, THE company focused on realeasing original obscure dance classic and everything's that sounds fine to their ears !For our 26th release, we 're back with one of the hotest producer on earth right now : Chris Mc Millan as CARLOS NILMMNS (!).
Up and away / To your journey to the sun / Drink your rocket juice / Fly away (Hey, Shooter).
High up in the skies, amongst the clouds, Rocket Juice & The Moon was born. Literally. It happened back in 2008, when Damon Albarn, Flea and Tony Allen convened on the same Lagos flight, to play and exchange musical ideas in that city as part of the Africa Express collective. Relishing a shared enthusiasm for one another's work, and bonding immediately, there and then the triumvirate laid down the blueprint for Rocket Juice.
Still, more than a year passed before conditions were set for three weeks together at Albarn's West London studio, recording and refining two-dozen startlingly out and deeply funky instrumental grooves. The next stage was to invite onboard some extremely talented friends, with further sessions in Dallas, New York, Chicago and Paris... Erykah Badu, no less, queen of contemporary soul. Three companions from Africa Express: Malian singer Fatoumata Diawara, whose debut album has topped World Music charts since its release last Autumn; her multi-talented compatriot Cheick Tidiane Seck, whose prodigious keyboardism has lit up releases by artists ranging from Youssou N'Dour to Hank Jones; the young, Ghanaian rapper M.anifest, quizzically existential, switching seamlessly between Twi and English. And the Hypnotic Brass Ensemble, long-time stalwarts in the Honest Jon's set-up — since one of the team discovered them busking near the shop in Portobello Road, on his lunchbreak — with a second album for the label due in May... Finally, the tracks were dispatched for mixing to Berlin, to be meticulously honed, polished and envenomed by Mark Ernestus, one half of the legendary Basic Channel and Rhythm & Sound partnerships.
The result is Rocket Juice & The Moon — out March 26, 2012, on Honest Jon's Records — a triumphant exploration and proliferation of kinetic Afro-funk rhythms: organic, exuberant, communal music-making, evidenced by the project's live debut on stage as part of the Honest Jon's Chop Up in late 2011, which hit London, Marseille, Dublin, and Cork to such great acclaim (witness the flurry of smart-phone film-clips uploaded in the days thereafter).
From the inaugural bars — that absurdly funky slice of instructional timekeeping, 1-2-3-4-5-6 — the liquid pulse of Fela Kuti's classic recordings drives the action through a suite of 18 shape-shifting compositions. The greatest drummer in the world has never sounded so good as he does here. His intricate cross-patterns jostle and lock with Flea's nimble, rumbling bass riffs. Joined by Seck on There and Extinguished — 'when you dispose of something burning, be sure it's out' — Albarn's keyboards spray synth fusillades up top, over, and under... splicing into the mess of wires running between the freaked Afro-disco of William Onyeabor and the space-jazz-moog of Sun Ra. The HBE brings extra intensity and drama to Leave-Taking — likewise Flea's trumpet to Rotary Connection — teasing out the haunting melody coiled in the mix.
Where the best of vintage Afrobeat sides sustained their concentrated energies over the course of sprawling, marathon jams, RJ & TM manages something altogether different: the group bottles the idiom into capsules of funk... and real songs. Beautifully buoyed by Erykah Badu's unmistakable vocals, Hey, Shooter brilliantly traverses metaphysical spaceways sans any semblance of noodling. Lolo and Follow-Fashion — featuring the open-hearted sensuality of Diawara's singing, M.anifest's quick, brawny science, and more brass blasts — play like its musical cousins or codas. Indeed, the album's shrewd sequencing creates the composite effect of tracks working both individually or within the context of an extended song-cycle.
The lovely ballad, Poison, is bittersweet and ruminative: 'If you're looking for love, beware the signs / They will paralyze you one by one / Poison, it will only break your heart.' Down-tempo and dubby, Check Out and Worries amplify the range of styles and moods. And by the time of Fatherless — a chugging Afro blues that evokes John Lee Hooker lost in Lagos, one gets the sneaking suspicion there's very little outside the reach of this collective's inventive musical grasp.
