Cerca:jam san

Words courtesy of FOND/SOUND –

What makes チトチック/クラクラ (CHITOTIHC/KULA-kura) so fascinating is that, in some weird way, it’s a meeting of minds and musical language of disparate artists at the forefront of a new kind of groove. There might be no “L” in the Japanese language but that doesn’t stop it from trying to find a working substitute. Similarly, Chito enlisted members from his Asiabeat and East Pulse, others from Mu-Project, K2, and Adi, and brought in Haruomi Hosono to play mercurial bass. In the great expanse of experimental Japanese-made pop music all of them might have gone in “out-there” in separate directions but on this record it was Chito who pointed their focus all on the same track.

“Bayou (バイヨー)” presents this floating idea of dance music with beats and rhythms that hover among the ethereal. Other like “Scribble Dance (らくがき)” use Harry’s acid bass lines to dig cavernous grooves that only come up for air via adrenaline-fueled jumps by Haruo Kubota’s quite Adrian Belew-esque guitar lines. Perhaps, Discipline-era King Crimson is an apt comparison to what Chito and his crew pull off here.

Where Discipline signaled a way to reconcile the most out-there polymeter music of prog with the more satisfying parts of post-punk and the new electronic wave, so to do I think チトチック/クラクラ (CHITOTIHC/KULA-kura) has that bit of heart/spirit in mind. This is the out-there of Japanese experimental music satisfying the best parts of the, then, new electronic wave. It takes a certain degree of proficiency and sheer chutzpah to go from “11” to the wonderfully impressionistic, ambient minimalism of a track like “Sanghyang (サンヤン)”.

It’s the joy of not knowing what each new track will hold and just letting yourself follow the hard-working hands of such learned musicians that brings the most out of Chito’s vision. It’s this very liquid music that keeps you on your toes on tracks like “Astral Lamp (無影灯)”. Tracks like “Jagg-chagg (ジャグチャグ)” and “Filament (フィラメント)” present a fourth world music bifurcated in exponential parts by the glitch of newer, modern, electronic modalities, intersected by expressions by differing voices. Every track you switch to presents a new way to get lost in the many phases and places Chito wants you to travel to.

In the end, as always, it’s not the destination but the journey through it that plants this album in your memory. – Diego Olivas

Eddie shows up to this game alone, wielding, as ever, a deft and unbeatable trigger finger on the sampler...

Reprising those beloved 7 Inches Of Pleasure and early Red Motorbike vibes on some deadly Madlib style downtempo cuts, and quick Cut 'n Paste workouts

LJ Simon, who collaborated on those killer recent Sandy B releases lends a hand too, it's a joyous Disco-House affair that reminds us of those old Tony Senghore jams from the 90's

Fruitful and fully juiced up joints for the Disko Universal !

Flash Atkins has pulled together a crack team of musicians for Sanza Mibale Ya Bo Pemi.
It is a tribute to the golden age of Afro-Disco, when the sounds of 70's New York found their way to the continent and fused with local musical styles and rhythms.
Felix Ngindu sings in his native Lingala language from the DRC over a locked bass, congas, keys, percussion, rhythm guitar and a brass section from Haggis Horn's Atholl Ransome and Malcolm Strachan.
Funk, disco, soul and jazz all blend for a peak time jam.

The Flash Dub strips things back to the rhythm section for heads down, dubby action and a tracky take that still packs a dance floor punch.
The incomparable Bosq steps up for remix duties and knocks it out of the park. Layered drums and percussion give things a more Latin swing before the beats break, piano enters the fray, and it's a tropical-funk party-starter all the way. The dub does the beat thing, rocking a hard groove for the dancers.

Hands in the air? F**ck yeah!

LTD Edition in individually sprayed sleeves !

HAAi kehrt mit ihrem kühnen und brillanten zweiten Album 'HUMANiSE' zurück und erkundet den Sweet Spot zwischen maschinengesteuerter Dystopie und emotionsgeladener Utopie.

