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Especial is a label always on a mission to unearth left-of-centre perspectives on club music. This new EP, Be Honest, is just that from long-time friends Lipelis and Arsenii, who are based in Belgrade and New York but seek inspiration in the New York sounds of the 80s and hook up with Gayana for some woozy and lovelorn vocal additions. 'Be Honest' is a dubbed out and swaggering deep disco groove that comes as long, dub and cappella versions on the A-side.

The 12" dance mix brings some superb house drums into the picture and the Dubplate VIP is a fresh jungle rhythm. This is an EP with something for all.

The original pressings are already hard to find, being extremely rare! Plus, to collect them all, you'd need the cost of a car for this parade of super pricey premium editions! If you want to enjoy the ultimate rare grooves, this is your only option!

These soul and funk performances, buried in the midst of the late 70s US record industry, which could be considered the destiny of the TAX SCAM label, are a must-listen! Enjoy killer tunes with grooves and feelings that are just as good as the hits of the time!

Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.

Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’

Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.

Maledetta Discoteca proudly announces the birth of their first daughter LA SIRENETTA (*The mermaid) and the release of her first record!

An hommage to the Italian Afro scene of the late 80s, La Sirenetta is a sub-label born to take World Music to the next level for the contemporary Dancing Club Scene.
We aim at digging, selecting and editing obscure bangers from our analogue record collections, travelling from Martinique to Ivory Coast, from Nigeria to Haiti, and giving them back to deejays and dancefloors in high-quality, highly collectable, 12” releases.

PS : This is the first release of a series that will delight collectors of Afro and World Music…we won’t stop, we just started!

8 years after the official reissue of the LP “An Eye For An Eye” by Byrne & Barnes, Favorite Recordings proudly presents this new single release.
The 7inch first includes the classic “Love You Out Of Your Mind”, extracted from the WestCoast classic LP, which was a one-stop collaboration between Robert Byrne and Brendan Barnes, however both display incredible music career and went on to produce for famous artists such as Pointer Sisters, Patti Austin, Earth Wind & Fire, or Phil Collins to name just a few. The song parades all the elements of the AOR style: a jazzy sometimes fusion approach, with modern soul and groove flavors.
The other side features an exclusive and unreleased track by Robert Byrne, dug by the original executive producer up in his archives for our great pleasure. “Do You Wanna Make Some Love” is also nurtured with Westcoast and AOR vibes, while leering to Boogie and Disco influences. We have no doubt it will delight all the Byrne & Barnes music lovers and many more.

Sol Power Sound returns with an EP of two blistering (and rare) island disco cuts remixed by Bosq and the Sol Power All-Stars that will make you forget that summer has come to a close. Officially licensed from the estate of Nappy Mayers, who wrote and produced both originals, both tracks capture Nappy’s exquisite sound that dominated the Trinidadian discotheques in the late 1970s and early 1980s but never received the international acclaim they deserved.

Bosq, a long-time friend of the label, leads things off on the A-side with his fiery dance floor flip of Nadie La Fond’s “Three Way Situation.” In his classic yet understated style, Bosq adds just enough, enhancing the captivating groove, while preserving the true essence and of the original. Using both vocal and dub parts Bosq turns up the funk and transforms the tune into a blistering modern disco cut that works equally well on the beach, in a dark club, or at your favorite underground afterhours.

On B1, the Sol Power All-Stars present an extended disco dub of the 1980 Nappy Mayers tune “Let Yourself Go.” The Sol Power crew opts to work with the b-side version of the original, which bypasses the lead vocal and instead focuses on the synth-bass led groove, an unforgettable chorus, and powerful disco horns. Toss in some chopped up flute, guitars, and synth and you’ve got yourself a party. And did we mention drums and perc? Don’t miss the massive soca break that will take you straight to a carnival jam in the islands.

Alongside remastered extended 12” versions of both original vocal cuts, Trini Disco Dubs highlights the genius of Nappy Mayers, a legendary Caribbean songwriter, producer, and performer, through the lens of modern producers who are at the top of their game.

