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Houston’s reputation for developing first-class jazz acts is well-established, as a stream of young players have been distinguishing themselves for decades…among those musicians and mentors who stood tallest, Bubbha Thomas was no exception (and a major key-player) in this long tradition of talent.

Before becoming an artist and educator, Bubbha Thomas (born 1937) was a Fourth Ward kid who grew up in a music-filled household. In High School he divided his time between music & basketball (he excelled at both) and studied with jazz legend Conrad “Prof” Johnson. “Prof” would later bring jazz glory to Texas with the Kashmere Stage Band, the group of teenagers who would win the “Best High School Stage Band In The Nation” prize in Mobile, Alabama in 1972 and who were anthologized in 2006 on Now-Again’s ‘Thunder Soul’ (which led to the 2010 Jamie Foxx documentary of the same name).

After finishing college, Bubbha got drafted in the service (he was a Korean War veteran) and would return to Houston in the early 1960s where he found work as a session drummer for the Duke and Peacock labels. Thomas drummed on recordings by O.V. Wright, Buddy Ace and the Mighty Clouds of Joy. He was playing his own stuff and backing luminaries such as R&B singer Chuck Jackson and homegrown legends like Lightnin’ Hopkins. Bubbha Thomas also teamed up with some of his equally legendary peers (like guitarist Melvin Sparks & organist Leon Spencer) and eventually established his own group, the Jazz Merchants.
Bubbha learned every style that was thrown at him and he played straight-ahead jazz with renowned artists before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane and Sun Ra…the result of these new found influences was the incredible spiritual jazz ensemble ‘The Lightmen’, who released four incredible recordings in the 1970s. Their first album ‘Free As You wanna be’ predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East and is a harbinger of some of the best in the 1970s jazz underground. The Lightmen albums eventually fell out of print until 2017 when the Now-Again record label brought them back into circulation and generated new interest in Bubbha Thomas’ work.
Thomas had a storied career as a drummer and bandleader, but perhaps his most enduring work is that as founder of Houston’s Summer Jazz Workshop, a remarkable program that nurtured upcoming talent for generations...we can’t begin to count the number of young people who benefitted from the exposure to music-arts because of Bubbha Thomas and what he meant to the Houston music community. In his career he earned five Grammy nominations and authored a pair of books. Next to this he was also a writer/editor for several local newspapers, ran one of the first Houston African American Television shows and he hosted a radio program on KYOK. Impressive to say the least!

Bubbha Thomas passed away in March 2020 at the age of 82. It was obvious he was a principled, fiery & wise person…and any anger he felt at America’s (and the world’s) injustices he met with music, intellect, activism and unity!

Next to his work with ‘’The Lightmen’’, Bubbha also released the fantastic (solo) album ‘Life & Times’ in 1985. ‘Life & Times’ (which we are proudly presenting you today) is particularly interesting to boogie-enthusiasts because of its high doses of funky twerks, solid grooves, crazy synth work, soulful vocals and excellent drum-beats courtesy of Mr. Thomas himself. You’ll quickly find yourself shaking hips the moment the needle hits the first track! The whole album is backed by a fantastic cast of all-star players and includes Howard Harris (Ruth Copeland), Dwight Sills (Bobby Lyle - TLC), Jerry McPherson (Donna Summer), Leo Polk (Kashmere Stage Band), John Gordon (Strata East) and Jackie Simley (Queen Latifah - Lionel Richie). All of the above makes this LP an essential purchase for any self-respecting fan and collector.

Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of this fantastic album (originally released in 1985 on Lightin’ Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

Thinking about a fox face may give many warm, fuzzy feelings,
but don’t forget that foxes have teeth.While Milwaukee quartet
Fox Face may not bite one’s face, their new album End Of Man
might just melt it off.
Featuring players drawn from various corners of the Brewtown
music scene, Fox Face came together organically ahead of the
recording sessions for their November 2017 debut album, Spoil
+ Destroy. Main songwriter Lindsay DeGroot (The Olives)
started working on her songs with multi-instrumentalist Lydia
Washechek (Static Eyes). Eventually fellow Olives member
Mary Hickey joined up on bass, and the final piece of the band
was found with the addition of drummer Christopher Capelle
(Midwest Beat, Long Line Riders). Spoil + Destroy was one of
the best garage punk albums of 2017-2018, taking on science
deniers, misogynists and other jerks with songs anchored by
fiery guitar playing and rock-solid ensemble playing.
End Of Man bumps up the furious guitar sound of Spoil +
Destroy a few more notches. It’s not hard rock, per se, but the
album’s sound edges in that direction. And one can tell that Fox
Face has been playing together for several years now, because
these recordings are tight AF. There’s no filler or extraneous
padding; the arrangements and playing make for a cohesive
whole, and lyrically the songs are direct and to the point while
still remaining universal enough to be met on personal terms by
the listener.
End Of Man may not be a party record … at least, once letting
the lyrics filter past the lizard brain enjoyment of the blazing
riffs. But art is not supposed to be all fun and games. Standing
up and speaking truth may not be the easiest path for a band or
its listeners, but there is much to be said for catharthis. Anyone
feeling despair and helplessness about the current political and
societal breakdown should find some common ground to rage
along with these new songs from Fox Face.

The debut album from GEORGIE SWEET soars effortlessly over lush, soulful hip-hop from RAPSON & MECCA:83, while K15 provides futuristic funk & SIMON S turns in moody jazz tones. GEORGIE shares vibes with JILL SCOTT & HIATUS KAIYOTE & sonics with THUNDERCAT, MICHAEL MCDONALD & more.

Early summer 2019, João Lobo started recording his compositions at les Ateliers Claus in Brussels, with guitarist Norberto Lobo, bassist Soet Kempeneer and recording engineer Christophe Albertijn. The recording sessions were planned over the course of one week, however the job was mostly done in just a few takes. With the addition of some overdubs, the whole process was finalised in a spontaneous wave. It is too simplistic to define Joao Lobo’s compositions with one term, and the association of the album “Simorgh” with this ingenious partnership’s new creations, is inevitable.