Mit all ihren Veröffentlichungen hat HAAi (bürgerlich Teneil Throssell) immer versucht, neue Grenzen in der elektronischen Musik zu erkunden, und auf dem neuen Album bohrt sie noch mal tiefer in diese Richtung. 'HUMANiSE' setzt sich mit der Frage auseinander, was es bedeutet, in einer zunehmend digitalen Welt ein Mensch zu sein, in der KI alles in den Schatten zu stellen droht und unsere Bildschirme uns voneinander trennen. Das Ergebnis ist ein ehrgeiziges und aufregendes Epos: ein klanglicher Sprung nach oben und eine deutliche Weiterentwicklung ihres 2022er Debüts 'Baby, We're Ascending'.

Stimmen - sowohl reale als auch digitalisierte - spielen auf 'HUMANiSE' eine große Rolle, ebenso wie Ideen von Gemeinschaft und Zugehörigkeitsgefühl. Sie ist zurückgekehrt, um mit Freunden wie Jon Hopkins, Alexis Taylor von Hot Chip, dem Sänger Obi Franky, dem Rapper KAM-BU, dem Künstler Kaiden Ford und dem Dichter James Massiah sowie mit zwei Chören zu arbeiten: Trans Voices mit Chorleiter ILA und ein Gospelchor unter der Leitung von Wendi Rose. Nachdem sie jahrelang hinter den Decks verbracht hat, bringt HAAi nun auch ihre eigene Stimme in den Vordergrund, mit der sie sich verletzlich und selbstbewusst ausdrückt. Ihre Stimme ist umwerfend zart und verleiht ihren kinetischen Produktionen eine neue Dimension.

Das Konzept des Albums wurde klar, als HAAi mit Jon Hopkins im Studio war. Die beiden spielten mit einem Vocal-Harmonizer-Plug-in mit einer Funktion namens 'Humanize'. Für HAAi ging ein Licht auf: „Die Vorstellung, dass etwas völlig Synthetisches versucht, eine echte Person menschlicher klingen zu lassen, ist verrückt“, sagt sie. HAAi lässt diese Extreme im Laufe des Albums verschwimmen: Sie digitalisiert Stimmen, überlagert sie zu einem verschwommenen Effekt und verwendet sogar eine KI-Text-to-Speech, um ihre Stimme zu erzeugen. Letztendlich kommt sie jedoch zu dem Schluss, dass Erfahrung und Erinnerung - das, was uns wirklich menschlich macht - nicht ersetzt werden können.

Vom euphorischen Opener 'Satellite' über UK-Radiohit 'Can't Stand To Lose' bis hin zu genreübergreifenden Stücken wie 'Shapeshift' ist das Album voll von aufregenden klanglichen Wendungen und zutiefst persönlichen Texten. 'HUMANiSE' ist ein kraftvoller, emotionsgeladener Sprung nach vorn: eine Feier der Gemeinschaft, des Selbstausdrucks und der Menschlichkeit.

- Ltd. Col. 2LP: (Crystal Clear Vinyl)

Hard Times and DJ Spen go back decades. The Baltimore house veteran has long been a fixture at the label’s parties, on the remixes, and now under his Muthafunkaz alias he cements the bond with a set that’s as much a time capsule as it is a renewal. The Muthafunking Hard Times EP revisits a clutch of Spen’s early-to-mid-2000s jams that, till now, have never been committed to wax. True to form, Spen hasn’t simply dusted them off: he’s remastered, refreshed, and imbued them with a 2025 gleam, bridging past and present in one irresistible sweep.

The A-side opens with the Funkee Kole Cappin’ Mix of 2008’s “(You Make Me Say) Woah!”, a gospel-fired stormer whose call-and-response vocals climb skyward while a cheeky Fab Four nod keeps things buoyant. “Holy Ghost” follows in its Holy Spirit incarnation, wringing church-floor catharsis from tribal percussion and sanctified chants - a blast of kinetic, almost Faya Combo-like fervor.

