Suche:dr bass

Calvin Love is a Canadian singer-songwriter, composer, and producer from Edmonton, Alberta, now based between Edmonton and Los Angeles. With a sound that blends noir-tinged folk‑pop, crooning rock ’n’ roll, and cinematic storytelling, Love has become a distinctive voice in the international indie landscape. His music has drawn comparisons to Roy Orbison, Leonard Cohen, and Bryan Ferry, with Aquarium Drunkard describing his work as “a crestfallen soundtrack of near‑escape… like Chris Isaak trapped in a David Lynch film.”
Since his debut New Radar (2012), Love has released a run of acclaimed records including Super Future (Arts & Crafts, 2015), Highway Dancer (2018), Night Songs (2020), and Lavender (2021). Along the way, he has collaborated with renowned producers and artists such as Gus Seyffert (Beck, Roger Waters, Black Keys) and the late Richard Swift (The Shins, Damien Jurado), while earning coverage from outlets including SPIN, The Fader, Interview Magazine, and Stereogum.
A seasoned live performer, Love has toured extensively across North America, Europe, and Asia, appearing at festivals such as SXSW, Pop Montréal, Strawberry Festival (China), Endless Daze (South Africa), and Sled Island. He has shared stages with Morrissey, Mac DeMarco, Courtney Barnett, Jonathan Wilson, The Divine Fits, and Jim James, performing in iconic venues like Carnegie Hall, The Troubadour, and Hollywood Forever Cemetery.
In early February 2026, Love releases his seventh studio album, Throw My Shadow To The Sun — a bold, visceral statement that captures him at a new creative peak. Self‑produced and recorded by Reverend Baron at The Ladder Factory in East Los Angeles, the album channels raw, unfiltered energy into a late‑night rock ’n’ roll atmosphere built on moody grooves, gritty textures, and Love’s unmistakable croon.
The sessions brought together a formidable live band: Josh Da Costa (Drugdealer) on drums, Brent Randall (Vanity Mirror) on bass, Davey Chegwidden (De La Soul, Ghostface Killah, Raekwon, Too Short) on percussion, Jeremy Brian Gill (Curtis Harding) on tenor saxophone and flutes, Daniel E. Garcia (Reverend Baron) on lead guitars, and multi‑instrumentalist Laena Myers (White Fence, Orville Peck, El Mariachi Bronx) on violin.
From the hypnotic sway of “Underneath It All,” to the reverb‑drenched sax of “Forever Feels,” to the heavy sludge‑rock crush of “Setting Sun,” Throw My Shadow To The Sun draws from the lyrical storytelling of Dire Straits, the laid‑back blues of JJ Cale, and the timeless melodic drama of Roy Orbison. The result is a cohesive, lived‑in record that transforms fleeting moments and late‑night impressions into something enduring and cinematic.

John Hollier (pronounced OH-LEE-AY) is a powerful new folk rock artist with French-Cajun roots, blending rock and roll, heartland grit, cinematic storytelling, and southern country soul. His twelve-track album reflects his Louisiana upbringing on a crawfish farm, exploring love and heartache through raw, live energy and vivid narratives. John Hollier & The Rêverie features Hollier alongside Teddy Thibedoux Jones (sax), Zachary Scott Kline (lead guitar), Ray Akers (bass), and Brian Cox (drums).

Mit „Future Soul“ erweitert die Tedeschi Trucks Band ihren Horizont, ohne dabei ihre Wurzeln zu verlieren.
Produziert wurde das Album von dem genreübergreifenden Mike Elizondo (bekannt für seine Arbeit mit
Brothers Osborne, Dr. Dre, Twenty One Pilots und Turnstile). Darauf erkundet das 12-köpfige Ensemble
tiefere Grooves und reichhaltigere Texturen als je zuvor.
Der feurige Titeltrack „Future Soul“ besticht durch ein kraftvolles Riff und explosive Vocals – ein Beweis dafür, dass die Band nach wie vor pure Rockenergie entfesseln kann, wenn sie will. „Crazy Cryin’“
strotzt vor rohen Emotionen und verbindet Gospel-Harmonien und Blues-Grit auf klassische TTB-Art,
während „Who Am I“ einen nachdenklichen Ton anschlägt und Susan Tedeschis gefühlvolle Stimmgewalt
und Derek Trucks’ lyrisches Gitarrenspiel in perfekter Balance präsentiert.
Textlich blickt das Album ebenso nach vorne wie nach innen – es setzt sich mit Identität, Widerstandsfähigkeit und Hoffnung in unsicheren Zeiten auseinander. Elizondos Produktion fügt subtile moderne
Akzente hinzu – warme Bässe, vielschichtige Percussion und Raum für die Bläser und Hintergrundgesänge,
ohne dabei das organische Zusammenspiel zu opfern, das die Live-Magie der Band ausmacht.
Future Soul ist sowohl eine Neuerfindung als auch eine Bestätigung: ein lebhaftes neues Kapitel für eine
der beeindruckendsten Bands Amerikas.