There is, in fact, a palpable openness pervading Rocket Juice & The Moon — the sense of a limber willingness to follow creative impulse — right down to how the group acquired its name. When Ogunajo Ademola — the Lagotian commissioned to do the album's cover artwork — dubbed his submission 'Rocket Juice & The Moon', it quickly morphed into the formal name of the project, like trying to hold onto mercury.
Surely, the stars above also approved.
A new label offering from the ever active vaults of Mr. Sascha Müller is the new imprint named Psychocandies which is setting things straight for an Acid-poisoned future with cat.no. 001 which is a marbled, limited to 200 copies 7" pressing holding Sascha Müllers "Tempelrotation (Edit)" and Acidfloors "Goja 3" on the flip. Whilst the first mentioned tune is on a grinding, distorted MonoAcid tip clearly influenced by long gone labels like Labworks or Propulsion 285 we see Acidfloor working on a mind bending fusion of dry ElectroPhonk and a tweeking 303 that is about to make all breakers twist their legs and the rest of the crew jump around like mad. If you love alltime classics like "Higher State Of Consciousness" you'll surely appreciate this little tune as well. Watch out for more candy!
Do you remember the classic track "Salsa House" back in good old 1988 yes no no problem! You will find a great cover version of this classic as the opener Track of the new Deep88 EP.
Fantastic new LP on Pin Cushion Records featuring eight superb tracks of the finest funky rock, folk and soul. The A side kicks off with the awesome funky monster 'Save Me', an absolute dancefloor bomb with slamming b-line from Nanette Workman's self titled 1976 LP. Next up is the super funky 'Lucky Lost Sin', a wicked female vocal funk-folk-jazz cut that also works well in the clubs, followed the great uplifting vibe of Rory Block's 'Lovin' Of Your Life'. Closing this side we have the wonderfully laid-back 'Santa Cruz Mountains' taken from Eddie Callahan's hugely in-demand and impossible to find 'False Ego' LP. The flip side features the excellent 'Spill The Wine', a great Rhodes-driven workout from Eric Burden's WAR, followed by David Amram's 'Message To The Politicians of the World', a killer spoken word track over a sweet melody. Next up is Friends Of Distinction's 'Light My Fire', an amazing funky cover of the Doors' classic taken from their rare 1969 Highly Distinct LP and last but not least a cool breezy summer groover from Bay Area band Kingfish whose lineup included the legendary Bob Weir, founder member of The Grateful Dead. A superb selection of tracks, not to be missed.
rebuilt album is a lp from ethnik groove that includes 6 new remixes from some of the classic tunes (funky moment - gotta go - unexplicable life) produced by paul eg with two bonus tracks.
Djs is a label focused on releasing original material from timeless artists. our releases will be only for djs / limited edition,for our 6th release, we bring you the best of the best & obviously the rarest 12 inches around again !Amazing 3 tracks ep from 1990 feat. one of the original deep house creators VINCENT FLOYD.A side comes up with the fantastic 'cruising' (long ride), we guess the words deep has been created for records like this.
From the 'whistle while you work' opening of 'Zimbabwe', the summer grooves of 'Tapioca' to the dramatic crescendo of 'Oceans', New Navy's debut 'Uluwatu' EP demonstrates the Australian bands powerful songwriting ability and consistent style.
The latest jam from Thorsten Scheu aka GLANCE (stir 15) and JIMMIE WILSON ("pretender") follows the vibe of classic, timeless house music, three mixes that span a wide range.
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One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.
There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t Feelin’ Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.
Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ’60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album Bitches Brew.
But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.
Her 1974 sophomore album They Say I’m Different features a worthy-of-framing futuristic cover challenging David Bowie’s science fiction funk with real rocking soul-fire, kicked off with the savagely sexual “Shoo-B-Doop and Cop Him” (later sampled by Ice Cube). Her follow up is full of classic cuts like “Don’t Call Her No Tramp” and the hilarious, hard, deep funk of “He Was A Big Freak.”