While the mix of genres and styles may be easy to distinguish, the focus centres on the result of the mixing: a highly grooving and an occasionally paused and introspective music that seems out of time and out of space. It is difficult to grasp or define a specific period in time or a geographic origin in this fusion of references, as what you listen to is a bold creation of original and surprising elements. Drummers – such as João Lobo – employ a multi-layered concept in their music, weaving the different tracks into a linear wash of sound. He plays the song with the drum set while the other members fly in and out of the compositions, always gathering around their phoenix in order to attain enlightenment.

What João Lobo and many of his contemporaries are up to, can be explained through simple terms as a future exploration of the emotionally expressive possibilities of sound. It breaks away from the conventional order providing space for the discovery of a new order. Simultaneously it allows a more profound and broader expression of what the current reality of music is and represents. It was instantly clear for me that we had to share his music with our audience and create this medium for happiness.

This release is the trio’s debut record, which is the impetus for their personal development in the realisation that features João as a mentor in the creation process. The featured compositions highlight the musicians’ unique physical aspect to control their instruments and their hidden techniques that underlying these tracks. The result is an ongoing aural interplay. It was love at first sound.

This album is a co-release between Les Albums Claus and Shhpuma.

Second album release on Columbia Records from US hip hop/drill/rapper/singer/songwriter/producer. A 16 track double LP set on black vinyl. Collaborators include Juice WRLD and Lil' Baby. Specialist promo/marketing activity across all media outlets. The album reached #2 in the US Billboard charts when released earlier this year.

Blue vinyl includes mp3 download, 12 x 24 inch poster: Some say life only makes sense in reverse, from the vantage point of your rear view - Magic Mirror is a looking glass of sorts. Like a modern day Alice in Wonderland, Pearl Charles beckons you to slip and fall into her world. You'll find yourself drifting with the tide - the ups, downs, and all-arounds of a life well-lived and well- loved. From start to finish you float along a reflective river, dancing in your own/the personal/private Studio 54 of your living room, decked out in sequins or nothing at all. It's a feel good album that asks us to actually take the time to feel good. Magic Mirror follows the cartography of a girl, growing into a woman, as she moves through life from singledom, to the expansive space of self-reflection, and the newly appreciated perspective of coming back together again and finding yourself, this time with someone new. A love letter to the self, a dance party for life, and at times as introspective as your best trip, Pearl takes us on a journey that, like life & love, has the tendency to surprise, delight, and leave you breathless. All you have to do is let yourself enjoy it.

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

It seems that every major jazz artist has a one-off sort of record in their discography, be it with strings, voices, spoken word or - as in this case - a foray into the funkier side of jazz. Charlie Rouse (going here as Charles Rouse) gets his chance on Two Is One, a funky soul jazz excursion on Strata-East, the artist-run label where creativity and pushing boundaries was at the forefront. Playing mostly with a group of session musicians, Rouse put together an album that may stray a bit from his hard bop roots, but is nonetheless an enjoyable and at times inventive record. The style of music played here - sophisticated soul jazz with some post bop and spiritual jazz thrown in for good measure - is very much a product of it's time. 1974 saw a whole slew of artists stretching the boundaries of what jazz music could be, combining elements from the past two decades into electric jazz adventures. The piano-less group that Rouse put together is a funky one, with lots of rhythmic playing behind either the searching solos of Rouse on the tenor or some inventive electric guitar work from either George Davis or Paul Metzke who appear together on all but a couple of tracks. Cal Scott gets plenty of time to shine throughout on what sounds like an electrified cello, an unusual instrument for modern jazz to be sure, but one that manages to fit in just fine here.

The first side of the album is all slow burning soul jazz, highlighted by the opening track "Bitchin'" where Rouse shows off that he is more than capable of setting down soulful lines over a funky backbeat. The second side is where the group gets a whole lot more inventive, particularly on the title track where they mix some post bop madness with the soul jazz sound. "Two Is One" features different tempos throughout: in the "first section" the bass plays in 9/8 time, the drums in 6/8 time and the cello and tenor are in 3/4 time. For the "second section" the rhythm section switches to 7/8 time while cello and tenor move to 4/4 time. Stanley Clarke is on bass here and his deep and twisty electric bass line is placed prominently up front.

"Two Is One" is certainly the highlight of the album from a pure jazz standpoint, and it lives up to it's title, which according to Gene Lewis' liner notes is taken from a Thelonious Monk phrase meaning two people so in tune with one another that they become one. The album finishes off with "In His Presence Searching," a spiritually informed jazz number that is reminiscent of the work being done during this period by the likes of Pharoah Sanders and Gary Bartz, (while not being quite as out there as their best work). The tune is all rhythmic glory, with Rouse and Scott playing introspective and penetrating solos throughout. It's a nice album closer, and a good reminder that while Two Is One may be best known for it's funkier excursions, Rouse had a few tricks up his sleeve and the album, when taken as a whole, is a complete statement from a legendary jazz musician.

Stevie Nicks’ solo catalog has sold over 103,000 albums in 2019, including 90,000 in physical alone.

The power of her classic legendary hits endures to this day—nearly 2.7 MILLION on demand streams per week, over 150 MILLION total in 2019, and continued radio presence— over 1,700 plays per week / over 8 MILLION audience per week and a staggering nearly 450 MILLION in audience for 2019!

Filmed and recorded in Indianapolis and Pittsburgh in 2017 during the 67 city sold out tour, 24K Gold Live in Concert features her solo hits “Stop Dragging My Heart Around, “Stand Back”, & “Edge Of Seventeen”, as well as Fleetwood Mac’s “Rhiannon” & “Gypsy”.

It also includes the first ever live recording of “Crying In The Night”, and other live rarities.

Stevie Nicks’ solo catalog has sold over 103,000 albums in 2019, including 90,000 in physical alone.

The power of her classic legendary hits endures to this day—nearly 2.7 MILLION on demand streams per week, over 150 MILLION total in 2019, and continued radio presence— over 1,700 plays per week / over 8 MILLION audience per week and a staggering nearly 450 MILLION in audience for 2019!

