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LIMITED STAMPED WHITE LABEL

* Dubplate style from The Disciples and Boomshackalaka Sound System from the early 90’s.
* In-demand heavy-weight instrumental in-a Jah Shaka style.
* Featuring 3 mixes for maximum speaker distress.
* Strictly limited to 300 copies only.

Those playful edit and remix maestros at French label Act of Sedition are back with another red hot, super limited 2 x 7" special. It kicks off with a nice languid remix of the classic 'Let Love Be Free' with an extra low slung sleazy bassline beneath the gorgeous vocal. Bruno Belissimo goes for a heavy, scuffed up deep house take on 'Coffee & Cocaine' that has a vast bassline and some jazzy keys all tumbling off grid. Lego edits 'It Aint Reggae' into a high speed boogie gem and Bully Boy offers a chunky disco stomper to round things out.

* Originally released on the Abba Jahnoi label in 1993, `Jah is Version’ is one of the holy grail’s of the UK roots reggae and dub scene.
* A raw and minimalist production style from Danny Red and crew with a stripped down dub version.
* Other versions and re-recordings of this track have emerged, but this is the original and best.

Parisian Kuduro ambassador DJ Lycox kicks the club back to action with six killer, syncopated workouts on the indomitable Príncipe, swaggering between sultry and banging Afrohouse variations

As part of Tia Maria Produções and with his solo shots, DJ Lycox has been a vital player on Lisbon’s finest label since 2014. The ‘Lycoxera’ session leads on from the beatdown kizomba tempo of his ‘Kizas do Ly’ (2020) EP with a return to the quicker meter of his sought-after debut album ’Sonhos & Pesadelos’ (2017), giving the club what it needs as feet return to the ‘floor in late 2021 to dance their worries away.

Cherry-picked by the label from Lycox’s prolific studio output, the EP’s six tracks surely represent a clarion call to the rave, but finely balance a sense of urgency with more tentative, melancholic pathos that smartly reads the room. From its nervy but insistent opening vocal declaration of back to business on the ‘Eu Mbora Dou Bué Show’, thru the breezy lilt of his keys and quizzical top lines in ‘Momentos Unicos’ Lycox coaxes rather than demands, with deeply persuasive results.

The intricate beat science of ‘Rapaz Sinistro’ is bound to snag bodies in its swingeing syncopation of log drums and plucked bass motifs echoing Amapiano styles, while the haughty jack of ’Southside’ follows with immersive soundsphere of water sounds, trumpeting elephants and eagle squawks that transport the city to a jungle mindset. ‘Yoga’ is a standout 3 minutes of deep Afrohouse pressure, eazing tensely infectious drums with coolly poised chords, and ‘Wildin’ is the most concentrated, deeply technoid example of DJ Lycox’s urgent but furtive appeal on what is set to be a definitive solo EP.

Die beiden Kultalben Racine Carrée und Cheese des weltweit bekannten belgischen Musikproduzenten und Musikers Stromae erscheinen erstmalig in Deutschland auf Vinyl.

Das Album Cheese erscheint auf 180gr in schwarz und enthält den Welthit ”Alors on danse”.

Das einige Zeit später erschienene Album ”Racine Carrée” erscheint als Doppelvinyl im Gatefold mit 140g LPs in knalligem Orange.

Donut chiefs The Mighty Mocambos return with triumphant funk workout "The Take Off" out on limited edition 45.

On the instrumental A-side, crunchy drums and percussion set off into a 7-minute breakbeat extravaganza where dramatic horns and psychedelic, fuzzed-out guitars build up to an epic finale.

On the flip, Nichola Richards chants soulfully before passing the baton to Brooklyn MC JSwiss, whose spoken word poetry takes the listener to another level, ready for take-off!

Another sure-shotwinner from the Mocambo camp, for all funk DJs and aficionados.

