Cerca:henry wu

Das Soloalbum des Black Uhuru-Gründungsmitglieds von 1982 im Originalcover als LP neu aufgelegt! Der Longplayer wurde mit den Roots Radics und dem Bläsersatz von Dean Fraser & Nambo Robinson im Channel One Studio von Soldgie und Scientist aufgenommen und abgemischt, als Produzent zeichnete Henry 'Junjo' Lawes verantwortlich.

Jan Anderzén and his partners celebrate the transcendental power of ecstatic music. Alas Rattoisaa Virtaa is the first Kemialliset Ystävät album in four years. It is the result of chance enhancing online collaboration methods, desire to get lost in the sound archives and the high art of meticulous editing. The album title is from visions of rivers running down from Heart of Darkness to the City of Joyful Noise. If contemporary music is a high speed train passing by then KY's music would be an orgy of light under a railway bridge.

A band member Lars Mattila experiences the music of Alas Rattoisaa Virtaa in spatial terms:

"There are worlds accessed only through our auditory system. I hear a Wunderkammer of freestanding sound objects. Rhythms like sequences of seemingly random stuff laid out on the forest floor: a pair of thrones, a Henry Moore sculpture, a watermelon, two thrones, a Moore sculpture, a melon... I trust the path to go on even if I can't see behind the hill. There's motion, wether it be drunk driving or super human rapid eye movement. The sheer amount of detail makes it impossible to take everything in at once. One's perception and shifting focus reshape the experience on each listen. I remember my visit to Cappella Palatina in Palermo where Normann architecture, Arabic arches and Byzantine dome form a harmonious whole. Various cultural and spiritual influences are recognized as equals. The sense of space also brings to mind the end scene of The Lawnmower Man when the dude is trying to escape the virtual world."

Recorded live in 10 days, with minimal overdubs, Shuttered Dreams is a blast of uncompromising truth reminding us to stay awake when the vultures are circling. The album was mixed by Sean Genockey (Shame, Richard Ashcroft, The Who, Black Crowes).

Margate in March 2021 was a time to test your resolve. If the wind howling round the closed down shops and cafes didn’t send you spinning out of control the out of season coastal melancholy could drag you down as surely as any dead eye mermaid. Add in a murderous virus and a frozen gig scene and it was a time to stay frosty and fight off the demons. Dan had some experience to draw on.

“Instead of baking banana bread or knitting, I decided to upgrade my home studio but after a couple of months of writing it was obvious that the songs needed to breathe as much as I did. They’re all about real people and raw feelings and I felt they wouldn’t get justice by being turned into zeroes and ones so early in life “.

It was decided to record the masters live with his new band featuring Dom Hall (drums), Henry Gabbott (bass) and Freya Warsi (vocals) and engineer friend, Harry Armstrong. Armed only with a Vox Marauder, a skeleton recording studio, and a pad of lyrics, Dan moved in with The Tenants to The Tom Thumb Theatre which like everywhere was closed for business but had just received Arts Council recovery funding and was offering residencies for artists.

“Musically I wanted to try to work within a strict palette of sound, using the same acoustic and electric guitars for every song, and Henry’s Wurlitzer and Mellotron to flesh things out a bit.” Dan explains, “We played all of the songs live, sometimes up to sixty or seventy times until we were happy with a take, we might then add a bit of extra electric, percussion or backing vocals, but what you hear on the record is pretty much what was happening in the room. That makes me feel proud, as all the records I love listening to were made in that way.”

Wiederveröffentlichung eines lang vergriffenen Album das 1982 erstmalig erschien und im Channel One & Harry J Studio mit Soldgie Hamilton am Mischpult und den Musikern der Roots Radics eingespielt wurde. Neun der zehn Stücke wurden von Linval Thompson selbst produziert, der Titelsong der LP von Henry "Junjo" Lawes. Dieser basiert auf dem "I'm Not Getting Crazy" Riddim, der durch Frankie Pauls "Worries In The Dance" weltweit populär wurde. Der Tune "I Spy" wiederum hat den selben Riddim wie Eek-A-Mouses "Do You Remember". Die Riddims der Stücke "Are You Ready", "Call Me", "Things Couldn't Be The Same" und "Holding On To My Girlfriend" kamen auch bei den legendären Scientist Dub-Alben zum Einsatz.