Fuzzy Bears offers a forward-thinking and immersive listening experience that pushes the boundaries of jazz and electronics — equal parts experimental laboratory and live concert. On stage, the adventure takes its most daring form. Instead of relying on the original vintage synths, the trio reinterprets the studio’s electronic textures with a streamlined setup designed for live performances.

The songs of this exciting experiment are collected on a self-titled album, to be released on March 20th 2026 via Marcel Records. First single 'The Happy Are Being Born' is out on January 8th.

credits
Fulco Ottervanger: Synths, Piano - Harmonic and Melodic info
Lieven Van Pée: Synths, Bass - Low-end info, Mastering
Simon Segers: Synths, Percussion - Rhythmical info
Peter Desmedt: Serge Patching & Sound processing, Recording & Mixing
Special Thanks: Rikkert Brok & Hans Kulk
Recorded at Willem Twee Studios, ‘s Hertogenbosch
Mixed at Studio Ledeberg, Gent

It's hard to fathom Martin Bramah's trajectory from his beginnings as a guitarist/writer behind two crazily influential postpunk albums - The Fall's Live At The Witch Trials and Blue Orchids' The Greatest Hit (Money Mountain) (vocalist on the latter too, of course) - then nearly three decades of sporadic-at-best activity, offering releases just frequently enough to remind fans of his peculiar brilliance . . . before another stay in the void. Chalk it up to what you want - Mark E. Smith's utter usurpation of The Fall, his split from partner Una Baines after Blue Orchids' debut, the vague collapse of rash experimentation in `underground' music as early `80s nu-pop and American college rock diluted any real spirit, a few failed attempts at working with with Mark again . . . and maybe just life getting in the way. A sense of lost opportunities isn't tough to justify. Inasmuch as Martin was originally the singer for The Fall - Mark began as guitarist but couldn't play! - and given that the group's mythology was born in an era before that gang of Mancunian misfits had even thought of playing, it's high irony that 49 years after The Fall began, Martin has both become wildly prolific and the leader of a band with more rights of inheritance to The Fall's credibility than any other living person could justify . . .yet the band isn't remarkable for that as it is for the range and wealth extent of their collective powers and talent: two great and original guitarists, three of the UK's most daringly-skilled drummers, a genuine bass legend, and a brilliant spare Blue Orchid guitarist. Four albums in, the HOUSE Of ALL is getting ambitious, with each album a subtle improvement on the last, forging a path away from their pasts without denying a thing. Inklings differs from the first three for not having being largely improvised at first, with sounds, rhythm, groove and melody later forged into songs. They rehearsed! They had fun doing it! They're going on an extended tour! There were even extra tracks! We'll leave it to fans and critics to sit down and analyse the specifics of it all, but Steve, Si, Pete, Phil, Karl and Martin have made a bold and powerful album unlike any other you'll hear in 2026 . . . stately, majestic, bold and worthy of a group of real survivors. In perverse form, the album will be officially announced and preceded by a song not on the album!

Multi-coloured vinyl LP or CD. For fans of Nektar, Van Der Graaf Generator and Progressive Rock! Formed in Germany in 1969, Nektar favoured extended compositions and concept albums over the constraints of pop. They were among the progenitors of the progressive rock movement of the 1970s as well as the jam-band scene that arose in the late 1990s. Their sound travelled well to the States, where they enjoyed Top 40 success with "A Tab in the Ocean" (1972) and "Remember the Future" (1973). Nearly 20 albums and a half-century later, the band's artistic and personal charisma has earned them masses of devoted fans. Now Nektar is broadening their horizons with the first in the "Mission To Mars" trilogy. Their first to feature new drummer Jay Dittamo, alongside longtime members Ryche Chlanda (guitars),Kendall Scott(keyboards), and original members Derek "Mo" Moore(bass) and Mick Brockett (visual environment).From the rocking title track "Mission To Mars" to the beautiful "I'll Let You In", Nektar covers all of the prog rock bases while venturing into some new melodic territories. Track listing: Mission To Mars; Long Lost Sunday; One Day Hi One Day Lo; I'll Let You In