The Gladiators were founded by Albert Griffiths in 1968 after he experienced a positive reaction to early solo singles. Success came quickly for the new roots reggae band with “Hello Carol” which topped the charts in Jamaica. Working at Studio One in the early ’70s, the Gladiators produced a string of hits: “Roots Natty,” “Bongo Red,” and “Jah Jah Go Before Us.” Naturally the major labels came calling and the band was signed to Virgin Records where they cut albums for the rest of the decade. They started by revisiting their history on the classic ‘Trenchtown Mix Up’, on which the Gladiators recorded new versions of their early hits.
Roots reggae underwent a decline in popularity during the ’80s, but it was a busy decade for the Gladiators who were at the height of their powers. They recorded eleven albums during the decade, including three for the U.S. label Nighthawk Records. Those albums, Symbol Of Reality (1982), Serious Thing (1984), and their collaboration with Leonard Dillon (the Ethiopian) Dread Prophecy (1986), will all be reissued by Omnivore. The reissue program begins with Full Time, which was originally issued in 1992, and comprised of material from the productive sessions the band did for Nighthawk in the previous decade. The Gladiators’ Nighthawk sessions were all recorded and mixed at Harry J Studio by the legendary engineer Sylvan Morris. Released here on vinyl for the first time, and newly mastered from the original tapes by Grammy®-winner Michael Graves, this release features new liner notes from original co-producer Leroy Jodie Pierson. “Full Time” is a vital piece of the Gladiators history and essential to any reggae fans’ collection.

Classic! Originally released in 1966, this album contains more of the finest Ethiopian jazz music ever recorded.
Colored vinyl reissue

Another winner album by the ethiopian Mulatu Astatke. This album features a mix of latin inspired cuts and the more laidback 'vibe' kinda african rare groove. Tip!!

A Pandemic Banger from Tuxedo, the duo formed by Mayer Hawthorne and Jake One. Doin' My Best stand-along single b/w "Doin' My Best Instrumental". Limited edition 45 in a pic sleeve that was originally a Tower Records Japan exclusive. Cover by Jean Andre.

“Let’s trade... love,” or so propositions Josh Lane into the waiting ears of a lover on the whispering intro of Thee Sacred Souls‘ latest offering. “Trade of Hearts” is a perfectly coquettish hand-held stroll in the vein of an early Marvin and Tammy duet, on which hearts are traded like so many kings and queens in a playful hand of lovers’ bridge. On the flip, Jensine Benitez dips in with a soaring refrain for the hook of a mid-tempo groover, calling upon a wanted one to let their charm be felt and heard. Without mercy, an infectious rhythm erases any space that might have remained between two dancing souls. The Souls have already captured the hearts of Southern California and beyond with their unique soul sound, at once raw and honey sweet, yet this freshest platter can only tighten that embrace. Hold your cards close, cause they’re playing for keeps!

Just in time to quell your winter blues...! Staten Island's psychedelic, doo-wop dignitaries return with another pair of extraordinarily soulful sides. Heralded as one of the standout tracks on Love in the Wind, "Just for a Minute" has been at the very top of the "Damn, Daptone...Why wasn't this one on 45?" list. So when we pitched the idea producer Tommy 'TNT' Brenneck he delivered the perfect accoutrement, "Silver Linings". Featuring Paul Schalda on lead vocals, "Silver Linings" is an atmospheric groover with haunting keys and a pleading vocal that finds the group exploring the more psychedelic side of their sound. A bonafide two-sider from one of the most dynamic groups in the game.

Acclaimed L.A. rapper Blu has crafted a remarkable discography, partnering with a series of exceptional producers to deliver cohesive collections showcasing his vivid lyricism and effortless flows. Now, Blu is turning to talented SoCal beatsmith Sirplus, a protégé of famed producer Exile who has worked with the likes of Planet Asia, Edo G, MED, Cali Agents, and more. "Sirplus is my guy," says Blu. "He is the newest member of the Dirty Science crew, and I could tell he had talent and skill. I knew I had to work with him." Now available worldwide, "For Sale" is a new EP from Blu entirely produced by Sirplus, featuring appearances by Nolan The Ninja, Johaz of Dag Savage, Scienze, Noveliss, and more.

ntroducing jazz harpist Amanda Whiting. From Wales, the home of the harp, Amanda has taken her classical roots and forged them in the path of jazz harpist Dorothy Ashby.

