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Back from a hot summer we are presenting you this great new release by Steve Mill who truly captures the sun and warmth in these new jams for us. The Greek born artist who lives between Berlin and Thessaloniki just released his “The Mistake EP” on Tensnake’s own True Romance label where we could already hear his soulful and groovey disco infused sound.

The opener “Love Attack” is a real “good times” tune with catchy vocal snips and a bad ass funky arpeggio bass line topped with spaced out strings and pads, this one reminds us a lot of Krystal Klear material and our own Lorenz Rhode. Saying that, we of course could not think of anyone better than him to take on this tune and drawing the inspiration to create his own super funked up version! As always all parts are played and recorded live in his Cologne studio with the same hot summer vibes on this one as well! You can find the vox version on vinyl and an instrumental as bonus digital track to get your party really started. On repeat!

“Make Me Feel” featuring the Berlin based vocalist Tee Amara has disco flavors all over it and is just an irresistible house tune, majestic and soulful. Followed by the slow and developing “Next to You” that’s steadily building towards a crescendo “heaven” gem, much in the tradition of disco edits from back in the 80’s. It reminded us a lot of our old Ben La Desh records we put out some good 10 years ago. Maybe this one is our personal fave, for sure a tune you could drop on any floor: disco, electro or house.

Get in the groove with Steve and Lorenz and let us surprise you with a truly funky, groovey and above all positive vibes only release to reminiscent the summer time. Enjoy!


All tracks have been mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

A colossus of the funk & soul world, Adam Gibbons (aka Lack of Afro) has been releasing music for 15 years and continues to go from strength to strength. Previously signed to Freestyle Records in London and running his own label The Bastion Music Group since 2015, he has been responsible for some of the genre’s most important releases, not least his debut album Press On described by iDJ as “one of the most important albums of the modern funk era” and more recently given ‘classic’ status by Future Music Magazine.

An accomplished multi-instrumentalist, producer, DJ and composer, his music has won worldwide critical acclaim and to date has gained 115 million streams on Spotify. It has been featured on films, TV shows and adverts all over the globe, on networks including HBO, ABC, Sony Pictures, BBC, ITV, Sky TV, Fox Pictures & Warner Brothers Television, and used in multi million ad campaigns by the likes of Google, Spotify, Miller Lite and Adidas.

As a DJ and live performer, he has performed in over 20 countries worldwide and undertaken countless live sessions for radio and TV including two for the BBC at the highly revered Maida Vale Studios.

To date, he has released seven albums under the Lack of Afro moniker (most recently I’m Here Now in 2020), three as The Unity Sextet, one under LUSTRE, one under his own name, an EP with Herbal T as The Damn Straights, albums for other artists, music for several TV shows and over 60 remixes. He has also produced 13 award winning, sample packs for Loopmasters.

Pure Wicked Tune is a mixtape-style collection of extracts & cut-ups, taken from DIY cassette recordings featuring rare groove and "soul blues" soundsystems playing at early morning house parties and blues dances - mostly in South & East London - between the mid 1980s & early 90s.

Sounds like Funkadelic, Touch of Class, Latest Edition, JB Crew, Manhattan, 5th Avenue (and the many more featured on this tape) originally began to form in the mid-1980s. With lovers rock dwindling, and the reggae scene becoming dominated by harder digital-style dancehall, these sounds provided a tight but loyal crowd with a potent alternative - playing a mixture of killer rare soul, funk and boogie records in an inimitably reggae soundsystem style, complete with toasting, sirens and effects aplenty.

They were most well-known for playing at house parties and blues dances, typically in small flats or warehouses, with timing of such events generally running from the early morning hours until late the next afternoon. Though the popularity of the sounds faded following the dance music explosion of the early 1990s, there has been continued demand for revival sessions ever since. Whilst the influence of key British reggae & dancehall soundsystems on subsequent UK sounds like hardcore & jungle is relatively well documented, a similar line can just as easily be drawn from these sounds and the aforementioned styles' tendency toward sampling popular rare groove cuts, particularly well evidenced in the work of Tom & Jerry, 4hero, Reinforced & LTJ Bukem among others.

