Hip-Hop Vinyl New Releases - News

Roots Garden records present the final instalment of the labels hugely popular 2007 rhythm series 'The Levi rhythm' from producer Manasseh, featuring this previously unreleased dubplate vocal and heavyweight dubwise mix.

L’Entourloop “Le Savoir Faire” album in Vinyl 2LP version – September 22, 2017 – 18 tracks – 4 sides

Breeding in open air since 1964, Sir James and King Johnny are the figureheads of the mysterious L’ENTOURLOOP collective. Feed with good grains from Sounds Systems, vinyle’s culture (Scratchs / Beatmaking / Sampling) and rocked by the epic dialogues of a certain cinema, L’ENTOURLOOP concocte with love a music half-way between Kingston, London and New York!

This album is rich in combinations (Panda Dub, Kill Emil, The Architect…) and plenty of featurings (Biga*Ranx, Marina P, Demolition Man, Tippa Irie…) where the collective once again unveils its « Savoir-Faire » !

2LP + 7"

With her DJing and creative project Automagicalley on hiatus, Adi’s 2020 has been home to a slower kind of alchemy - the creative processing of two years’ worth of musical sense impressions into the basic fact of a needle on a record.

Slick Walk pays homage to Young Holt-Unlimited's classic tune "Soulful Strut" and catapults it into a new club dimension with a DJ-friendly, heavy beat production. Voodoocuts from Italy merges 50 Cent's vocals with a well known Brazil feel good track, beefs it up and delivers a perfect birthday tune.

Discodelic presents the second release in this series of exclusive 45 RPM records. From the Caribbean coast of Costa Rica, province of Limón, the town of Cahuita, we present you with the incredible BOCARACÁ!

Bocaracá is without a doubt a gem from Caribbean Central America, bridging a spectacular concoction of Psychedelia with Afro Latin rhythms. Created by Isidor Asch and Luis Jákamo, two restless "limonenses", who were on the path of discovering their Latin musical roots since childhood, while also experimenting with soul and Rock in their own compositions. Together and on their own, they have written a big chunk of the history of Soul in Costa Rica with their subsequent outstanding groups: Marfil, Grupo Stop, and Manantial.

This limited edition is part of a project that has been in the making for several years. This is a labor of love and respect for the music of this singular band. Four “maes” who were known as “the only hippies in Limón” in their hometown.

This reissue includes historic material that was originally recorded between 1973 and 1974 in Audio Centro, a recording facility in San José. It’s a priceless and important document, a window to what was happening with music in the largely abandoned and forgotten province of Limón, where a musical revolution was cooking in the early ’70s, and where Bocaracá was the cornerstone.

Get to know the full story of Bocaracá in the special liner notes included in the release, prepared with love for all of you, featuring band anecdotes and photos.

Mr. Confuse returns with a new funky 7" on the afrofunk tip.
'Spinning Around' kicks off with heavy funk drums, afro horn stabs and a driving mean Farfisa organ that really keeps you moving till the end. On the flipside 'Against All Odds' offers a driving bass line, raging brass and clever breaks – a breakdance sure shot! Make sure you check out the music video of 'Spinning Around' and don't miss this release on Confunktion Records as the 7inch vinyl version is limited to a 150 Units. ... Be quick on this one!

The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when we breathe and it protects the windpipe when we swallow. However, those unfortunate to experience the potentially fatal malignant tumours of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose and Throat Dept of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H. A. E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso-pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one’s esophagus via swallowing, suction or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni and “western electric” are all explored here, along with other aspects of the larynx and its absence. Speech After The Removal Of The Larynx is definitely one of the strangest albums ever given a commercial release!

• SPECIAL EDITION 200TH SINGLE
• FIRST EVER 7-INCH SINGLE RELEASE
• TWO STUNNING SIDES – “OVO”
• OFFICIAL SCEPTER STUDIOS ACETATE ARTWORK

To celebrate this historic landmark Outta Sight proudly present a unique 45 featuring two stunning sides by rare soul legends 'BETTY LAVETTE' and 'NELLA DODDS'.

First under the spotlight is Betty Lavette with her 1964 recording of “One Thin Dime”, popularised on the Northern scene by Holly Maxwell. Ms. Lavette’s version, unreleased at the time, with it's haunting brass and upbeat production is hands-down the superior version. It first came to light in 1993, thanks to Kent Records, on the rare sixties’ soul CD ‘Living The Nightlife’, and is now available, for the first time, on the premier division format … 7" single.