She has toured extensively with Matthew Halsall and the Gondwana Orchestra performing at Jazz festivals around the world. More recent collaborations have included recording with DJ Yoda and Chip Wickham and touring Wickham's latest album including appearances at Ronnie Scotts and Le Petit Halle, Paris.

Whiting's first album was recorded as a trio for CD in 2013, and pays tribute to Coltrane and Ashby with her own take on standards. She's joined by Deej Williams (bass) and Tony Robinson (drums). Here we've taken a selection of tracks for inclusion on vinyl, the best medium for serious music lovers.

Just 500 copies pressed and housed in a beautiful bespoke flip-back sleeve.

Acclaimed L.A. rapper Blu has crafted a remarkable discography, partnering with a series of exceptional producers to deliver cohesive collections showcasing his vivid lyricism and effortless flows. Now, Blu is turning to talented SoCal beatsmith Sirplus, a protégé of famed producer Exile who has worked with the likes of Planet Asia, Edo G, MED, Cali Agents, and more. "Sirplus is my guy," says Blu. "He is the newest member of the Dirty Science crew, and I could tell he had talent and skill. I knew I had to work with him." Now available worldwide, "For Sale" is a new EP from Blu entirely produced by Sirplus, featuring appearances by Nolan The Ninja, Johaz of Dag Savage, Scienze, Noveliss, and more.

This is the debut release on the new underground 45 label "Digging It" by artist, "Cash From Chaos". This version features the orignal song writer, Gary Davis, of the underground disco classic. Marie Tweek provides the sexy, sultry vocal on top of a band of session players. Look out for future soul, jazz and funk tracks on " Digging It", The perfect 45 territory for the Soul, Disco, Funk and Hip Hop DJs!

'Starfruit' is the fifth album from LA-trio Moonchild (Amber Navran, Andris Mattson, and Max Bryk)


The result of ten years spent working and growing together, 'Starfruit' showcases the respect, musical understanding, and love the trio have, both for each other and for the noteworthy list of collaborators featured on the album. Bringing a host of beautiful melodies and personal lyrics, 'Starfruit' beholds offerings from Lalah Hathaway, Alex Isley, Tank and The Bangas, Rapsody, Ill Camille, Mumu Fresh,
Chantae Cann and Josh Johnson.

Alongside the LP's extensive list of featured artists, the release sees Moonchild experimenting with new synths and sounds. While still rooted in their trademark
tones, these textures and sound palettes elevate 'Starfruit' to new and impressive Moonchild musical territory.

Their frst release featuring collaborations, Moonchild take the opportunity on 'Starfruit' to work with a number of acclaimed Black female musicians. Each providing their own 'goosebump' moment to 'Starfruit', the eclectic mix of vocals and lyrics set to the backdrop of Moonchild's musical synergy and understanding makes for something spellbinding.

This landmark release follows Moonchild's critically acclaimed album 'Little Ghost' which saw huge support from the likes of Jamie Cullum (BBC Radio 2), Phil Taggart (BBC Radio 1), Jamz Supernova (BBC 1Xtra), Huey Morgan, Cerys Matthews and Don Letts (BBC 6Music), Bradley Zero and from across Jazz FM (who previously named the band Soul Act Of The Year).

In 1994, hip-hop was going through an at-times painful growth spurt. Since N.W.A.'s and Ice-T's ascent in the late '80s, the rap game was no longer owned by the East Coast. After the worldwide popularity of Dr. Dre's The Chronic in 1992, things were looking even worse for hip-hop's hometown. The East Coast / West Coast feud that would later indirectly claim the lives of Biggie and Pac was still in its infancy, but New York needed a shot in the arm. The hype behind young Queensbridge native Nasir 'Nas' Jones had been in full swing months before his smash debut album Illmatic, thanks to Columbia Records' promo machine. From his earliest appearance on Main Source's 'Live at the BBQ,' to his own accomplished debut 'Half Time' (as Nasty Nas, on the Zebrahead soundtrack in late 1992), it was clear that this kid was something special. In fact, the pressure on him must have been overwhelming at times. April 19, 1994 couldn't have come soon enough. And as soon as the first lines of 'N.Y. State of Mind' kick in, bolstered by perhaps DJ Premier's darkest beat of all time, the entire East Coast breathed a collective sigh of relief. God's Son had arrived. Backed by an absolute all-star cast of New York's top-shelf producers - Premier, Pete Rock, Large Professor, Q-Tip and a youngster named L.E.S. - the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, 'Don't f*** with the East... we are BACK.' Illmatic was actually a slow-burn, which might surprise fans that have come to its genius more recently. Despite an unheard-of '5 Mics' in The Source - despite an unwritten rule of never awarding classic status to debuts - it didn't go gold until early 1996, and didn't hit platinum status until late 2001. But when you dive deeper that shouldn't be a shock: like Black Moon and Wu-Tang's debuts, it was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills and heart.

