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xm Black talk [Part 1]
[xn] Hörprobe Track 8: Black talk [Part 1]



[xr] Thank you [Part 1]
[xs] Hörprobe Track 9: Thank you [Part 1]




























[yv] Listen here [Part 1]
[yw] Hörprobe Track 15: Listen here [Part 1]








[h] B4 | Charles Earland - Black talk [Part 1]
[i] B5 | Melvin Sparks - (Jazz) Thank you [Part 1]





[o] D2 | Freddie McCoy - Listen here [Part 1]

The album has been a labour of love spanning nearly a decade with the origins of KAYTRAMINÉ trace back to 2014, when Aminé unveiled "Not At All," an unofficial remix of KAYTRANADA's 2013 track "At All." Impressed by Aminé's rendition, KAYTRANADA extended a hand to collaborate officially, leading to his production contributions on three songs from Aminé's 2015 mixtape, Calling Brio. The upcoming album showcases the pair reigniting their innate chemistry, further solidifying their musical bond.

Roberto y su Nuevo Montuno recorded their first album, “El Nuevo Montuno Llegó” (1970), when Roberto Berríos was just 22 years old. This was also the debut release on Haddock’s own Uniart label. Berríos remembers that they did the recording in two sessions, splitting it up into four tracks per visit. The engineer was the famed Pedro “Pedrito” Henríquez, who recorded El Gran Combo, Roberto Roena and many others. The band had a mix of tasty, powerful originals, from Tony Cintrón’s title track that announced the band had arrived, ‘El Nuevo Montuno Llegó,’ to Quique Dávila’s mournful ‘Triste Arrabal.’ Then there was the hit Santería themed tune, ‘Llamé a Changó,’ which was a song that Quique Dávila brought to the band, but had been originally composed by Carlos Pinto, though Quique was given the credit. Dávila also composed ‘Me Queda Un Guaguancó,’ which is Roberto’s favorite song on the record (as well as a fan favorite), with Papo sounding like his friend Héctor Lavoe, and Quique Dávila’s proud manifesto declaring that Puerto Rico now had its own son montuno, ‘Oye Tu Son, Borinquen,’ featuring the pianist’s tasty but brief solo. The cover versions came from the group’s earliest period when most of their repertoire consisted of renditions of beloved but lesser known tunes, and include Louie Ramírez’s ‘Balancéate’ (a favorite of Roberto’s from Ray Barretto’s songbook), Bobby Valentín’s ‘Monina y Ramón’ (recorded during his stint with Willie Rosario), and a bolero indelibly sung by Cheo Feliciano when he was with the Joe Cuba Sextet, ‘Dichoso,’ written by Joe Cuba’s talented pianist, Nick Jiménez. Some of the arranging was done by Cintrón and some by Dávila, though Quique had some help from his old friend from El Combo Moderno, Freddie Miranda, who at that time was with Roberto Roena’s Apollo Sound. Roberto says that the arrangements of the cover tunes were made specifically to be different and more contemporary sounding than the originals. “El Nuevo Montuno Llegó” has become a legendary salsa dura classic from Puerto Rico and we are thrilled to present this first legitimately licensed and remastered vinyl reissue. It includes detailed liner notes that reveal the untold story of the band and their debut album, and rare photos.

Reggae music in many ways reminds us of America’s Motown records. The music comes out of its stable fast and furious we tend to know the songs, the artists, the
studio but who? are the players. The unsung heroes that in many cases, cut most of our favourite tracks One such band this applies to in the Reggae field is the Soul Syndicate Band.

Each Jamaican record producer would have their favourite set of musicians they would use, availability permitting. Although several musicians crossed over into different named bands. For example, a set of players working with Producer Bunny 'Striker' Lee would go under the guise of The Aggrovators. The same group working with Producer Joe Gibbs would work under the name The Professionals. Soul Syndicate were the band of choice for Producer Niney the Observer, who used them for his own recordings and when you put that aside the other artists Niney produced, Dennis Brown, Max Romeo, Michael Rose, I Roy, The Ethiopians, Barry Brown, Gregory Issacs and Freddie McGregor.  To name a few and not necessary all, you begin to see the amount of material this set of musicians played on.

