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“Raggamuffin Soldier” was recorded at Channel One Recording Studio in 1983 with Soldgie as engineer and a rhythm track played by Jolly Stewart and Daniel “Axeman” Thompson. Growing up in the Waterhouse neighborhood of Kingston, Jolly Stewart obviously developed this singing style and gave us a killer early digital dancehall missile with pure conscious lyrics “Raggamuffin soldier, big ina your area...me no deal with badness, me nah deal inna war, me is a raggamuffin soldier...mi raggamuffin ina foreign, raggamuffin sit down pon di riddim...how you know the raggamuffin? Me no wear no gold chain, me no wear no gold ring...”. “Raggamuffin Soldier” was produced by Fitzroy Peterkin who also produced the digital lover tune "Angie".
The Waterhouse style is a particular style of singing that emerged in the late seventies and early eighties within the Jamaican reggae scene. The Waterhouse style is commonly described as a plaintive, groaning and fluctuating vocal style, often nasal and strident, characteristics that will give it a sound that is distinct from the rest of the reggae singers. The commonly recognized founders of the Waterhouse style are the singers Michael "Mykal" Rose, Junior Reid and Don Carlos. The name derives from the famous neighborhood of the same name in Kingston, the capital of Jamaica, the place where the three pioneers were born and emerged. The Waterhouse style influenced many dancehall reggae artists of the eightiesvsuch as Tenor Saw, Half Pint, Nitty Gritty, Anthony Red Rose, King Kong, Yami Bolo, Andrew Bees...
Vincent Stewart aka “Jolly Man” is a reggae singer from Kingston 11, born december 16 1960 at Hunts Bay Lane, 4 Miles, Jamaica. Jolly started singing at age 13, he was placed in an approve School for 3 years and at the age of 16 he was released.
He started his musical career in the late 70's with Ossie Thomas, Phllip Morgan and Tristan Palmer from Black Solidarity label. Jolly Stewart recorded his first song entitled "Money Pyaka" on the classic "Pretty Looks" riddim which was recorded for Oswald Thomas on Ganja Farm label and released in 1979. Tristan Palmer who has another tune "Disappointed Lover" on the same riddim backed by The Soul Syndicate made the link with Jolly Stewart because he liked his style of song writting.
Jolly Stewart wrote three songs for Black Solidarity label: "Collie Man", "Bad Minded" and "Symbol Of Justice". All three tracks were covered by Triston Palmer. As a song writter, Jolly Stewart is behind Yami Bolo's hit on Stalag riddim “When A Man Is In Love” released on Winston Riley's label Techniques.
Jolly Stewart then decided to move on with his singjay career. He ventured to Tuff Gong studio where he met two producers. One was Prince Jazzbo from Ujama label, and the other was John John who owned the Bun Fi Bun label. He recorded "Praise jah" for Ujama and "Poverty Rush" for Bun Fi Bun. Still not satisfied with how his career was heading, he moved on to Lannaman's Preparatory School. There he learned to play guitar from a man named Fred McMurray aka Faf and Donald Jackson. Later he learned to play the keyboards by watching other musicians.
In the late 80's and early 90's, Jolly Stewart recorded many songs for various labels such as “Do Me Like So” for Bunny Gemini's label “Bun Gem Records” in 1987, “Late Last Night” and “War” for producer Zelma Rust and his label Myotta Ruff.
He also recorded for Augustus Pablo on his label Rockers International just before he died in the late 90's but we never heard about this release so probably Addis Pablo have it on old master tapes in the Rockers International archives....only Jah knows!

We are excited to announce the release of the Complete James Brown Christmas Collection, a three-LP set featuring music from 1966-1970.

You absolutely don’t need to be a holiday music lover to fall in love with the music spilling out over these James Brown records, as most of the tracks are original compositions that hold their own against many of the grooves that Brown was recording during this high-water mark of his career.