Filmed and recorded in Indianapolis and Pittsburgh in 2017 during the 67 city sold out tour, 24K Gold Live in Concert features her solo hits “Stop Dragging My Heart Around, “Stand Back”, & “Edge Of Seventeen”, as well as Fleetwood Mac’s “Rhiannon” & “Gypsy”.

It also includes the first ever live recording of “Crying In The Night”, and other live rarities.

Following the November 20th 2020 release on CD and digital, Fogerty’s Factory is now being made available on vinyl.
This album is a ‘time capsule’ of the Fogerty’s Factory sessions that John Fogerty and Family have been sharing on YouTube and with various media during lockdown.
All tracks were recorded since the beginning of March 2020, and feature John along with his children, Shane, Tyler and Kelsy Fogerty. Shane and Tyler together are BMG frontline signing Hearty Har.
Seven of the tracks have never been available commercially before - the other 5 have only been made available digitally as part of the Fogerty’s Factory EP released in May 2020.

'An expanded edition of KT’s second studio album ‘Drastic Fantastic’, to be released on 2LP + 10″ coloured LP set, 3CD and digitally. Bonus content includes acoustic versions, live tracks, remixes and b-sides such as Journey which has never been delivered to streaming or released physically in the UK. The bonus 10″ will consist of 4 brand new, unreleased remixes of the album’s singles Hold On, Saving My Face, If Only and Little Favours.




























[xb] Hold On (The Freelance Hellraiser [Holed Up] Remix)


[xe] Little Favours (MyRiot [Big Flavours] Remix)

A gentle descent into washed out shoegaze memories, swallowed by windswept drones and distortion.
March 2020, lockdown No. 1 ''I don't believe that this music was actually created by myself. In fact isolation established the environment for its appearance.
Instead of thinking about music, as i went pacing the floor, I fell to counting my footsteps until I felt about to go mad.
A body needs at least three points of support, not in a straight line, to fix its position.
A body does not tip over when the force holding it upright in place is stronger than the force pushing it over. Lawfulness of the material.''
(She Was A Visitor, November 2020)

-LTD. COL. EDITION-

We are always sitting on a handful of unreleased songs that didn't make their way to albums. Listening back to these gems we decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & the Expressions. These tunes were cut during the Special Night & It Rains Love sessions. Listening to these tracks you can imagine how difficult some of these decisions were in the first place to leave them off the albums. An absolute standout is "Regenerate," a song that finds Lee in the country soul realm, a style that Mr Fields, a North Carolina native, flourishes in. A drum break starts the song and then drops into a chorus where El Michels, Paul & Big Bill Schalda belt out the earworm chorus. Lee sings an encouraging tune about finding your way out of a low point in a relationship while The Expressions lay down an airtight groove. "Thinking About You" takes it back to the dance floors with what will surely be a hit at Soul parties around the globe. An uptempo drum break opens the song and Lee launches into a tale about the unbreakable bond with his significant other and how they keep each strong through moments of hardship and pain. People who have seen Lee perform live in the last decade might have been lucky enough to hear his rendition of Little Carl Carlton's "Two Timer". For those of you who haven't heard it, Big Crown Vaults has got you covered. A faithful version of the song showcases Lee's gorgeous voice and the Expres- sion's unwavering groove. Another treat on here is the fuzzed out funk banger "Do You Know" where Fields uses his platform to address some of our societal woes in a "Make The World" style. A deeper from the vaults number is "Out To Get You", an instrumental that Lee never laid down vocals to. Even as just a rhythm track it stands as a testament to The Expressions musical prowess, the band that created 5 studio albums with Lee Fields which will go down in history as stone classics.

Colored Vinyl edition : Solid White. The album remastered for the very first time, with Roland Gift's involvement. Incudes download card featuring the album 10 + 22 rare & unreleased bonus tracks (B Sides, remixes) =32 Tracks Total.

Clear Vinyl


It is the year 2020, a year that addresses our awareness of diversity, tolerance and sustainability in an assorted, socio-cultural way. We translate this demand into music. "Nuthin' But A She Thang" focuses on a marginalised view of instrumental beat music.

This sampler, reflects a cross-section of the international female producer scene: 14 female artists, 8 countries, 4 continents, one language - music! The 14 instrumentals take the listener on a musical journey, which creates a tension between classic sample sound and modern current productions.

The many facets of female beat producing are presented by exclusive contributions by Ainie (DE) o Aygyul (AT) o Courtney Hawkins (US) o Da Chick (PT) o Georgia Anne Muldrow (US) o Gnarly (UK) o Jillesque (US) o Josi Miller (DE) o Julie Schatz (US) o Lisa Vazquez (US) o Sadiva (AUS) o Saltyyyy V (DE) o SOWALL (KOR) o USAGI (JP). Together with Stylefile as a cooperation-partner, we were able to persuade none other than HERA (DE). She implanted an even more artistic approach and added an exclusive artprint to this piece of music.

Our latest Release DDCT003 is in the end not only a musical project, it is a statement, it is an attitude.

Colored Vinyl Edition : Solid Red

The album remastered for the very first time , with Roland Gift's involvement. Includes download card, featuring the album + 29 rare/unreleased tracks (B Sides, live, remixes)

The album remastered for the very first time , with Roland Gift's involvement. Includes download card, featuring the album + 29 rare/unreleased tracks (B Sides, live, remixes)

Includes the hits "Johnny Come Home " "Suspicious Minds"

After a brief period of studio lock-down at the start of 2019, Brame & Hamo are back and present their fifth EP ‘Pressure’ on their eponymous imprint, due out on the 24th of June.
Having recently appeared in the Mixmag Lab, and put out a highly-curated mix via Ninja Tune’s Solid Steel Radio late last year, the duo from Sligo have an ever-increasing tour schedule, which is taking their vibrant brand of music to dancefloors worldwide. They recently completed a sell out four-show tour in Australia, and have trips to the USA, Canada and Asia booked for later in 2019.
This EP is a contagiously energetic three tracker. Starting off with ‘Pressure’, an infectious drum pattern morphs into a driving and spacey dance floor weapon. ‘Transit’ is an intricate commute of driving synths, whilst ‘Dial Up’ is the guy’s take on breakbeat rave, taking inspiration from Josh Wink and Chemical Brothers.
“The start of 2019 has been a few months locked away in the studio juggling demos for various labels and making sure everything is just the way we wanted it. We have been putting ourselves under a lot of (self-inflicted) pressure to continue to deliver music of the standard of previous releases, and finally we got there. Each of the tunes took only a few hours and were all done in one take, using all the hardware in our studio during some intense jam sessions’.

