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OUTTA SIGHT, in association with Sony Music Entertainment UK Ltd., present two Modern Soul Monsters back-to-back.
JEFF PERRY (aka Jeffree) was born into rare soul royalty, the nephew of Robert Bateman, a pioneer of the Detroit sound, and brother of Greg Perry with whom he would co-write and produce for Holland/Dozier/Holland scoring hits for the Honey Cone, Chairman of the Board, Freda Payne and Jeff’s own group 100 Proof Aged In Soul.
“”Love Don’t Come No Stronger…” has transcended its Modern Soul status to become a mainstay of the 21st Century Northern Soul Weekender scene, an essential 45 for any discerning DJ wanting a guaranteed floor-filler.
MANDRILL were formed in New York in the late Sixties by the Wilson brothers, originally from Panama. They were joined over the years by a succession of accomplished musicians who honed their unique Latin-tinged sound that attracted, first Polydor, then United Artists and Arista, who signed them in 1977. “Too Late” was released in ’78 and helped define the “crossover” sound of the Northern Soul scene. It remains an anthemic and sought after 45 guaranteed to pack the floor.

The mighty U Roy is the originator, the man who put the DJ phenomenon on the map and made it an artform. From Kingston Jamaica to the corners of all the Dancefloors, Clubs and Sound Systems across the world. U Roy (B. Ewart Beckford, 1942, Kingston, Jamaica) began his musical career spinning records for Doctor Dickies Sound System way back in 1961. The mid sixties saw him working for Sir George The Atomic before moving in 1967 to the man who best shaped his sound King Tubby on his Home Town HI - FI. Tubbys work in the dub field, dropping out vocals on his versions for the Sound Systems allowed U Roy to voice over these spaces adding to the excitment of the Dance!!!

U Roy moved into the recording arena firstly cutting two disc's for Producer Lee Perry 'Earths Rightful Ruler' and 'OK Corral' and then following this with 'Dynamic Fashion Way' and 'Riot' for Producer Keith Hudson. Producer Duke Reid seeing the protential in this new found form brought U Roy to his Treasure Isle Studios to voice over his back catalogue of Rocksteady Hits. His first three releases for Duke Reid 'Wake The Town', 'Rule The Nation' and 'Wear You To The Ball' held the Top 3 positions for 12 weeks in early 1970's.

We have compiled some of U Roy's best loved cuts from his mid 70's period when all were still looking at him for guidence.  The opening cut Call On Me sees him working over Delroy Wilson's 'Got To Be There'.  You Never Get Away gets U Roy answering Delroy Wison's 'Keep On Rocking'. Johnny Clarke's 'Time Gonna Tell' with rootsy bassline turns into Every Knee Shall Bow. Cornell Campbell the Gorgon himself gets his 'Check Mr Morgon' turned into Gorgon Wise. Johnny Clarke's Hold On gets reworked. Jeff Barnes 'Blowing In The Wind' tuned into Number 1 and alongside King of The Road which sees Lennox Brown blow his saxophone over the instrumental 'In The Swing of Things', was one of U Roys first releases. Linval Thompson's 'Let Jah Arise' is versioned to Joyful Locks. I Originate which lends us to the title of this compilation, says it as it is, a classic built over Dave Barker's 'Shocks of Mighty'. Linval Thompson again provides the backbone with his Cool Down Your Temper cut for U Roys version. The mighty Burning Spear's Creation Rebel although providing our next track, it is Johnny Clarke's version that gets worked over. Leo Graham's 'Birds of A Feather' turns into Stick Together. Soul Syndicates instrumental 'Goliath' grows into Riot. A big hit for Max Romeo Wet Dream sounds great under U Roy's new rendition.

Two extra tracks for the CD release of this album sees the great voice of Slim Smith on his 'Let's Stick Together' becomes ‘Ain’t To Proud To Beg’ and Cornell Campbell's 'Stand Firm' works with
U Roy to sign us off with ‘I Shall Not Remove’.  A fine collection i hope you agree to the Daddy of all DJ's who in his own words ''I Originate, so you must appreciate, while the others got to imitate'' says it all really……

Formerly known as James Lascelles’ Quartet, Talking Spirits present a unique blend of world jazz. These highly respected London based session musicians - with a very mixed repertoire - have touched audiences wherever they play. The quartet mixes up world music, folk, jazz and Anglo/Caribbean grooves, inspired by influences from all over the world.