Flip the record and you’re hit with the swing and strut of 2010’s “Gotta Hold On Me,” Spen’s Vocal Mix turning horns and jazzy drums into a pure adrenaline surge. The closer, “Doin’ The Best I Can,” is a tonal shift: harmonica and guitar sketches circling loose-limbed beats, equal parts after-hours reverie and Sunday-morning balm.

Too vibrant, too joyous, too Spen not to press - The Muthafunking Hard Times EP isn’t just archival housekeeping. It’s an affirmation of what house music does best: uplift, electrify, and remind you that, even decades on, the spirit still moves.

Debut release on GAMM for San Francisco's edit and reworks maestro King Most.
For this supa funky 7inch, King Most first takes on Dorothy (Ashby), Dilla (Jay) and Phife (Dog) and puts it all in the blender for a rare groove(ish) hip hop jam...on a slight Detroit tip.

On the AA side King Most hits up Patrice Rushen and blends her with Soul II Soul vocals for a warm and tasteful rework.

Classic old school GAMM material :)

Mother Recordings is back for summer 2025 with a bang! Get ready for a lineup bursting with exciting releases, features, and remixes starting this August.
We are thrilled to introduce Nesi, Catalonia's hottest female export and a rising star in the electronic music scene. This time, Nesi teams up with New York house legend Mr. V for a collaboration you won't want to miss. Their track, "Feel Blessed," is destined to become a classic, featuring a monster bass line groove and infectious vocals from Mr. V himself.

This awesome 4 tracker EP comes also with some other dope collaborations as Scotty Cal, Garry Todd ft. Queen Rose, C´mon, Nhan Solo, Otistic ft. Lyric Christian and Mark Maxwell ft. Steve Obsidian.

Tracks are heavy supported and played by Matthias Tanzmann, Piem, Franky Rizardo, Jamie Jones, Claptone, Cassimm, Junior Sanchez and many more.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

Obrador originated from Olympia the capital state of Washington. A multifaceted group that consisted of many members over the years. They were together from 1976-2006 and was led by band leader Michael Moore. The members were, Steven Bentley ~ Drums, Connie Bunyer ~ Clarinet, Guitar, Vocals, Paul Hjelm ~ Guitar, Bass, Trap Drums, Piano, Steven Luceno ~ Bass, Guitar, Michael Moore ~ Keyboards, Michael Olson ~ Percussion, James Pribbenow ~ Saxophone, Vincent Soluna ~ Sax, Vincent Soluna ~ Sax

They recorded 5 albums over the period of 30 years. One track of which “Willow” you will find tucked on the B side of this lovely new release. We wanted you Kats to have great value for money and pack the record with two stone wall Dingwall style killer recordings.

The A side “Blink Samba” was recorded at Russian Hill Studios San Francisco in July 1983, after the group made the long journey down from Olympia and back to record a whole Lp that has lay unissued since 2023 only getting a digital release. We stumbled across the tracks whilst doing some research and was blown away. A few chats with member Michael Olson and we knew these had to be on vinyl. They are pure fire jazz with a slightly latin Esq vibe. We can almost see the sweat dripping from the Jazz dancers as they cascade to the rhythm of the percussion “Blink Samba”

Flip it over whilst the floor is still rocking to the track “Willow” Unlike “Blink Samba’s opening percussion this one kicks in straight away with a rasping baseline. You hold on to the bars like you been strapped into to a rollercoaster and get ready for the ride.

Two decades after its original release, the trance classic “The Morgan’s Wave” returns in a fresh and contemporary form. Born in 2003 from the creative meeting between vocalist Caroline Eloy and producers Patrick Ketels and Xavier Romain, the track first gained attention through David Altrix (Galaxie Radio), and was signed by Diki Records in 2004 on its sub-label Green Valley.
In 2025, the idea to revive the track came from Caroline Eloy—now performing as Ce’Loy—who teamed up once again with David Altrix to envision a remix with a modern twist, keeping the original lyrics and piano melody while exploring a new musical direction.