Klassiker - nachgepresst und lieferbar! Das Album aus dem Jahr 1982 wird neu aufgelegt und ist wieder erhältlich im originalen Artwork-Design von Tony McDermott und tollen Fotos von Roger Cracknell. Hugh Mundell war ein begnadeter Sänger, der durch die Aufnahmen mit Augustus Pablo und auch durch dieses Album für den Produzenten Henry "Junjo" Lawes für immer in Erinnerung bleiben wird. Doch sein Leben war tragisch kurz, als er im Alter von 21 Jahren am 14. Oktober 1983 erschossen wurde. Die LP "Mundell" wurde im Jahr zuvor bei Channel One aufgenommen und bei King Tubby's von Scientist gemischt. Als Begleitband waren The Roots Radics an Bord (Bass: Errol "Flabba" Holt, Schlagzeug: Style Scott, Lead-Gitarre: Bo Pee Bowen, Rhythmusgitarre: Sowell, Orgel: Winston Wright, Klavier: Gladstone Anderson, Schlagzeug: Skully & Sky Juice, Saxophon: Deadly Headley, Posaune: Nambo Robinson). Die drei Titel "Jacqueline", "Rasta Have The Handle" und "Red, Gold And Green" wurden auch als Basistracks in dem Dub-Klassiker "Wins The World Cup" verwendet.

Die Musik entstammt weiterhin vom Komponisten Jonathan Larson selbst und beinhaltet 17 Tracks mit Gesang, die jeweils von den Schauspielern selbst eingesungen wurden, wobei der Film eine Starbesetzung zu verzeichnen hat

Introducing the 'Saltpond City Band'. A buoyant 8-piece outfit hailing from Ghana, blending soulful highlife and percussive funk in their new album 'Boko A Ko', forthcoming on Meet Me There Records.

The Saltpond City Band was initially formed by the legendary Ghanaian highlife musician Ebo Taylor and is now led by his son, keyboardist and lead vocalist, Henry Taylor.

The album 'Boko A Ko' is a blend of highlife, funk and afrobeat, woven into a refreshing take on traditional Ghanaian highlife. With the core of the band set deep in the highlife experience, Taylor and company deliver a combination of driving horns, fluid percussion and earthy vocals. The album features Ebo Taylor himself on 'Mennbo Wobi', which also showcases Ghanaian flute extraordinaire Dela Botri adding fine elements of melodic escape.

The forthcoming album is set to be released on the brand new label 'Meet Me There Records' (MMTR). MMTR is a community-based project aiming to put the artist first. With profits split 50:50 between artist and label, 25% of the label profits will go directly towards the building of a recording studio in the local community of Dzita in West Ghana, Wornana Studios, which will become one of the first accessible recording studios in the Volta region.

'Boko A Ko' is already receiving praise from highly acclaimed artists and DJ's, but is also an example of what else is to come from MMTR and is paving the way for new and unexplored talent that is coming out of the Ghanaian and West African music scene.

Joe Bonamassa - 'The Ballad of John Henry' 2022 Remaster erstmals als farbiges Doppel-Vinyl

Provogue / Mascot Label Group veröffentlichen am 22.04.2022 drei spezielle Vinyl-Neuauflagen des Blues-Titans Joe Bonamassa. You & Me", "The Ballad of John Henry" und "Live from the Royal Albert Hall" erscheinen erstmals remastered.
Das Bonamassa Kult-Album "The Ballad of John Henry" aus dem Jahr 2009 wird erstmals auch auf farbigem Vinyl erhältlich sein. Das Album wurde für die 2 LP-Version neu gemastert und auf 180g braunem Vinyl gepresst. Als besonderes Bonbon gibt es mit der B.B. King Coverversion von 'Chains and Things' einen Bonustrack.
Bonamassas siebtes Studioalbum brachte ihn erneut auf Platz 1 der US Billboard Blues Charts und brachte ihm den Durchbruch in Europa. Mehrere Bonamassa-Originale zieren das Album ebenso wie Coverversionen von Tom Waits, Sam Brown und Ike & Tina Turner, die die ganze Bandbreite seiner Palette aufzeigen.
Mit mittlerweile 25 Nummer 1 Alben in den Billboard Blues-Charts, ausverkauften Tourneen und seiner Keeping The Blues Alive Cruise in Amerika und Europa, ist Joe Bonamassa allgegenwärtig. Diese Re-issues sind für seine langjährigen Fans und für Musikliebhaber, die JB neu für sich entdeckt haben. Diese drei Alben sind Joe Bonamassa vom Feinsten!

