Cerca:get it

A 4 track EP of modern takes on rave and jungle with cascading subs on Acroplane from Corporeal Face, following his excellent 2020 EP on Further Electronix. Some help with the final mix of the EP from LMajor (Astrophonica).

Just 300 copies of the record available in total on heavyweight fluoro green transparent vinyl and featuring suitably loud artwork by Alec Jagodzinski.

For their first outing of the year, Accidental Meetings deliver the goods once again. This time calling upon Baroque Sunburst's co-founder, Soreab. He's served up three contrasting club tools and finishes it off with a low-slung, bass-heavy drifter. It's a deeper look into Soreab's repertoire and one we have not seen yet, the release demonstrates his multiple styles with Soreab effortlessly weaving between tempos and tones.

The record starts with Drunken Ballad, clocking in close to 100bpm with a mutant dembow beat, its rattling percs switching up the techno/dancehall crossover with some squelchy sound design added in for good measure.

Maranza Percussion Ensemble takes it up a notch, with dubbed-out rhythmic percussion the theme and a surging sub throughout. Smidges of eerie echos and delayed vocals sprinkled from open to close.

The B side takes another turn, with Done Everything getting flipped on its head by the MC, Logan. Maximum energy on all accounts with Soreab at the controls throughout.

The Sphere closes out this slab of wax, low-slung and moody. A pulsating beat from the start, matched with ghostly drones & sirens. A perfect close to a contrasting and diverse release.

Athlete Whippet return to Toy Tonics with an EP showcasing emotionally layered dance tracks and their refusal to stick to genre conventions. The duo are synonymous with sublime cuts that are just as suited to late nights and early mornings on the dancefloor, as they are to home-listening, this perfectly exhibited on the "Noguiera" EP.

The four-tracker is named after a remote place in the mountains around Rio de Janeiro where it was made on a creatively fruitful getaway in 2021. It's sentimental, joyful, bouncy, and futuristic, and showcases the duo’s musicality combining bass guitar and piano, with hardware synths, loops and fragmented vocal samples.

Robin explains - "Spending time in Brazil in recent years was a blessing. The nature, culture and musical heritage over there is beautiful. Mostly in solitude, as I ended up spending most of my time in a remote place in the mountains around Rio, music became the only real emotional outlet for a while. So in a way this is a record of dance music created as far away as we’ve ever been from the dance floor!"

Both from a live performance background, Robin and Avi met studying at Goldsmiths London and found their way to the dance floor via playing in bands, Robin a guitarist, Avi classically trained in trumpet and later on picking up the keys. Absorbing the community of South London, they eventually set up artist collective and record label Squareglass - a proudly established home for new artists coming out of the area. They’ve remixed for the likes of Rhythm Section, collaborated with Olugbenga, and their releases have come with reworks from Ross from Friends, Cameo Blush, Baltra and Seb Wildblood. In 2021, their hybrid sound found a new home with tastemaker German label Toy Tonics who released their "Vesta" EP in May, followed by a run of European tour dates including Funkhaus Berlin, Phonox London and Amsterdam Dance Event.

This spring Gymnasty is debuting with his release Yugoslavian Space Program. Alongside satellites, rockets and asteroids you will get a chance to discover a country that was once a bright star itself. Get ready for a nostalgic journey from ambient scapes to electro club slappers.

Methods of Mayhem was Tommy Lee’s first project after leaving Mötley Crue in 1999. He was joined by rapper Tilo and released their self-titled album that same year. It charted on the US Billboard 200 at #71 and went on to be certified Gold by the RIAA. The album features two singles, “Get Naked” and “New Skin”, and is full with guest appearances
- Fred Durst (Limp Bizkit), Snoop Dogg, George Clinton (Parliament-Funkadelic), Lil’ Kim, Mix Master Mike (resident DJ of Beastie Boys), Kid Rock, U-God (Wu-Tang Clan), Scott Kirkland (The Crystal Method) and Filthee Immigrants.