They entrusted the remix to Narik (Freegrant Music, Bonzai Progressive, EinMusika), whose timeless production style brings a unique reinterpretation of the track. His version features deep, emotional textures and a subtle deconstruction of the vocal part, blending nostalgia with innovation.

Now released on Clair Obscur, this 2025 remix also serves as a heartfelt tribute to Patrick Ketels, who sadly passed away a few years ago.
“The Morgan’s Wave (Narik 2025 Remix)” bridges eras with elegance — a moving reinvention of a beloved track, available soon on both vinyl and digital formats.

Français

Deux décennies après sa sortie originale, le classique trance “The Morgan’s Wave” revient dans une version fraîche et contemporaine. Né en 2003 de la rencontre créative entre la chanteuse Caroline Eloy et les producteurs Patrick Ketels et Xavier Romain, le morceau s’est d’abord fait remarquer grâce à David Altrix (Galaxie Radio), avant d’être signé en 2004 par Diki Records sur son sous-label Green Valley.

En 2025, l’idée de raviver le morceau germe dans l’esprit de Caroline Eloy — désormais connue sous le nom de Ce’Loy — qui s’associe de nouveau à David Altrix pour imaginer un remix à la fois fidèle et modernisé, conservant les paroles originales et la mélodie au piano tout en explorant une nouvelle direction musicale.

Ils confient cette mission au producteur Narik (Freegrant Music, Bonzai Progressive, EinMusika), dont le style intemporel offre une relecture unique du titre. Sa version déploie des textures profondes et émotionnelles, et déconstruit avec subtilité la partie vocale, mêlant habilement nostalgie et innovation.

Désormais publié sur le label Clair Obscur, ce remix 2025 constitue aussi un hommage sincère à Patrick Ketels, disparu il y a quelques années.

“The Morgan’s Wave (Narik 2025 Remix)” fait le lien entre les époques avec élégance — une réinvention touchante d’un morceau culte, à paraître prochainement en vinyle et en digital.

DJ FEEDBACK
Early support from Jam El Mar, Fedele, Township Rebellion, Themba, Roger Sanchez, Dan Marciano, DJ Fire, Tocadisco, Yalla Techno, Tom Leclercq, ….

The duo of DJ producers DJ Marrrtin and Deheb reunite after a five-year hiatus, during which they each pursued solo
projects. Deheb released the LP Jazz Mirrors, while Marrrtin put out a Disco Funk EP titled Aktshun, a hip-hop album La
Pie Bavarde in collaboration with Dayton, Ohio rapper Tino, and his third solo project Cyclothymix.
They return with a new 11-track album steeped in Jazz-Funk flavor, blending heavy breakbeats—recalling their earlier
albums that have been featured at major international breakdance events—with nods to their shared influences: Jazz, Latin
Funk, Hip Hop, Psychedelic Groove, Library Music, and Blaxploitation soundtracks. The record plays like an imaginary film
score, a sonic illustration of a relentless chase scene—picture The J.B.'s jamming with Piero Piccioni, accompanied by
Mongo Santamaria.

The album features a lineup of international collaborators, including:
Saucy Lady (USA) on Tambourine,
Felix (Fusik, USA) on Payback Run,
Roma Scotch (True Flavas Band, Russia),
Leo Debroise (Namas Trio, France),
Medline (My Bags, France),
Louise Chavanon, an incredible 18-year-old flutist from France,
and Antoine Laloux (The Selenites Band).
This album further develops the duo’s signature sound—a perfect blend of powerful grooves and deeply soulful musicality.

500 Copies , Covers hand made screenprinted and Hand Numbered
400 white with Black ink
100 with various colours

Efficient Space charts Ghost Riders’ North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte.