This represents the first outing in a series of collections exploring the sounds of UK soundsystem culture, via extracts from archival DIY cassette recordings of blues parties, dances & clashes made between the late 70s and early 90s. Often duplicated and shared widely, these ruff and ready "sound tapes" provided keen ears with music that wasn't otherwise readily available on the airwaves or in the record shops, and would go on to leave a deeply-rooted but too often overlooked influence on the UK's musical landscape.

Growing Bin say sayonara to summer with these bittersweet Balearic gems from Japan’s Nuback. Emotional pop and daydream dub to make you feel younger than yesterday. While the Discogs hipsters hastily hunt down the last, lost street soul OGs, Growing Bin choose instead to indulge in a little Nuback swing. Enlisting the talents of Tokyo’s Dai Nakamura, Hamburg’s home for sensitive sounds provide a much needed vinyl release for the misty-eyed ‘When The Party Is Over’ and ‘Heartbeat Summer’. Largely operating through his own Too Young Records, Nuback trades in textured soul, sympathetic synthesis and forlorn funk - a master at making you move while breaking your heart. Back in 2013, he waved ‘Goodbye To Summer, Again’, giving a digital release to these two tracks, which lurked a little low for the radar until Dai and Basso met somewhere beyond the algorithm, soon bringing this release to bloom. Opening with a fanfare of featherlight pads and full bodied bass, ‘When The Party Is Over’ is pure sonic seduction, holding both Balearic boogie and City Pop in a tender embrace. Delicate guitar and sparkling sequences tug the heartstrings with nostalgic beauty, and Dai’s smooth vocals are made to make you swoon. Emotional pop at its finest folks. On the B-side, ‘Heartbeat Summer’ drops the tempo and soaks up the sun, losing its cares in a haze of loved up dub. As soulful keys sink into spring reverb and steam kettle synths ride a rolling bassline, this downbeat delight lays back in the long grass, making shapes from the clouds and sipping a cool koshu. For summer lovers everywhere; A facemask ruins a first kiss, so start your romance right with Nuback.

Rance Allen, from Monroe Michigan, with older brother Tom on drums and younger brother Steve on bass recorded their first record and won a talent contest in Detroit and were subsequently signed to Stax's Gospel Truth label in 1971. After four albums Rance signed to Capitol and made his most highly acclaimed album 'Say My Friend'. It was produced by the Mizell Brothers (responsible for iconic albums on Donald Byrd, Bobbi Humphrey, Gary Bartz and Johnny Hammond). 'Reason To Survive' and 'Peace Of Mind' were the two singles, and both these 7' versions have been impossible to find. Original copies are expensive and extremely sought after. Expansion can now deliver both A sides back to back remastered from the original tapes in all their glory. The full album is available on CD from Soul Brother Records.

It’s taken a long time for me to feel good about myself,” says Andreya Triana of the journey to her third album. “As a musician, as a woman, it’s difficult getting to that space. It’s really wonderful where you reach that time of having more good days than bad.” That sense of celebration is what drives ‘Life In Colour’, Andreya’s most confident, instinctive and heartfelt work to date; a record that celebrates love, freedom, independence and womanhood. “‘Life In Colour’ is about stepping into my womanhood and being like ‘OK, I know this space. Let me try some s**t. I know it’s going to be hard but I know it’s going to be OK’. I just wanted to put some good energy out there.” The first taster of that sweet release was teased with lead single ‘Woman’ - a soulful pop anthem of self-love, tracking Andreya’s life from awkward teen to mighty queen, from memories of heartache and trauma to triumph. “You know when you’re feeling so uncomfortable in yourself and you just want to be swallowed up into a hole in the ground?,” Andreya recalls of her youth. “This is about moving on from being a victim to a place of strength, to feeling like a superhero. “Anyone who has gone through difficult times like I have, should know that it’s absolutely possible to get to a good place. It doesn’t define who you are or your future. You have to fight like hell every day to move forward but anything is possible. We’re all full of so much goodness. Don’t lose sight of that.” The lyric video is a tribute to Andreya’s mother, grandmother, the strong females of her life and the many sacrifices that women make day-to-day, generation after generation.

