Limited Edition hand numbered 12” – 1000 Copies: 40th Anniversary 12” release of much sampled “Baby Don't You Know” by fusion flautist, former Blue Note jazz artist Bobbi Humphrey, produced by Roy Ayers.re-created on original Uno Melodic art. Bobbi is from Texas who came to Uno Melodic after highly acclaimed music for Blue Note (including ”Harlem River Drive”) and Epic (“The Good Life”). She also recorded for Duke Ellington and Stevie Wonder. Out of the two versions of this record, the instrumental has gained particular notoriety over the years. Both the original 7” and 12” are extremely rare, the music production from Bobbi, Roy Ayers and his team in their element.
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Uno Melodic was the brainchild of the legendary Roy Ayers. At the height of his career in the early 80s, Roy established Uno Melodic to explore working as a writer, musician, producer and record label owner with complete control over his creative ideas. Roy brought artists and musicians to the label invaluable to him at Polydor and in whom he saw potential to make more great records. Between 1980 and 1983 Uno Melodic released records that went onto become definitive of their time, classics that became much sought after. The label and its signature releases are part of the Roy Ayers legacy, the best of which Expansion have assembled here on remastered double LP.
Sylvia Striplin, Eighties Ladies and Ethel Beatty represent the soul, disco, two step and boogie sides of Uno Melodic, Bobbi Humphrey, Justo Almario and Roy himself the masters of jazz fusion at the label. The album concludes with the spoken words of Rick Holmes on one of the label's biggest ever release on the label.
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Xistence Records reaches its eighth release with what may be its most important record so far, bringing together four artists whose music carries the spirit and evolution of Detroit techno. With selections reaching back three decades alongside new material, the EP connects different eras of tracks that exemplify the raw soul, machinery and futuristic thinking at the style's core. Sean Deason opens with 'Time Warp', originally appearing on his Matrix label in 1996 and finally receiving its first vinyl release. Thirty years later, its dramatic entrance and surging rhythm have aged perfectly. Energy is matched by genuine depth and soul, with its futuristic energy at the heart of it all. Label owner Arbilla follows with 'Electric Storm', harnessing the power of a great techno groove creates a blend of infections elements working in harmony. The second side reaches back to 1998 for a previously unreleased DX-9 production. A pounding Chicago warehouse beat meets the mechanical precision of Detroit, while a heavily over-arching acid line fuses the marriage these two deep-rooted cities. Legendary producer, Orlando Voorn closes proceedings under his Basic Bastard alias with 'Alone Together'. Perhaps the sickest groove of the EP. opens up a spacious atmosphere that gives the track an almost celestial quality. Inspired by Detroit techno’s evolution and its key figures, Xistence continues to show why it has become one of the rare trusted homes for proper techno.”
OLC003 brings another slice of late-90s South London tech house back into circulation, with a repress of Swag Records SWAG003 now brought home to the Online Collective catalogue.
“Takedown” from Dave Ivy opens with a distinctly 90s feel, built around analogue synths, punchy drums and processed movie vocals. Raw, driving and full of character, it’s a proper snapshot of the era.
“Diversion” sees Rob Pearson and Lee Humphreys developing their early collaborative sound, with lush Detroit-tinged chords, analogue drum rhythms and plenty of subtle detail. Even the slightly wonky vinyl noise was recorded by Rob and Lee themselves while miking up a wobbling record — a small touch that sums up the hands-on approach behind the track.
On “Checkout” Rob & Lee head into deeper and slightly cheekier territory, with a few familiar voices from a particularly strange night south of the border weaving through analogue hardware textures, resonant sounds and deep bass. A stripped-back late-night groove with plenty of attitude.
Three tracks from a very particular moment in UK tech house history now back with the original artists on Online Collective.
Westside Cowboy aus Manchester zählen aktuell zu den spannendsten neuen Indie-/Alternative-Bands
Großbritanniens. Das Quartett, das sich vor drei Jahren in Manchester formierte und kürzlich bei Island
Records UK unterschrieben hat, veröffentlicht am 21. August sein Debütalbum It Goes On.
Mit der neuen Single „Kick Stones (The Boys)“ liefert die Band einen ersten Vorgeschmack auf ihren
mitreißenden Sound zwischen euphorischem Indie-Rock und emotionaler Intensität. Gemeinsam mit Produzent Loren Humphrey (Geese, Cameron Winter, Wunderhorse) entstanden elf Songs, die die Verwirrung,
Verzweiflung und Hoffnung des Erwachsenwerdens einfangen.