The FRITS x WOLF series returns for the third instalment of rough and ready deep house in the style that only the King of Swing, Frits can bring!

All four tracks were first aired at the now legendary Frits Panorama Bar set back in April to rapturous response & induced multiple shutter opening moments on that sunny Sunday afternoon.

This series just keeps getting better & better! Buy or cry!

The first edition of Era Specific Noise is both an ode to the early 2000s and the debut of a new alias by label founder Richardson. Having spent the better part of his recent memory scouring record stores and consuming more VG+ dance music than is medically recommended, this 12-inch marks a personal shift towards character-filled production without limitation.

Armed with a growing appreciation for the originality and love poured into old-school techno, ESPN001 is the first glimpse into Richardson's fast-growing stockpile of musical weaponry.

We kick things off with "Introductions", the first of two upbeat, vocal-laden pieces of DJ-friendly dance music that make up the A side. A new hardware-focused approach produces whirling, stabbing chords and a groovy baseline to meet the eponymous sample of this track. Up next, "Coming In Hot" which does just that - presenting a cohesion of warm, groovy techno littered with dubby synths and a throwback feel.

On the flip side is a pair of fresh takes reminiscent of the more functional sound of the era - the timeless, loopy techno that powers dancefloors worldwide. There’s nothing quite like finding a hidden gem on the B side! Robotic vocal loopings and a galloping low-end form “Notch”, a warehouse tune completed by a warmer feeling send-off littered with floating pads and a classic Reese bass. Closing out the release is “Synthetic Scream”, a synthesiser in anguish showcasing an almost mournful interpretation of the 909 era, complete with fast, driving percussion and classic break hits.

Welcome to Era Specific Noise - New school old school.

" Utah Saints are one of the most important acts since the inception of electronic dance music. Early adopters of sampling, they brought the artform - used chiefly in hip-hop in the 1980s - into new realms.

" Incorporating rock, dance and hip-hop elements into their music, they scored 5 Top 40 UK singles including 'Something Good' and 'What Can You Do For Me' and a Top 10 album in the space of just two years.
" Out of print since its original release over 30 years ago, Utah Saints' eponymous debut album returns on 2LP - remastered & extended with 3 sought after remixes by CJ Bolland, DJ Misjah and Union Jack. Includes special limited edition mirror board packaging, for National Album Day 2024.

A New Musical Portal for Latin America: ROCK THA HOUSE TRAXX.

Born from the iconic Rock Tha House party, which celebrates 20 years this year, the brand now evolves into a vinyl-only label led by legendary Chilean DJ and producer Camilo Gil, alongside Mario Flores in Mexico City. Their mission is to focus on musical culture, recreating soundscapes that have left a lasting impact on time and influence.

For the first release, they bring together a fusion of styles and global sounds, featuring artists like Mihai Popoviciu from Romania, Swiss legend Quenum, seasoned Ibiza-based producer Nima Gorji, and Australia’s own Carlo Gambino.

This is not just about the party—it’s about creating and celebrating musical schools, styles, and artistic vision. ROCK THA HOUSE TRAXX is born today, bringing Chilean talent to the world.

Slow paced drums with offbeats softly phased with the guitar, misty takeoffs from the synthesizer: a hazy idyll is starting off on the road to the rocket festival (bun bang fai). Answering each other on the responsive mode of the lam soeng, Sothipong engages in a flirt but Oulay Vanh is not ready to trifle with just anybody.

As a stylistic variation of a popular Lao musical genre, the lam soeng was the source of several themes among which the “bang fai” - which is part of the Lao conciliatory festivities preceding the rainy season - remains one of the most renowned.

However, the producer and composer of these songs, Sothy, created an unusual arrangement: the instrumental introduction separates from the sang canon, the synthetic mix is stripped down of the traditional organology - everything here becomes unsettling for a listener familiar with the genre.

Everything comes with a reason: the record was edited in 1981 under the title Sothy Productions yet produced in France by the Parisian label Oxygène (famously known for its unforgettable first French punk compilation 125 grammes de 33 1/3 tours). Chansons Laotiennes still remains hard to classify.

