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A Detroit resident, William Odell Hughes is a much-loved street educated singer-songwriter and music composer. As a regular passenger riding to work on the Detroit East Side bus route in the early eighties, he met jazz pianist Pamela Wise who also rode the bus to work every day and who he noticed was always reading music. Pamela told him about saxophonist, clarinetist, and producer Wendell Harrison (founder of the legendary Tribe collective and a regular collaborator of Pamela Wise). She introduced Odell to Wendell, who was impressed with William’s compositions and felt that it would be a great project for release on his WenHa record label.

Hughes and Harrison began producing and recording the album to be called “Cruisin”featuring musical arrangements by both Wendell Harrison and Pamela Wise. This album (released in 1981) was the first recording for Hughes and the beginning of a long musical journey that continues to this day. Cruisin’ features an all-star line-up that includes Andrew Gibson (The Counts), Pamela Wise (Tribe) and award-winning Detroit Jazz icon Wendell Harrison…all doing their bit and making this a monster of an album!

William Odell Hughes’ debut album has all the best characteristics of an 80s album: it’s filled with funky playful beats and has excellent soulful honey-dipped vocals. On Cruisin’ the listener is treated to both mellow soul sounds and electrifying disco boogie (that’ll make even the shyest of club goers want to get up and dance) and Wendell Harrison’s instantly recognizable flute-playing and synth pads give the record a warm, relaxed groove. Prepare yourself for funky vibes, cool soothing feet-tapping rhythms, fantastic interplays on vocal tempos…all backed by a beautiful array of soulful synthesized and cosmic music.

References to universal awareness are plentiful throughout and the spirituality of The Tribe remains a constant undertone; a gentle reminder of WenHa’s roots. With a sound like this, it’s no wonder that this album has long been considered a grail for crate diggers around the world. All of the above makes this incredible record both timeless and as relevant today as it was back when it was initially released.

Tidal Waves Music now proudly presents the first ever vinyl reissue of this rare funk & soul album (original copies go for large amounts on the second-hand market) originally released in 1981 on WenHa records. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip. This vinyl edition also features the original photography by acclaimed British photographer Brian Smith known for his work with artists such as Screamin’ Jay Hawkins, Howlin’ Wolf, Chuck Berry and John Lee Hooker.

First time on vinyl, expanded version of Japan-only CD album from 2006! Now a double LP with unreleased tracks on audiophile grade colored vinyl (Disc 1: Opaque Baby Blue, Disc 2: Opaque Brown) The Jungle Bros embraced of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz sample , on this reissue double LP Release on Colored Audiophile grade Vinyl , the I got U album is remastered and re-released with additional tracks .Michael Small (Mike Gee), Nathaniel Hall (Afrika Baby Bam), and Sammy Burwell (DJ Sammy B). Known as the pioneers of the fusion of jazz, hip-hop, and house music, they were the first hip-hop group to collaborate with a house-music producer. The trio released their debut album, Straight out the Jungle in July 1988. Their hip-house club hit single, "I'll House You" was added to the album in late-1988 reissues. Fostered by Kool DJ Red Alert, the Jungle Brothers success would pave the way for De La Soul, A Tribe Called Quest, and eventually the Native Tongues collective that they founded. Hip-Hop-House with a jazzy feel including "I Got U", a re-recorded "Sunshine" and four bonus tracks/versions. -- The Jungle Bros embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz samples -- _John Bush, All Music

• The Bob Andy catalogue is one of the most celebrated in the history of Jamaican music. His touchstone LP from
Studio One is a best-selling singles compilation simply entitled Song Book, a cornerstone of the Studio One
catalogue.
• Nine of 12 tracks recorded for this project appeared on Song Book.
• Bob Andy's works have been covered dozens of times, Tarrus Riley "Desperate Lover"; Bitty McLean "Let Them
Say"; Beres Hammond "I've Got To Go Back Home," Olaf Blackwood "You Don't Know"
• Focus tracks: Tarrus Riley "Desperate Lover”; Bitty McLean "Let Them Say"; Beres Hammond "I've Got To Go
Back Home," Olaf Blackwood "You Don't Know"
• Liner notes written by Herbie Miller

Stilistisch beeinflusste Lous Armstrong fast alle nachkommenden Trompeter der traditionellen Jazzstile. Darüber hinaus ist Satchmo, dessen unverwechselbare Stimme seine weltweite Popularität begründete, neben Billie Holiday und Ella Fitzgerald einer der bekanntesten Sänger des Jazz. Armstrongs musikalische Wurzeln lagen im New-Orleans-Jazz. Er hatte maßgeblichen Anteil an der Entwicklung dieser Stilrichtung weg von der Kollektivimprovisation hin zum herausgestellten Solo, womit er das Starsolistentum im Jazz begründete.