London quartet The Leaf Library return with their bold new album After The Rain, Strange Seeds. A luminous collection of pastoral indiepop, drawing inspiration from suburban isolation, unreliable memories and the surreality of the weather. Their most immediate and melodic work to date, the richly evocative songs brim with chiming guitars, buzzing organs and warm, dulcet strings, evoking Yo La Tengo’s more contemplative moments, The Clientele’s autumnal jangle pop and early Stereolab’s motorik melodicism. The sound of the album is defined by mixer John McEntire, whose work with Stereolab and Yo La Tengo (as well as a member of Tortoise/The Sea And Cake) have been major inspirations to the band.
The album explores themes of memory and place, albeit through an abstract haze – returning again and again to specific moments frozen in time: midsummer bright hot days in the Chilterns (“Sun In My Room”), meteorology and the strange movement of the weather (“Colour Chant”), red kites circling over suburban motorways (“Some Circling”), and the uncanny feeling of dusk and nighttime creatures on “The Reader’s Lamp” (titled by celebrated film director Peter Strickland). The lyrics are vivid yet elliptical, strung with abstract ideas and imagery, conjuring a gently unsettling, though never unwelcoming atmosphere. Not quite trusting your own recollection of things, while marvelling at the oddness of the natural world, the album’s title a good summation of the mix of strangeness and hope contained within.

As on past albums the band - founded by singer Kate Gibson and ex-Saloon guitarist Matt Ashton in the mid 2000s, and now completed by drummer Lewis Young and bassist Gareth Jones - have involved their extended musical family, including guitarist Mike Cranny (of fellow drone pop travellers Firestations) and keyboardist Irina Shtreis, both members of the Leaf Library live band. The album also sees the return of James Underwood’s Iskra Strings, a quartet that features on 4 tracks, with sumptuous arrangements by Daniel Fordham, as well as regular contributor Melinda Bronstein on vocals and Will Twynham (Dimorphodons) on harpsichord. They also welcomed Paddy Milner (on Hammond organ) and Scott McKeon (guitar) – both current members of Tom Jones’ band – for a startlingly delicate rolling crescendo to closing track “There Was Always A Golden Age”.
After The Rain, Strange Seeds is their 4th studio album. The result is The Leaf Library’s most accomplished and affecting work, John McEntire’s mix bringing a bold clarity to the band’s meticulous arrangements – closer to how they sound live than anything they’ve done before.

Remastered from the original recordings and now presented on a 45rpm 2 LP deluxe audiophile edition, this is first time the complete 7-track album has been available on vinyl. 'In My Own Sweet Way', recorded during a month- long European tour in 1987, captures Woody Shaw in peak form playing with a spirit and a sense of adventure that identify him as a jazz giant. Woody calls the trumpet "the prince of all the horns". Woody is the king of all the trumpet players.

Nobody around plays with such a big, round, ravishing sound - a sound which could easily fool you into thinking that you are listening to a flugelhorn. Woody's musical asociates on this album are Alex Deutsch, a young drummer from Austria who has worked in Europe with many American jazz stars; Neil Swainson, a highly gifted bassist from Toronto who has worked with Pat La Barbera and Peter Leitch but is perhaps best known for his superb collaboration with George Shearing; and Fred Henke , a pianist from Montreal whose credits include backing Clifford Jordan, Steve Grossman and Junior Cook

In 2026, 62 years after the first release, she releases the LP Tomorrow's Yesterday, and it cannot be ruled out that this may be her last physical album. All the songs are recorded in duo or trio format. The musical sounds are excitingly combined with her voice and Rob Luft on guitar, John Surman on saxophone/ bass clarinet on side A. Whilst on side B we hear Karin Krog with Erlend Slettevoll on piano/electric piano and Rob Waring on vibraphone.

Opaque Pink Version

Bubble Bath for Giants is an ode, a Tribute, a reverence for Oceans, for the Mighty Magnificent Power of Fairies, to the energy that we are all everything, whole, well, but in different sized and shaped vessels at times . . . It is a Celebration of Gentleness and of incredible Force, and Charge . . . These, I sea as the same. The Yang Springs from the Yin and together they ever reflect, dance, and express themselves . . .