In the early 1970s the island of Jamaica, and in particular its reggae musicians, developed a love affair with small Japanese motor bikes. Honda bikes were eulogised in Big Youth’s ‘S90 Skank’ and Dillinger’s ‘CB200’, whilst their rival was lauded on Shorty The President’s ‘Yamaha Skank’, to name the most obvious examples. The plot of the film ‘Rockers’ revolved around how transformative a motorbike could be, providing a livelihood whilst projecting an image of success in the ghetto.
Vivian ‘Yabby You’ Jackson had been fiercely independent as a singer and producer, and the success of his early self-pressed productions, mostly on the Prophets or Vivian Jackson labels, had given him a sense of hard earned autonomy. A motorbike was one of the fruits of his labours, acquired as a way of zipping around the capital’s roads to deliver records and organise recording sessions. His wife Jean could often be see hanging on to the back. Twelve years after his death, she remembers various exploits on the pot-holed roads of Kingston.
Jean Vencella Williams: ‘His first motorbike was a Honda 50 and then a 100, a Yamaha. I remember the Yamaha, it was a dark blue colour, it must have been from the mid 70s til the early 80s. I used to ride around on the back and we ride all over, like we go to the country cos his mother lived in Clarendon. And he had a little carrier thing for boxes of records, so we go to Mandeville in Manchester, sometimes to Spanish Town fe sell records. Most of the time he sell them to the shops, like Randys, and the people them buy it from there. He had pressing plants like Byron Lee and later Tuff Gong, so when the records pressed we find out the time when we get back the records, which usually was at least a couple of days or about a week. And later when we living in Clarendon we come into Kingston to pick them up at the pressing plant. And when he book the studio he might book two or three days and we come in and usually stay til late.

‘He used to carry the records from the different pressing plants on the bike, but because of the rain and weather you know it not so good for the records, and also the sun beating down. Then Wayne Wade had an accident on the Yamaha, and he was hurt quite bad, and he had to go to the hospital for quite a while. Well Yabby didn’t ride it after that, cos it was getting dangerous with so many cars coming in. So he gave up the Yamaha and bought a Toyota Carina, and that car was very good to him. Then the Carina become a little shaky, so he got a Toyota Corolla which he drove until his death.’

This album presents a sample of the best of those ‘Dubs and Versions’ that Yabby was ferrying around town, whether rarities, B-sides or tracks culled from albums that showcase the breadth of Yabby’s productions between 1975 and 1982.

This release comes with sleevenotes original artwork.

Drunk Uncle hail from Austin, TX, but their namesakes are probably drawn from someone you know. Think about your last family gettogether- Uncle Bill is halfway through a six-pack when the alien conspiracy theories start pouring out of his mouth. He starts chaotic and loud, then gets quiet and sad as he keeps drinking. His mood will swing wildly in-between emotions. His speech is raw and his vulnerability is beautiful. Bottle that energy up into music form and you have Drunk Uncle. Drunk Uncle's debut album "Look Up" draws on catharsis. Picture yourself in a grimy basement surrounded by your best friends, watching a band as music washes over you and you feel like everything is in the right place. You smile as frantic guitars fill the room and gruff vocals push out every emotion you could possibly feel. Drums and bass slow down and speed back up as the music moves from anger to regret to hope. You feel it all- every note, every hit, every strain. It feels good to feel. You open your eyes and you are in your room alone. You flip the record back over and you are back in the basement. All is right.

