Cerca:excell

Detroit's John Beltran can do no wrong if you ask us, and what he does do is always famously varied, from sound design for TV to melodic techno excellence via ambient beauty. Here for MotorCity Wine he revisits his Back To Bahia series with a third volume that finds him flexing his Afro-Brazilian deep house chops. The 7" opens up with the jazzy boogie of Lsaura' which is steeped in Minneapolis funk and will get cultured dancefloors in a spin. 'As The Sunsets' that appears on the flip and is a superbly emotive sound with wispy late night melodies and glowing harmonies and shuffling Latin grooves. Essential.

Fantastic masterpiece, considered one of the best Italo-Disco songs ever. A mega-classic produced by Stefano Zito and Carlo Favilli (the latter passed away too soon) characterized by a heartbreaking melody and lush strings that exemplify the mood and rhythm of the Italo-Disco style with the use of some sounds of pre-bleepy keyboard and siren that technically make it one of the very first rave songs ever, inspiring the style of many artists that came later, like Duft Punk. However, many of them don't even come close with their imaginative computers to that bassline and string sounds that melted the souls of many of us back in that distant April 1983, even if it seems that part of the melodic line has been copied not very subtly by Casco from that of El Deux's Computer-Madchen released in 1982 in Switzerland, where Salvatore Cusato was working as a club-DJ. On the flip another excellent remix version by Danilo Braca of the song revisited a few years later. The confirmation of the wisdom and foresight of its producers, aware that the BPM would soon be lowered by a lot. In the more than 8 minutes of "Cyberlover" the constant melancholy background together with the drum/bass/synth lines are preserved intact, giving us a complete reissued product.

First Ever Vinyl Reissue (released in collaboration with the Numero Group)

180g BLACK vinyl limited to 500 copies (w/obi strip). Non-Returnable.

Little is known about the mythical band ‘Heart-Soul & Inspiration’ and their band leader, L.A. drummer and producer Vince Howard…The crooning Howard got his start in 1957 on Herb Newman’s Era label where he released a bunch of excellent Doo Wop, Funk & Soul singles. Over the ensuing decade Howard slowly began piecing together his “Orchestra” consisting of bassist Jimmy Soul, guitarist Ron Carr, and pianist John True.

Howard’s Heart-Soul & Inspiration Orchestra cut their self-titled (and only) album in 1974 for John Spriggs’ Los Angeles-based Viscojon concern under the watchful eye of R&B godfather Johnny Otis.

The result was the birth of an astonishing piece of art filled with playful sexy moans, climaxing grooves and soulful hooks. One of the many highlights on the album (and clocking in at an epic eleven minutes), Vince Howard’s “I’m Gonna Love You More” is a tantric reimagining of Barry White’s 1973 sexually charged classic. Where White was content delivering a subtle and syrupy innuendo, Howard transformed the break-heavy track into a meandering funk workout.

Sadly, after their Barry White/Isaac Hayes facsimile LP failed to gain traction, the group released their final recordings—“Funk on Down” b/w “Fallen Angel”—for Viscojon in 1975 which became a hit among prominent DJ’s in the nightclub circuit. This ushered in the end for Howard’s Heart-Soul & Inspiration project.

Heart-Soul & Inspiration was a true example of a bright light burning out way too quickly. Thankfully we are left with the unique (and very rare) document that is their self-titled album. Almost impossible to get ahold of…a well-deserved reissue has been long overdue. This is an album that deserves a prominent place in every serious Funk & Soul enthusiast’s record collection!

STEB delivers a brand new single featuring Dario Rossi and remixes from Marvin & Guy, Feel Fly and Van Der Kirche & THC. Italian STEB is no stranger to cooking up floor filling hits. For this latest offering he works with Dario Rossi, a renowned drummer with a signature style like no one else.

Their 'Kauris 1979' is a beautifully deep house track with shimmering chords and twinkling melodies. Echoing claps help drive this most classy of tunes forwards under subtle vocal sounds and the whole atmosphere is full of late-night magic.

The vibrant Marvin & Guy remix has a cosmic edge and that's the case here with this excellent remix. It layers in mysterious whistling leads and 80s synth sounds as well as a rasping bassline that brings a different perspective than the original.

Feel Fly remix brings all that alongside some feel-good piano chords that light up a punchy nineties house bassline.