Next up is Sixties Soul sweetheart Nella Dodds with her Philly dancer “First Date” produced by the legendary Dyno-Dynamic production team for Wand Records. It was written by James Bishop and originally intended for a mid-Sixties album entitled ‘This Girl’s Life’. The album was rejected at the time but finally surface on a Kent CD in 2007.
However, like our A-side, “First Date” makes it's first ever appearance on a much anticipated 7" single.

The Canadian keyboardist and songwriter has a knack for crafting his skill to cater to a wide variety of different styles, which are more than apparent on the upcoming ‘Weekends’ EP. Tobin tells a soulful story, weaving together modern-funk and neo-soul with jazzy synth leads, layered chord progressions and groove-oriented beats. Since its release, the single ‘Kameleon’ has been doing well in the digital airwaves. In collaboration with talkbox virtuoso Swatkins from Portland and Melbourne based vocalist Meiwa, Kameleon is a smooth slow jam with a groovy synth bass. Accompanied by Tobin’s keen chord progression and Swatkins’ talkbox solo, the track feels like a elaboration of the Westcoast funk sound. Tobin bends the genre to his taste, adding his extensive knowledge of jazz. Synth heavy solos, basslines and larger-than-life chords characterize the entire project. With four- on-the-floor cuts like ‘Praise’ and ‘Cosmic Ocean’ and the gospel-inspired b-side (referencing the Holy day of the weekend), the record encapsulates the mind of the Canadian producer and shows his wide inspirations. It shouldn’t come as a surprise that the EP can easily be described as “a lush soundtrack to a sun-drenched weekend”. Jonny Tobin is part of an up and coming wave of new artists within the modern funk and soul spectrum. The ‘Weekends’ EP sees him collaborating with artist from the same pool he’s in, such as Makadi, Guerschon Auguste, Janelle Reid and more. Together the collaborators are pushing their sound forward. something Wicked Wax is also keen on. Additionally, Tobin got some help from AstroLogical, one half of Potatohead People. He guided Jonny and helped co-produce the EP, with great success as you’ll surely hear." - Mo Wrights

Clive Phillips, Dominic Goodman, Peter Blundell are Mosquitoes, a somewhat inscrutable London-based outfit in operation for something close to seven years now, and have released music across a host of celebrated and broad-minded underground labels. Give or take the occasional interview in the less-straight parts of the music press, this is as much formal biography as their music has thus far allowed, for there's something essentially unknowable at the centre of what makes Mosquitoes what they are. So murky is their early history in fact, the first two self-released Mosquitoes records seemed to disappear from sight before really becoming visible. As more records have emerged, those first communications accumulate new meanings, acting as vital documents in tracking the evolution of a band who stand at the vanguard of contemporary British music.

The second of these records, recorded to tape in summer 2016 and first released as a single-sided 12" under the name MOS-002, is arguably the first true iteration of Mosquitoes. Now fittingly renamed Mosquitoes for its reissue as a dubplate-style 10" on World of Echo on 5th March, these five cryptically titled, shape-shifting tracks, see the trio embrace a near-genre-less fluidity, and in doing so express a unique combination of both freedom and intent. By design or instinct, Mosquitoes stand at their own inverted rock nexus, presenting a music that's turned inside out, and in doing so, music that twists the listener the same way.

In that sense, Mosquitoes plug into a long lineage of DIY savant iconoclasts, those outliers who would deny orthodoxy in order to excavate new languages and ideas - The Dead C, This Heat, the anti-formalism of No Wave, David Toop's General Strike. As such, Mosquitoes rely on a musical pluralism in order to take it apart - you must know how something is made before you reassemble it anew. Labelling this an EP may possibly underplay the breadth and ambition of what's on show. Later records would arguably be more cohesive, but what stands as particularly startling with this early work is their fearless and all-encompassing dive into the avant garde. Consider the anti-rockism of the scorched earth 90s re-imagined through a distinctly avant filter of free jazz and dub aesthetics. And it's the latter which perhaps shapes Mosquitoes most, dub the perfect vehicle for the articulation of such wilful anti-formalism. Make no mistake, this is music that's unafraid to be tough, to demand something of the listener and to not ask permission. And to bear witness to a rejection of formalism so aggressively pursued is to be reconciled.

The Signz Series Keeps on growing with the OBF Familly !