Sprints unveil details of their ‘A Modern Job’ EP, out on Nice Swan
Records.
 Lyrically, ‘Modern Job’ finds singer Karla Chubb at her sardonic and
angry best, detailing her own personal wish list: “I wish I had the guts / I
wish I had the gall / I wish I had a girl,” all set to cascading guitars and a
formidable rhythm section; working in unison to create unrelenting
tension, all the while echoing the subject matter Chubb explores in her
lyrics.
 On the new single, Karla offers the following: “‘Modern Job’ is a critique
of modern existence but also an exploration of growing up queer. In your
formative years, you are bombarded with media, books, news that depict
what a ‘normal’ life should be. Grow up, fall in love, get married… long
live the nuclear family.
 “By contrast when you grow up queer all these ordinary things can seem
extraordinary, out of reach and in some parts of the world, illegal. It
leaves you feeling lost, excluded and confused. I wanted ‘Modern Job’ to
capture those feelings; chaotic energy, loneliness and longing of
normality while trying to find acceptance within yourself.”
 Sprints have received support from the likes The Guardian, Clash, NME,
DIY and Dork, as well as love at Radio 1 and Radio 6 Music. Recent
single ‘How Does The Story Go?’ (also on the EP) was premiered by
Steve Lamacq, who praised it as “their best song yet! These guys are
going to be something,” The single was also leading in playlists from
NME, Loud & Quiet and others.
 Sprints combine guitar-driven hooks, motoric rhythm and emotive
lyricism to create a unique sound that pulls from garage, grunge, punk
and beyond. Like the Irish guitar acts who have paved the way for them -
Fontaines D.C., Silverbacks and Girl Band - the sound of Sprints is
urgent and vital at every turn.
 Sprints have hit a nerve. Driven by experience, tough political climates
and social and economic uncertainty - their music is honest, often
politically charged and authentic.
 “On course towards future raucous, beer-soaked headline festival sets.” -
NME
 “Screw-you power, relentless motorik rhythms and impressively large
choruses.” - The Guardian
 "Sprints may be the latest to emerge from Dublin’s fertile stable of guitarwielding new heroes, but their two-fingers-up, no-nonsense rattle ‘n’ roll
arrives as the natural heir to Amyl and the Sniffers’ grot punk” - DIY

In 2002 well-known for his albums by the progressive rock project Ayreon, Star One “Space Metal” is an exciting project from one of rock's great visionaries, Arjen Lucassen. With its stellar musicianship, visionary production and a simple yet far-reaching concept, Star One “Space Metal” shines bright as a giant sun in the galaxy of rock. “Space Metal” isn't a continuous story or a rock opera like the Ayreon albums. Yet it is still very much a concept album and a journey through Arjen's mind and memory. He takes the listener on a trip where they relive those great science fiction space films that made such an impact on him. Without a doubt Arjen Lucassen set a trend with his Ayreon albums. Especially after the highly successful release of “Into the Electric Castle” many musicians and producers have followed in his footsteps and new rock operas with multiple singers are surfacing all over the world. To ensure to keep the involved voices diverse he used very different sounding singers appearing in the same songs -- different singers for different moods. Dan Swano (ex-Edge of Sanity, Nightingale) sings the low parts, Russell Allen (Symphony X and more) sings the powerful rough parts, Damian Wilson (ex-Threshold, Headspace) sings the high clear parts, and to top it off, Floor Jansen (Nightwish) sings the really high choruses. Robert Soeterboek (Ayreon) sang the backing vocals with his huge smoky voice. Of course Ed Warby played the powerful drums, and Erik Norlander once again added his huge analog synth leads. Arjen also managed to get Jens Johansson (Yngwie Malmsteen, Dio, Stratovarius) who played some incredibly fast synth leads as well. Arjen even succeeded in getting Hawkwind's Dave Brock to make a guest vocal appearance, something no one has ever managed to do before. “Space Metal (Re-issue 2022)” is available as: Ltd. 2CD Digipak, Gatefold 2LP+2CD & LP-Booklet and Digital album (2CD).

Drawing inspiration from Buddhist teachings and the hopeful attitude of frontman Johnny Quinn, Liverpool-based four-piece Spinn return with news of their second album Outside Of The Blue – via Modern Sky UK.

Outside Of The Blue acts as a lynchpin sonically and thematically. Written in the immediate aftermath of a panic attack, following a drive down to Birmingham to work on material for the album, the lyrics poured out in just half an hour. Instead of embodying that place of anguish it’s filled with light and an appreciation of unconditional love.