With bonus tracks galore and fantastic liner notes by Alan Leeds (former James Brown publicist and tour manager), and mastered/cut by legendary mastering engineer Kevin Gray, this is a must-have even if you have to give yourself a well-earned, early musical present this year!

Gospel melts into Soul in this dazzling collection of sides originally released by the Chess subsidiary.


Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel — thumping bass and pounding drums, bluesy guitar and horns — and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Not forgetting its sheer, startling, richly diverse soulfulness.

Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house… Morris Jennings, drummer on Curtis’ Superfly and Terry Callier’s What Color Is Love… Louis Satterfield from The Pharaohs and Earth Wind & Fire… Ramsey Lewis’ guitarist Byron Gregory… Phil Upchurch… Laura Lee…

Producer Monk Higgins joined Checker in 1967, bringing his experience of R&B and Gospel hit-making for the labels One-derful and Satellite, together with a loyal cohort of musicians. A protege of Willie Dixon, engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. ‘I’m using horns and an R&B sound in gospel recordings,’ said Bass. ‘We have no charts. All the musicians are given the chord changes. I want the cats to think when we’re cutting. I want spontaneity, and that’s what we’re getting.’ And: ‘There is more to gospel than just finding solace in the church. This follows the same message of Martin King, who was fighting for a new way of life. Kids are tired of hearing Jesus Give Us Help. They want a positive message.’

Focussed on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires’ Groovin’ With Jesus, working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle’s title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks’ achingly timely choral call-to-arms, Stand Up America, Don’t Be Afraid; the East St Louis Gospelettes’ heart-stopping, fathoms-deep rendition of Bobby Bland’s I’ll Take Care Of You.
A beautiful gatefold sleeve; a full-colour booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill.

A shoo-in for soul compilation of the year.

Repress
Patience is a virtue well-rewarded in techno; finding the right groove to build on then holding your nerve long enough to pay off the wait at the optimum moment is a much more skillful endeavour than it would seem for such a minimalistic style. And few display this talent better than Detroit originals Scan 7. Part of the hallowed Underground Resistance family, Scan 7 first broke out in the mid-90s with a series of jacking machine funk 12”s that showcased their savvy for self-control - a faculty they have demonstrated in releases year-on-year since.
Highlighting this continuous font of vitality, Tresor Records has returned to the source and is proud to announce the reissue of Scan 7’s debut LP, Dark Territory. First unleashed on the label in 1996, the album has been remastered from the original DATs by Mike Grinser, augmenting already powerful tracks such as the snake-like, teasing Unusual Channel (mixed by the master Blake Baxter), and the harder-edged VII resulting in music that will, without doubt, provoke an enhanced response when the pressure is finally released.
Repressed on vinyl with updated artwork, these tracks still sound like a blueprint for the future, testament to the prescience and assurance Scan 7’s leader, Trackmaster Lou, clearly had when writing “I hope you enjoy my records in the phuture to come” in the sleeve notes nearly 30 years ago.

Part 1 of ‘La Decima’ Compilation selects artists that have contributed to the last 10 years.

Part 1 kicks off with Oliver Dollar with his ‘I Do Believe’ cut a Chicago jam for the ages. Next up, Toronto based, Demuir doesn’t miss with his signature groovy and jackin’ style as Vibez High does exactly what it says on the tin. The B side kicks off with UK native, Jwalker’s Disconnected giving us the 90’s house feel we all love! B2 features Pinto (NYC) & Kola collab on this jackin’ disco weapon that serves up the French house feelin with little NYC tuffness. Limited release act fast!

2025 Repress

Only Cuts return with an EP from the jackin' house legend DJ Sneak.

4 bangers from the 'House Gangster' himself!

DJ Support: Riva Starr, Mark Knight, David Morales, Brian Tappert, Jimpster, Kevin Yost, Michael Gray, Don Carlos, Crazibiza, Moodena, Dj Disciple, DJ Rae.