And then who’s Sothy? Along with the unverifiable identity of the seemingly Laotian singers, skepticism gains ground concerning the man behind the pseudonym. Is he an escaped musician from one of the first Cambodian rock bands of the 1960s? A surviving producer from the 1980s Paris? Or a composer in transit in one of the many places of the Laotian diaspora? Sothy eludes any researches and disappears behind his numerous homonyms.

The second track is just as enigmatic: a beat box, a lightly reverberated voice as well as a guitar solo and a small synthesizer break, “Tuei” or “Tawai” offering (as the writing on the record suggests) makes way to dancing step and a truly joyful melody. Twisted and lively steps on a romantic background tune turn this second track into a genuine paslop - a program recommended by therapists to relieve muscular pains due to seated positions: you will unlock your pelvis with some synchronized Laotian choreographies.

For their first edits, Akuphone called on a young Parisian producer. Shelter, aka Alan Briand, mingles his own mixes and electro productions with a large variety of influences and styles: krautrock, disco, traditional music, psychedelic, synth pop, ambient, bossa nova, Japanese funk. He produces both original compositions and remix.

lp wiBola’s music melds sheer force of spirit with a sound not often heard by ears outside the remote Upper East Region of Ghana. This man who grew up herding livestock in the savannah, far away from the tropical coast and cosmopolitan cities of Accra and Kumasi, has aligned himself with national and international means of expression to transform his hometown sound into something downright avant-garde. His bold fury stems from the kologo—a two-stringed lute with a calabash gourd resonator—and Frafra language vocals, emitted in raspy bursts.

Traditionally, kologo performances occur at pito (local beer made from fermented millet or sorghum) bars, weddings, funerals, festivals or spontaneous jams on the street, which are the environments where Bola honed his craft as a solo musician. In recent years, he came into contact with people like his mentor Guy One who helped him get into the studio to document what is some of the most dynamic music to come out of Ghana since the emergence of hiplife in the mid-'90s.

Volume 7, which came out in 2009, is just one entry in a brilliant series of recordings Bola has released on CD and cassette. Although he employs a traditional instrument and the age-old mode of griot story-telling, Bola embraces elements of up-to-the-minute mainstream Ghanaian music—drum machines, synths, bone-shaking bass. Inspired by pioneering kologo greats like King Ayisoba, Bola has taken a dynamic instrument used by traditional healers and herbalists to sing to god in search of advice and taken it to futuristic heights.

"Amid the great British bands that have inspired the theme of this year’s National Album Day, Stereophonics continue to prove themselves to be one of the greatest. Originally formed in Cwmaman, South Wales, in 1992, the group, now consisting of Kelly Jones (vocals, guitar), Adam Zindani (guitar) Richard Jones (bass), Jamie Morrison (drums) and touring member Tony Kirkham (keyboards), made their mark with the Words Gets Around (UK No.6) and Performance and Cocktails (UK No.1) albums, and continued their chart-topping run with their third release, 2001’s Just Enough Education to Perform. Remaining at the top of the UK charts for two weeks, the album sold 140,000 copies on its way to becoming the fourth biggest-selling album in the UK in 2001. Re-entering the charts several times over the next three years, it would be certified six-times platinum and crowned the 39th best-selling album of the decade. With more than 400,000 copies sold to date and streaming figures sailing past the 340 million mark, Just Enough Education to Perform makes a welcome return to vinyl for this year’s National Album Day, in an exclusive, limited-edition green pressing. Beloved by fans, the album featured three Top 10 singles, ‘Mr. Writer’ and ‘Have a Nice Day’ making for a timeless work that fuels Stereophonics’ continued appeal. Still releasing music today, the group have continued their chart-topping streak, with their latest album, 2022’s Oochya!, becoming their eighth UK No.1 album."

“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”

This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”

The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”

However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”

While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.” And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”

The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.