Built around the rhythm section of Calton 'Santa' Davis and George 'Fully' Fullwood, drums and bass respectfully. They were usually accompanied by Earl 'Chinna' Smith, Tony Chin on guitars, Keith Sterling, Gladstone 'Gladdy' Anderstone, Bernard 'Touter' Harvey, organ/keyboards and Noel 'Skully' Simms, percussion. Niney's tracks tended to be rhythm heavy and thus Sound System favourites.But when brass was needed/called for ,this was provided by the likes of Tommy McCook, Bobby Ellis, Felix ' Deadley Headley' Bennett. Niney not having a studio of his own at the time used most of Kingston's studios, again availability and money providing. But most of these cuts
selected for this release were cut at Channel 1 and a few exceptions at Randy's Studio 17 and at Joe Gibbs studio at Burns Avenue.

Niney also worked closely with King Tubby on his dub plates, so tracks after the recording sessions were taken to King Tubbys for reconstruction and sometimes
re-voicing over an existing rhythm. These were then used as version sides to the vocal cuts, but most importantly used to nice up the dances, being played out on King Tubbys Hometown Hi-Fi Sound System. We have pulled together a selection of such dub plate specials cut by the Soul Syndicate band for this release. Dub sides that emphasise how well the band worked together, and with Niney at the reigns and the added bonus of some Tubby magic sprinkled on top. Please see our Niney the Observer at King Tubbys 1973-1975 (JRO11) for further examples of this work.

We at Jamaican Recordings hope we are not alone in saluting the musicians, that played such a big part in producing many of our favourite Reggae Sounds. Having released titles by The Revolutionaries (JR003), The Aggrovators (JR005), Sly and Robbie (JR006), we are now pleased to release a selection of rare Dub cuts by another one of Jamaica's finest, the Soul Syndicate band to our catalogue...

Respect Jah Floyd.

For over a decade, Hyunhye Seo a core member of Xiu Xiu, in her solo work navigates the precarious edges where composition dissolves into pure gesture. Through ecstatic piano improvisations, restless percussive attacks and an expansive use of acoustic space, she constructs layered sonic environments that move across the boundaries of noise, avant-garde jazz, ambient and contemporary classical music. Her performances reveal an unfiltered process of listening and creation - a practice in which thinking becomes the enemy, and surrender the only viable strategy.

Continuation captures one such surrender. Recorded live at MAO - Museo d'Arte Orientale in Turin during the exhibition Rabbit Inhabits the Moon – The Art of Nam June Paik in the Mirror of Time, this cascading piano improvisation unfolds as a dialogue between performer, space and the particular acoustics of a museum built to house contemplative objects. Jamie Stewart processes the sound in real time; Giuseppe Ielasi shapes the final mix. What emerges is a work of charged immediacy - restless gestures giving way to passages of unexpected tenderness, noise and silence trading places in continuous exchange. The title is precise: this is music that refuses conclusion, that exists in a state of perpetual becoming. On Side B, Continuous Extension offers an unprecedented response. Phew - the pioneering figure of Japanese avant-garde music since the late 1970s - was invited by curators Chiara Lee and Freddie Murphy to reinterpret Seo's performance. Working with synthesizer and subtle processing, Phew distills the resonances of Continuation into a new electronic landscape - waves of abstraction that echo like reflections in sound, tracing the harmonic tensions of Seo's playing into territories she herself did not visit.

The accompanying booklet includes an essay by Bruno Lo Turco exploring the deep connections between improvisation and Buddhist thought, and a written reflection by Seo on her own practice of surrender and listening.

Continuation is released on Ubi Kū, the record label of the Unione Buddhista Italiana. The cover reproduces Avalokitesvara "Water and Moon" from the Museo d'Arte Orientale "E. Chiossone" in Genoa - the bodhisattva of compassion gazing at the reflection of the moon in water. Like that reflection, this music exists fully in the present, complete and unrepeatable.