The third album 'Life In Colour' by the MOBO nominated British soul/jazz singer Andreya Triana who's collaborated with Bonobo, Flying Lotus been endorsed by the likes of Gilles Peterson & Jamie Cullum.

Ever since jazz took its bop and free turn, each generation solved this eternal equation: how do you reconcile serious music and simple pleasure? On each of these occasions opinion was divided between orthodoxy and hedonism.

Trained in the theoretical rigours of classical music and jazz, experts on their instruments, and brought up on hip-hop culture, techno and house club scenes, Matthieu Llodra and Arthur Donnot - composers of KUMA – go against the conventional rules because they like to challenge their musical boundaries.

"Honey & Groat" is just like a bear (KUMA in Japanese, emblem of the band): behind the sweetness and apparent placidity, plenty of power. The resulting urban groove is reminiscent of 70's soul jazz with a contemporary sound: where instrumental talent meets pop simplicity.

Pittsburgh, PA-native Buscrates returns to Bastard Jazz with a synth-heavy 7" single, "Internal Dialogue." The two-tracker sees the artist take an easy-going approach to his signature funk-filled sound, with a slowed-down tempo and melodic key riffs. "Internal Dialogue" is a mellow boogie joint that combines plenty of Moog, rich ARP strings, and syncopated clavinet chord stabs; "Early Morning" is reminiscent of a late-90s neo-soul beat, with rich Rhodes chords, while a squelching bass line evokes 70s electro-funk. Both tracks are undeniably Buscrates and are sure to have your head bobbing.

Buscrates - aka Orlando Marshall - is a DJ, producer, and multi-instrumentalist based in Pittsburgh. He draws influences largely from 90s hip hop and early-mid 80s electronic funk, which is evident in the boomy, swinging drums and bubbly Minimoog bass lines heard throughout some of his productions. He works locally and sometimes internationally either behind a pair of turntables spinning 45s or working his trusty Roland SP-404SX sampler and various other little portable gadgets at one of his beat sets. Some of his production credits include Phonte & Eric Roberson, Wiz Khalifa, and the late great Mac Miller.

Surprise Chef’s music is based on evoking mood; their vivid arrangements utilize time and space to build soundscapes that invite the listener into their world. The quintet’s distinct sound pulls from 70s film scores, the funkier side of jazz, and the samples that form the foundation of hip hop. They push the boundaries of instrumental soul and funk with their own approach honed by countless hours in the studio, studying the masters, and perhaps most importantly, the “tyranny of distance” that dictates a unique perspective to their music. Hailing from just outside of Melbourne, Australia their first two albums, All News Is Good News and Daylight Savings amassed a die-hard fanbase and brought their sound from their home studio to every corner of the globe. The band is now signed to Big Crown Records, joining a lineage of contemporary and classic sounds that have influenced Surprise Chef’s music since their formation in 2017. Surprise Chef is Lachlan Stuckey on guitar, Jethro Curtin on keys, Carl Lindeberg on bass, Andrew Congues on drums, and Hudson Whitlock—the latest member who does it all from percussion to composing to producing. Their self proclaimed "moody shades of instrumental jazz-funk" have a bit of everything: punchy drums, infectious keys, rhythm guitar you might hear on a Studio One record, and flute lines that could be from a Blue Note session. But when you step back and take in the entirety of their sound and approach, you'll hear and see a group greater than the sum of its parts. In many ways Surprise Chef embodies the idiom "the benefits of limits." They were limited in that there weren't many people making or talking about instrumental jazz/soul/funk in Southeast Australia, let alone putting out records. This left them to develop their sound and approach in a kind of creative isolation where a small circle of friends and like-minded musicians fed off each other. "Being in Australia, being so far away, we only get glimpses and glances of this music’s origins," Stuckey says. "But hearing a label like Big Crown was one of the first times we realized you could make fresh, new soul music that wasn't super retro or just nostalgic." This approach is on full display throughout their new album Education & Recreation. Tracks like “Velodrome” pair chunky drums with an earworm synth line that has all the making of something you would find on an Ultimate Breaks & Beats compilation while numbers like “Iconoclasts” show their knack for tasteful use of space. From the crushing intro of “Suburban Breeze” to the floaty mellow bop of “Spring’s Theme” Surprise Chef has weaved together an album that takes you through peaks and valleys of emotion and provides a vivid soundtrack that will pull you deeper into your imagination. There is a beauty in the vast space for interpretation of instrumental music and they are adding a modern classic to the canon with this new album. Turn on the record and enjoy the ride, wherever it may take you.