This beloved 1963 Impulse! LP is a career highlight for both Johnny Hartman and John Coltrane. Hartman was apparently Coltrane's suggestion for the recording date, and his deep, dark voice meshes perfectly here with Coltrane's tenor. The material is well-chosen, including definitive readings of 'My One and Only Love' and 'Lush Life.' McCoy Tyner fills out the chords, augmenting the harmonies and keeping the tone of these ballads respectful but not overly sentimental. All the players get to the deep structure of the songs and are not afraid to play in the most essential and elegant manner.

"This is the kind of songwriting I've always been drawn to," says Jeremy Ivey. "The perpetual motion, the intricate melodies, the sprawling arrangements. This album is the real me." Juxtaposing raw, unflinching personal reckonings with jaunty, buoyant melodies and rich, kaleidoscopic production, Invisible Pictures, Ivey's third album for ANTI- Records, is indeed a revelation. Though the songs are rooted in a 21st century swirl of chaos and uncertainty, the record is, at its core, an undeniably feel-good collection, one that refuses to surrender to the existential ache it so artfully captures. Instead, Ivey embraces the sheer, unmitigated joy of creative freedom and sonic exploration here, drawing on everything from flamenco and classical music to vintage indie rock and British Invasion tunes to craft a passionate, transcendent album more reminiscent of John Lennon or Elliott Smith than anything coming out of Nashville these days. "I try to put a little bit of hope into everything I do," Ivey reflects. "No matter how heavy, no matter how dark things may get, there's always a little bit of light shining through."

Killer R’n’B / Popcorn two sided offering, the Hollis Dixon side gets better and better every time you hear it.

For their next reissue, Parisian crew Discomatin picked one of the rarest and sought-after releases of the French Boogie scene, Lot'Vie / Y'a Du Blues by Marché Noir. The original 12" from 1984 gets a proper remastering and delivers its powerful mixture of Boogie, Jazz-Funk and West Indies influences. Two amazing titles finally reissued with a loud sound!

"Lot'Vie" is a perfect blend of powerful funky rhythms with tons of percussion, second to none slap bass and dope synths leads. With its infectious chorus ("son a bip bip!"), the track seems to irresistibly make you move your feet. Sung in creole, the track speaks about everyone going their own way, knowing that past, present and future are only one.

"Y'a Du Blues (Tant Pis, C'est La Vie)" is based on a monstrous boogie bassline. the song talks about melancholy and hope, but with joy. In these troubled times, lyrics surely get a special meaning: whatever happens, keep smiling because after all "c'est la vie" ("that's life").

Marché Noir brought together friends and family around keyboardist Max Marolany living in the south of France, with the band starting in the second part of the seventies. Excited by the new funky sound coming from the USA, they wanted to create Marché Noir to compose and sing their own French songs. With a full range of references, from Zouk to Soul, from Disco to Funk, Reggae and Pop, their first goal was to have fun! The band was playing in clubs and festivals around Marseille, Nice, Aix-en-Provence and Fréjus. With this local fame, they ended up doing the first parts of Touré Kunda and french rockstar Johny Halliday. Without a doubt, their live shows were a truly funky experience.

Thanks to Discomatin, the EP is now available to the real connoisseurs with an exclusive insert that contains lyrics, again with fantastic illustrations from French artist Camille de Cussac.

Calibro 35, the legendary crime funk combo sampled by Dr.Dre and Jay-Z, announce the reissue of "Traitors", their iconic fourth album, on Crystal Red vinyl and digital deluxe edition with bonus tracks.

Record Kicks proudly presents the reissue of CALIBRO 35's fourth legendary long-time sold out album "Traditori Di Tutti" (Traitors) on March 04thon limited edition crystal red vinyl and digital "deluxe" edition with bonus tracks.The publication is part of "The Record Kicks Trilogy" that follows the reissue of the first three albums of the band, released in 2020. This time, Milan label Record Kicks will repress on wax of three different colours and on digital deluxe edition, the fourth, fifth and sixth legendary studio albums of the Italian cinematic-funk cult band. The digital deluxe edition of"Traditori Di Tutti" includes 2 bonus tracks: a crime funk cover of "Get Carter", originally released as a b-side of the "Butcher's Bride" 45 vinyl, and the unreleased funky stormer "Milan, Michigan".