Therapy? are an alternative metal band from Northern Ireland. The band was formed in 1989 by guitarist-vocalist Andy Cairns and drummer-vocalist Fyfe Ewing. To complete the lineup, the band recruited bassist Michael McKeegan.

1994 saw the release of the commercially successful Troublegum album which earned the band appearances at a string of rock and indie festivals, including Reading, Donington and Phoenix in the UK alone, as well as a clutch of top
40 singles. It achieved a string of nominations in end-of-year polls, including a
Mercury Music Prize nomination, and success at the Kerrang! Awards.

The album has a melodically dark, metal-like sound. Troublegum is generally considered to be Therapy? at their musical and commercial peak and has since sold over one million copies worldwide.

The album includes singles and videos for “Screamager”, “Turn”, “Nowhere”, “Trigger Inside”, “Die Laughing” and “Isolation” (Joy Division cover).

Pantera’s final opus, Reinventing The Steel, represented a recommitment to everything the band loved about heavy metal. Released in 2000 at the peak of nu-metal’s popularity, the album’s back-to-basics approach flew in the face of the trend and served as a potent reminder of the enduring power of primal metal.

Pantera’s 9th and final studio album turns 20 this year and is celebrated with this 2LP set, pressed onto 180g audiophile silver vinyl, featuring the new Terry Date mix on one album, plus eight rare bonus tracks making their vinyl debut on the other.

The album received widespread critical acclaim as well as high praise from fans, who voted the album as Album of The Year 2000 as well as voting the single “Revolution is My Name” Single of The Year 2000. The album also ranked No.2 on Guitar World’s readers’ poll for Top 10 Guitar Albums of 2000.

It’s time for another dose of Classic Symptoms and this time get ready for an NHS trip back to the years of 2003-2006.
The fourteenth instalment of the exclusive release series which sees extremely limited vinyl presses of Hospital classics, has drawn for four untestable originals from Logistics, Q-Project, London Elektricity and Danny Byrd.
First up is Logistics’ 2006 liquid-funk anthem ‘City Life’ originally featured on his era-defining debut album ‘Now More Than Ever’ supported by legendary figures including Fabio & Grooverider, LTJ Bukem and Andy C. Hypnotizing piano loops and deadly subs keep things rolling on this exemplary slice of fast soul funk.
Drum & bass all-star Q-Project is up next as his timeless banger ‘Obsession’ gets a 2020 vinyl revival. Originally supported by the likes of High Contrast and Friction, ‘Obsession’ still receives widespread rotation to this day as its unforgettable melody and groove assert it as a certified dance music destroyer.
“Fast Soul Music” is the brainchild of Hospital head-honcho London Elektricity and was initially featured on his 2003 album ‘Billion Dollar Gravy’. A clear cut example of the much loved loungecore sound, the uplifting London Elektricity classic influenced styles and the legendary Hospital “Fast Soul Music” compilations for years to come.
Signing back to Hospital Records in 1999, Danny Byrd’s musical endeavour has been commendable to say the least. “Soul Function” represents the classic sounds of Danny Byrd with 2005 dancefloor energy. Garnering support from pioneers such as Bryan Gee and Total Science, Danny Byrd’s drum & bass style continues to go unmatched.
Don’t sleep on securing your extremely limited press of four Hospital classics from the 2003-2006 era. This one is for the serious collectors - once they’re gone, they’re gone.

“Bernie Says” ist das Debütalbum des in South London ansässigen Produzenten Jake Milliner.

Aufgewachsen in einem musikalischen Haushalt und geprägt durch die Golden Era,
hat sich Jake in den letzten Jahren mit seinem abgespaceten und souligem Sound unter Boom Bap Fans (einschließlich T-3 von Slum Village) einen Ruf als “One To Watch” erarbeitet. Außerdem hat es Jake bereits geschafft Medien wie Boiler Room, Clash Magazine und Afropunk auf sich aufmerksam zu machen.

Jake produzierte bereits für Künstler wie Barney Artist, Hawk House, Bubblerap, Lord Apex, Zilo, Musiq Soulchild und T-3 (Slum Village). Mit seine Debut Album “Bernie Says” tritt Jake nun selbst ins Rampenlicht. Aufbauend auf seinen Boom-Bap-Wurzeln erweitert Jake sein Klangspektrum auf “Bernie Says” um Jazz- und Boogie, mit viel Keys und einem Alfa Mist Feature auf der ersten Single “Reminisce“. Einige andere Pianisten der aktuellen Londoner Jazzszene haben Ebenfalls an dem Album mitgewirkt, können jedoch aus vertraglichen Gründen nicht genannt werden. Gesangstechnische bekommt Jake Unterstützung von ehemaliger Hawkhouse-Sängerin Bubblerap und befreundetem Rapper 25.

Mehrere Stücke des Albums werden von wichtigen Radio DJ’s bei BBC 6, Worldwide FM und NTS gespielt, darunter Marry Anne Hobbs, Tom Ravenscroft und Don Letts.

Das Artwork basiert auf einem Kunstwerk des Londoner Künstlers Stuart Ruel.

Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing. "Lo Que Tengo" is full of rock solid dance floor killers and no filler, recorded in 1980 with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. This a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off, there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy. Presented in its original artwork and pressed on 180g vinyl. Good to know: Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Ever since the 1960s in Lima Peru when his career began, his records have always been on point, being super tight, sharp, and hard as hell, what salseros call salsa brava con afinque. It's no surprise that Lo Que Tengo is exactly that: full of rock solid dance floor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios (sometimes even in several countries!), this album has the advantage of being produced, recorded and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals who Linares had already played with, both in the studio and on stage, lending it a consistency and sonic integrity that is excitingly manifest in every groove. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia (INS, 1982) and the US (Gallo, 1984), both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. Through being on the salsa scene there he became friends with the band Mango and even guested on an album with them in 1976. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (Fonodisco, 1976) and then again with ¡Con Todo! / Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the 'break' (la cierre)-there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section that sends shivers up the spine and makes the dancers go crazy. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. The album's title tune (originally credited on the Venezuelan edition as 'Lo que tengo que crear'-'What I Have To Create') is by Mango's timbalero José "Cheo" Navarro and sums up Linares' central career philosophy: the musician lives every day to create music, to spread joy and create a party, without complications, wherever he goes. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy.

Ahead of the Meakusma Festival 2019 Don't DJ and NWAQ did an artist residency developing new music together from scratch. Their resulting performance at the festival was a mesmerising descent into the artistic perspectives of two singular artists active in off-kilter club music.Some of the eight tracks on this record were recorded live at the festival while others were recorded during the residency. All
dwell in distorted and eccentric bliss and play around with rhythmic arrhythmic and post-rhythmic tension.

Dafuniks is a full live band based on a core of samples and Breakbeats plus various vocal appearances. It will blow your mind with references to the cradle of hip-hop and inspiration from the 60’s and 70’s Funk and Soul.

Azumah was the coming together of a group of talented young dancer-musicians from Soweto (South Africa) with musician and instrument-maker Smiles Mandla Makama of eSwatini (formerly Swaziland). Long Time Ago is the surprising and enticing, resultant album from 1985, recorded in the house of theatre stalwarts Des and Dawn Lindberg in Johannesburg.

Produced by David Marks (3rd Ear Music, Hidden Years Music Archive Project), Des Lindberg and Smiles Makama, this album takes us back to a priceless musical moment in the dark and wild eighties of apartheid South Africa. Smiles Makama is a gifted and visionary music-maker. He was born in South Africa but grew up in eSwatini, the small kingdom enveloped by South Africa and Mozambique on each side. He tells the story of the process leading to the recording of this remarkable album: “I was invited from Swaziland by a Soweto-based group, Azumah. … One of the members knew that there was a wizard in the mountains in Swaziland, building instruments. As I was in the mountains in my hut and then I saw people arrive. They found me. It all started there.”

Instead of simplistic images of a generic ‘Africanness’ or ‘South Africanness’ and pictures of constructed and exotic ethnic identity, a contemporary, fresh listen to this album encourages an appreciation of the composition and musical skill at play in this music. Few people speak about the individual innovation and experimentation involved in the creation of this music (or the music of Amampondo for instance). “Woza Moya” sticks out as a dark and melancholy creation, different tonally to what has come before, evoking the work of Naná Vasconelos or Don Cherry. One thing that remains the same decades later is that encouraging deeper listening to the sounds of the mbira, the nyunga-nyunga, the uhadi or makhoyane bows is still challenging. Discouraging the superficial, short-lived acknowledgement of this ‘unchanging’, ‘African cultural expression’ is the everlasting hurdle. This is made so much easier by albums like Long Time Ago: when artists create music to be loved and entangled with, to be challenged by, derived from the musical roots and structures of these instruments and then expanded upon with creative freedom, risk, humour and funk.

Azumah did this in 1985 and we have this album again today, newly released, to remind us of that moment and the moments since when musicians have urned inward and done similar. As Smiles has it: “Indigenous music doesn’t fade out. It’s just waiting to be discovered, all the time.”

* Modern day classc roots reggae vocal set from England-based female singer Donette Forte.
* A criminally under-recorded artist with only handful of recordings to her name, including three 45’s already released by Partial and featured on this LP: `Jah See and Know’. `Homeward Bound’ and `Time For a Change’.
* `Wilderness’, produced by Rej Forte was originally released on the Jah Works label 1991 and has been out of print ever since.
* This reissue features two additional dub versions which were not featured on the original release.
* Limited to 500 copies only.

Dynamic Sounds Studio has its roots firmly set in Jamaica’s history. It was the first state of the art studio built in Kingston, Jamaica and a firm favourite with all the topflight homespun artists. Bob Marley chose to record the bulk of his seminal 'Catch A Fire' album there and many foreign musicians trying to catch some of that reggae magic and emulate that sound have beaten a path to its doors. As you will see the studio had a history already of its own, that was carved out before it became the aptly named Dynamic Sounds.

Originally named WIRL Studio's (West Indies Records Limited), it was set up initially to record Jamaica's versions of the American Rhythm and Blues tunes that were proving so popular  on the island. It was started back in 1958 by Political leader Edward Seaga an astute businessman, who had many interests around the island including clubs and bars. As the R & B music evolved into its own styles from Mento into Ska, one of its main protagonists Byron Lee and his band the Dragonaires would be at the forefront and be seen as ambassadors to the cause. Edward Seaga would choose the band to head the 1964 World’s Fair and take them to New York to showcase the Jamaican Ska Music. His political ambitions leading the American friendly JLP (Jamaican Labour Party) against the Cuban inspired PNP (People's National Party), would see him cutting back his other interests and lead to the selling of WIRL, lock stock and barrel to Byron Lee. On taking over the business he renamed it Dynamic Sounds and extended it to include not only a top of the range recording studio but a pressing plant to distribute the new hot sounds of the day directly to the streets of Jamaica. The address would also change to 15 Bell Road, it's old address No 13, seemingly too unlucky for such a fine establishment.