Supercoole Debüt-7"-Single von Marco Benevento, einem echten Klaviervirtuosen, der schon seit seinem siebten Lebensjahr spielt. Seine Karriere hat ihn schon oft um die ganze Welt geführt, wodurch er eine umfangreiche Diskografie und einen Ruf als gefragter Session-Musiker aufgebaut hat. Leon Michels, Mitbegründer von Big Crown und Grammy-Gewinner, hat Marco zum ersten Mal während der Aufnahmen zum Album ,Adult Themes" von El Michels Affair ins Boot geholt. Seitdem hat er sein Talent in unzähligen Big Crown-Projekten eingebracht. Außerhalb des Labels ist Marcos unverwechselbarer Stil unter anderem auf Alben von Clairo, Kevin Morby und Freddie Gibbs zu hören. Aber genug davon, was er für andere gemacht hat - diese Veröffentlichung zeigt Marco von seiner besten Seite: Er macht sein eigenes Ding und das richtig gut. Die A-Seite ,Frizzante" ist pure Feierlichkeit, eingefangen auf Vinyl, die darauf wartet, von der Nadel befreit zu werden. Es ist ein energiegeladener, gut gelaunter Kracher, bei dem Marco Melodien mit sich selbst über einem unerbittlichen Groove austauscht. Von der ersten Note an zieht dich der mitreißende Topline-Riff in seinen Bann und macht Platz für kaskadenartige Klavierläufe, üppige Bläserarrangements und Schichten von E-Piano und Synthesizern, die die Energie immer weiter steigen lassen. Es gibt keine Pause, keine Entspannung - nur einen richtigen Soul-Jazz-Tanz. Auf der 2. Seite zeigt Marco mit ,Turnadot" eine ganz andere Seite seines Sounds, zusammen mit der italienischen Sängerin Marianne Mirage. Der Song ist eindringlich schön und filmisch und passt perfekt zwischen Portishead und Serge Gainsbourg. Mariannes Gesang schwebt über Marcos perfekt ausgewogenem Arrangement - seine Produktion ist sowohl zurückhaltend als auch ausdrucksstark und macht den Song universell fesselnd, unabhängig davon, ob man Italienisch spricht oder nicht.

The Mad Geezers are basically F-Spot mainstays Night Owls’ Dan Ubick, Dave Wilder, and Roger Rivas, but with long-time friend and drum guru, Oliver Charles (Ben Harper & The Innocent Criminals, Gogol Bordello) behind the kit. It’s safe to say that these four musicians love their Ska, Rocksteady, roots, and dub, but for this lineup, the four Mad Geezers collectively decided to explore their other obsession... early Jamaican Dancehall.

First on producer Dan Ubick’s To Do list was to channel the fun, attitude, and natural talent on records by Jamaican legends like Yellowman, U-Roy, Sister Nancy, Barrington Levy, Bunny Wailer, and Freddie McGregor. Secondly, find a song that no Jamaican artist has covered, but every DJ on the planet loves, and flip it into a Dancehall groove. Hmm… What about Tom Tom Club’s “Genius of Love”? Ooh! That’s it! So, The Mad Geezers broke out synths, Syn drums, and invited some friends to the party, stepping up to the plate with the brand-new F-Spot Records 45 “Genius Of Love” b/w “Genius Of Dub (Roger Rivas Dub Version). Featuring vocals by one of Jamaica’s shining jewels, Ranking Joe & Oakland’s chosen daughter, Destani Wolf (who many will recall from top-selling Night Owls singles such as “After Laughter” and “Let’s Stay Together,”) this 7” is a sure shot.

With its iconic bass line and catchy synth hook, this 1981 decade-long crate essential is in the collective unconscious at this point. Whether you found it as a Talking Heads fan, or as a rap music fan via Dr. Jeckyll & Mr. Hyde’s “Genius Rap” or Grandmaster Flash and the Furious Five’s “It’s Nasty,” the groove is infectious. It’s hard to imagine no one had yet infused this punk-disco powerhouse with a dancehall injection… until now.