Van Der Kirche & THC then join forces for an expansive broken beat remix with crisp hits and silky bass all making for a sublime trip.
This is is a package packed with disco-tinged grooves for late-night dance floors.

200 copies ~ Vinyl 180 grams ~ No Repress!

The apartheid boycott In the 80s, the world – rightly - stepped up its boycott against South Africa’s apartheid government. But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers. Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk. Unique diversity Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases. But what makes Mzansi 80s popular music unique is that it had to – and for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size. There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone..and so on. And everyone- detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description. Mzansi took disco- and slowed it down a bit.. ..exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later – Amapiano. The Roland TR-707 sampler came along in 1985- at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa. 'Yebo! Rare Mzansi Party Beats from Apartheid's Dying Years' compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.

Broken Electro-techno, Coin Opreated style. Excellent Dancefloor Music !

La Orquesta Miramar was founded in 1975 by Jaume Cristau i Brunet and Lluis Soriano i Sánchez in Figueres (Girona). The 4 songs in this EP are in the orchestral Funk style and they clearly show the musical talent of the composer Jaume Cristau and the excellent level of all musicians.

The original edition has become highly sought because it is currently almost impossible to get a copy internationally.

Official reissue rescued by Dr. Vinylove and Musicom for collectors, 500 numbered copies remastered, high-quality vinyl that includes an insert with information about the band and pics.

Another deep techno ride on Delsin's Cameron series by Rhythm B?ro co-founder Na Nich. The Ukrainian DJ and producer delivers four excellent vibrant, dreamy techno trips. From the punchy 'Inlamint' to the unstoppable flow of 'Subway'. A darker twist appears on the mesmerizing 'Black Soil' finishing it off with a downtempo eyes closed delight 'Argonaut'.

We are absolute fans of Powel's work, no doubt, but what he have done for his frst vinyl in Seven Villas is something else, he goes beyond boundaries.
These four original tracks have no gendre, and this is something realy special. Powel always delivers the finest electronica, his album in All Day I Dream proves the techno craftsman he is.

Please take your time to listen to this excellent songs, and discover all the hidden details and messaged thay have, this is pure magic.

Debut album recorded for launch of new record label by award-winning mastering engineer Kevin Gray!
Recorded all-analogue/all-tube at Gray's new studio, Cohearent Recording, for Cohearent Records!

Shapes and Sound from jazz saxophonist Kirsten Edkins is the debut LP release from Cohearent Records — the new record label companion to famed mastering engineer Kevin Gray's latest enterprise, an all-valve (vacuum tube) recording studio (Cohearent Recording) adjoining his home-based mastering facility in California.

"It's the 'essence of an era' we are trying to recapture with today's musicians, not the sound of specific spaces, engineers or recordings," Gray told music reviewer Michael Fremer.

This album was produced all-analogue/all-tube at Gray's Cohearent Recording on December 10 and 11, 2021. Dave Connor produced, while Gray and Ryan Wirthlin co-engineered. Edkins on sax was joined by Gerald Clayton (courtesy of Blue Note) on piano, Ahmet Turkmenoglu on bass, Lemar Guillary on trombone and Chris Wabich on drums.

Edkins, a composer and saxophonist from Los Angeles, graduated from Eastman School of Music on scholarship. She studied composition and arranging with Bill Dobbins, as well as Walt Weiskopf and the legendary Ray Ricker. Before her time at Eastman she studied with Bob Sheppard, a jazz recording artist and woodwind specialist. Edkins is a sought-after improviser who has performed with Arturo Sandoval (Al "Tootie" Heath), Tim Hagans, Clay Jenkins, John Beasley, and Geoffrey Keezer.

She has performed with the Clare Fischer Big Band, Bill Holman Big Band, Bernie Dresel Big Band (The BBB), Sara Gazarek and others. She's appeard on television shows such as American Idol, Duets, Knight Rider, Glee, and Bones, plus The Tonight Show. She's also a music educator whose associations include Cal State Fullerton, Stanford Jazz Workshop, Saddleback College and Golden West College. She also direct the American Jazz Institute's community outreach program and teaches saxophone at Occidental College in Eagle Rock.

The album is an excellent showcase for Gray's new recording studio. Cohearent Recording was born from Gray's relentless passion to create the best sound recordings. It was that passion that has inspired Gray's long career cutting lacquers for such noted labels as Blue Note, Music Matters and Analogue Productions.