In the late ’60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighbourhood friends, the trio hammered out raw rhythms, drawing in Brooklyn’s wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making.

Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7”s on his newly minted Roundtable Records. To maximise his chances of courting major labels, he strategically assigned each release a different artist name - Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack.

Dennis’ emotional maturity and sheer talent bleed into the defining ‘Summer’s Over’, penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart - the candied ballad ‘Running Thru My Mind’ - delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovin’ Spoonful, and The Youngbloods.

Roaring like the Spencer Davis Group, Pure Madness’ organ-driven bruiser ‘Freedom Rides’ screams of biker gangs, yet its true subject - ’60s civil rights activists the Freedom Riders - looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus ‘Treat Me Like a Man’ digs back into Edelson’s catalogue, covering the Beatles-inflected Levittown group The Shandels.

Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge - a heartfelt homage to an unbreakable brotherhood.

Three Stunning Tracks from Detroit Producer Deon Jamar. Don’t Sleep.

VINYL ONLY, NO DIGITAL CONTENT

Multi platinum-selling musician and multi-instrumentalist Jamie Cullum today announces The Pianoman At Christmas - The Complete Edition. Due for release on 19th November via Island Records. The deluxe album completes last year’s critically acclaimed hit album The Pianoman At Christmas Part 1, with its Second Part - featuring 11 covers of classic Christmas songs, as well as two original songs, including lead single ‘Christmas Don’t Let Me Down’, out now.

Drawing from the past and inspired by the present, The Pianoman At Christmas - The Complete Edition sees Jamie team up with London jazz innovators Kansas Smitty’s, as well as composer and producer The Vernon Spring and acclaimed LA-based jazz singer Lady Blackbird to complete a piece of work that is imbued with seasonal sophistication. Alongside his two original tracks, Jamie breathes new life into classics such as ‘Winter Wonderland’, ‘Silent Night’ and ‘Frosty The Snowman’, ranging from ‘Amazing Grace’ to ‘Man With The Bag’ and ‘Sleigh Ride’. The Complete Edition will be released on double CD and double black vinyl formats, alongside a limited run of 180G Heavyweight coloured vinyl in red and gold.

Speaking on the release, Jamie said -

“I had a huge amount of fun creating part two of TPAC. Recorded live, all in the room together - it’s the party after the big show, with friends, drinks and some of the finest musicians on planet earth.”

Released almost a year to the day before The Complete Edition is due out, The Pianoman At Christmas featured 11 original songs played by 57 of Britain’s best musicians, recorded in Abbey Road’s famous Studio 2 and produced by Greg Wells whose The Greatest Showman soundtrack spent 28 weeks at number 1. The album sold over 37,000 copies, spending 6 weeks in the album chart and peaking at number 11. In December Jamie broke the Guinness World Record for the largest music lesson ever, when he held a virtual piano lesson for 2,282 people, teaching them the carol ‘In The Bleak Midwinter’ with special guests Robbie Williams, Sigrid and Dodie.
With 10 million album sales and over 890 million streams to date, Jamie is a celebrated musician the world over with loyal fans in every corner of the globe. With a career spanning over 20 years, his legendary live shows have seen him perform and work alongside artists as diverse as Herbie Hancock, Pharrell Williams, Kendrick Lamar and IDLES - Jamie writing on the latter’s album Ultra Mono. The success of Jamie’s major label breakthrough, Twentysomething in 2003 and its follow up Catching Tales saw him nominated for a BRIT, Grammy and numerous other awards around the world. In 2020 he won an Ivor Novello Award for his track ‘Age of Anxiety’, taken from his acclaimed 9th studio album Taller. In addition to his enduringly successful recording career, Jamie has also established himself as a multi-award winning music broadcaster; his BBC Radio 2 show celebrated its 11th year on air this year.