American producer Marc Cotterell is one of the contemporary underground house world's most standout talents. He has a great range of moods and grooves and his sound designs are second to none. This latest Album Sampler on Groove Culture is a four tacker with some serious heft. 'Feel The Groove' is a trip into the contamination of house: from Disco to Jackin to Soulful To Deep Sounds. This Album showcases the enduring talent and creativity of Marc Cotterell, offering fans a chance to dive deeper into his rich musical archive.

Following 5 years in Berlin, two albums and a continuing residency at Tresor all bringing acclaim, Maedon is now an established voice and one also in transition. The 8th release for her own Rant & Rave label announces this in its title, 2.0, and its sound, a bold move away from her industrial roots towards the groove-laden techno that earned her bones im Keller. The product of careful study of techno's roots and evolution, this gradual process reaps rewards here, showcasing a bracing new direction for an already-accomplished artist.


'Working Out the Kinks' leads off, more a kinky workout than the work-in-progress its title suggests. A vocal sample and rugged groove initially brings an old school feel, something quickly offset by strikingly modern production details. The EPs middle stride, 'Temporal' and 'Growing Pains', attacks heads-down techno head on with style to spare. On the former, growling lows and rotating pads are gradually joined by a symphony of sonic detritus, with razor sharp drums slicing through the murk. A bouncing bassline and blink-and-miss fills on the latter hammer the rhythm onwards, surrounded by reduced industrial elements and grimy ambiance. 'Breakthrough' does exactly that, it's uneasily modulating lead and bruising EBM bass buffeted by waves of percussion then jackhammering to a climax confirming Maedon's 2nd coming.

2024 Repress

The Call was DJ Club Sandwich’s second Electro EP, and Citra Lab Sounds fourth record. Moving towards slightly more complex beats while maintaining the energy and acid of his Flectic Mongs EP. You can think of it as the bridge from Flectic Mongs to the Jack Bregman LP.

If you are looking for a witty all-around club record – it’s arrived.
Tripmastaz shows class on #09 of his self-titled label. Four cuts built to smack dancefloor fiends to their knees.

Big boy peak-time business on ‘Madd Rippz’ has been road-tested this year by the man himself, crossing various capacity clubs and festivals. An au fait organ riff keeps you in the loop, with slappy Tripmastaz-brand beats delivering as expected.
‘Seqund Lite II’ gives you a more minimal yet funky approach. No more to add—just nod your head twice.

‘4eeba’ is a jacky early 2k number that was originally recorded more than 10 years ago but mixed to crunchy perfection.

And finally, ‘Rule 4080’ is a bumpy house track that sends off some sense to the ones who know what the title means.

The artwork side is covered with the handwriting of one of New York’s finest tattoo artists, Nobu Umezu.

Special loud cut by Mike Grinser @ Manmade and the dynamic force of Tripmastering wrap up this baby neatly.

Detroit's Julion De'Angelo returns with his second release for Maybee Hill Music, the Consciousness EP.
"Ramble of a Revol" channels raw emotion in a 12-minute acid jack journey, a defiant cry against oppression, past, present, and future.
The title track, "Consciousness," takes on a more atmospheric tone, with airy keys that drift over a pensive bassline, reminiscent of Larry Heard, and metronomic percussion throughout.
Consciousness EP aims to reimagine the dance floor experience, it’s emphasis on minimalism inspiring kinetic flow and spiritual elevation.

Hybrid is a word used indiscriminately in our daily lives. This record isn't a hybrid; it's beyond hybrid, post-hybrid, so to speak. Does this phrase sound complicated to you, and are you never overly convinced by music theory and its caricatural aspect? Then forget what you’ve just read and listen to both sides of this record. You'll soon realise that these tracks are deliciously deft, drawing their essence from dub while leaving room for some skillful jazz writing. For those of you intrigued by melodies, the art of musique concrète or the exploration of dub music’s deviant angles, this record will easily find its place on your turntable.