Westside Cowboy konnten bereits mehrere ausverkaufte Headline-Shows spielen, darunter im Scala in
London und im Gorilla in Manchester. Im Anschluss tourte die Band als Support von Geese durch Großbritannien und Europa, bevor sie im Herbst mit einer eigenen UK- und Europa-Tour unterwegs sein wird. It
Goes On ist das eindrucksvolle Debüt einer Band, die man jetzt auf dem Radar haben sollte.
The cult series returns with the brand new
“The Mood Mosaic Vol. 22 - Funk IT.”
. A sonic journey through re ned grooves
and timeless atmospheres, crafted with
unmistakable taste.
Since Outlaws in 2020, Ludivine Issambourg's flute has not cooled down. How could it have, when with that album of Hubert Laws covers, it had reached incandescence? Still panting, burning despite the lid of its case left wide open, it awaited the opportunity to continue the adventures that Master Laws himself had praised.
A continuation? Above The Laws isn't quite that.
Although his name still appears, Hubert L. is no longer the sole guide in exploring the vast galaxies of jazz-funk. Through covers but especially as an enhancer of her own compositions, Ludivine has invoked the spirit and intangible presence of Jeremy Steig, Ronald Sneijder, and Bobby Humphrey—the legends of the flute.
Guided by an unescapable groove, with a musical dial set to the late 70s and early 80s, Ludivine has enlisted the help of a brass section this time, a true propulsion engine for funk that can also shift to a soulful breath if the moment calls for it. Supporting the keyboards, there's a Moog laying down its rich layers or twisting tones.
The flutes are used like levers to stabilize the flight or, conversely, to make it soar even faster through the measures. The alto version, which Ludivine had previously used sparingly, adds the necessary velvety note when it’s time to embark on smoother destinations. Speeding up the tempo to make passengers rise from their seats as if danger were imminent; calming the atmosphere to put them in a reassuring cocoon where they can let their thoughts and spirits wander, the improvisations find their place in the compositions observed from the porthole. Detached from gravity, yet still very much in tune with the vibe of cities marked as hot spots on the current jazz scene radar, it's the scent of these streets that permeates some tracks of Above The Laws.
Directed from the control tower by Eric Legnini, Chassol, Alex Finkin, and Michaël Lecoq, Above The Laws benefits from a few stops along the way where precious connections are established. Nils Landgren and his trombone in the colors of the Swedish flag, Laurent De Wilde for a chase between flute and Fender Rhodes, Céline Bonacina’s saxophone for an Afrobeat detour.
But it's at the edge of a journey where organic intensity has continued to assert itself without losing power that Ludivine connected with Brian Jackson for a cover of "Angel Dust," a track from the era when he and his partner Gil Scott-Heron were creating soul masterpieces. One of them featured a flutist by the name of Hubert Laws.
The starting point of Ludivine's latest jazz-funk explorations also becomes the endpoint. Elevated by the ten tracks of Above The Laws, Ludivine Issambourg closes a loop where she has placed her flute and its flourishes in an undeniably leading role. Opening the doors to ambitious orchestrations, unexplored horizons, she weaves into her compositions the experiences, places, and encounters that have shaped her.
Lee, a musician from Clewiston, Florida, gained prominence in the 1990s as part of the hip-hop duo Straight Coffee For George with friend Antonio 'T-Lyfe' Humphrey. He later formed The Square Egg, known for blending hip-hop, funk, jazz, and soul, earning recognition in Miami and New York. As a solo artist, Lee played renowned venues in New York and Buenos Aires, releasing albums like 'Naked' (2010), "Reasons To Buy This Album" (2014), and '2+2=5' (2017). His 2022 album, 'Maybe Now,' was a lush musical journey influenced by his life in Buenos Aires. His latest release, 'The Reprieve,' continues to push musical boundaries.
On behalf of re:discovery records, it is with great excitement that we announce the release of Stryke – The Introspection Trilogy (1994-2022). rd011 features a track that is very close to my heart. My senior year in high school. I was heavily into chill-out music at the time. Labels like FAX, Instinct Ambient, Reflective, Astralwerks, em:t, Silent, Moonshine, Rising High, Warp, Exist Dance, Visible, Eye Q and others were giving me such a wide array of beautiful sounds of more subdued techno and rhythmic ambient music. I was buying every compilation I could at the time that looked remotely different based on the artwork, the unusual artist names or the tracks. I was soaking in everything I could under the chill-out style. That year 1994 I picked up the 2nd edition of Moonshine's 'United State of Ambience 2'.