It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that. And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”

MORE PRESS ON ‘VANITIES’ (MELO131)

"Vanities artily refines an exhilarating brand of up-front electro-dance" MOJO ⅘

'Idiosyncratic yet euphoric electronic pop on triumphant second LP' 9/10 Uncut

''One of the most effective alternative pop albums of the year'' 4/5 Record Collector
'Dance music for the modern age' - The Times (4*)

If a “sound” is unique, it can often expect a reasonable success. However, it takes a great deal more than just uniqueness to sustain this success. The Fleetwoods did this – and more. They became America’s top teenage vocal trio. Their sound was more than just different and identifiably their own. It was a perfect blend of young voices, just right for so many of the fine ballads they were singing. The Fleetwoods’ secret, if you can call it a secret, was sincerity. They simply gave each lyric they sang its truest and sincerest meaning. Over the years, many others have tried to imitate them, but none have come close to the overwhelming success they had. We hope you will enjoy this album of The Fleetwoods’ very best recordings.

An incredible version of 7 Days Too Long on beautiful green vinyl, by New Zealand Soul Sensations Jamie and The Numbers. To make this even more special, the artwork has been inspired by Dexy’s Midnight Runner’s debut album “Searching for the Young Soul Rebels”, as well as the sleeve notes written by Kevin Archer. It also features the trombone skills of “Big” Jim Paterson!

“The original by Chuck Wood was released in the 60's. However, it was 1973 when I heard it for the first time whilst growing up in the Black Country. At the time, I was just 15 years old and having no siblings, I looked towards the older kids, who for me, were into the scene, especially Northern Soul. There were songs such as "Me & Baby Brother" by War, and the commercial "Skiing In The Snow" by The Invitations that grabbed my attention, plus I also liked the drummer Hamilton Bohannon.

The footwear of choice were Solatio shoes, which had leather soles that allowed shuffling on the dancefloor, as well as the great acts of acrobatics during the high points of these great tunes. Although girls attended these gatherings, it was unheard of to ask a girl to dance. It just wasn't the cool thing to do! All of this brings me to Dexys Midnight Runners. Mike Taylor, a friend of the band, suggested covering this song. Our sound was a little bit like Jamie & The Numbers, in what both bands set out to achieve with each of their respective sounds. This version has been inspired by Dexys - the intro, the breakdown, the guitar and organ driven vibe, all providing the perfect backdrop for the amazing talent of Jamie Musava. Her vocals are just brilliant and of course, Big Jimmy is there with them on trombone. Now for the caper...”

After seven years, Japandroids have returned with Fate and Alcohol, their fourth and final full-length. Written in part while the Vancouver duo-guitarist-vocalist Brian King and drummer-vocalist David Prowse-were touring behind their 2017 ANTI- debut, Near to the Wild Heart of Life, the album is at once a return to form and a thrilling step forward, testament to the sort of chemistry that they"ve honed over the course of 18 years and hundreds of shows side-by-side. Their aim was simply to write songs that they"d enjoy playing live, without sacrificing any of the nuance or ambition that marked their previous effort. Nowhere on this record is that more deeply felt than lead single "Chicago," a song whose sheer momentum feels inevitable and true-from the inherent romance of its opening chords to the series of snare-led explosions that see it through. Like the rest of Fate and Alcohol, it was recorded in Vancouver with longtime collaborator Jesse Gander, who also engineered 2009"s Post-Nothing and 2012"s Celebration Rock. "The very first demo we have of "Chicago" was recorded in our jam space on February 4th, 2020," King says, "and if you listen to that, it just sounds like a rough version of what you hear on the record. But it"s all there. That, in some ways, is the most ideal circumstance for a band like us: just having something that really rips in your jam space, something that feels good, something that you"re excited about."