The Swedish band Bullet got together in autumn 2001, with the aim of playing traditional heavy metal inspired by the late 1970s and early 1980s: solid, authentic and classic, with a contemporary and timeless touch. Seven years after their latest studio album, ‘Dust To Gold’ (2018), the musicians Dag “Hell” Hofer (vocals), Hampus Klang (guitar), Gustav Hector (bass), Gustav Hjortsjö (drums) and latest addition Freddie Johansson (guitar) are now back with a new album: ‘Kickstarter’ is scheduled for release on Steamhammer/SPV on 09 January 2026 and is set to prove that Bullet are determined to continue their almost 25-year career with the very kickstart referenced to by the album title. This of course also includes Bullet’s iconic tour bus, whose engine exploded after one of their most recent shows, forcing the musicians to embark on their return journey without their rolling accommodation. Naturally, this was the end neither of Bullet nor their battered vehicle – to the contrary: The group’s classic heavy metal spirit and their unwavering DIY mindset have proved stronger than ever. Having repaired the ageing bus with unwavering determination, oil-smeared hands and sweaty brows. Bullet are now ready to hit the road again, with ‘Kickstarter’ and the three lead singles/videos ‘Kickstarter’ (17 October 2025), ‘Keep Rolling’ (21 November 2025) and ‘Chained By Metal’ (19 December 2025) on board.

Aaron Frazer - der in Los Angeles lebende Sänger, Songwriter, Multi-Instrumentalist und Mitglied der gefeierten Gruppe Durand Jones & the Indications - lässt mit "Into the Blue" eine gewagte Mischung aus Soul, Psychedelia, Spaghetti-Western, Disco, Gospel und Hip-Hop auf sein hochgelobtes Debütalbum "Introducing_" aus dem Jahr 2021 folgen. "Into The Blue" repräsentiert die beeindruckende Bandbreite von Frazers klanglichen Talenten. "Es ist das klarste Porträt dessen, was ich als Künstler bin", sagt Frazer über sein zweites Solo-Album, auf dem er die unverwechselbare Falsettstimme und das klassische Songwriting beibehält, für das er bekannt ist, aber mit einer Hip Hop inspirierten Mentalität im Kern, die Genres und Produktionstechniken miteinander verwebt und "Into The Blue" somit fest im Hier und Jetzt verankert. "Into The Blue" ist das Ergebnis eines gebrochenen Herzens. Nach dem Ende einer langen Beziehung zog Frazer quer durchs Land von Brooklyn nach Los Angeles und begab sich auf eine Reise, die sich in den Themen des Albums widerspiegelt: Trauer, Einsamkeit und die Suche nach Heilung. "Into The Blue" enthält Momente mit überragenden Arrangements, die an David Axelrod und Ennio Morricone erinnern, wird aber durch die Rohheit von iPhone-Aufnahmen und One-Take-Vocals ausgeglichen. Als Co-Produzent für das Album konnte Frazer den Grammy-Gewinner Alex Goose gewinnen, der für seine Crate-Digging-Samples und die Zusammenarbeit mit Hip-Hop-Künstler*innen wie Freddie Gibbs, Madlib und Brockhampton bekannt ist. Frazer experimentierte auch zum ersten Mal mit Samples, die er aus unerwarteten Quellen wie der R&B-Gruppe Hi-Five aus den 90ern bezog. Und Obwohl "Into the Blue" aus Herzschmerz entstanden ist, hofft Frazer, dass es die Zuhörer*innen mit einem Gefühl des Optimismus zurücklässt. "Weißt du, man kann auch an einem Tag, an dem man trauert, lachen", sagt er, "es gibt keine Gipfel ohne Täler" - aber mit "Into The Blue" erreicht Aaron Frazer neue Höhen.