It has so many good tracks on it. One track that always held a special place in my heart was Stryke's 'Introspection pt.1'. The simple but catchy melody layering. The easy atmosphere made me feel like I was floating in the ocean. The deep 808 bass notes (I hope one day you and I will hear this on an amazing sound system). The amazing strings reach a crescendo nearing the end. This track has so many simple but beautiful sounds on it. It's a great example of what I call sequencer-styled electronic music. At a time when producers layered tracks in more of a sequence then building or placing sounds. In 2021 I was able to get a hold of Greg Chin to see if he was interested in putting the track on my label and letting it breathe freely on its own side alone as the highlight of an EP. Greg was enthusiastic about the opportunity and told me that he always wanted to complete the trilogy he had in mind of a part 2 and 3. The ominous and eerie part 2 adds a terrific tension to the finale of part 3. The last being almost an updated part 1 really concluded the trilogy for me. Both parts melded together on side B pushing near 17 minutes. I want to thank Greg for letting us be a home to complete his journey.
Classic jazz-funk fusion from the late, great Japanese guitarist Ryo Kawasaki. Recorded in New York, and originally released in 1976, 'Juice' presents Ryo at the height of his powers.
Born in Japan in 1947, Ryo had a long and stellar career recording and releasing music up until his passing on 13 April 2020, in Tallinn, Estonia. Ryo is one of the pioneers of the jazz fusion genre, with the Japanese jazz fusion / funk sound becoming extremely influential within the 80s UK club scene and amongst its DJs. His track 'Trinkets & Things' became a bonafide underground classic. In the US he worked with some of the greats of jazz, such as Elvin Jones, Chico Hamilton and Bobbi Humphrey, to name but a few. A forward-thinking and ever-evolving musician, Ryo collaborated with the Roland Corporation and Korg on the 'guitar synthesizer' and later wrote music software for computers. Later in life he relocated to Estonia and worked there, as well as Finland, Sweden, and the Baltic states.
'Juice' has become a much-loved album for crate diggers and jazz-funk enthusiasts, with its tracks frequently being sampled and re-imagined in hip-hop. The smokey, beat-down, spiritual funk jam 'Bamboo Child' has been flipped by Diamond D, Puff Daddy, and Kool G Rap. The album was released in 1976 on RCA Records and features the musicians' drummer Jimmy Young, rhythm guitarist Hugh McCracken, and bassist Stu Woods amongst other luminaries. A solid album throughout that incorporates a heavy dose of tripped-out synths alongside the emerging disco sound of the time. Tracks such as the opener ‘Raisins’, with its drum beat intro and bubbling bass-line, rivals The Headhunters at their finest. A superb album from an underground legend.
History Of Modern is the band's first record since 1996's Universal. Andy McCluskey has described it as their "best album since Architecture and Morality - high praise indeed.
All artwork for the release has been designed by OMD's longtime cohort Peter Saville.
This autumn also sees OMD embark on the 'History of Modern' tour, with the classic line up of Andy McCluskey, Paul Humphreys, Martin Cooper and Malcolm Holmes. The dates will see a mix of new songs with classic hits.
Als Dublins Gurriers 2024 ihr Debütalbum Come And See veröffentlichten, bewiesen sie eindrucksvoll, dass sie eine der drängendsten und unüberhörbaren neuen Stimmen der boomenden irischen Punk-Szene sind. Seitdem haben sie sich mit knochenerschütternden, moshpit-tauglichen Live-Shows einen stetig wachsenden Ruf erarbeitet. Come And See stellte dabei auch ihre lyrische Stärke und ihren neugierigen, gesellschaftskritischen Blick in den Vordergrund – mit Songs über digitale Verlorenheit und die ganz realen Schrecken der modernen Welt.
Das grandiose zweite Album des Quintetts heißt Nobody's Coming To Save You – könnte aber ebenso gut den Untertitel „härter, besser, schneller, stärker" tragen. Es wird am 25. September auf Play It Again Sam veröffentlicht.
Aufgenommen in Donegals Attica Studios und den Holy Mountain Studios in London, produziert von Mark Bowen (Idles) und Loren Humphrey (Geese, Cameron Winter), engineered von Chris Fullard (Idles, Sunn O)))) und gemixt vom weltbekannten John Congleton (St. Vincent, Modest Mouse, Swans) – allein das Team, das sich für LP2 zusammengefunden hat, spricht Bände. Gurriers nehmen alles, was sie von Anfang an großartig gemacht hat – die musikalische Chemie, den klugen, analytischen Blick auf die Welt – und schrauben es konsequent auf das nächste Level.