Recorded in Brooklyn, NY and in Accra, Ghana.

Osei Korankye is a master musician and singer from Accra, Ghana. Known as one of the very last remaining seperewa musicians in Ghana.

These tracks are a throw back to the classic styles of Afro-Funk in 1970s Ghana.

Recorded to tape and produced by Super Yamba bandleader and drummer Daniel Yount and engineer/bassist Vince Chiarito (Ikebe Shakedown/Charles Bradley/Black Pumas).

Upon a trip to the United States in 2017 Korankye linked up with Yount for a few gigs in New York City. Yount learned Korankye’s music and played drums on the gigs. “After that I knew I wanted to collaborate with Osei on some of the songs Super Yamba had written in the style of Ghanaian funk.” The collaboration came together effortlessly and the result is two beautifully psychedelic funk tunes made for dancing time!

In the third of the series, we move to 1973 Detroit, we have been so excited bringing this through to pressing and it has been a long but exciting and rewarding road and we hope you enjoy listening to this this 45 taken directly from the Universal master tapes and brought to you 48 years after its initial release on promo only format. Now available under licence and blessings from Universal Music Group on the Black Top series from us.

Is it good – oh yes – but don’t take our word for it, crank the volume up and hit play.

The A side – Young Train is a fabulous funkedged dancer with a message for us all even today, driven by the constant wah wah guitar and bongos. flip it over for a feelgood crossover dancer that has already been getting radio airtime on some of the UKs best soul stations.

Young Train by the Originals. This incredibly rare 45 is a poignant reminder that 48 years later the struggle continues today for equality and harmony for all.

The title “Young Train” is a brilliant collaboration of using Colemans surname and a hark back to the freedom songs enshrined in the blues and soul history of Black America, think Freedom Riders, Southbound train, Midnight train to Georgia to name but a tiny number. It captured the imagination of Detroit leading to the inauguration of the First Black Mayor of Detroit in 1974. Coleman Young captured the hearts and minds of the people of Detroit, some of his actions and associates led to questions around his fitness for office, but the moment in time lives forever in this exclusively rare 45 now brought to you with the blessings of Universal Music Group via MD Records.

On a final note, it is in many ways incredibly sad that this anthemic song still holds a valid call to action in its message in 2021. So, turn the volume up and get on board the “Young Train” for democracy and equality.

Big thanks go out to Karl “Chalky” White for material used in the sleeve.

All aboard for the third release in the Blacktop series from the MD Collective.

A quick introduction to the soulful recording artist Al Lindsey.

Al Lindsey was born in a small town in Gordonsville, Virginia. He moved to Detroit at the age of eleven. He found a voice for singing at the age of twelve and as a young lad at the age of fourteen he was to sing lead in the adult church choir. Al was performing in nightclubs at the tender age of sixteen.

As a Detroiter it is only reasonable he would be influenced by the sounds of Motown, with David Ruffin and Marvin Gaye as his childhood idols. Back in the day, Al was to perform with the current Four Top Lawrence Payton Jr prior to pursuing a solo career. His first recording was Always on my mind, a Northern soul classic. Followed by three albums, Al has since released his best work ever, Versatility.