"Traditori Di Tutti" is the fourth album by Milan's combo, inspired by noir masterpiece novel "Betrayers"published by the father of Italian noir, award-winning crime fiction author Giorgio Scerbanenco. The album contains only band's original recordings, from floor-shaking first single "Giulia Mon Amour" to groovy "The Butcher's Bride", from deep funky "Filthy Bastards" to the dancefloor jazz madness of "Mescalina 6". The five-piece pays homage to "I Maestri" such as Morricone, Micalizzi and Bacalov with 12 tracks full of funky beats, heavy guitars, groovy bass lines and fuzzy organs.

There's one thing that Italians do better than others: funky soundtracks. Quentin Tarantino knows best: soundtracks from Italian movies of the '60s and the '70s are the THING! "Calibro 35 does with music what Tarantino does with films". They borrow what they love and they make it their own. With Rolling Stone magazine words "Calibro 35 are the most fascinating, "retro-maniac" and genuine thing that happened to Italy".

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their fourteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

Ltd Black & White LP

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

In February of 1976 Eddie Carmichael left the group “The Voshays” after catching the bandleader/manager stealing from the band. Derry Shepherd and Duncan Bethel left at that time also. About a week later I asked Derry if he would be interested in starting another band and he said sure. At that point Duncan Bethel agreed to participate and he recruited his friend Flynn Emanuel to play trombone. Derry was the manager of the cafeteria at Sears Department Stores in The Pompano Fashion Square Mall and he met Sandy Ficca who was the manager at Chess King Men’s Clothing Store in the same mall. Sandy also agreed to join the group and we auditioned bass players and chose Dave Segal and only one keyboard player auditioned and that was Bob Groszer. We now had all of the personnel for the group and we commenced rehearsing in the recreation center in Pompano Beach, FL at Westside Park. We did a few “Chitlin’ Circuit“ gigs to fine tune the band and music and then moved over to the beach circuit. While there we would perform spring and summer months at “The Ocean Mist” on the Strip in Fort Lauderdale, FL and for the fall and winter months the Big Daddy’s 8600 Club on Miami Beach. After 18 months of constant gigging I suggested that the band go into the studio and record some original music. Now all we needed was some serious financial support and songs. I met a man by the name of Jerry Bullard and convinced him to back the project. We formed our own independent label “Get Off Records” and publishing company “Situated Music”. At that point Dave Segal and Sandy Ficca left the group and Bruce Saddler who was the drummer for The Voshays joined us on the drums for the first two recordings. Sandy Ficca returned as drummer and brought in his old friend and bandmate Daryl Walker to play Bass on five of the six remaining songs. We recorded the entire album in five days at SRS Studios and Triad Studios both in Fort Lauderdale, FL in August of 1977. The first single “Give It Up (Let Yo Funk Fly Free) was a winner released only in the New York tri state area where in two weeks it reached number 16 in the top 100 and was poised to go number one nationwide on the R&B charts in the next two weeks. Henry Stone, owner of TK Records in Hialeah, FL wanted to sign the group as did many other major record labels including Maurice White of Earth, Wind & Fire. But the usual problems of the music business reared its ugly head and the record was pulled from all radio airplay and the group who became disenfranchised with the business of the industry decided to call it quits. Derry Shephard went into Gospel Music production, Sandy Ficca went on to become the drummer for the Pop/Rock recording artists “Firefall”. Daryl Walker is a session player and music teacher, I did studio sessions and played in several cover bands and toured internationally. Bob Groszer toured with Sly Stone and other legendary recording artists. Dave Segal went on to start New York Bass Works in New York. Flynn Manuel became a music teacher in The Broward County School District and Bruce Saddler and Duncan Bethel left the Music industry completely. We were young and not good business people at that time and did not understand the rules of do’s and don’ts of the music industry. But we had three talented songwriters, a great arranger, a killer band and all the financial support that we needed. Looking back if we only had an experienced manager I truly believe Mirror would have gone on to create some great music over the years that followed.
Peace and love all the time,