The studio has become part of the Jamaican culture and each twist and turn in its musical story has been caught and recorded here. We get on board when the music had slowed down to the reggae skank that we now know and love. We have picked some fine cuts that we feel best represent the times. The rhythms are pushed to the fore and the great Sylvan Morris a much-underrated studio master, always came up with some interesting effects to enhance the version cuts. A fine time in reggae's history caught at one of Jamaica's finest studios. Dynamic Sounds from a Dynamic Studio.....

Here comes another bundle of Timmion soul to decorate your record shelf and grace your turntables. It's a fantastic opportunity to sink yourself into Pratt & Moody's second release, the crossover gem "Words Words Words", the equally sublime rolita by Thee Baby Cuffs "My My My Baby" or continue your soulful trip with Willie West's latest deep offering "I Can't Leave You Alone".

In case you didn't yet get your hands on Carlton Jumel Smith's beautiful dancer "This Is What Love Looks Like", it's naturally included in this box of joy, as is jazz funker Ernie Hawk's non-album blaxploitation tinged track "Tracking Down", which can only be found as the b-side of "Cold Turkey Time" single release. Buy now and you'll be unboxing in no time.

Let’s go out! A suggestion that might sound like an absurdity in current times, but feels like the true promise of Bella Boo’s debut EP on Running Back. The Studio Barnhus affiliate refines and elevates her bright, genial and dissenting take on deep house into something greater than its parts.
What was supposed to be an album with features and collaborations was turned into an introspective solo-practice by Covid-19 and subsequently into this rich 8-track-EP. A writer’s block and the pitfalls of the aforementioned deep house genre were overcome with the help of Axel Boman’s knowledge of football philosophy and a 140bpm tempo advice. So, everything fell in its right place.
„Let’s Go Out“ is like the gateway into a wonderful coherent musical universe and an entertaining listening experience. Imaginative and sparkling, tender-hearted as well as bouncing when it needs to be. Bella’s EP is as much of a tribute to the UK scene that inspired her over the years as it’s entirely her own and distinctive thing. Like a perfect mixtape, it ebbs and flows, and once you reached its finish, it makes you want to start again – or to go out.


Short version: Bella Boo’s bright and genial debut EP on Running Back. Eight tender-hearted, imaginative and bouncing tracks that are as much of a tribute to the UK Scene that inspired her over the years, as they are the gateway into a wonderful coherent musical universe that is Bella’s own entirely.

One of the two great chapters in reggaes history was the DJ phenomenon that conquered the Sound Systems in and around Kingston town in those heady 1970's, the other was the dub plates specials that allowed the DJ's to explore a tune in the first place. Giving some fine question and answers to its original vocal, emphasising its meaning or taking it into another subject matter altogether. When you have these two styles and add to it that original vocal, dubbed in at various points you get a fantastic melting pot that lifts a tune and can take it almost anywhere it likes.

Although DJ's were operating in Jamaica in the 1950's and 1960's with the likes of Count Matchuki and Sir Lord Comic, their role was that of mainly selector with a few vocal embellishments to instrumental tracks to gee up the crowd. 1969 saw the art form broaden with the likes of DJ King Stitt (Winston Spark) who scored a couple of hits for producer Clancy Eccles with 'Fire Corner' and 'Herbsman Shuffle'. But it was Clancy Eccles next releases with a certain U Roy (Ewart Beckfort) in the same year that saw the style explode. When hearing the DJ holding the crowd’s attention on King Tubby's Home Town Hi - Fi Sound System, the producer rushed the DJ into the studio and cut 'Wake the Town' and 'Rule The Nation'. Which would top the Jamaican charts in the soon to follow 1970.

In true Jamaican musical style when a new sound hits on the radio waves, many would soon follow. With an abundance of already tried and tested hits, producers would get the new
toasters of which there were many and revamp and breathe new life into their back catalogues.

But what makes this set of cuts, chosen for this release that little bit more interesting, are the working of the dub plates and effects alongside these vocal talents. Adding another layer to this musical cake.

A fine selection of tunes worked over by the cream of the 1970's DJ circuit.U Roy, I Roy. Jah Stitch, U Brown, Dillinger, Prince Jazzbo, Dennis Alcapone and the vastly underrated Shorty the President alongside some classic King Tubby dubs surely a match made in heaven...

Hope you enjoy ride…….

In March of 2020 bassist Dezron Douglas & harpist Brandee Younger were nestled in their apartment in Harlem, New York, not long after every live concert in the world was cancelled and most folks in the United States were forced to shelter in place for the covid lockdown. With all their gigs cancelled and their incomes strapped.. the two came up with an idea. They would host a live-stream performance from their living room, where they would perform classic tunes for friends and family to watch online, and folks could send them donations. They called it “Force Majeure: Brunch in the Crib with Brandee & Dezron,” the first part in homage to the ubiquitous contract clause that never seems to have any use (except all of sudden, c/o a covid-induced live music industry collapse). The immense popularity of their first performance roped them into doing it again, and again, until it eventually became a weekly ritual for Douglas, Younger, and their many friends and family who tuned in every Friday morning (ourselves included). Knowing the beautiful, natural sound they made in their living room would be as enjoyable (or more) as a record as it was through a social media stream… we mailed them a microphone to record themselves. What’s heard on this album, Force Majeure, is a collection of highlights from Douglas & Younger’s legendary lockdown livestream brunch sessions. It includes gorgeous interpretations of songs by Alice & John Coltrane, The Stylistics, The Jackson 5, Pharoah Sanders, Kate Bush, Sting, and The Carpenters… plus some solid gold nuggets of their banter between tunes. It’s an uplifting suite of real, soulful comfort music – a spiritual salve, emanating warmth from the hearth of a Harlem sanctuary.

Dezron Douglas & Brandee Younger are long time companions in life and in music. The two East Coast natives met early in life and have accompanied each other, personally and professionally, through their equally prolific careers. Douglas, a bassist who has established himself as a musician’s musician, is known to many for his work with Pharoah Sanders, Ravi Coltrane, David Murray, and Keyon Harold. Younger, a harpist who has distinguished herself as one of the premiere voices in her field, is known for her work with Jack DeJohnette, Charlie Haden, Stevie Wonder, The Roots, Lauryn Hill, and Moses Sumney. To the day Douglas and Younger often accompany each other in many of the ensembles they lead, respectively. The two played together in sessions for Makaya McCraven’s 2018 release Universal Beings, on which they are both featured artists. Of Force Majeure, McCraven says: “It’s a testament to the power of music to uplift us through the most challenging times.