Irrational Waves Comes Back With astral Reunions', A Cassette Mixed By Label Boss Etienne Dauta Aka Solune. The Content Of The Mix Was Thought As A 1 Hour And 30 Minutes Long Trip Of Timeless Music To Immerse To. It Was Peacefully Gathered, Recorded And Mixed As He Was Head Of Bass Cadet Records Store In Berlin In 2016. Carefully Selecting The Vinyls From His Crates And Other Discovers He Dug Out While Touring, The Mix Features A Concotion Of Spiritual Jazz, Abstract Electronics, Soul Music, Krautrock, Fused With Percussions, Sacred Sounds And Textures Which Will Set The Listener Into An Introspective And Soulful Sound Experience.

This is the first ever archival collection of material from the Italian Minimalist Tiziano Popoli, featuring fourteen previously unreleased recordings for installations, theater, and radio broadcasts spanning from 1983 to 1989. Featuring extensive use of the Yamaha DX7 synthesizer, TR909 drum machine, and early sampling techniques, these recordings trace the organic, hybridized elements of Italian experimental music as it convened in the hands of Tiziano Popoli and his friends, uniting elements of pop music, minimalism, and manipulations of found sound. Popoli's first album, Scorie, recorded with Marco Dalpane, is a highly sought after LP, and was finally repressed in 2018 by Italian label Soave. "Burn the Night / Bruciare la Notte: Original Recordings, 1983-1989" is a joint release between RVNG Intl. and Freedom To Spend, and was compiled from hours of material unearthed by Tiziano Popoli from his archives, and then meticulously remastered from original sources by Rashad Becker. The 2xLP and CD include printed inner sleeves and booklets with extensive liner notes written by Bradford Bailey, archival photographs, and ephemeral enrichment. RIYL: Philip Glass, Franco Battiato, Lino Capra Vaccina, Oren Ambarchi, RAMZi, Roberto Musci, Faust, CAN, Art of Noise, Durutti Column, Roberto Cacciapaglia.

Andres (aka DJ Dez) steps up to join the MotorCity Wine family in fine style with the Allegria de Vino series. For this 2 volume series Andres flexes his blunted downtempo beat-driven side, complete with his primo cut skills celebrating our favorite red, white, and pink libations. Both volumes feature 3 instrumental hip-hop beats, cut loud at 33.3 rpm, pressed with love at Archer on Detroit's east side, and housed in the MotorCity Wine company 7" jacket.

*Repress*

In the year 2000, I moved to Chalmers on the eastside of Detroit. With an Ensoniq EPS, and a Roland VS 1880, I started a studio in my mother’s basement just a block from the Detroit River. The first order of business was engineering a compilation my boy Murf was producing. One day he had a session with Idol. The song was taking longer than usual for Idol to lay. We attributed this to the fact that his attention was divided between the song and the woman he brought along with him. He also brought along his little brother and his friend who were both about 17, 18 years old. As the beat was playing, Murf heard his brother’s friend rapping under his breath and asked to hear what he was saying. Murf turns to Idol for the green light, one take and 5 minutes later, Boldy had his first song. From this point, Boldy was in my basement recording or in the streets.

For the next 5 years or so, he would come and record to beats he brought while I was working on the Resurget Cineribus album. When I finished Resurget, with all of its wild composition, I was interested in just making some “beats” again. By 2007, I had some in the stash and Boldy asked to rap to them. We recorded the first song Die Young and thought lets keep going. Him and I both were people that did not create music to be in the industry, or for an audience. We created for ourselves solely, and still do. We are not careerists with music, but culturalists documenting the Detroit experiences that we have absorbed from it’s deepest of trenches, sometimes converting personal trauma into collective catharsis. This catharsis is what we shared with loved ones with similar symptoms, and we were good with that.

Early in the process of making what I could now see was going to become an album, my cousin came over. He sat and listened to the first few songs. He goes, “I can listen to this and not get high that day.” That gave me focus. At that time I kept asking Boldy to be more personal. The more he did that the more this became about healing, not making a “good” album. That was my little brother by now and he was going through a lot. Ironically, I saw a lot of my father in him, whom Resurget was about. He was the user closest to me, Boldy was the dealer closest to me. I saw that we are all in search of a feeling. Everyone has been a dealer and user at some point. We have all dealt a feeling to someone to enhance the condition of our lives, or were in search of a feeling to escape that condition, by becoming a user of what someone has dealt to us.