Das Live-Doppelalbum "Glitter & Doom" entstand auf der gleichnamigen ausverkauften und hochgelobten Tour, die den kalifornischen Songwriter 2008 durch die USA und Europa führte. Die erste CD soll wie ein einziges Konzert klingen, obwohl die 17 Songs in zehn verschiedenen Städten aufgenommen wurden. Die zweite CD heißt "Tom Tales" und ist eine Zusammenstellung von Zwischenbemerkungen und Bühnenansprachen, mit denen sich Waits während des Klavier-Sets mit dem Publikum austauscht. Die Themen reichen dabei von Insektenritualen bis zum letzten Atemzug von Henry Ford. Musikalisch zeigt sich Waits auf "Glitter & Doom" in seiner ganzen eklektizistischen Herrlichkeit und wechselt nahtlos von einem Charakter zum anderen: Jahrmarktschreier, Prediger, Country-Sänger, Soul-Liedermacher und Geschichtenerzähler. Unterstützt wird Waits von einer fünfköpfigen Band, die das Waits'sche Repertoire um einige neue Perspektiven erweitert.

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory once again with a third limited 45'. This release delves into some neo soul classics, cleverly flipping a pair of favorites from one of the genres most belove couples of the 00s.

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory once again with a second limited 45'. This release delves into some modern soul and jazz, flipping some new age cult classics to club friendly future anthem

Wu Hen is the sophomore album from Peckham visionary Kamaal Williams -- an invitation to elevate to a higher state Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases.



Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage - a self-styled fusion Kamaal describes as Wu Funk.



New players on this record include LA’s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, Quinn Mason on saxophone alongside vocal features from cult rapper Mach-Hommy and Kaytranada collaborator Lauren Faith. Multi-talented renaissance musician Miguel Atwood-Ferguson (who has worked with Ray Charles, Flying Lotus, Dr. Dre, Mary J. Blige, and Seu Jorge) contributes signature strings, which add vivid colour and rich depth, evoking vintage David Axelrod.



Kamaal rose to prominence with the hugely acclaimed Yussef Kamaal alongside drummer Yussef Dayes and a catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu that became essential DJ tools. In 2018 he launched Black Focus Records with the Kamaal Williams debut The Return, which charted in the UK and saw sold out shows and festival appearances across Europe, North America and Asia.

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory for his second instalment of the "Snips Edits" series. This time cleverly turning a handful of Hip Hop classics into club ready anthems over Snips' original productions.

Warehouse Find!

Helsinki-based producer Saine makes his Delusions debut following amazing output on such revered labels as Voyage Recordings, Odd Socks, Omena and Fina. A producer who can flit from hazy instrumental hip hop through to raw, dusty house at the flick of a switch, Saine has built a solid following amongst lovers of left field leanings we've come to expect from the likes of Max Graef, Glenn Astro, Henry Wu and Leon Vynhall.

On lead track Act Natural we find Saine in perhaps his heaviest mood to date, delivering a crunchy uptempo house jam which retains his unique sound despite being aimed firmly at the dancefloor. A speaker wobbling eighth note bassline locks down the groove whilst familiar, much-loved frag- ments from the rave days punctuate the crackling beats. Add to this some simple syncopated chords and you have a winning formula for a timeless track which looks to the future whilst respectfully doffing it's cap to the past.

Jus Right continues in a deeper, more musical fashion with Saine getting busy on his synths, building up layers of warm pads and soloing Moog lines. A prominent vocal brings a soulful touch whilst the minimal, almost hihat-less groove adds an original and fresh feel to this blissful track.
Flipping over we have Low Key, a shuffling deep house number loaded with sliced Rhodes samples, echoing vocal hits, clipped percussion and sublime bass. As the atmosphere thickens, everything falls away to silence before rebuilding, creating some nice tension in the arrangement.

Finally we have Pontchartrain offering up an excellent remix of Jus Right. The Detroit native responsible for some mighty fine releases for the likes of Rocksteady Disco, Lovedancing, Soul Clap, Kolour LTD and Whiskey Disco takes things in a more straight-up house direction with heavier beats, 909 hats pushed to the fore and a distinctively old school feel to the mix.

For our next Excursion, we're off to the library. In search of library records that is - you know the type, the crazy rare records used for soundtracks and such and such. We have a sick selection of synthed-up beats and pieces chopped together by one Earl Jeffers, making the most out of his international library digging card* (*not a real thing).