With her debut album Black Acid Soul earning critical praise, Lady Blackbird is a revelatory new talent with music that transcends the jazz scene through which the LA-based artist is rooted. Reflecting influences as varied as Billie Holiday, Gladys Knight, Tina Turner and Chaka Khan, with critics drawing comparisons to Adele, Amy and Celeste, Lady Blackbird’s distinct and beguiling voice is not one to be missed.

UK band Kansas Smitty’s have developed a musical voice wholly unique from what’s happening around them. They are led by band leader and producer Giacomo Smith who's cinematic compositions feature on their releases, most recently 2021's acclaimed Things Happened Here for Berlin based label !K7. In 2015 they launched their own east London venue and bar, of the same name, which became one of the conception points for the current UK jazz boom.

Londoner Sam Beste aka The Vernon Spring is a polymath in music who has production, writing and performance credits as eclectic as Amy Winehouse, Matthew Herbert, Kano, Joy Crookes, Beth Orton, Blood Orange, Gabriels and MF DOOM. Since 2019 he has been making waves with solo project The Vernon Spring, which foregrounds his rare capacity to hold sophistication and simplicity in the same hands through highly intimate muted-piano compositions and improvisations.

Drum and bass reggae legends, Sly Dunbar and Robbie Shakespear, are the featured strongholds of The Revolutionaries, a conglomeration of many of reggae's finest studio musicians, brought together to create some of the best dub of the late 70's.

"Black Ash Dub" is a wonderful example of the group at its peak. Sly's drumming prowess is at its best on this lp, complete with his famous crash cymbals on the 4th beat in 4/4 time versus the 1st beat. His skills are legendary due in large part to the bass playing of Robbie. His grooves are intense, yet very supple, and perfectly augment Sly's grooves.

Each track is a tribute to a drug; the 2 major club hits are "Marijuana" and "Cocaine".

All cut at the legendary Channel One recording studio in Kingston and mixed by the genius touches of dub masters Scientist and Prince Jammy.

Originally released in 1980 on the mighty Trojan Records, "Black Ash Dub" is today widely heralded as one of the finest dub collections of the era and considered an essential addition to the collections of all serious fans of the genre.

PRODUCED BY: Jah Thomas RECORDED AT: Channel One MIXED BY: Prince Jammy, Scientist MUSICIANS BASS: Robbie, "Flabba" DRUMS: Sly Dunbar, "Santa" RHYTHM GUITAR: Bo Pee, Bingy Bunny HORNS: Bobby Ellis, Deadly Headley PIANO: Gladdy ORGAN: Ansel Collins PERCUSSION: Sticky, Skully

Mit einer bemerkenswerten Reihe von Veröffentlichungen in kaum einem halben Jahrzehnt hat Loraine James aus London ihre künstlerische Identität durch eine Mischung aus raffinierten Kompositionen, düsteren Experimenten und unvorhersehbaren, komplizierten elektronischen Programmen geschaffen. Während die unter ihrem Namen auf Hyperdub veröffentlichten Titel zu IDM-beeinflussten, vokallastigen Kollaborationen tendieren, reserviert James ihr bei Ghostly International unter Vertrag stehendes Alias Whatever The Weather für einen Blick nach innen, der die angeborene "emotionale Temperatur" und die Umgebung erforscht (was sich in den gradbasierten Titeln der Tracks zeigt). Ihr zweites Album ist im Vergleich zu seinem Vorgänger deutlich wärmer, was durch den Wechsel vom arktischen Coverfoto von LP1 zu den Wüstengefilden von LP2 deutlich wird. Beiden Alben gemeinsam ist die Mastering-Arbeit von Josh Eustis (alias Telefon Tel Aviv), der James' Komplexität ein feines Ohr leiht, um ein auffallend dreidimensionales Klangerlebnis zu schaffen. Von hypnotischen Atmosphären über gesprenkelte Rhythmen bis hin zu verarbeiteten Collagen aus tagebuchartigen Feldaufnahmen - "Whatever The Weather II" ist eine überzeugende Verbindung organischer und menschlicher Elemente von einem der einfallsreichsten Talente der elektronischen Musik. Die Leadsingle und der Schlusstrack der neuen LP von Whatever The Weather (Loraine James), "12°C", driftet von belebten Räumen in einen konkreten Groove und verwebt Melodie und Textur zu einer wahrhaft ungewöhnlichen, seelenbewegenden Fülle. In den letzten Momenten gesellen sich eine träge Akustikgitarre und ein sanfter, mit den Fingern getippter Beat zu ihrer in der Tonhöhe verschobenen Stimme. "Whatever The Weather II" ist voll von solchen Passagen, in denen die formale Gestaltung wie ein Film im Negativ erscheint und Konventionen mit Witz, Intelligenz und Geschick umgestoßen werden.