He spent 15 years building gear for the project. "I had a novel idea: In order to get the vintage sound we all love, (I'd) design and build an all-valve (vacuum tube) recording system from microphones through to the disc cutting head, NO transistors or IC's anywhere in the signal path. That took much longer than anticipated but it is finally complete."

Gray was inspired to use his own living room as the studio space when he realized it was similar in size and shape to legendary jazz recording engineer Rudy Van Gelder's Hackensack N.J. parents' home. Many classic jazz albums were recorded there by Gelder.

Some of the same microphones used on those earlier Gelder recordings are in use in Gray's setup. The custom vaccum tube electronics are different and for Shapes and Sound Gray used a tube-based Studer C37 rather than an Ampex.

Gelder's Hackensack recordings for both Blue Note and Prestige, Gray says, are "some of my favourite jazz records, and they are also exceptionally good sonically."

DTR Recordings enlist the expertise of the one and only DJ Sneak for a four track of underground house excellence. A true Chicago legend Sneak is responsible for producing a seamless string of seminal house tracks from the ‘90s through the ‘00s to the present date.

For this latest EP, Sneak serves up four brand new original productions, straight up jackin’, groove-laden house bumpers that we’ve come to expect from the mind of a master.

The ever-prolific and established artist Alan Abrahams aka Portable makes a swift and very welcome return to Circus Company with the impressive lead single "Guiding Me", giving us an early taste of his forthcoming album Augmented Dreams to be released in the fall.

Conceptually the direction of this new project refers to the use of technology to alter our dreams, inadvertently or not, as so much tech advancement becomes available and ingrained in our daily lives. The timely lead single here inspired by Abraham's South African ancestors the Khoi San people and the guidance they provide, appropriately exuding both futurist formed sonics and dream-like tenderness in content, led by his dulcet-toned vocals and delivered with the super solid production we've come to expect. Wonderful multi-purpose electronic music which will find itself right at home on late-night discerning dance floors, or indeed guiding the listener through their respective travels, solo meditations or get-downs in headphones.

Along with the excellent "Guiding Me" original mix, we are graced with a masterful remix by Hamburg's Lawrence of Smallville and Dial fame, who takes the track into an even more floor-focussed realm with his patented rolling sub-bass lines which will guarantee plenty of summertime sound system finessing, as well as the EP-exclusive B2 track "Vigor" in which Portable goes even deeper in tone with classic styled vocal cut-ups and repurposed shards of tasty sound design added to keep the dancers endlessly entranced when and wherever they may be.

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover.

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover.

Superb Gatefold printed sleeve...

Conceptual inside brain travel...

To express the mental acid sounds to check...

First track announces the style with a long Break intro... mental tune... Superb ambiances... very Cinetic and good to mix.

Second track goes 128 BPM acid progressive techno... Excellent Dj tool at a rare speed... flirting with the Trance.

Last track of the A side grow the speed up to 150 BPM with a long break intro tunring after a while more/less 4/4... The sound is very acid and industrial. A big tune !

B side goes up to 160 BPM : Minimal acid sound.

...And finishes in a dark 170 BPM progressive acid track. Mentalcore aera starts here....

Second record opens with a 146 BPM techno mental acid stabilizer. Deep.

Second track is mentalcore big acid overdrive dancefloor pearl from Mr Gasmask !

Last Track of C side from Emetic is a Hardcore splendid exciting tune... maybe the best of this record. Quiet minimal and banging at 170 BPM it reminds the A*Symetric Spivey style:)


... Last side, opens with Minus Polaris and a pure mental acid grower

Last tune of this jewel is from Scandal Orchestra, a Hardcore frontier Hardtek acid track in the classic french good vibe style... Enjoy !

The beatmaker Moar finally presents on record a project that started to exist live more than 10 years ago. It took a world-wide pendency to finally take the time to settle down in the studio and put on tape the beatmaker's Mellow & Jazzy beats, accompanied by the excellent jazz guitarist Rémi Schnell and Jean-Louis Potin (Moar's father) who has been accompanying him since his first EP on saxophone.
In the end, an instrumental album oriented jazzy beat & chill with the soft jazz-soul ambiences of a George Benson (here Rémi on guitar !!) accompanied by a Grover Washington (here Moar's father !). 14 sweets to listen to without moderation.

Gladio Operations inaugurates 2023 with its seventh release titled “Split Machine”, a new series of shared EPs, where in this first episode the producers Jauzas The Shining and Cycloplex go halves on the EP.