Many Bells, Bowls, Ceramics, Chimes, Cymbals, Drums (Bass, Sakara, Surdo, Tom, and many more,) Gongs (Chao, Cup, Indonesian, Sun, and Symphonic,) Keyboards (Metal, Synthesizer, and Wooden,) Percussion, Plant Leaf Bundles and Fronds (Bamboo, Eucalyptus, and Palm,) Ratlles, Shakers, Voice, Whistles, and Sound Design by Carlos Niño.

Featuring:
Luis ​Pérez Ixoneztli, Bernard Xolotl, ​Aaron ​Shaw, Surya ​Botofasina, Nate Mercereau, Laraaji, Darius ​Jones, Sheila Govindarajan, ​Idris Ackamoor, Deantoni ​Parks, André 3000, ​Marshall Allen, Sam ​Gendel, Sibusile ​Xaba, Mia ​Doi Todd, ​Anisia Uzeyman, Saul Williams, Jojo Abot, Jowee ​Omicil, Aztlan ​Unearthed

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Cover Photo by Carlos, from in the Maui Waters
Art Direction, Design and Original Art by Nep Sidhu
Layout Production by Jonny O'Hara

Recorded by Carlos Niño in Topanga, California, and by some of the Artists named above, from their Homes . . .

Mastered by David Allen

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2026 Repress

Straight out of Switzerland, D&B duo QZB continue their Critical charge picking up where their "Unity" release left off earlier in the year. The "Take It All EP" features an array of dark, techno infused drum & bass with label regular Charli Brix adding the vocal respite on the brilliant title track

'winterswell' threads together raw emotion, playful rhythms, and analog warmth. Following singles on Tresor and Intercept Records, Kat pulls no punches with her first EP. "Manavgat" hurtles you down a dirt road at dusk, brooding and atmospheric, while "Baby I Know What You Want" threads vocals through rolling percussion and a driving bass as the club thrives in unison. Remixes extend the EP's landscape: Mr. G reshapes the material into grainy, coded dub house textures, while Ben Kaczor emphasizes low-end depth and taut, hypnotic tension. 'winterswell' is a vinyl release where intimacy, texture, and rhythm converge with confidence and nuance.

Brendan Eder follows up minimalist 70s-jazz concept with new ambient-classical album, THERAPY. Brendan Eder is a Los Angeles composer and drummer best-known for his eponymous genre-bending ensemble of woodwinds, drumset, and bass; as well as his film scoring work, most notably on four short films for director Ari Aster. On March 3, 2023 Eder released his third album, THERAPY, a collection of meditative woodwind arrangements recorded primarily at Church of the Good Shepherd in Arcadia, California.

The quest for THERAPY came during a period of deep spiritual curiosity. Eder was avidly watching testimonies of near death experience survivors (NDEs), pouring over books of Theosophical artwork and philosophy, and
processing experiences of grief, uncertainty and spirituality.

Eder wanted to explore the threshold between the spiritual and physical dimensions, and create music that could evoke its shape and texture — a theme further illustrated in the original album artwork and single covers by Adam Rabinowitz. Eder felt he must be on to something when, on a whim, he looked up the tempo of a piece he was calling “137 Riddle.” Turned out to be “the most important number in the world” in theoretical physics, as well as a provocative number in Jewish mysticism.

Since 2020, Eder's cover of Aphex Twin's “#20 (Lichen)” has garnered over two million streams. Appropriately, THERAPY delivers two new Aphex Twin arrangements alongside eight original pieces.

Maintaining his track record of recording the best musicians Eder can find, THERAPY features special guests Nailah Hunter (harp), Henry Solomon (saxophone), and Ethan Haman on The Newberry Memorial Organ at Yale University.

Pioneering Swiss trombonist and composer Andreas Tschopp marries contemporary jazz with South African horns and homemade ocarinas, creating a record quite unlike anything you've heard before. "What if We Align Our Breath" disregards the curvature of borders, genre, and time itself - tugging a thread through the history of wind instrumentation with ghostly agility.

At the heart of the record lie spiralling, bonelike kudu (antelope) horns - instruments that have lent their stirring calls to indigenous South African rituals and signalling systems for millennia. These horns are clustered, harmonised and stretched beyond their godly usage by Tschopp - his extended techniques coaxing an array of melancholy, playful voices to canter through the album.