In September 2022, Munir and Boochie spent two days at House Sangkuriang Hotel in Bandung, capturing a series of raw, impromptu recordings. Armed with a Roland EG-101 and a microphone, they filled various corners of the hotel with spontaneous jams and Indonesian lyrics. The sessions were playful and unpredictable, each take capturing the playful energy of the moment. The result is a vibrant and unfiltered musical experience.

Budak Cinta, which translates to Slave of Love, is an album that showcases the artists’ quirky personalities and playful approach to music. With a humorous take on the ups and downs of love, the album explores the lighthearted side of romance, infusing each track with a comedic twist. It’s all about embracing the thrill and folly of being head over heels, delivered with a wink and a smile.

Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.


Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...

2025 Repress

Midnight In Tokyo 2, the second installment to the compilation series that rounds up hidden gems by Japanese artists that's perfect for listening at night in Tokyo, is here. This time the collection brings together some tasty electric jazz fusion from the '80s , compiled by Dubby, the man behind the online record store Ondas.

The compilation begins with "Hikobae," a dark and slow cosmic jazz by saxophonist Genji Sawai, followed by "Danza Lucumi," an odd Caribbean-style jam by Today's Latin Project, a band fronted by Tadaaki Misago of Tokyo Cuban Boys, with arrangements by Yasuaki Shimizu. "On The Coast" is a soulful and mellow vocal track arranged by Ryuichi Sakamoto, from guitarist Shigeru Suzuki's album White Heat, and fusion boogie cut "In The Hot City" is by Mr. Theodore, which was a one-off project by a mysterious artist.

The melancholic soul jazz number "So Long America" is the title track from the album Yasunori Soryo released in '82, following a stint in America with the band Brown Rice. "Twisty" is a tropical reggae tune from the album Samba Kathy, an underrated classic by Jugando which was released on Trash, a sublabel of one of Japan's finest jazz labels, Trio. "Samarkand" is an electric Latin jazz jam that sounds like something Miles Davis and Santana could have played on, performed by a Latin funk band from Fussa. "Imagery" is a primal African fusion track by Katsutoshi Morizono, a member of the prog rock band Yoninbayashi.

"Windmill" is the most acoustic sounding tune on this compilation, a breezy Brazilian affair with a Hermeto Pascoal feel. "Mystery Of Asian Port" is by the band Parachute, which consisted of Japa-nese fusion giants like Akira Inoue, Tatsuo Hayashi and Masaki Matsubara. The cosmic jazz record sounds like something Daniele Baldelli would play in his sets. "Bay Sky Provincetown 1977" is a classic Japanese fusion tune by guitarist Yuji Toriyama.

The set also features the mellow but danceable "Heatwave" by keyboardist Keiichi Oku, featuring a female vocalist (which some have identified as Rie Ida), and last but not least, closing out the 13 track compilation is "Day Dream At The Bob's Beach," a wonderful urban fusion with a beautiful vibraphone melody, from the Japanese fusion classic album that was a one-off project by studio musicians