They have honed their skills over the decades working with some of the biggest names in music, including Frank Zappa, Joan Armatrading, Lee ‘Scratch’ Perry, L Shankar, Ginger Baker, Jeff Beck, Steve Winwood, Incognito, Van Morrison, Billy Ocean, Mick Taylor and Steve Harley & Cockney Rebel.

The new Talking Spirits album ‘Hands’ will be released on Zephyrus Records early June. Tracks feature regular band members James Lascelles (various keys and percussion), Tim Herniman and former bandmates from the legendary Breakfast Band Richard Bailey (drums and percussion) and Kuma Harada (bass and guitar). Guests appearances by Tony Maronie on congas, Didier Malherbe (once of “Gong”) on duduk and sax, and the wonderful Mongolian group Andaunion, for whom James specially wrote Grasslands to feature the haunting morinhuur (horse-hair fiddle) and hoomei or overtone singing.

WALES WALLACE – was riding high in the Billboard Hot 100, as part of the Chicago group The Steelers, when he signed to Brunswick Records in 1969. The group had hit with “Get It From The Bottom” but Wallace fancied a solo career. He recorded three discs for Brunswick subsidiary’s Bashie, Dakar and in 1972 he launched the BRC label with “Somebody I Know”. This fabulous slice of Chicago crossover soul was produced by Eugene Record and has soared in demand in recent years.
WALTER JACKSON – signed to Columbia in 1962 and released a slue of records, initially on the parent label, and then its subsidiaries Okeh and Epic including “Where Have All The Flowers Gone” and the awesome “It’s An Uphill Climb To The Bottom”. After label hops to Cotillion, USA and Wand, Jackson found himself at Brunswick in 1973 where, later that year, he released the amazing “Let Me Come Back”. This rare, crossover-delight, was written by the legendary Jeff Perry and produced by Carl Davis and Sonny Sanders, add to that Walter’s supreme vocals and you have one of the finest Chicago mid-temo recordings of the early Seventies.

F.S.Blumm enters Andi Otto's studio with a whole palette of strings and a mission to create quirky, peaceful soundscapes. The artists intertwine acoustic and electric guitars, harps, electric bass, psaltery and cello in eleven electronica compositions ranging from neo-classical gravity ("Entangleland") to spaced-out dub jams ("Active Fault Map"). "Yukiyama" evolves in multilayered patterns braided over warm tape-noise. "Kilani" reminds of Rabih Abou Khalil's ECM recordings, with its oriental scale and a beat that counts to seven. The tunes shine most when silence takes over, when the sounds find space to unfold and decay. Far from being trivial ambient lullabies, these compositions burst with detail: Bells rattle, a kalimba resonates, and vintage synths induce their voltage into the acoustic framework. Andi Otto and F.S.Blumm have been musical collaborators in the studio as well as on stages between Berlin and Tokyo for more than a decade now, the heyday being their previous duo album "The Bird And White Noise" in 2014. On "Entangleland", Andi Otto contributes the cello, harp and synth recordings and takes care of the mixing. Compared to his recent releases on Multi Culti or Shika Shika, these tracks are less dancefloor oriented. The calm of this album is a flourishing environment for Otto to pluck the acoustic cello which we usually hear in a more processed way in his solo works. F.S.Blumm contributes guitar and bass recordings as well as saturated percussion echoes from his self-made spiral box. Blumm is famous for his acoustic solo productions since his early outings on Morr Music or Tomlab. He has also appeared on Pingipung a few times, for example with his album "Up Up And Astray" or as a Lee 'Scratch' Perry collaborator with the "Quasi Dub Development" project. He recorded three duo albums together with Nils Frahm and is a member of the mighty "Jeff Özdemir & Friends" collective in Berlin. "Entangleland" sees the two artists weave together a mass of acoustic motifs, synthetic melodies, riddims and improv jams where the magic emerges from the sum of the parts. "It's not about accompanying a cello theme with the guitar or vice versa," Andi Otto says. "Entangling sound means letting go of hierarchies, that no one is first. Our studio is not a control room, it's a place of imagination where we take things apart and make things whole."