2022 Repress

The legendary gig that Joe Strummer, singer from the Punk Rock band 'The Clash' attended and inspired his writing their classic 'White Man In Hammersmith Palais' took place on the 05th June 1977.
At the Hammersmith Palais venue on Shepherd's Bush Road W6, London during the height of Punk Mania. The full line up for the show were all Jamaican artists Dillinger, Leroy Smart, Delroy Wilson (all the first time from Jamaica) and Ken Boothe.
'Ken Boothe for UK pop reggae' who had already scored some hits with 'Everything I own' and 'Crying Over You' in 1974. Joe Strummer was expecting Roots, Rock, Reggae but the Sound System this evening 'Admiral Ken Sound' was playing 'Four Tops all night' as in soul and northern soul that were staple crowd pleasers at the time to warm up the audience, but in Joe's eyes the music should have reflected more Jamaican roots based music. The song also deals with bigger issues of black and white unity, but some people including the Punk Rockers.
'They're all too busy fighting, for a good place under the lighting'. Joe Strummer himself was looking for fun. 'I'm the Whiteman in the Palais....Just Looking for Fun'

The artwork supplied by Punk Artist MAL-ONE has used the two posters that were made for this gig, the reggae promoters 'Star Promotions' poster, that contained a picture of Ken Boothe and the venue's own poster that used text to announce it's line up for that evenings performance. Alongside these lost relics he has also combined the groups own poster for the 'White Man In Hammersmith Palais' single that incorporated the use of rifle target sights, perhaps enhancing the air of violence contained in the songs message.
MAL-ONE has collaged these together joining the two stories as indeed the song lyrics reflected. People often forget that the songs release was in fact as year after the actual gig, we have tied this release to the 40th anniversary of the song's release. Joe Strummer was one of the few voices from the Punk Era that used his lyrics as a weapon to tell the events that were happening around him and their relevance to those times.
The song itsel a Clash Classic and also a Punk Anthem, released on the 16th June 1978. We have compiled this album with songs by these artists, most of which you would have heard that night. As a post script to this story when the Hammersmith Palais sadly closed its doors for the last time after 82 years' service in 1999, the owners thought it fitting to present Joe Strummer with a sign from the venue's entrance. Mr Strummer's understated reply 'I guess I'll have to send a man with a van round to pick it up'.
Hope you Enjoy the set....

We are proud to present the official 40-year anniversary issue of Imagination's debut album Shake It. Remastered from original tapes, this deluxe edition is a double vinyl LP with gatefold sleeve, featuring a newly available lyric insert.

Shake It covers a diverse spectrum of styles and sounds, all combining to a unique soulful amalgam that ranges from sunshine AOR funk ("Mornin' Lights") and leftfield disco ("Strawberry Wine") to psychy, epic, downtempo, vocoder grooves ("Can't Stand Without You") and more. Originally released in 1980, it fast became one of Germany's most collectible privately-pressed LPs.