Freddie Mercurys Debüt-Soloalbum „Mr Bad Guy“ war der erste Schritt des legendären Frontmanns von
Queen in Richtung Solokarriere. Es enthielt vier Singles und erreichte Platz 6 der britischen Albumcharts.
Auf diesem Album griff Freddie auf Einflüsse aus Disco, Dance und Pop zurück. Daraus entstanden
Songs wie „I Was Born To Love You“ und „Living On My Own“.
Mit „Made In Heaven“ und „Love Me Like There’s No Tomorrow“ lieferte Freddie außerdem zwei grandiose
Rock Balladen.
Anlässlich seines 40-jährigen Jubiläums wird „Mr Bad Guy“ auf 180 g schwerem, durchschimmernden
grünem Vinyl aufgelegt.

Funk collection featuring gems from Blowfly, Patrice Rushen, Tommy Stewart and Clarence Reid.

Mit den Soundtracks zu La Boum (1980) und La Boum 2 (1982) schuf Vladimir Cosma zwei der ikonischsten Filmmusiken des französischen Kinos. Die Coming-of-Age-Filme mit Sophie Marceau prägten eine ganze Generation und wurden europaweit zu Kultklassikern. Ihre Mischung aus jugendlicher Leichtigkeit, emotionaler Tiefe und popkulturellem Zeitgeist spiegelt sich auch in der Musik wider. Cosmas Kompositionen - darunter unvergessliche Titel wie "Reality" oder "Your Eyes" - verbinden orchestrale Eleganz mit eingängigen Popmelodien. Die Soundtracks wurden millionenfach verkauft und mehrfach ausgezeichnet. Dieses exklusive Boxset vereint beide Alben auf zwei Picture Vinyls und bietet ein visuelles wie klangliches Sammlerstück für Fans von Filmmusik, 80s-Pop und französischem Kino.

MD008 is here! — a bold new chapter in theever-evolving world of re-edits. This latest instalmentis a masterclass in versatility and emotion: four distinct cuts, four immersivesoundscapes, each crafted to ignite the dancefloor in its own unforgettableway. From hypnotic vocal firestorms to cinematic tributes, MD008 is a recordthat transcends trends and celebrates the timeless art of groove. Vinyl-only,limited edition — a future classic in the making.



A1 –TVGLips
A relentless vocal workout built to commandattention from the very first beat. “TVGLips” is a powerhouse opener —hypnotic, high-energy, and unapologetically intense. Its driving rhythm andsoaring vocal lines lock dancers into a euphoric trance, pushing momentumhigher with every bar. A weapon of choice for peak-time sets.



A2 –Tu Sei
Radiating pure nostalgia, “Tu Sei” channelsthe neon-lit spirit of the 1980s with a contemporary twist. Shimmering synths,heartfelt melodies, and a groove steeped in retro romance make this track anirresistible dancefloor moment. Equal parts cinematic and soulful, it’s a loveletter to a bygone era — and a timeless anthem for now.



B1 –Inquinada
Where new wave attitude meets disco power.“Inquinada” is a darkly seductive cut that pulses with underground energy — rawbasslines, mechanical percussion, and shimmering synth layers collide to createa sound that’s both nostalgic and futuristic. Perfectly balancing edge andallure, it’s a track that keeps the floor moving deep into the night.



B2 –Gatto Fresco
Closing the EP is aheartfelt homage to one of music’s greatest icons. This is a tribute toFreddie, and it’s pure celebration — anthemic, uplifting, and full of life.With its soaring melodies and infectious groove, it captures the unbreakablespirit and theatrical brilliance of Freddie’s legacy, leaving dancersexhilarated and inspired as the lights come up.



LimitedEdition, Vinyl Only
True to form, MD008 ispressed in strictly limited quantities — once it’s gone, it’s gone forever.Collectors, selectors, and lovers of the edit craft: this is a piece you’llwant in your collection.

Born in 1934, Freddie King was nicknamed “The Texas Cannonball,” and his powerful guitar playing could certainly knock you flat. In the late 1960s,
a fan and fellow musical king – King Curtis – brought Freddie into the Atlantic Records for a pair of fine albums.

With sax accompaniment from Curtis and piano work by James Booker complementing the axeman's explosive solos,
Freddie King is a Blues Master shows the Rock and Roll Hall of Famer at the top of his game.
Freddie King is a Blues Master is available as a numbered limited edition of 750 copies on translucent yellow coloured vinyl