In search of a new sound, he teamed with J&J2 Productions out of Saginaw. This production team consist of the dynamic father and son team, James Owens Sr and James Jr. There’s a strong message in this work, as was with Marvin Gaye’s classic “What’s Going On”. Versatility is the featured song on the cd, with it’s primary message addressing the beauty of diversity. Cotton Candy is a blazing dance track with the influence of Maze. Changed is a personal testimony, a must for his gospel fans. Midsummer Dream and Heavy Thoughts represent his trademark balladeer sound.

Al has shared the stage with some of the more prolific entertainers and musicians in the business. This soulful artist is destined for greatness.

This track got picked up on its digital release by any radio station and modern fans and a big than you must go to Mark Turner for introducing Al to MD Records.

Its not often that we have a conversation with Jordan where we don’t come away feeling like we have been through a whirlwind of inspiration and ideas. One particular conversation led to a discussion about new tapes he had acquired and one in particular from the Wishbone production company.

Wishbone was the name of a production company and studio owned by Terry Woodford and Clayton Ivey. These guys worked at Muscle Shoals and went on to be snapped up by Motown as writers and producers before moving on to start their own studio.

This band is known, has some great tracks but never got the backing it deserved to go the distance. With only a handful of released tracks to their name Motown didn’t get behind them. Imagine our excitement when Jordan starts to play the tracks from the tape and there are 2 unreleased tracks on it. Following a quick chat and verification that they were unreleased; we started to hunt down the rights.

Following an intensive week or so of conversations, Terry not only agreed to work with us but then proceeded to share his knowledge and catalogue with us to see what else might make it to vinyl for the first time.

This is a great double sider with the A side being a fabulous 70s/modern version of a classic track that was also sung by Bobby Sheen and Bobby Womack. There is every possibility that this is the first recorded version of this masterpiece of 70s soul.

Flip it over and the skilful writing of JJ Boyce is delivered through a soulful group harmony track that is a fabulous balance to the powerful A side.

In Detroit in 1969 the city was still rebuilding from the 1967 riots, there was still hope and a drive for the future and the good times that were just around the corner. Young people in America had an excitement for what they perceived was possible for them. Cue one such person – Larkin Yewell.

Many of you will likely not have heard of Larkin, or Fourth Level, Richard Martin, George Burnette or even Larkins record label U-Larc. But it exists as a moment captured in time, the 45 capturing the full extent of hope and ambition, the excitement and drive to capture the attention of people through music, aiming for the star and coming to Detroit – Motor city and the home of Motown. Larkin also came North to get a job in the Chrysler factory while hustling to make his name in the music business.

But here are the two tracks they recorded and released, so turn the volume up and hit play on both sides.

Staying in Philadelphia for our second in this last batch of 2021 releases we are back with Frank Bendinelli and his powerhouse of a studio.

Honey and the Bees drop what is a stunning example of girly Philly soul right from the get go. We’ve left the studio count in place where you can hear Leroy count the girls in and you can also hear him on the keyboards, the track was lightly remastered by the magic touch of both Frank himself and then JJ at Golden mastering to make sure we had it spot on for modern vinyl production methods. Flip the 45 over and be prepared for a monster of a northern instrumental. The Persionettes 45 is a marvelous vocal northern classic and this instrumental track holds its own in a very different way. For those that love the historic instrumentals this is pretty much a must have 45 for this side alone.

First up on the December 2021 release front will be John Bowie. Hailing from the days when John moved on from the Philadelphians and hooked up with Merben out of New Jersey. The outcome of this new recording relationship was the release of “Youre gonna miss a good thing” b/w “At the end of the day”.

Following our collaboration work with Kevin Fingier on some other tracks, we played him the unrestored takes and asked for his opinion. Needless to say he was pretty excited by the tracks and wanted to see if he could bring them back to there full glory. Between Kevin and JJ at Golden mastering they have done a brilliant job of working with the masters to get a great sound quality without any additional changes to the tracks.

We are pleased to deliver both tracks back-to-back on a 45 for your listening pleasure. The thumping “Help me pretty baby” screams out of the starting blocks with the brass working overtime to punctuate the classic bouncing bass line. Johns’ pleading vocals beautifully threaded through both, delivering his message to the echo of the backing singers. Flip it over and you get a moody audition take of “You’re gonna miss a good thing”. This version is raw and darker than the released version, its also got that heavier Hammond style keyboard in support of the baseline, but without the high and light glockenspiel type keyboard of the released version.