Zepherin demonstrates two spectrums of his productions on this release from his signature sound to a classic remake of the classic originally cut by Leo Sunshipp “Give me the Sunshine’ Collaborating with rising US talent Russell Taylor on both compositions they created a soulful gem of a release.

Limited new Stamp 12" with a special edit from Ben Gomori of an overlooked 80s Electro-Soul jam, complete with dub version on the flip!

Ben E. Kings (1938-2015) kommerziell erfolgreichster Song ist das weltberühmte Stück "Stand By Me" von 1961. Insofern passt es sehr gut, nach diesem eine Hitkompilation zu benennen. Die Karriere des US-amerikanischen R&B- und Soulsängers startete 1955, als er zur Vokalgruppe Five Crowns stieß und dort James Clark ersetzte. Die Band setzte sich neben King, der als Leadsänger fungierte, aus Charlie Thomas (Tenor), Doc Green (Bariton) und Elsbeary Hobbs (Bass) zusammen. Ab 1958 trat die Formation unter dem Namen The Drifters auf. Von da an stellten sich größere Erfolge ein. So feierten die Drifters zum Beispiel mit dem von Leiber/Stoller produzierten "There Goes My Baby" einen ersten Rang in den R&B-Charts und einem zweiten Platz in der Pophitparade. Nach weniger als einem Jahr verließ King die Drifters und trieb seine Solokarriere voran. Dennoch nahm er noch einige Titel mit der Gruppe auf, darunter die Millionseller "Save The Last Dance For Me" und "Nobody But Me", die jeweils den ersten Platz der Charts erreichten. Nach seinen Soloaufnahmen "Spanish Harlem" (1960) und "Stand By Me" hatte er bis zum Ende der 1960er noch etliche Hits. 1975 gelang ihm mit "Supernatural Thing" ein stattliches Comeback, danach war Kings große Zeit vorbei.

Mit dem 2008 erschienenen Album „Gumbo“ fiel der Startschuss für Brenk Sinatras interna-tionale Producerlaufbahn. Vom JUICE Magazin zu einem der Top 20 besten Instrumentalalbenaller Zeiten gewählt, schaffte „Gumbo“ mit seinen brachialen und zugleich sehr souligen,sample-basierten Instrumentals den Sprung raus aus Österreich und rückte Brenk als Aus-nahmeproducer erstmals in den Fokus.Der Nachfolger„Gumbo II“erschien 2011 über das Kölner Label MPM, das mit Brenk Sinatra so-wie weiteren Ausnahmeproducern an Bord den wachsenden Hype um instrumentalen Hip-Hopmitzündete. Brenks kompromissloser, zweiter Part der Gumbo-Reihe katapultierte ihn kurzer-hand in die Riege der gefragtesten Beat-Produzenten Europas. Seither war auch der dritte undfinale Teil der Gumbo-Reihe in Planung, jedoch hinderten die immer mehr werdenden musi-kalischen Projekte und nicht zuletzt auch der Druck, die ersten beiden Albumteile zu toppen,Brenk an der Fertigstellung seiner Instrumental-Trilogie. Der Folder mit den dafür selektiertenInstrumentals wuchs auf weit über 100 Beats, wurde teilweise gelöscht und ständig in seinerZusammenstellung verändert, bis Brenk das gezielte Sammeln von Gumbo-Material 2017 vor-erst einstellte. Damals vollzog Brenk einen stilistischen Wechsel, der ihn weg von klassischen,Samplebasierten Beats hin zu jenen entspannten Trap-Hybriden führte, die heute als seinTrademark-Sound bekannt sind. Auch wollte sich das Mindset für die Fertigstellung von „Gum-bo III“ nicht einstellen und andere Projekte wurden vorgezogen, bis das Album komplett in denHintergrund rückte. Über die Jahre wurden Fans und Journalist*innen auf die Frage nach einemRelease Date immer wieder von Brenk vertröstet, „Gumbo III“ wurde zu einem sehnsüchtigerwarteten Phantomprojekt.