Von der vibrierenden Spannung der ersten Takte des Titeltracks, die sich in einem kakophonischen, kathartischen Finale entlädt, bis zum Ende: Nobody's Coming To Save You überführt den Geist des schwitzenden Kellerclubs in Stadiondimensionen. Das Album ist nicht nur laut – es ist dynamisch. „Shades" schickt industrielle, kantige Gitarrensplitter in einen brachial-rohen Hardcore-Chorus; „Drones" ist ein druckvolles, langsames Aufbäumen mit einem Drop, der jeden Moshpit zum Kollabieren bringt. „Pins" zeigt eine lässigere, melodischere Seite – irgendwo zwischen Grunge und Trip-Hop –, während „Party Lines" pure, unersättliche Dance-Punk-Ekstase ist. Wer sich fragt, ob die Band ihr Ziel erreicht hat, das Album „wie eine Ohrfeige" wirken zu lassen: Ja, die sitzt.
Mit Nobody's Coming To Save You haben Gurriers ihre Ambitionen in neue Höhen getrieben – und liefern dabei auf ganzer Linie.
Als Dublins Gurriers 2024 ihr Debütalbum Come And See veröffentlichten, bewiesen sie eindrucksvoll, dass sie eine der drängendsten und unüberhörbaren neuen Stimmen der boomenden irischen Punk-Szene sind. Seitdem haben sie sich mit knochenerschütternden, moshpit-tauglichen Live-Shows einen stetig wachsenden Ruf erarbeitet. Come And See stellte dabei auch ihre lyrische Stärke und ihren neugierigen, gesellschaftskritischen Blick in den Vordergrund – mit Songs über digitale Verlorenheit und die ganz realen Schrecken der modernen Welt.
Das grandiose zweite Album des Quintetts heißt Nobody's Coming To Save You – könnte aber ebenso gut den Untertitel „härter, besser, schneller, stärker" tragen. Es wird am 25. September auf Play It Again Sam veröffentlicht.
Aufgenommen in Donegals Attica Studios und den Holy Mountain Studios in London, produziert von Mark Bowen (Idles) und Loren Humphrey (Geese, Cameron Winter), engineered von Chris Fullard (Idles, Sunn O)))) und gemixt vom weltbekannten John Congleton (St. Vincent, Modest Mouse, Swans) – allein das Team, das sich für LP2 zusammengefunden hat, spricht Bände. Gurriers nehmen alles, was sie von Anfang an großartig gemacht hat – die musikalische Chemie, den klugen, analytischen Blick auf die Welt – und schrauben es konsequent auf das nächste Level.
Von der vibrierenden Spannung der ersten Takte des Titeltracks, die sich in einem kakophonischen, kathartischen Finale entlädt, bis zum Ende: Nobody's Coming To Save You überführt den Geist des schwitzenden Kellerclubs in Stadiondimensionen. Das Album ist nicht nur laut – es ist dynamisch. „Shades" schickt industrielle, kantige Gitarrensplitter in einen brachial-rohen Hardcore-Chorus; „Drones" ist ein druckvolles, langsames Aufbäumen mit einem Drop, der jeden Moshpit zum Kollabieren bringt. „Pins" zeigt eine lässigere, melodischere Seite – irgendwo zwischen Grunge und Trip-Hop –, während „Party Lines" pure, unersättliche Dance-Punk-Ekstase ist. Wer sich fragt, ob die Band ihr Ziel erreicht hat, das Album „wie eine Ohrfeige" wirken zu lassen: Ja, die sitzt.
Mit Nobody's Coming To Save You haben Gurriers ihre Ambitionen in neue Höhen getrieben – und liefern dabei auf ganzer Linie.
Générique unveils a rich musical world that brings French chanson, indie rock and electronic textures together. The five tracks, recorded at La Frette Studios in Paris, are brought to life by an ensemble of acclaimed Anglo-American musicians directed by Mercury Prize-winning producer James Ford and Loren Humphrey. Tinged with dark, mischievous poetry that glimmers with sensuality, Générique is a hymn to liberated women. A call to live and love freely.
Zur Feier des 40 Jährigen Jubiläums erscheint ”Crush” von OMD als Remaster mit einer Fülle von Zusatzmaterial auf CD und Vinyl!