Shake It was the creation of young thoroughbreds working hard on becoming professional musicians, trying to take their next big step in the music business. Starting out as a pure jazz-rock combo in the mid '70s (as we hear on the recently released lost studio tapes, I'm Always Right (The WDR Tapes 1977)) Imagination left behind their instrumental roots, incorporating new musical trends and styles.

Uwe Ziss, their saxophonist and flutist, became one of two lead singers in Imagination. He would be joined by the younger Roger Mork, a student of original guitarist Willi Hövelmann, around 1979. Roger's voice would best be heard on the aforementioned "Mornin' Lights", one of the various standout tracks on Shake It. However, there is much more that this album offers.

There are brilliant soulful soft rock ballads like "Clouds Flee Before The Wind" and "Waitin for your Call" or the catchy "California" song that switches from a dreamy Westcoast sound (as the title implies) to danceable rhythm & blues with equal ease. Last but not least, we have unearthed three unissued bonus cuts. On one, the demo take of "Clouds Flee Before The Wind", we hear, for the first time ever, the original refrain of this song, which, for some strange reason, was taken out from the final mix on Shake It.

When all eight original songs were recorded and mastered in June, at the well-equipped West Aix-La-Chapelle studio, the stage was set for Imagination's long-desired career push. They'd initially press about 2500 copies of Shake It selling it mainly, locally, directly to their hometown fanbase in Düsseldorf. Meanwhile, their manager would attempt to arrange a record deal with a music label. Unfortunately, this became more difficult than expected. Negotiations with a smaller publishing company were made by Imagination, and Shake It was repressed on Nash Records in 1981 without their consent, under the false promises of a nationwide promotional tour which would never come to fruition. At the same time, the group would face a UK band under the same name achieving mainstream success, making it difficult (not to say entirely impossible) to perform as "Imagination". Though the band would remain active after Shake It, they'd split shortly after Nash's duplicitous reissue hit store shelves.

Luckily, through time, Shake It itself has remained worthwhile, creatively, for those who stumbled upon it and financially, too, becoming quite the sought after gem in record collecting circles. This deluxe anniversary double vinyl issue makes the LP available once again at a far more reasonable price, featuring the original, illustrious, eye-catching, Roy Lichtenstein-influenced banana art, as well as previously unavailable press pictures and more.

For Fans Of : The Black Keys, Otis Rush, J.B. Lenoir, The Ramones, Hound Dog Taylor, Christone Kingfish Ingram, Magic Sam. GA-20 clearly is on to something big. It’s a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the place where traditional blues, country and rock ‘n’ roll intersect. “We make records that we would want to listen to,” says guitarist Matt Stubbs. “It’s our take on the song-based traditional electric blues we love.” Stubbs, guitarist / vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It’s no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, “Since we started the band we’ve focused on the story, the melody, and on creating a mood. Playing live as much as we do, we’re finding more and more that people are discovering how cool it all is. Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not.” With their new Colemine album, Crackdown, and an intensive tour schedule, that’s all about to change. On Crackdown, GA-20’s third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019’s Lonely Soul and 2021’s Try It…You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock ‘n’ roll. The album’s nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs. Tracks: 1. Fairweather Friend 2. Dry Run 3. Easy On The Eyes 4. Crackdown 5.Just Because 6. By My Lonesome 7. I Let Someone In 8. Double Gettin' 9. Gone For Good 10. Fairweather Friend (Final Goodbye)

Gloria Scott was discovered by Sly Stone before
working with Ike and Tina Turner in the Ikettes and
going on to make classic, collectable soul records
in the 1970s.
Her collaboration with Barry White yielded her
acclaimed 1974 album, ‘What Am I Gonna Do’,
which included ‘(A Case Of) Too Much Love
Makin’, and also sees three tracks on this brand
new record.
Alongside the White-written / associated tracks are
five original numbers (including a co-write with PP
Arnold), and a cover of Gospel-House classic
‘Promised Land’.
An absolute must-have contemporary record from
a classic soul artist.