The two sides of the record are cut with play, improvisation and effects, while leaving room for themes and ideas. If this record’s first chapter was born from a request to remix and pay homage to Jackie Mittoo, its themes tell another story. They have been declined and even reduced to an explosion point. The tracks are also driven by subtle details of musique concrète, giving the record the effect of an intimate musical production – but, above all, one of uncategorisable beauty.

In Androo’s case, this is hardly surprising. He is a craftsman who is unassailable in every respect, a poetic dynamiter and, for this reason, one of the most unpredictable musicians in Geneva (and beyond). His appetite for dynamite is perhaps an indication of his conception of music as, first and foremost, an experience. His highly personal and inventive tribute to figures from free jazz and contemporary music proves the point. But perhaps it is also an indication of his attachment to Jean-Luc Godard. You'd have to imagine Androo at his mixing desk without a pre-written script. The idea of editing infuses the record. The two sides are very much in this style and spirit: (un-)shot, meticulous, (ir-)reverent. In this respect, this record is a formidable proposition, and perhaps difficult to understand, but not striving to be understood.

Its combination of improvisation and composition is underpinned by a razor-sharp precision and dexterity that's hard to ignore, especially if you're curious about the art of sound mixing and the romantic accidents. It has a dexterity that transforms musical grids into romantic essays and sketches. A romanticism in which Androo takes us on a liberating musical experience that makes us forget the inertia of the ramping formatting of the record industry. In any case, this record is an invitation to (un-)think the category, and will delight any ear curious to wander into territories of intuition where the word hybrid no longer makes sense.

Text by Carl Åhnebrink

Reissue of the Queen of Space Disco's famous 1978 album. Transparent blue vinyl

Dalmata Daniels third LP comes from Rapha, marking his return to the label after contributing to its split and compilation series. Known for bold acid treatments and dark, futuristic tones, Rapha takes his craft to new heights on Midnight Dancer, which also features remixes by CT Kidobo and PRZ. The album opens with I Win U Win, pulling listeners into an adventure of pulsing basslines and cosmic, minimal electro. CT Kidobos remix then twists it into a darker, seductive French-inspired club sound. The third track, ...And Them, continues the journey of the opener with mechanical beats and textured soundscapes, while Alien Dance highlights Raphas signature sharp, distinct style leaving a strong mark on the deep electro club scene.

On the flip side, Midnight Dancer plunges into a hypnotic realm of haunting echoes and distorted rhythms, with heavy basslines reverberating through the darkest corners of the mind. PRZs remix of the title track retains the original groove but adds a cleaner, equally impulsive electro edge perfect for the club. The albums final tracks, Lost Start and Galactico, round off the journey with shimmering electro patterns and eerie, alien soundscapes, leaving an unforgettable impression.

In Midnight Dancer, Rapha showcases his ability to blend industrial grit with cosmic melodies, delivering hard-hitting electro suited for both club play and immersive listening at home or on a night ride. Be warned DDLP03 is limited to 150 copies, housed in a Studio Jetski designed jacket with a digital download card and shrink wrap.

Jennifer Loveless's 2023 anthem 'Pleasure' gets twisted with three dynamic reworks and a dub mix, taking the original vision into new sonic territory.

Parisian DJ / producer extraordinaire Bambounou pumps out a jackin' version to fire things up. Next up, the Lisbon-based veteran tINI gives a nod to old-school electro in a fresh bass-heavy offering. The EP is rounded off with an Indubm-3ntal mix by Loveless and label bosses Sleep D venturing into dubbed out techno territory, layering deep, atmospheric textures over hypnotic beats. Together, these remixes take the original to new heights, bringing pure pleasure to the deepest and darkest dancefloors.

Another superb selection of Chicago and Hard Techno tunes from french imprint Ghettomania Records.

180G BLACK VINYL

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.