The French producer returns to Gladio with three cuts which possess his peculiar and characteristic rugged sound. The EP launches with “Business Machines” and “Isla De Encanto”, two powerful cuts with aggressive and noticeable basslines filled-up with dark textures. Jauzas gifts us a last cut titled “Equation”, a nod to the EBM sound, where he preserves the same darkness as in the previous cuts.

On side B we encounter the Spanish producer Francisco Aguado, who has recently released his first work under the “Cultivated Electronics” label under his new electro alias, Cycloplex. With two cuts titled “Intercepted” and “Acid Machine”, Cycloplex reveals his particular minimalist vision of electro sound in an abstract journey of excellent monotonous rhythms.

PSSSH 003x enlists a diverse range of producers to reimagine the labels third offering. DJ Plead, Huerta and Aubrey all turn in stellar remixes along with 2 new remixes from Dauwd himself.

DJ Plead kicks things off with his signature bass heavy sound on his version of The Yuzer, setting a high bar for what’s to come. Accompanying him on the A-side are a couple of cuts from label founder Dauwd.

The first, “Electronic Live Mix” of SpaceSamba is inspired by Dauwd’s live performance at Mutek 2022 while his Deep Dub Mix of The Yuzer could be some of his best work to date on the imprint. On the flip Huerta houses up SpaceSamba which an excellent dance floor ready remix and Aubrey rounds things off with a solid groove interpretation of The Yuzer.

Myriad Path takes us down JUNO's many roads of style, texture, and mercurial sonic (r)evolution, where catchy chaos meets elaborate compositions in the band's trademark uncompromising style. The record is a biting and fiercer sequel to the debut album “Young Star” (Jazzland Recordings, 2020), with the band becoming more conceptual and showing a darker side of JUNO than we have heard before.

The album ranges from dissonant sounds in the face of fierce drum grooves and explosive rap to big, dreamy pop choruses, floating improvisation, and beautiful harmonies. Surrealism, caricatured over-the-top scenarios, vulnerability and inner turmoil create a zig-zag pattern of textual and musical revelation, which integrates the listener into JUNO's multifaceted reality.

On Myriad Path, the band members' individual voices are displayed more clearly than ever before, and the music takes inspiration from, among others, the experimental and progressive Rock in Opposition scene, pop stars Charli XCX and Caroline Polacheck, hip-hop legends such as The Notorious B.I.G. and Kendrick Lamar, as well as the groundbreaking poet and musician Moor Mother.

When JUNO debuted with the single "Mike" in 2020, they were already one of the country's most sought-after live bands, and since their inception they have played over a hundred concerts at festivals and venues across Europe. The band made waves at both By:Larm and Trondheim Calling, and was also selected to represent Norway in the showcase festival Nordic Jazz Comets in 2022. The unusual line-up with two vocalists, tenor saxophone, double bass and drums gives the music an unmistakable and immediately identifiable sound.

The debut album "Young Star" (Jazzland Recordings, 2020) received uniformly excellent reviews from the Norwegian and foreign press. In the same year, they also received the Subjekt award for "Artist of the Year".

Two stone cold classics right here from the Roy Ayers masterminded RAMP, taken from the holy grail album Come Into Knowledge. Sampled the world over, influentially positive and as prized as they get, South Street’s new sub-label South Street Soul couldn’t have picked a more perfect double header to reissue as their inaugural release.

Although the RAMP acronym Roy Ayers Music Productions bared Ayers’ name, he did not perform with the Ohio band instead writing, arranging and producing the tracks alongside Edwin Birdsong and also William Allen. Drafting in some of the best session musicians in the game, from vocalists Sibel Thrasher and Sharon Matthews, The Spinners drummer John Manuel, guitarist Landy Shores and Cincinnati bass maestro Nate White, the result was pure ethereal excellence.

Rare groove at its finest ‘Daylight’ is one of the standout cuts from RAMP’s only album - soulful, sumptuous and laced with a celestial touch that takes this track to another realm of conscious. A track that was famously sampled by A Tribe Called Quest for their hit ‘Bonita Applebum’ and J Dilla’s remix of Common – Come Close.

On the B side, a Roy Ayer’s masterpiece 'Everybody Loves The Sunshine' given the RAMP revamp, an end of the night masterpiece, a hazed-out dreamer - just downright blissful grooves from start to finish. Ready-made to ride out into the sunset with.