Flourishes of trombone, alpine flutes and a stellar supporting cast on double bass (Shane Cooper), cornet (Ben LaMar Gay), udu drums (Gontse Makhene) and spoken word (Koleka Putuma) bring groove, countermelody and a sense of earthy introspection to the proceedings. This is inconceivable music: a sighing tapestry of brass, clay and bone that hints at some preconscious connectedness, tracing figures that rejoice, exhale and embrace outside of time.

Recommended if you like Francis Bebey, quantum physics, peat bogs.

Strut Records presents a fresh look at Oblivion Express, the 1971 album that marked Brian Auger’s shift into a new musical frontier. After years spent shaping the sound of British jazz-soul with the Trinity, Auger stepped into the new decade with a leaner, electrified ensemble and a renewed sense of purpose. This record captures the moment that transformation took shape.

Oblivion Express introduced a sound that was distinctly Auger’s own. Rather than echoing the fusion emerging in the United States, Auger developed a language rooted in the UK’s jazz underground, culminating in a spaced out jazz- rock / prog-fusion album awash with larger than life drum fills and Auger’s virtuosic organ playing. Between bassist Barry Dean and drummer Robbie McIntosh the album moves effortlessly between tight, articulated phrases and broader, improvisational passages. The trio’s interplay forms the backbone of the album and sets the tone for the sound that would define the early years of the Express.

Album opener “Dragon Song” launches with a restless drive that immediately signals Auger’s new direction. Auger chose to record this version of John McLaughlin’s piece (his friend and former bandmate in 'The Niddy Griddys') after hearing McLaughlin’s album Devotion during its mix at New York’s Record Plant Studios. Auger was blown away, recalling, “Oh my god, this is amazing. I wanted to record that myself - and I did!”. Pieces like “Total Eclipse” demonstrate the Oblivion Express’ command of dynamic contrast, and title track “Oblivion Express” explores the cinematic and compositional prowess of the group through stripped back, building moments vs. explosive melodic breakdowns. Riff-heavy “The Sword” later became known through Madlib’s usage in 2014 tracks “Yeti Movie” and “Parodies”.

In retrospect, Oblivion Express stands as a jazz leaning, prog-rock masterpiece and foundational moment in Auger’s catalogue. It captures the starting point of a new sound that is more focused, more urgent, and fully committed to the possibilities of jazz-rock at the dawn of the seventies. The album remains a vivid document of a band discovering its identity and setting the stage for the further array of influential releases that would follow.

I Made It All Up For You is the new record by Hugo Race Fatalists, their 6th studio album, set for release March 20, 2026 thru Gusstaff Records / Helixed on LP/CD and digital.
"In his 40-year career, Hugo Race has lived a thousand lives and played the role of songwriter, producer, musician, performer, head of a record label (Helixed). His music went from folk to lounge, from "trance industrial blues" to psychedelia, from world music to electronics. Starting from post-punk Melbourne in the 1980s, he took fascinating paths that led him from Africa to Turkey, from Berlin to Romagna…"
Hugo Race returns after highly successful collaborative albums with Michelangelo Russo (100 Years), The Church frontman Steve Kilbey (Speed of the Stars) and Gianni Maraccolo (The Vigil, winner of the prestigious Premio Ciampi) with I Made It All Up For You, an epic album with his Italian band Fatalists - existential songwriting framed by the band's signature fusion of roots music, electronica, Italian soundtracks and desert rock.
"I wanted to create something melodic and beautiful in defiance of our current reality. The songs started as bare acoustic sketches written in a remote mountain cabin in Italy where I had two weeks off during a solo tour. The weather turned into a raging blizzard, the days a struggle to keep the wood fire lit and the smoke out of the house. I wrote about twelve songs, threw them all away, started again with an unplugged electric guitar in front of that
damp fire, searching for the album's theme. When the smoke cleared, I was at the crossroads of a long term relationship unraveling under a blazing antipodean sun.
Fatalists recorded the basic tracks at the floating studio on the Puccini lake an hour out of Florence - Giovanni Ferrario (Scisma, PJ Harvey) on guitars and synth, Francesco Giampaoli (Brutture Moderne) on bass and Diego Sapignoli (Sacri Cuori) on percussion.
Violinist Massimiliano Gallo met me in Sicily for a short tour to learn the new songs, adding layers of his Calabrian magic to the mix. Jennifer Charles (singer of New York band Elysian Fields) and I had been talking for a long time about making new music and this was the occasion when we made it happen. Jennifer's distinctive voice graces this
album on the songs I Collide and Broken Love, the lyrics of which were written by author and designer Alannah Hill. My longtime road brother Michelangelo Russo also dusts the tracks with his otherworldly electric harmonica on Against The World, Born To Fly and Open Field. A lot of joy and pain and reflection went into the making of this album and I hope that comes across; this is about the darkness yes, but also the light. Everything changes and every ending is a new beginning but it's how we experience transformation that really matters. I hope you love this album. I made it all up for you."
Hugo Race, Naples, 2025