In an article written for Scoop newspaper in Philly, it was said that Big John had died from a robbery attempt at a gas station where he worked. This article was dated in the 1998 and had the approximate date of death about 1985. Just another example of the pointless loss of great talent in the soul world.

Many of you may never have heard of the band, or the track “Its our Time” or even the studio label it was recorded on. This is a tough record for sure.

Well, John has always been a Sax player since he was young, while he served in the USAF from 1963 to 1967, he managed to get together with other musicians and play in combo’s wherever he was stationed.

In his last year serving in the forces, John penned the melody, Sax and keyboard solos of what was to become “In our time”.

When John left the Air Force in 1967, he returned home and went to College, he also picked up with local bands and started playing in nightclubs. At this time, he started to write “Dreams of a Child”. It was a simple composition, but John wanted to have Flutes and Saxes on it.

Talking to the band, they agreed to practice the songs so they could start playing both songs in the sets they played in the clubs. One member, William “Bill” Tripp started writing the lyrics for “Its our Time”.

One night, a guy called Dave Plummer, heard the band play the tracks and suggested that the band should record and press the tracks to vinyl and then start promoting the band. Dave’s studio, Cypress recording studio is still going today and has a rich history of musicians and bands that have graced the studio recording rooms and is responsible for also pitting out the Jax Transit Authority single in 1978.

Following hot on the heels of Bottom and Co. is the fabulous Mary Gresham – brought to prominence in 2008 by Gary Cape on his Soulscape CD – “Voices from the shadows”.

The top side is a previously unreleased to vinyl track that delivers through a sophisticated sister funk track that should never have been hidden away for so long. Mary is still performing today with her band – now that is testament to her abilities and she really should have more accolades than she does. Mary Gresham shows her powerhouse vocals in this moody and sophisticated slab of southern magic.

Flip the single over and an upbeat southern upbeat masterpiece is laid out before you, the beat being carried through the bass lines and brass. Both sides are brilliant examples of southern soul.

Nina Simone: The Montreux Years is released as part of a brand new Montreux Jazz Festival and BMG collection series “The Montreux Years”. The collections will uncover legendary performances by the world’s most iconic artists alongside rare and never-before-released recordings from the festival’s rich 55-year history, remastered in superlative audio. Each collection will be accompanied by exclusive liner notes and previously unseen photography.

Nina Simone’s story from the late sixties to the nineties can be told through her legendary performances in Montreux. Taking to the Montreux stage for the first time on 16 June 1968 for the festival’s second edition, Simone built a lasting relationship with Montreux Jazz Festival and its Creator and Founder Claude Nobs, which uniqueness, trust and electricity can be clearly felt on the recordings. Simone’s multi-faceted and radical story is laid bare on ‘Nina Simone: The Montreux Years’. From Nina’s glorious and emotional 1968 performance to her fiery and unpredictable concert in 1976, one of the festival’s most remarkable performances ever witnessed, the collection includes recordings from all of her five legendary Montreux concerts – 1968, 1976, 1981, 1987 and 1990.

Featuring rare and previously unreleased material from Claude Nobs’ private collection, Nina Simone devotees worldwide will be thrilled by the inclusion of the powerful I Wish I Knew How It Would Feel To Be Free, poignant and fearless Four Women and Simone’s hauntingly beautiful performance of Ne Me Quitte Pas. A spine-tingling version of Janis Ian’s searing and potent Stars, which Simone covered for the very first time during her 1976 Montreux performance, sits alongside her bold and electrifying re-imagine of Bob Marley’s ballad No Women No Cry in 1990. The collection closes with the encore of Nina Simone’s final Montreux Jazz Festival concert and one of Simone’s most-loved and best-known recordings, the exuberant My Baby Just Cares For Me, showcasing the deep and multidimensional facets of Simone’s life and music.

What to say about Roland Johnsons Set your mind free – if you are reading this and haven’t listened to the track – STOP RIGHT NOW AND HIT THE DAMN PLAYBUTTON!