Fast Forward in das Jahr 2021: erstmals seit vier Jahren klickt sich Brenk wieder durch den Folder mit den einst für die „Gumbo III“ produzierten Interludes, musikalischen Skizzen undbereits fertiggestellten Beats. Mit einer neuen Label- und Verlagssituation im Hintergrund(2021 gründete Brenk das MusiklabelWave Planet Recordssowie den dazugehörigen VerlagWave Planet Publishing) fällt er den Entschluss, dass die Zeit für den Abschluss der Gumbo-Trilogie nun reif ist und Wave Planet Records zur neuen Heimat dieses Projekts werden muss.Danach folgt eine wochenlange und mühselige Wiederherstellung der in den Jahren 2012 bis2016 produzierten Instrumentals. Brenks Hauptaugenmerk war es, den musikalischen Spiritder Instrumentals unverändert zu lassen und den Sound nicht zu modernisieren. Aus heutigerSicht klingt das mit unzähligen Vinyl-Samples gespickte Chop-Gewitter auf der „Gumbo III“wie man es von Brenks früheren Beats kennt, anachronistisch und gerade dadurch erfrischendanders. Als einziges Update für die „Gumbo III“ Instrumentals wurden lediglich ein neuesMixing von Brenk sowie das Mastering seines hochkarätigen Producer-Kollegen Dexter zu-gelassen.Für die perfekte visuelle Ergänzung des Gumbo-Sounduniversums sorgt das verspielte, vorDetails strotzende Cover-Artwork von Cone The Weird, der bereits das markante Artwork zum„Gumbo II“ Album lieferte.Die Vollendung der Trilogie wird unter anderem mit einer ganz besonderen „Gumbo TrilogyBox“ zelebriert, die im Oktober 2022 erscheinen und das Herz jedes passionierten Sammlershöherschlagen lässt

Red Vinyl

Initial LP copies pressed on opaque red vinyl! As its name suggested, the intimate and sultry Cuntry Covers Vol. 1 was always going to have a follow-up. Led by the brooding vocals of Bria Salmena, Cuntry Covers Vol. 2 is every bit as potent as its predecessor whose noir-inflected alternative country-rock stood in sharp contrast to the singer's commanding delivery as leader of post-punk revivalists FRIGS. Debuting the project in 2021, the languid, reverb-drenched Cuntry Covers Vol. 1 saw her artfully collaborating with multi-instrumentalist Duncan Hay Jennings and reimagining a carefully picked collection of Americana anthems. Vol. 2 pushes the envelope further and harder. Encompassing feverish takes on tracks by Gillian Welch, Paula Cole, Mary Margaret O'Hara, Robert Lester Folsom, Glenn Campbell - by way of Nick Cave - and the late, great Loretta Lynn, Bria's deliciously dark approach shimmers through these six startling songs. Created during a break from Salmena and Jennings' work in Orville Peck's world-conquering backing band, Vol. 2 was recorded directly after Peck's second album and Bria's US tour supporting Wolf Alice. Embracing contrast, the sunny circumstances in which Vol. 1 was made were flipped on their head. Instead of a bucolic barn in the Canadian countryside, they recorded the new tracks in chilly Toronto, huddled together in their tiny makeshift home studio, with Jennings at the controls. They enlisted the help of local Toronto musicians Lucas Savatti (FRIGS), Simone Baril (US Girls, The Highest Order, Darlene Shrugg, Partner), Andrew Manktelow, and frequent collaborator Jaime Rae McCuaig. While Vol. 1 was Bria's attempt at subverting country music's conservative roots and primarily white and heterosexual agenda, here the emphasis was on experimentation. While Vol. 2 might be less personal, it's just as idiosyncratic, with half of the reversions staying true to the originals and others taken to a different universe entirely. Building on the tried-and-true/bold-and-new duality of Cuntry Covers' first offering, Vol. 2 delivers a deeper dive into the duo's brilliant alchemy of traditional and contemporary reinterpretations. The added experimental flourishes, from dizzying electronica and pulsing bass to sax-driven soul, take Bria's new EP into previously uncharted territory, signalling a thrilling new step in Bria's adventurous evolution.