For their fourth release, Australian label Lunatic Music welcomes Chris Stoker (UK) and Jamie Blanco (UK born, AUS based) to the fray for a dubbed out analogue synth workout that is indisputably Ess O Ess.
Fusion unfolds in Simply Nothing. Analogue synths intertwine with exquisitely programmed percussion and George Humes' chorus-drenched, draped in a veil of spectral vocals by Sarah-May Brown. The result is a retro-futuristic sonic whirlpool that is as memorable as it is delicate.
A waterfall forms in The Lotus & The Banksman. An otherworldly mutant breakbeat techno floor filler. Ethereal pads and dubby textures ripple across the surface whilst the resonant bassline churns below. Gentle currents give way to surging momentum as the percussion kicks in wth the repetitive chant of Time Travelling Man throughout, again by Sarah-May Brown.
On Remix duties, Hybrid Man applies their refined proto-trance formula to Simply Nothing, drawing out its hypnotic core.
Mayurashka fractures The Lotus & The Banksman, sifts through the pieces, and assembles a mind-melting, wonky techno drum work-out from the fragments.

London-based sonic champion Shy One releases her long-awaited second album Mali on Errol and Alex Rita"s Touching Bass. So-called after her given name, Mali is a confident, future-facing ode to Black British electronic music and diasporic lineage. Informed by the full spectrum of London sound that she was raised on - with a vital cast of Black British collaborators including George Riley, Steve Spacek, James Massiah and Private Joy.

PAF stands for Pogo Amongst Flokati, Paranoia After Friday, Performative Awkward Feelings, Pop Against Formality, Pleasure And Fear, Post-Authentic Fantasy, People Acting Feral, Punk Agains Faschism, or whatever else you like.

PAF are a trio who overgrow punk, office disco, tiredness, fear, lethargy, tears, Baltic Sea beaches, mix-ups, crossroads, house-sitting, and Prosecco into electronic thickets that sometimes grow into danceable tracks, sometimes into intricate structures of electric bass, vocals, and synthesizers.

PAF are from Hamburg and consist of Anna G. on vocals and electronic percussion, Pia A. on the MS-20 synthesizer, and Felix R. on bass and vocals. Punk by other means—where the means break the form itself. Here now is the debut LP, following the legendary tape released on Happy Tapes from Leipzig. The cover was drawn by Raoul Dóre and printed in color. A printed inner sleeve offers the chance to read along with the lyrics. The whole thing will be available in spring 2026 on 200 well-pressed vinyl records.

Yet another solid gold modern reimagining of the mighty Loleatta Holloway, this time her infamous 1977 smash 'Hit & Run' goes under the knife and is tweaked to devastating effect by 2 of Chicago's finest modern day editors - Jamie 326 & Cratebug. Anyone with even a passing interest in Disco or House will be more than familiar with these 2 guys names. Having edited and remixed numerous cuts in their own original ways, they take this all-time Salsoul classic and strip it right back to the essence, to the very basics, and in the process create a total dancefloor weapon. This edit originally came out a few years ago (2013) on a compilation that showcased the new wave of contemporary talent emanating from the Windy City and naturally it was one of the cuts that stood out, finding favour with a wide variety of DJ's across the board from Motor City Drum Ensemble, Todd Terry, Jeremy Underground Paris, Theo Parrish and more. Drawing comparisons with Paperclip People's anthemic 'Throw' from 1994 in the way it snatches a killer loop from 'Hit & Run's' bassline, 'Hit It & Quit It' is a monster, a record you'll literally play over and over and over again, a relentless Disco juggernaut that oozes power. It made perfect sense for this legit single-sided reissue 12" to come out on Salsoul Records, the home of Loleatta Holloway's finest material and all of her classics. This limited reissue has been made in conjunction with Jamie 3:26 & Cratebug and Salsoul Records, 100% sanctioned and lovingly re-presented for your dancing pleasure. This one is HOT. Sleep at your peril!