Then come back and read about Roland.

Roland Johnson is the real deal, bonafide, time served Soul and Blues man. He cut this track at the tender age of 71, having recorded his first album of original material at the age of 68.

Both albums were recorded at Blue Lotus recording studio in St Louis, Missouri and feature the wealth of talent that uses the studio as a creative hub. The studio is owned and run by Paul Niehaus IV, also a talented sound engineer, musician and performer.

This track was picked up by a couple of the upfront DJs and in particular was championed by Cliff Steele in his sets, following his visiting the studio and sourcing copies of the album of the same name.

Roland is aiming for the stars and given the quality of the two tracks on this release we are honoured to be working in partnership with the Blue Lotus studio and Roland to bring this to a 45.

The A side, Set your mind free, has already been flagged as one of the monster spins of 2020. From the minute that rolling drum intro rolls through and the melody flows straight out of the back, being cut through by Rolands voice – dripping soul from every phrase. Beautiful production and composition bring to life a new breed of soul from St Louis, with more than a passing nod to the heritage soul of the area. Look up Arch and Emerge record labels.

Flip it over and get ready to be torn in half by what I think is one of the best modern deep and soulful tracks I have heard in a long long time. You can hear every story of a broken heart that ever existed in Rolands delivery and the backing and instrumentation are just sublime.

So did you read this before listening to the tracks – If you did shame on you! GO and listen now.

If you did listen before reading this – now go back and listen again… to Roland Johnsons Set your mind free backed with Now your gone. Enjoy.

The ability to bring this to you humbles both myself and Des and we are truly astounded by the skill, passion and dedication of artists that can translate life into Soul!

The eagerly awaited second release from Roland Johnson, backed with the equally brilliant “Can’t Get Enough” on our Yellow series brings the fabulous Yours and Mine from the first album – Imagine this – to vinyl. Elmore magazine said; “Yours and Mine” and “Promised Land” bring to mind the loving duets of Marvin Gaye and Tammi Terrell, sounding perfect for film.

and when reviewing the flip; The horns and saxes are crisp and energetic. Johnson co-wrote 9 of the 10 songs including the inviting up-tempo opener “Can’t Get Enough” with its O’Jays influence.

Source:

Roland’s first album, “Imagine This” was released by Blue Lotus Recording studio in 2016. This album was a deliberate move into mainly self-written songs and marked the desire by Roland to break out to wider audiences, gaining even more success than that shown by his live performances appreciated by all on the St Louis and Beale street Blues and Soul Scene.

Often compared to Otis Redding and Sam Cooke, which you can hear the influence, but Roland Johnson is a singer destined to come out of the shadows.

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The success and increased interest in Roland’s first album bright about more interviews with the Missouri press and News, with interviews and award nominations celebrating his highly successful blend of heartfelt Southern Soul with a classic vintage delivery in a new way. In the UK Brian Goucher of Vibe UK picked up on the album and reviewed it excellently.



I dot think we need to add much more than that in all honesty, Roland is the real deal, hit the play buttons and decide for yourself.



Mark n Des

Virtually nothing is known about this band other than they recorded for the late great Phil Gaber at his studio. The laid down three tracks plus an instrumental, the fabulous Baby I Love Pt1 and its instrumental version Pt2 which is now available on this single release. Round and Round we go and Wait for you.

All of these have previously only been available on Impact Sound Acetates that reside in the collections of some of the most well known DJs on the northern scene.

This bongo and brass fueled track hammers out of the speakers and just demands the attention of those listening and dancing to it. Jordan Wilson has been playing this every week on his Soul Archive show and its gone down a storm.

It is now available as part of a limited run of 500 singles on the MD yellow series and as usual there are only 500 pressed with no re—runs.



Turn the volume up, hit play and dance your arse off.



Enjoy

Mark nDes.