Hailu Mergia & Dahlak Band's Wede Harer Guzo is the third release on Awesome Tapes From Africa for Ethiopian keyboard and accordion maestro. In the years since Shemonmuanaye, Mergia has revamped his touring career, playing festivals and clubs worldwide, including a recent tour supporting Beirut. By 1978, Addis Ababa's nightlife was facing challenges. The ruling Derg regime imposed curfews, banning citizens from the streets after midnight until 6:00 am. But that didn't stop some people from dancing and partying through the night. Bands would play from evening until daybreak and people would stay at the clubs until curfew was lifted in the morning. One key denizen of Addis' musical golden age, Hailu Mergia, was preparing a follow-up to his seminal Tche Belew LP with the famed Walias Band. It was the band's only full-length record and it had been a success. But his Hilton house band colleagues were a bit tied up recording cassettes with different vocalists. Still Mergia, amidst recording and gigs with the Walias, was also eager to make another recording of his instrumental-focused arrangements. So he went to the nearby Ghion Hotel, another upmarket outpost with a popular nightclub. Dahlak Band was the house band at Ghion at the time. Together they made this tape Wede Harer Guzo right there in the club during the band's afternoon rehearsal meetings, with sessions lasting three days. Dahlak Band catered to a slightly more youthful, local audience, while Mergia's main gig with the Walias at Addis' swankiest hotel had a mixed audience that included wealthy Ethiopians, foreign diplomats and older folks from abroad. Therefore, their sets featured lighter fare during dinnertime and a less rollicking selection of jazz and r&b. Meanwhile, Dahlak was known more for the mainly soul and Amharic jams they served up for hours two nights a week to a younger crowd. Mergia released Wede Harer Guzo ("Journey to Harer," a city in eastern Ethiopia) with Sheba Music Shop, which was located in the Piazza district but has long since shut down. His cassette copy is the only known source we could find. Jessica Thompson at Coast Mastering managed to restore the recording to clean up layers of hiss, flutter and distorted frequencies, made worse by years of storage. Although there are some remaining sonic artifacts of the era's recording and cassette duplicating quality, this reissue captures the band's inimitable vibe. Recalling the audience's positive reaction to Wede Harer Guzo's novel arrangements, he says it sold well and found many fans. However, as no trace of the tape can be found online, there's no indication as to why the cassette appears largely forgotten until now

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of
fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas.

It was during his time with Miss Pottinger that Ossie began to produce records for
himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

For this release we have compiled some of the version sides to those releases. Dub still being an integral part of the Reggae Sound System Sound. So sit back and listen to what Black Solidarity, one of the most important and often overlooked labels were bringing to the dance, dubwise, back in those heady 1980’s times.

With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

The Ethiopians was one of Jamaica’s most popular bands during the late ska, rocksteady and early reggae periods. As a much loved harmony group. After a series of major ska and rock steady hits, the group began working with producer, Karl ‘J.J.’ Johnson, with whom they subsequently enjoyed some of the biggest reggae sellers of the late sixties and early seventies, most notably ‘Everything Crash’, ‘What A Fire’, ‘Feel The Spirit’, ‘Hong Kong Flu’ and ‘Woman Capture Man’. The Reggae Power album is chock-full of these tasty melodies and rhythms and comes wrapped in a cool sleeve photo of future Carry On Girls actress Pauline Peart.

Reggae Power is available as a limited edition of 750 individually numbered copies on solid orange coloured vinyl.

The 2LP Great Moments With documents the music of Pharoah Sanders from 1983 to 1990, showcasing both the raw energy and tender nature of his music. It contains 12 of his recordings, including “Africa”, “Naima”, “You’ve Got To Have Freedom” and also the previously unreleased version of “Central Park West”. Featured guest musicians are John Hicks, Idris Muhammad, Curtis Lundy, Benny Golson, Cedar Walton, Ron Carter and more jazz masters. For this compilation, Bret Primack has written new liner notes and Timeless Records founders Ria and Wim Wigt here share additional great moments from Sanders’ sublime work.