Forgive Yourself. Learn to live with yourself. Don't hurt yourself. This is the mantra of the new album Venus Smiles Not in the House of Tears from Samora Pinderhughes. Made over 8 years with loving detail by Pinderhughes and his longtime producer Jack DeBoe, it is a deeply personal exploration & reflection of mental health in the modern age. It tells a non-linear story about a relationship that didn't last, and the lessons learned through it. How can love exist when grief is in the way? Musically it's intentionally tough to pin down. Although Pinderhughes is Juilliard-trained, Venus is an open-genre exploration of musicmaking with wide-ranging production and a cinematic landscape of feeling and spirit. From quiet, contemplative piano pieces to hard-hitting and soulful full band jams, to expansive and fullthroated choir celebrations, Venus is a fitting accompaniment to a multitude of daily human experiences. It also features artists from Pinderhughes's tight-knit NYC community, representing a wave of new artists who thread the ethics of honesty & vulnerability into their work. Says Pinderhughes of the album, "Mental health isn't solitary; it's about how our feelings, fears, traumas, and conceptions of self meet the world around us. Like so many, I've struggled with depression, anxiety, and isolation within a complicated matrix of identities. I wanted to make a project that would be brutally and lovingly honest about what it feels like to try to sift through the debris of time. A project that really engages with what it means to love, in the midst of a society that teaches us all the wrong lessons. Our modern world wants us to get over things quickly and easily. That's where shame enters the picture, because when you struggle with deep cyclical feelings, the process of engaging with these elements in your life is never linear. It is always two steps forward, one step back. Kindness and honesty are required in equal measure in this life. Hopefully through the prism of these songs, you can feel something that resonates with you in your own life and experience." Pinderhughes is known for striking intimacy and carefully crafted, radically honest lyrics alongside high-level musicianship, and for using his music to examine sociopolitical issues and fight for change. His work delves into the things our society tries to hide - its history, its structures, and the things we all experience but don't know how to talk about. It is an invitation to feel and think deeply about how we live and a commitment to making art that is useful for everyday life. The New York Times described Pinderhughes' 2022 album GRIEF as a "visionary" work from "one of the most affecting singer-songwriters today, in any genre." Pinderhughes - a collaborator across boundaries with artists including Herbie Hancock, Glenn Ligon, Sara Bareilles, Common, Robert Glasper - is the creator and director of The Healing Project, a project that examines trauma & healing from incarceration, detention, and structural violence. Pinderhughes was the first-ever Art for Justice + Soros Justice Fellow and a recipient of Chamber Music America's 2020 Visionary Award. He is also a United States Artist Fellow, Creative Capital awardee, and Sundance Composers Lab fellow.

Produced by Wild Rivers and Gabe Wax (Soccer Mommy, Adrienne Lenker), "Better Now" consists of eight tracks that complement the recent album Never Better, as the group dives deeper into the complicated, confusing and unknown realities of life in their twenties, and the personal growth they’ve found through it all. Of the new project, Wild Rivers shares: “Better Now" is our companion record, and the other side to "Never Better".

On the first record, the songs contain raw, absolute and instinctual feelings. In many ways, Better Now is the afterglow of this. We’re reflecting and understanding that relationships change over time. Complicated situations can be just that, complicated. Feelings can remain unresolved. If the first record is bright and bold, this one is the softer gradients in between; the sunrises and the sunsets. Both projects make up the full spectrum of who we are.

"Better Now" is just the moodier, misunderstood one. Musically the records really are twins. We wrote all of the songs at the same time. Finishing Better Now, we really felt that it was the close of a massive musical and personal chapter. It’s bittersweet but so meaningful to be able to chronicle our lives between these projects. Ultimately, we are optimistic; ‘better now,’ after the ups and downs of the relationships and turbulence of our twenties. Hopefully we’re wiser for it.”

2024 Repress
The Aggrovators were one of Jamaica’s finest session bands, many of the tracks you know and love from the 70’s Reggae scene probably featured this group of musicians in some shape or form.
The band were put together by Bunny’Striker’Lee , one of Jamaica’s formidable producers, who with no studio of his own had to rely on buying studio time from the existing establishments, such as Randy’s Studio or Channel 1.
The updating of Studio 1 classic’s which in some cases were reworkings of American R&B tunes was common practice. The rhythms were much loved favourites and with the added incentive that the musicians knew the tracks inside out.
This set of dubs are straight from the master tapes of such sessions orchestrated by the man Bunny Lee himself, no one knew better…you can’t keep a good tune down never mind a great one..
So sit back and enjoy The Aggrovators in fine Studio 1 style….RESPECT