With a career spanning more than eight decades, The Isley Brothers have one of the longest, most influential and most diverse careers in popular music. The group began in 1954 as an American family music group originally from Cincinnati, Ohio, which began as a vocal trio consisting of brothers O’Kelly Isley Jr., Rudolph Isley and Ronald Isley. The Isley Brothers have sold over 18 million records in the United States alone.

Go For Your Guns is the fifteenth album by The Isley Brothers. Originally released in mid-April 1977, the album peaked a month later at No. 1 on Billboard’s Top Soul chart, and at No. 6 on the Billboard 200. The album Includes “Footsteps In The Dark” as sampled by hip hop artist Ice Cube for his hit “It Was A Good Day”. The song peaked at No. 7 on the Billboard Hot R&B/Hip-Hop Songs chart and No. 25 on the 1993
Billboard Hot R&B/Hip-Hop Songs chart.

Go For Your Guns is available as a limited edition of 1500 individually numbered copies on red coloured vinyl, is housed in a gatefold sleeve and includes an insert.

Beautifully drunken it hums, the piano in “PianoPiano”, the last tune of “How to Spread Lies”, the first EP by Roman Flügel for the Hamburg based label Dial in the year 2010. Or take “Strich”, a peculiar electrical slow-motion grinder, out on his “Mutter” EP for Klang Electronic in 2006. Since long, the renowned Berlin based DJ and producer is investigating in spheres beyond the dance, the groove, the ecstasy. Zones, where the molecules harmonize, senses relieve, and the soul quietens. All his last albums, “All The Right Noises” (Dial), “Themes I-XIII” (ESP Institue), “Eating Darkness” (Running Back) have moments of tension and relaxation in a deep harmonious connection.

Now “Balmy Evening”, a sundown record for sunup’s. Eleven notions in adventurous journey music, embracing the freedom of structure, blurring the musical pulse into harmonic meditation and mysteriously grooving zones, leaving all unnecessary accessories behind. A quality, that many of his collaborative and solo productions from past 30 years comprise. Still, most of them squint on the dance floor, where jack is king. Not so “Balmy Evening”, where real party bangers are absent. There are moving tunes like the slow Kraftwerk-melody-leaning funkateer “Duftschulter”, or the artificially jacking “Greenhouse”, where nervous Synth patterns ball along soft breaks and decreet kicks. Also, “Super Sonne”, an odd, seemingly improvised synth conversation might ask some souls out for a dance.

But all others, like “Atmosphere”, “Frei”, Dolphins, “Goth”, or “Ambienteuse”, rather seek for the tranquil in each one’s spirit. Listeners need be ready for surprises. Ready for impulsive ideas, linked to a harmonious flow, always ready to grow. An album full of silence, utterly loud, beautifully diverse humming, displaying a playful, exploratory side of a celebrated club music producer, to whom atoms dance in manifold ways.

Unavailable on vinyl for over 20 years, ‘Sings Reign
Rebuilder’ was the stunning 2001 debut LP from Set Fire To
Flames - a sprawling, adventurous 13-piece Montreal
collective, including seven members of Godspeed you black
emperor! plus others from bands like A Silver Mt Zion, Fly
Pan Am, etc.
The sole reason FatCat’s 130701 imprint was founded, the
LP remains an incredible and unique document. Recorded
over a five-day period in a rickety old house in a communal
atmosphere of long-duration improvised creative activity,
operating on no sleep / confinement / intoxication, it was
brilliantly edited to mix post-rock guitar-scapes; extended
passages of scratchy, freeform improv and concrete
clatterings; atmospheric location recordings; stirring,
chamber string arrangements; deep/sparse drones; and
Kraut-like, heavily rhythmic workouts.
Described on its release by TimeOut as “one of the most
broodingly beautiful, dramatically emotional, hauntingly
evocative albums likely to ever scrape at your soul… This
record will kill you”; and by Pitchfork as “a gripping testament
to the power of emotional expression in music... a
marvelously inventive and powerful album.”
Perhaps the most dynamic and adventurous record to come
out of the early 2000s Montreal scene around Godspeed you
black emperor!.
Long-awaited first ever reissue of a classic album, which sold
out of its original (only) pressing within weeks of its release
on 15th October 2001 and has been unavailable since.
Remastered at Dubplates & Mastering and issued in a
heavyweight black vinyl double LP edition, including lavish
gatefold packaging, 20th Anniversary-branded OBI strip and
original 24-page 7” x 7” booklet with full colour print and eight
tracing-paper pages plus full digital download coupon.