For those that don't know, Cardiff's Earl Jeffers is one half of Darkhouse Family, regular family at our sister label, First Word, on which they released their debut album 'The Offering' late last year. Earl is a prolific producer in his own right, also releasing over the years under the aliases Chesus and Metabeats on labels like MCDE, Fat City and Local Talk, collaborating with artists like Byron The Aquarius, Action Bronson and Kamaal Williams / Henry Wu, turning his hand ably to house, hip hop, jungle, jazz and more. All this in addition to running his own label, Mélange Records.

A dedicated digger and record collector first and foremost, Earl has provided us with a quadruple set of heavyweight stuttery sci-fi boom bap. In Earl's words: "This record was mostly inspired by my penchant for the more electronic / synthesized jams, mostly replayed from the original compositions then thrust in to 2028 and beyond...."

Profusion (noun): an abundance of something rich.

The sonic partnership of K15 and Emeson originated in the days of MySpace. A future of combining their skills was inevitable, and now in 2017, it's time to unleash their debut studio album into the ether.

The solo-projects of Tottenham-raised Kieron Ifill (aka K15) date back a decade, but were truly kick-started on labels such as Kyle Hall's Wild Oats and WotNot Music, with a number of genre-crossing releases dropping ever since, including the WU15 project (along with Yussef Kamaal's Henry Wu, on Eglo Records). Additionally to his production work, he has established himself internationally as a DJ, from the Jazz Cafe to the CoOp parties.

Partner in Profusion, Emeson, has many skills to his bow - singing, songwriting, producing, promoting, DJing (under the alias Ed Nice) and acting. As a musician, his varied skill-set has seen him work with Chico Hamilton, Carla Duke, Karmasound, Uzo Madu and Chris Jerome. A frontman for soul-jazz groups LifeSize, The One and Saturn's Children, he has featured on releases for BBE and Tokyo Dawn, and appeared live on stage at the likes of Ronnie Scott's.

The debut single was supported by tastemaker blogs Wonderland, XLR8R and Stamp The Wax, has been bumped by selectors such as Lefto and Jazzie B, and played on NTS, Worldwide FM, Mi-Soul, LeMellotron, Balamii Radio, Itch FM, Invader FM, Soho Radio and various stations across Europe and the US.

This album is full to the brim with summery sun-soaked synths, drifting across the warmest of basslines and heavyweight beats. Emeson's rich vocals gracefully ride atop of K15's delectably bruk twist on neo-soul sonics and electronics, this is some seriously classy contemporary London soul music, that manages to incorporate flashes of various dance music techniques, sound-system etiquette and jazz-tinged rhythms. As future-thinking as it is subtly retrospective, it doesn't lend itself to one genre, it intentionally embodies the best of many. An array of everything that is great about British black music in 2017. The message the album conveys itself couldn't have come at a more poignant time. Where do we begin

Profusion - an abundance of something rich indeed.

Aufgewachsen in London mit Jungle, Grime und Broken Beats, ist der Jazz-Ansatz von Yussef Dayes und Kamaal Williams (aka Henry Wu) geprägt durch den Basssound der Piratensender, ähnlich wie die US-Kollegen Robert Glasper oder Kamasi Washington HipHop in ihre Musik einfliessen lassen. Weitere Inspirationen auf dem Yussef Kamaals Debütalbum ist der freiheitliche Anything-Goes-Spirit des 1970'er Jazzfunk eines Herbie Hancock oder Mahavishnu Orchestra, während ihr Pianospiel an Thelonious Monk und ihr Drumprogramming an Kaidi Tatham angelehnt ist.

BERLIN, BRISTOL, CAIRO, JOHANNESBURG, KYIV, LAGOS, LISBON, LUANDA, NAIROBI, NAPLES
50 electronic music producers and instrumentalists from these ten cites were invited to collaborate
in studios over the course of more than six months. As a result hip-hop from the squats of Naples,
dubstep and bass from Bristol and Lisbon, experimental techno from Berlin and jazz-tnged deep-house
from Kiev are thrust upon the pumping kuduro of Luanda, the free-thinking crackled electronica of
Cairo, the afro-jazz of Lagos & Johnannesburg, and the Sheng street slang of Kenyan hip-hop and rap.
A selecton of the results of these cross-contnental experiments can be heard on this record.


















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