Great Moments With is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl, housed in a gatefold sleeve.

After relocating from Nigeria to Hamburg in 2003, hip hop/soul singer and songwriter Nneka signed with Yo Mama’s Recording Company. Two years later, her debut album Victim Of Truth followed. Garnering rave reviews from the international media, the British Sunday Times declared it “the year’s most criminally overlooked album”, describing her as the legitimate successor to the legendary Lauryn Hill. The album features the popular tracks “The Uncomfortable Truth” and “Africans” amongst others.

Victim Of Truth is available on vinyl for the first time as a limited edition of 750 individually numbered copies on gold swirled vinyl and includes a 4-page booklet with lyrics.

Wattstax war ein Benefizkonzert, das von Stax Records in Verbindung mit dem Watt Summer Festival organisiert wurde, um den siebten Jahrestag der Watts-Unruhen von 1965 in Los Angeles zu feiern.

Das Konzert, das von mehr als 100.000 Menschen besucht wurde und 7 Stunden dauerte, fand am 20. August 1972 im Los Angeles Memorial Coliseum statt und bot eine Mischung aus Soul, Funk und Gospel. Auf dem Programm standen Auftritte der größten Künstler von Stax, darunter Isaac Hayes, die Staple Singers, Rufus Thomas, Johnnie Taylor, die Bar-Kays und viele andere. Rev. Jesse Jackson trat bei der Veranstaltung als Moderator auf und eröffnete die Veranstaltung mit seiner oft zitierten ”I Am Somebody”-Rede.
Ein 2-LPSoundtrack mit den Höhepunkten des Konzerts wurde einige Monate später veröffentlicht. 1973 folgte der von Mel Stuart inszenierte Konzertfilm ”Wattstax” mit Richard Pryor als Moderator des Films, der 1974 für einen Golden Globe als bester Dokumentarfilm nominiert wurde.

Vocal powerhouse WILSN releases her debut album, Those Days Are Over, Fri Feb 3! A fusion of modern soul, pop, jazz and Motown, together with production that is simultaneously nostalgic and contemporary, Those Days Are Over has all the hallmarks of an instant classic.

Across 2LPs comes a unique collection of authentic 70s nostalgia.
Blissful and relaxing, compiled together onto vinyl is the warm sound of 32 of the decade’s finest works of easy listening pop.
Find classic lounge tracks from The Manhattan Transfer, Neil Diamond and Demis Roussos alongside Dionne Warwick, Commodores, Billy Joel and many more.

Neues Album auf Vinyl der legendären niederländischen Power Metal Band Martyr..1982-1987 erschienen zwei Alben und Songs auf einigen Compilations, die heute in der Metal-Szene als Kult gelten. Der Stil von Martyr war schon immer einzigartig, eine Freude für diejenigen, die starke Melodien, schnelle Riffs und ein hohes Maß an Technik lieben. Auf vielfachen Wunsch gab es seit 2006 erst Reunion Shows auf großen True Metal Festivals und zahlreiche Tourneen. Bei "Planet Metalhead" hat sich die Band entschlossen, zum reinen Heavy Metal zurückzukehren, für den die Band so bekannt ist. Mit dem 80er-Jahre-Vibe, Zwillingsgitarren, hämmernden Drums und Bass und dem fantastischen Gesang glänzt die Band auf diesem 10-Song-Album. Auch aufgrund einer starken Produktion von Schlagzeuger Rick Valcon ist dies eine höllische Metal-Platte und alles rund um dieses Album strahlt Heavy Metal aus, von Musik bis zu Songtiteln und vom Albumtitel bis zum Artwork. Es sollte kein Zweifel daran bestehen, wenn Fans oder Käufer das Album in die Hand nehmen, dass sie wissen, was sie erwartet: Ein musikalischer Planet des Pure Fucking Heavy Metal, auf dem wir alle eins sind und wo wir alle gerne sind. Willkommen bei Planet Metalhead.