Number 1 in a series of 3 EPs unraveling unreleased classic House tracks by Stefan Goldmann. Victoriaville continues it's research into Stefan Goldmann's sweet back catalogue with the world premiere of a triple vinyl series of never before released House material.
When we heard Pompeya for the first time and were told they were from Moscow, we were like: - What! Are you kidding This is probably the first Russian band singing in English with such a classy Brit touch and male vocal being very strong and sophisticated at the same time.
Peter Presto is not only the founder of Pingipung, he's also the chap who did the first release on the label in 2002. Since then all of his dub sound has been available on 7inches, cause its simply the best format for these little gems. For Summer Of Seven he has reworked a theme from a classic computergame adventure in his very own vivid, happy-go-lucky dub style. Peter loves the melodies!
More beautifully crafted deep house from Detroit soul singer Marvin Belton. Recorded in the Motor City soon after 'Bleed To Be Free', this single is soon to be another underground classic. 3 versions including a 808 & 303 Dub for late-night dance floors...
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After releases and remixes out on Lovemonk Records and Nickodemus' Wonderwheel label Pablo Sanchéz is currently throwing out hot jams from his studio in Barcelona.
For GAMM he sorted us with a blazin' discoish dub of Pointer Sisters 'Yes We Can Can' that gives the original a more dj friendly push.
On the b-side 'Monkiez' delivers a classic meltdown of hip hop beats Thelonius Monk jazz samples.
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Averse to any easy classification, Rainbow Arabia's continent-trekking, kaleidoscope pop is rooted in no particular time or place, employing modern technological processes to an array of musical cultures and eras.
The title of this EP sorta says it all. It's quite an important release for the label. Glasgow musical connections all around!
"Theme for Great Cities" was originally released in 1981, an electro-trance-funk classic, pre-dating the rave scene by about 10 years. Naum Gabo takes it, electrifies it, and turns it into a hi-fi dancefloor filler.
Rockwell's rise to prominence as a rare, distinctive talent has been exciting the electronica music circuit the world over. Critical, thankfully, being the trusty forefront for all things audio-aesthetically delicious, presents the 'Aria EP' - 4 tracks of sound sublime, exemplifying Rockwell's refreshing angle on energy in the club combined with the characteristic, meticulously playful technicals, precise and thrilling as ever. The charmingly rustic intro of 'Aria' unleashes striking Flinstones-esque wooden triplets, scaling the track as stirring vocals weave through; haunting and uplifting at once, the title-track exudes sheer class. Slightly more buoyant, 'Live For The Moment' infuses an energetic tempo with profusions of ear-carressing funk and those ever-characteristic percussive twists - naughty all over. Swiftly plunged into apocalyptic darkness, the Ulterior Motive boys take a sinister liking to 'Noir'. Distinctly menacing and genuinely frightening, what better to bully the atmosphere than Hell-raising bass and staccato violins. Listen out for the breakdown bass - horrific and enriching, this track is dark by Devil's definition. Icing on the cake collaboration with underground legend Untold comes in the form of 'Rehoku Sunrise', a tribal earthy worldly masterpiece of running drums and raw, wild samples, glazing the soul in bliss. Bellissimo.
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This is the last ever album from legendary German rock quartet Scorpions. This new x12 trk album will be supported by a three year world tour, including UK dates. Strong press support across specialist mags including Classic Rock & Metal Hammer, with ads, features, interviews & reviews. Database & Ecard mailout. Specialist radio plays across ILR, Kerrang. Student & rock club promo. MTV vid plays across MTV2. National poster & flyer campaigns. Ltd vinyl format (500).
Omar S treats us to a second release in the space of a week, with a much deserved reissue of some 1996 Roy Davis Jnr rawness across the A Side. The Stevie Wonder classic "All I Do" gets chopped up, laid over a killer Chi town beat filled with instantly gratifying raw drum edits and augmented by some evil bass thumps. Relentlessly brilliant and sounds just as fresh some 14 years on. Echoing a current trend this side plays outwards from the inside groove. On the flip Omar S teams up with DJ B Len D for the bongo heavy deep groove of "Da Teys" a track that's characterised by melodic keys which increase with curveball drama as the track progresses.
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