To celebrate this anniversary we will also be releasing Rolling Papers original vinyl in different colored variants.
Rolling Papers is the third studio album by American rapper Wiz Khalifa, it was released on March 29, 2011, by Atlantic Records. The album features guest appearances from Too $hort, Curren$y and Chevy Woods. Rolling Papers was supported by five singles: "Black and Yellow", "Roll Up", "On My Level", "No Sleep" and "The Race". Rolling Papers debuted at #2 on the Billboard Top 200, It entered at #1 on Billboard's R&B/Hip-Hop Albums, and Rap Albums chart in the U.S. in the first week of sales. In Canada, Rolling Papers debuted at #6 on the Canadian Albums Chart, #47 on the UK Albums Chart and #2 on the UK R&B Albums Chart. Additionally, Rolling Papers debuted at #35 on the Norwegian Albums Chart, #49 on the Dutch Albums Chart and #60 on the French Albums Chart.

Led By Saxophonist Rob Mitchell, Abstract Orchestra Have Been A Consistent Presence On The U.k. Music Scene, Touring Constantly In Promotion Of Their Debut Lp "dilla" And Follow Up 45 "new Day Feat. Illa J", Steadily Building A Loyal And Supportive Fanbase.inspired By The Legendary Live Performances Of The Roots With Jay-z And The 40 Piece Orchestral Arrangements By Miguel-atwood Ferguson Of The Work Of J Dilla, Classic Arranging Techniques Underpin Modern Loop-based Structures, Breathing New Life Into Familiar Material.

The Band Itself Is Based On The Classic Jazz Big Band Instrumentation Of Saxes, Trumpets And Trombones And Features The Cream Of The North Of England's Jazz Scene Who Collectively Have Played With Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & The Roots, Roots Manuva And Amy Winehouse.

"madvillain Vol. 1" Takes The Template Of Their Debut Lp "dilla" And Applies The Same Approach To The Collaboration Ofmf Doomandmadlib, Akamadvillainand Their Albumsmadvillainyandmadvillain 2. Sampling The Likes Of Sun Ra, Bill Evans, Freddie Hubbard, George Duke, Dr. Lonnie Smith, Quincy Jones And Stevie Wonder Gave The Albums A Jazz Oriented Feel And Ethos Which In Turn Lend Themselves Perfectly To The Deconstruction And Re-imagining Of Abstract Orchestra. As With Their Debut, All The Tracks Were Recorded Live In The Studio With Very Few Overdubs.

Abstract Orchestra'smadvillain Vol 1. Explores The Jazz, Tv Soundtrack And Film Score Aspect Of The Original Work, Combining It With Classic Big Band Writing And A Focus On Improvisation. There Is A Strong Influence Ofquincy Jones, Lalo Schifrinanddavid Shire(composer Of The Soundtrack Tothe Taking Of Pelham 123) On The Album, And The Arranger Rob Mitchell Crafts His Own Sound That Inhabits The Space Between Madlib's Production And Quincy Jones' Writing. Bandleader And Arranger Rob Mitchell Says Of The Record: "'madvillainy' Is A Jazz Album As Much As It Is A Hip-hop Album And I Wanted To Explore This Reciprocal Territory There Has Always Been Between Jazz And Hip-hop. 70's Cop Show Soundtracks Have Always Captured My Interest And Imagination, And I Discovered So Much Amazing Music Through Tv Themes, Quincy Jones And Lalo Schifrin In Particular. They Explored Sounds That Were Menacing, Angular, Dissonant, Frantic And Yet Captivating. They Were Also Able To Write Music That Was The Flip Side Of All That Dark Chaos, And Write Lush And Beautiful Music. Arranging And Scoring Up Madvillain Vol 1. Has Allowed Me To Explore These Sounds That I've Always Loved, Yet Keeping A Strong Hip-hop Identity As The Core Of Its Sound."

'In Case You Don't Know What To Play', is committed to the world of dancing, drawing eclectic inspiration from the streets of Tokyo, traditional African rhythms, US underground techno and the sound of Recklinghausen. Handmade by DVE, this 2x12" comes stamped with a photo and a download code.









[I}] d2 | In Case You Don't Know What To Play

Hustle Till I Die is the second studio album by Three 6 Mafia member Juicy J.

Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.

 An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”

 Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.

 Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.

 For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”

 “It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”

 Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.

 Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.