4 LP Boxset mit 52 seitigem Booklet vom 2018er Coachella Auftritt. Die epischen pyramidenförmigen Tribünen hatten rund 100 Tänzer und eine Band mit besonderen Gastdarstellern wie Solange, JAY-Z, Kelly Rowland und Michelle Williams, die Destiny's Child Magie, Harmonie und Nostalgie brachten.

A Philly groove classic remixed, mastered, and edited specifically for 7” vinyl. The A-side features a remix by New York disco don and re-edit whiz Mike Maurro with the B-side reserved for the original single version, remastered for maximum aural pleasure.

A contemporary dance score for award winning British choreographer Wayne McGregor inspired by Sergei Pavlovich Diaghilev (1872-1929). 'My composer for Dyad, Icelandic musician ?lafur Arnalds, is coming in next week to finish work on the score. It's an amazing piece of music ? it's melancholic and spatial then cuts to extreme rhythmic violence - it's hauntingly inspiring' ? Wayne McGregor (Random Dance) 2009 has already proved quite a year for Iceland's neo-classical export ?lafur Arnalds. Still high on the success of his 7-song series 'Found Songs' ? recording a song a day for 7 days and instantly making each track available via Twitter; ?lafur was approached by the world renowned and critically acclaimed choreographer Wayne McGregor to create a 30-minute score for his ambitious new work 'Dyad 1909'. The dance piece, inspired and created 'In The Spirit of Diaghilev' premiered at the Sadler's Wells theatre this October and became an unpredictable and much talked about 5-nights of live music, dance and visuals. This 'fascinating collaboration' (Guardian) will go on a EU-wide tour this autumn with Arnalds included in an impressive creative line-up alongside visual artists and filmmakers Jane and Louise Wilson. In December ?lafur's 'evocative and lyrical score' (The Times) will see a 10" vinyl, CD and digital release via Erased Tapes ? the label behind his previous releases as well as Peter Broderick's recent and much noted dance score release 'Music For Falling From Trees'. Born in 1987, ?lafur hails from the suburban Icelandic town, Mosfellsb?r, just a few kilometres outside of Reykjav?k. He has immersed himself completely in a world of delicate symphonic compositions generating near weightless orchestral pieces. Arnalds explores the crossover from classical to pop by mixing chamber strings and piano with discreet electronics which makes him a perfect fit for cinematic pop label Erased Tapes. His motivations are clear: "The classical scene is kind of closed to people who haven't been studying music all their lives. I would like to bring my classical influence to the people who don't usually listen to this kind of music?open people's minds." This young artist is steadily gaining recognition worldwide since his 2007 debut 'Eulogy for Evolution' and the 2008 follow-up EP 'Variations of Static'. In April 2009 online experiment 'Found Songs' received more than 200,000 downloads via foundsongs.erasedtapes and the physical edition released this August has instantly become a best seller, demonstrating that music in its physical format still attains a particular charm. ?lafur conceived 'Found Songs' as a way to collate several lost and found musical sketches and ideas in a 'very challenging, but fun' series. The experiment offers its listeners an intimate insight into ?lafur Arnalds' creative world with artwork contributions from fans via Flickr. With the next full-length release due in 2010, 'Found Songs' hasn't just inspired 2-D work. Esteban Di?cono ? a young motion graphic artist from Buenos Aires, Argentina ? created an astonishing animation video for 'Lj?si?', which found its way into the heart of UK illusionist Darren Brown among over 400,000 others within 4 weeks via Vimeo and YouTube. The music video is now available for download via iTunes. ?lafur is currently in the studio with Bardi Johannsson (Bang Gang) who will be co-producing his upcoming and highly anticipated second full-length album.

Icelandic composer ?lafur Arnalds set to release his first Hollywood film score. ?lafur Arnalds' original motion picture soundtrack for Sam Levinson's feature film debut 'Another Happy Day', starring Ellen Barkin and Demi Moore, will see a worldwide release via UK modern classical label Erased Tapes Records on February 27, 2012. In his own words: 'In mid-December 2010 I was on a holiday in China when I received an email from Sam Levinson about the film. We got on the phone at like 4 in the morning Beijing time and ended up talking all through the night, instantly connecting. He told me that they had been listening to my music while making the film, so the film was already very influenced by my music. However, it was not until Ellen Barkin ? the beautiful force that she is ? had pestered the producers for a week, calling them every day about how I am the right one for this film, that they finally gave in. The only catch was that it had to be done two weeks later, in the first week of January. So I ended up scoring nonstop all throughout Christmas, making my mother mad in the process.' ? ?lafur Arnalds Born in the suburban Icelandic town of Mosfellsb?r, a few kilometers outside of Reykjav?k, the 24-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. Through relentless touring and determination this young artist has steadily gained recognition worldwide since his 2007 debut Eulogy for Evolution. ?lafur Arnalds' second full-length album ...and they have escaped the weight of darkness, continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements. After recently having supported Ryuichi Sakamoto throughout Germany, ?lafur will return with a European 'Trio Tour' in spring 2012.

Killer tape from YPY, group A, Kohhei Matsuda(Bo Ningen), Kenichi Iwasa + Tot Onyx(group A).

group A's charity compilation series "NO Recording" spotlights on over 1000 unreleased tracks, improv sessions and random recordings from our past. In order to act fast to emergency campaigns, fundraisings and people who are in need of help, the strict "no additional recordings" rule is set and instead we challenge ourselves to cook with what we have in our fridge. Rough edges and unfinishedness are left partially unintentionally; most of the demos and jam sessions were recorded direct to stereo, hence the mixing is limited, and partially intentionally as a part of the process of chance operations (we also just like it rough). This method allows us to break our own preconceptions and discover new comprehensions.