Jeweils enthalten sind sieben unveröffentlichte Songs gemischt von Paul Humphreys. Darunter zwei Demos,
ein Alternative Mix und vier Songs, die bisher noch nie auf einem physischen Album oder digital erschienen
sind. Dazu kommt ein Booklet mit seltenen Fotos und Anmerkungen zum Album aus einem Gespräch
zwischen dem Journalisten und Autor Jason Draper und Andy McCluskey.
Major Keys work their magic once more with the release of two iconic tracks by celebrated Jazz musician, Donald Byrd. Known for being one of the few jazz artists who successfully explored funk and soul music in the 70s, whilst remaining a leading figure in Jazz (much to the disgruntlement of purists)
This 2-track EP salutes 2 records from that exploratory era with the official license and 12 inch reissue of ‘Think Twice’ & ‘Where Are We Going’
Think Twice - Taken from his 1975 LP ‘Stepping into Tomorrow’ released in 1975 on Blue Note Records and produced by the legendary Mizell Brothers, responsible for producing other artists including Gary Bartz, Johnny Hammond, Bobbi Humphrey, as well as Michael Jackson and Marvin Gaye. One of Byrd’s most recognisable records and a highly sampled song amongst a wealth of hip hop and house artists in recent years.
Where Are We Going – Taken from the 1973 album Black Byrd, the very first release of Byrd’s on Blue Note Records and was released in collaboration with Motown Records. Produced by Larry Mizell and Larry Gordon, then later performed by Marvin Gaye. The album still stands amongst some of Blue Note’s bestselling releases
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Wewantsounds is delighted to reissue Charles Kynard"s 1972 cult classic Woga, recorded in Los Angeles for Mainstream Records and featuring top-tier musicians Chuck Rainey, Paul Humphrey, Arthur Adams, and George Bohanon. Produced by Bob Shad, the album stands as one of the label"s funkiest releases, showcasing Kynard"s signature Hammond organ grooves. Woga is reissued here on vinyl for the first time since its original release, complete with its original gatefold artwork using first-generation session photos. This edition also includes the bonus track "Smiling Faces Sometimes" and comes with newly remastered audio plus a two-page insert featuring new liner notes by Kevin Le Gendre.
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Last delivered 12 months ago available to reorder, subject to availability
LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.
Waxwork Records is thrilled to release PHANTASM Original Motion Picture Score by Fred Myrow and Malcolm Seagrave. In celebration of the iconic Horror film's 45th Anniversary, this special triple LP features the complete score sourced from the original 1979 master tapes for the first time in any format, a full LP of never before released cues from the Phantasm score recordings sessions, and the newly re-mastered original 1979 score album.
Directed by Don Coscarelli, Phantasm has become a horror classic due to its surreal and unconventional storytelling. Filming on weekends over the span of a year, and working with a budget of only $300,000, Coscarelli and his crew created a bizarre, gorey, and entirely original horror film. Some of the most famous aspects of the film, like the floating silver orb, come directly from Coscarelli’s dreams, which give the film an even more ethereal feel. Composers Fred Myrow and Malcolm Seagrave were inspired by the horror scores of Goblin (Suspiria) and Mike Oldfield (The Exorcist) to create the haunting sounds of Phantasm. Myrow and Seagrave were working with synthesizers in the early days of the instrument. Says Coscarelli, “The synthesizers we used back then were so primitive that you couldn't repeat something; you would program the synthesizer, which means setting all of these dials to create a sound, and you went back and tried to get it again and forget it - it was impossible.
"I recently received notice that our long-term film storage vault in the basement of the historic Howard Hughes Headquarters building on the corner of Romaine and Sycamore in Hollywood was being permanently closed. During the process of moving out our negative materials, I came across the original three reels of Ampex 456 analog tape used in the Phantasm score recording sessions. Listening now to the score, including the outtake tracks, I am impressed with how inventive and adventurous Fred and Malcolm were in their approach to scoring Phantasm."
Waxwork Records is excited to release the definitive PHANTASM Original Motion Picture Score by Fred Myrow and Malcolm Seagrave as a deluxe 3xLP with features including the expanded and complete score sourced from the original 1979 master tapes, never before released score cues from the Phantasm recording sessions, and the newly re-mastered original 1979 score album. Each disc is pressed to "Silver Sphere" metallic silver colored vinyl and housed in a heavyweight triple gatefold jacket. Also included are exclusive liner notes by Phantasm writer, director, and producer Don Coscarelli, an 11""x11"" insert, and full album artwork by Graham Humphreys.