Rzee Jackson, also known by his stage names Esso Jaxxon and Castro Pink, has been a transformative figure in the reggae music scene, both in Jamaica and Canada. Originally from Clarendon, Jamaica, Jackson's musical journey began in earnest when he moved to Canada in 1975 after a cultural exchange program in the United States. Toronto's reggae scene was vibrant with legendary figure such as Jackie Mittoo of Studio One fame, and Rzee Jackson was at the forefront, contributing to the city's unique Jamaican vibes.

Leroy Sibbles, the lead singer of The Heptones, recognized Jackson's talent and brought him into the Ital Groove Band, where Jackson sang harmonies, played Gong Bap/Congos, and engineered. The Ital Groove Band became one of Canada's most prolific reggae bands, with Jackson touring extensively. With The Ital Groove Band, Rzee Jackson quickly made his mark, collaborating with renowned producer Oswald Creary of Half Moon Records.

Through his own indie labels : Ital, BeeZee Sounds Production, and Radio Plus, Rzee Jackson has recorded and distributed music with CC Records and Jet Star in the UK. His records have resonated on radio stations across Canada, the USA, Europe, Africa, and Brazil.
On this new Jamwax release, you will play two standout tracks from the "New Beat" album, originally released in the mid-80s in Canada on Ossie Records, the label owned by Oswald Creary.

The reissue features on A-Side "Row Fisherman Row," a timeless classic from Cedric Myton & The Congos, "Blackheart Man" the iconic song from Bunny Wailer and on the B-Side "Long Long Time" a deep extended 12-inch roots track with dubwise elements reminiscent of King Tubby's style. All songs, produced by Rzee Jackson, were recorded at Half Moon Recording Studio in Toronto, Canada, under the expert engineering of Oswald Creary.

This reissue also boasts new sleeve artwork by Ras Mykha, capturing an Ethiopian-inspired scene that depicts Rzee Jackson, Jackie Mittoo, and Cedric Myton in a fisherman boat, celebrating the unity and legacy of these reggae legends.

In recent years, Rzee Jackson has been collaborating with Cedric Myton and The Congos. As a producer, engineer, singer, and songwriter, Rzee Jackson continues to contribute to the rich tapestry of reggae music, bringing authentic Jamaican and Rasta vibes to audiences globally.

Ashley Henry präsentiert mit diesem Album eine spirituelle Jazzreise, die Hingabe, kollektive Träume und den Kampf um Freiheit vereint. Mit gefeierten Künstlern wie Judi Jackson und Aja Monet ist diese Platte eine kraftvolle Hymne an unsere Zeit, die Nina Simones Erbe widerspiegelt und gleichzeitig Inspiration am Puls der Stadt London und im kollektiven Träumen findet. Gelobt von globalen Medien ist Ashley Henry mit seinem charakteristischen Klavierspiel und seinen beruhigenden Gesangsklängen auf dem besten Weg, einer der einflussreichsten Jazz-Acts in Europa zu werden.

Auf 'Who We Are' arbeitet Henry mit einer Vielzahl zeitgenössischer Künstler zusammen, darunter die Grammy-nominierte Dichterin und Texterin Aja Monet, der Grammy-nominierte Trompeter Theo Croker, die Sängerin Judi Jackson und der Londoner Hip-Hop-Künstler MAK. Henrys lebendige Ausdrucksformen der Jazzkultur wirken ebenso schön wie bedeutungsvoll. Henrys tief verwurzelte Einflüsse und seine visionäre Überzeugung machen ihn zu einem der aufregendsten, neuen Londoner Musiker. Seit er mit Christine & The Queens weltweit auf Tournee war und Loyle Carner in ganz Großbritannien unterstützte, hat Henry viel Lob von den Kritikern bekommen. Unter anderem von The Guardian, Evening Standard, Clash und Wonderland.

Das wunderbare Album erscheint auf Naïve als Gatefold 2LP-Set und CD!