Vol.2 features YPY(goat), Kohhei Matsuda(Bo Ningen), Kenichi Iwasa, Tot Onyx(group A) and group A. This time all of us naturally took a more bricolage way of composing, which gave us a lot of new inspirations and comprehensions. It's going to be limited to 150 cassettes with hand-made covers (incl. digital DL code). This release celebrates 75years anniversary of Hiroshima and Nagasaki atomic bombing and we will donate all the proceeds to ICAN, The International Campaign to Abolish Nuclear Weapons.

About "NO Recording"

We started this charity compilation series this year in order to keep donating to communities in need of help, while we ourselves are having a financially difficult time due to the cancelation of tours and shows. We don't have money to spare but instead plenty of time. Vol.1 was self-released digitally on our Bandcamp page on Juneteenth, all the proceeds were/are donated to NAACP. Vol.1

Leroy Smart the self-proclaimed ‘Don’, carries much respect in the Jamaican musical community. His attacking vocal style gives his lyrics and tunes that extra meaningfulness.

Born in Jamaica and orphaned as a young child, Leroy was sent to Maxfield Park children's home and educated at the famed Alpha Boys School. The school was run by nuns who encouraged musical talent and would provide the world with the cream of Jamaica’s artistic talent. Such legends as Don Drummond, Tommy McCook, Johnny’ Dizzy’ Moore, to name but a few, all learnt their musical trade in this strict environment.

Leroy worked with many Jamaican producers, but seemed to find his feet working with Bunny ’Striker’ Lee. With whom he cut many of his greatest tunes. It is from this period that we have compiled this album. Featuring lost to now dubs to many of his classic tunes, like ' Wreck up my Life’, featured here as ’Dub Wrecker’. ’God Helps the Man’ Help yourself to Dub, Pride and Ambition If I should Dub. Fittest of the Fittest Dub for the Fittest and the title track of this selection his self-affirming Mr Smart Mr Smart in Dub.

These work alongside less known cuts that he also puts his musical stamp on .’No Love’ No Love In Dub. which sees him working over the ‘Zion Gate’ rhythm, made famous by Mr Horace Andy. The ‘My Conversation’ rhythm originally cut by Slim Smith but made into Leroy’s own ‘Jah Jah Forgive them’ For They Know What They Dub. All portrayed in his enviable style.

Such was Mr Leroy Smart’s stature in his homeland Jamaica, that when the ‘One Love’ peace concert line-up was put together for the 22nd of April 1978. The best of Jamaica’s Reggae stars was picked to play alongside Bob Marley & the Wailers. Such greats as Dennis Brown, The Mighty Diamonds, Peter Tosh and Inner Circle were chosen alongside the Don himself, Mr Smart. Whose stage shows were always colourful and to say the least eventful..

Mr Smart has continued to release music during the 80’s & 90’s, most notably with ‘She Just a Draw Card’ & ‘I’m the Don’. But as a set we feel this stands up with the best of them. Hope you enjoy the ride...

Respect Jah Floyd.

Big Crown Records is proud to present Ekundayo, Liam Bailey’s debut record on the label. This album is a long time in the making, and after listening, clearly worth the wait. It didn’t take a long time to record, but it did take years for all the stars to line up.

Bailey, born and raised in Nottingham, England, the son of an English mother and Jamaican father got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today.
Fast-forward to 2005, Liam is in London and doing the whatever-gig-you-can-get musician hustle with hopes of landing a record deal. And it was through this time that Liam first teamed up with Leon Michels, musician / producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still get spins at reggae spots around the globe. That trip helped kick off what was to follow next for Liam: a slew of record releases, label deals, and working with some wildly-notable mainstream producers. Even a just-famous Amy Winehouse heard one of Liam's apartment-made, lo-fi recordings through a friend and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. She signed him to her label shortly after.

But, as the story can go with major labels, they already had an idea of the Liam they wanted to make, promote, and push. With the typical pay-day enticement, Liam did his best to fit into whatever shape they put him to. "'Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't."

While Liam’s career went through a bunch of record industry twists and turns he and Michels stayed in touch and would regularly connect and collaborate. Finally, in 2019, the time was right to do a full-length album together. And this time, it would be free of any restricting major label presumptions and opinions. "This is the record we always wanted to make," says Michels. Set to release in November 2020, the album is called Ekundayo. And the word's meaning may be all you need to know to get to the essence of this project. It means "sorrow becomes joy" in Yoruba, a language spoken mostly in Western Africa. On the surface, Ekundayo is a weighty Reggae record, full of new and old textured riddims. But listen more in-depth, and you'll find subject matter that's more recognizable from a modern-day R&B record. An example of the former is the first single off the album. Sung to the most beautiful woman at the nightspot, "Champion" is a joyous anthem powered by a silly-thick Juno-bass throb and 808-proof drums. In short, "Champion" is dancehall-ready. But then there's a song like "Don't Blame NY." Moody and sparse with a somber drive, you might have to resist the urge to compare it to a Frank Ocean-ish type vibe. Liam's voice is in a different but fitting element here, showing stripped-back emotion and soulful restraint. Anyone who has lived and tried to thrive in New York won't have a hard time relating to the lyrics but they may join the masses who blame the city, while Liam points the finger at himself and sings praises to The Big Apple.

Credit to Leon's hand, elements of Jamaican production are everywhere, peppered throughout the record. Like the pitch-perfect organ stabs that push through the authentically positive "White Light," or the muted, percussive guitar strums that chug along in the back of "Fight." In the same vein of any fantastic singer/songwriter album, Ekundayo is a reflection of who Liam Bailey is, taking on topics and approaches he never would think of just a few years ago. Some evidence: "Ugly Truth" is about reconnecting with his biological father, a subject he once thought would be too personal to address. The journey from conforming to major labels to this latest record has been a long one for Liam, and a bit of a struggle. But struggle may be the only way we truly grow and evolve. With a new clarity of purpose, sound, and life, Liam has found joy out of those struggles. And it's called Ekundayo.