2022 Repress
The Sound of Studio One can be identified by the great singers that it cultivated along the many great songs that these singers released. But as studio 1's dominance was slowly pulled away by the up and coming new breed of producers many of the artists would inevitably end up working for these new camps and so the songs and singers found a new audience. The reggae sound of the Studio 1 would make a great combination and the man to pull this was together Bunny Lee.
The 1960's in Jamaica was run by two main factions, Coxsonne's Studio 1 and Duke Reid's Treasure Isle. These two leading protagonists saw what some of the other great Sound System men like ' Tom The Great Sebastian' had not taken onboard, that when the tunes they imported began to dry up from the USA, their future lied in producing music. Tunes that suited the musical styles that the people of Jamaica still enjoyed. By the late 1960's thse supremacy was being challenged by the up and coming new producers on the scene, Lee Perry being one, and the other being 'Ghost of the Studios' himself, Bunny Lee. Bunny 'Striker' Lee may have inherited the moniker 'Striker' from his liking of a particular TV show called 'The Hitch-Hiker', but it would soon stand also for the considerable hits he would obtain as he was declared producer of the year in Jamaica in 1969, 1970,1971 and 1972.
For this release, we have compiled many of the great Studio hits that Bunny Lee recorded with the singers that had originally cut at the famed Studio 1. Bunny Lee's sprinkling of magic over some classic tunes....the sound of Studio 1 backed up this time Bunny 'Striker' Lee's set of star musicians The Aggravators. Proving you can't keep a good tune down, or a great producer pushing forward.....Bunny Lee strikes back....
Hope you enjoy the set.....

Marked by resilience, maturity, and the optimistic joy of a creative resurgence, Pat Green’s Miles and Miles of You is the work of an icon reclaiming ground only he himself could have ceded. Ten fresh tracks feel like the spiritual exhale of a celebrated troubadour, taking fans on a journey to the other side of turmoil… and to a place where the old ways feel new again.

Credited as one of Texas country’s modern-era founding fathers, Green has traveled many roads in the 25 years since his debut album, Dancehall Dreamer. A Grammy nominated singer-songwriter with a restless creative spirit, his career has gone beyond the bounds of a “country star” to include the work of a painter, sculptor, philanthropist, family man and more. But one constant has remained – his vision.

Green’s 14th album overall, Miles and Miles of You is also his first in nearly seven years – since his inspiration-first writing style means he won’t force a song into existence. But that philosophy also makes it possible for a whole album to arrive in a dam-burst of expression, and Green now calls Miles and Miles of You an “effortless” project.

“It was just so smooth and natural,” he says. “I write the song when it comes, and it was like ‘Man, we’re on a roll.’”

Recorded outside Austin with producer Dwight Baker (Bob Schneider, Josh Abbott Band), more of that story is revealed with each track, as Green and his band mirrored the loose vibe of the songwriting with country balladry, dancehall energy, soul-baring reflection and at times, a swampy blues strut. “The older you get, you just have more to think about,” he says. “So that’s
what this record is – a guy with more to think about, coming through a hard time and into something as fun and beautiful as creation. I’m just gonna take the ball and run with it.”

The best selection of Gospel music anthems ! Including the iconic " Oh Happy Day " by The Edwin Hawkins Singers ! Originals Versions Remastered