From 2007 to 2010 Boldy recorded vocals for this album. We couldn’t have been further from the industry, we were in our own world. During this time Boldy’s cousin Chuck Inglish began gaining steam with The Cool Kids. By ‘09, Boldy started going to Chicago to record with Chuck which led him to recording Gettin Flicked for their Tacklebox Mixtape, the song that kicked off his career. Those lyrics were originally for the song we recorded which is now Got Flicked(the rebirth) on this album.

By 2010, Boldy was off and running, and I had an album’s worth of songs with him that I had no clue what to do with. When he rapped to my tracks they were pretty much chopped samples and drums, my version of boom bap. As Boldy was ascending, musicians kept appearing in my life. Mother Cyborg became an early sonic thread with her cello. Jugal, an actual monk, was staying in the temple blocks from my house. I met him walking in the middle of the hood playing a mridanga, robe and all! He ended up contributing the mridanga and harmonium to the mix, as well as singing in Sanskrit. My cousin Keir Worthy brought Bubz Fiddler through. Bubz, who played with George Clinton and RJ’s Latest Arrival, was a legendary Detroit bassist who, along with his brother Amp Fiddler, anchored Detroit’s music community. It was their home that was the space that incubated Dilla and Slum’s musical journey in its infancy, just as Boldy in mine. Inspired by them, my home was open to neighborhood kids as well. My next door neighbor Tone eventually led the neighborhood kids to my house. Tone was hanging with a girl at his high school that he would bring over to record with them. Working on Welcome to 76 I needed somebody that sounded like a bad ass little kid to do the chorus and Deja’s voice was perfect.

Within a year or two, routine flooding was uprooting the basement studio while the kids that once used it were engaged in an all out war on our block. Boldy could see where they were headed, as we would watch them rush to the bushes for stockpiled guns every time a car came down the street. Boldy would do his best to hip them to the perils of the streets. As the smoke was clearing, my mother was preparing to leave the state after my grandmother passed. Many of those kids got locked up or killed. I didn’t see any of them again, though a few years later the unmistakable voice that I asked to do that chorus would be all over the radio with a national hit, helping to give birth to a new wave of Detroit Music, as Dej Loaf.

As one wave was washing out for me, I began meeting a new wave of Jazz musicians returning to the city from college and other places. One musician in particular was Rafael leafaR, a protege of legendary Jazz bassist Reggie Workman who played alongside John Coltrane and Art Blakey. Raf would become my right hand and personal woodwind section. Everyone would come to my place and play wherever they wanted to on the album. With my records constantly being shuffled in plastic bins to clean up every time it rained, there wasn’t much new music being made. The album was all I had for them to play on. As the water broke the flow of my production, the engineer in me was emerging. Twenty plus musicians later, I had a whole new project on my hands with a ton of editing, composing, arranging, and mixing to do. Boldy’s words became the soil from which I could grow the sound into a womb-like world that held his experience, an experience all of us share in one form or another. It went from having a physical space where Boldy’s voice could grow, to using Boldy’s voice as the spiritual space to grow the sound inside of, as I was losing this physical space where all of this started. This became apparent after recording Mommy Dearest. The things we create can become the womb that we needed to return us to who we were, before our circumstances made us what we are.

Summer 2018, I gave Boldy what I thought was the finished version of the album which now included a Ghettotech-inspired vamp out at the end of Birth of Bold and Requiem. Both pieces didn’t have any vocals. Requiem was a tribute to Bubz Fiddler, who passed 2 years earlier. Boldy tells me, “I love it but, I want to rap on those 2 open beats.” Little did I know that giving space to acknowledge the passing of Bubz would lead to new life for this record. So 8 years afterBoldy and I last recorded, on the day after his birthday, he returned to record new lyrics to those tracks to finish the album, bringing this process full circle.

As I was sitting with Kesswa listening to the final mixes we arrived at Got Flicked(the rebirth), which she sang on. At this moment, she was listening to Boldy’s vocals for the first time, as I’d had them muted in my session with her. Sitting there, it dawned on her that she recorded vocals to the original version of one of the songs, from that Tacklebox mixtape, that inspired her to pursue music years earlier. This 12 year process affirmed to me that if you take the time to get back to your beginning, you will arrive at your infinity.

Sterling Toles

After a decade gap, northern soul legend Dean Parrish has once more hooked up with Acid Jazz Records to release a new single. ‘It’s Time - Purple Mountain Majesty’ is a towering slice of psychedelic soul, that references the work of Norman Whitfield and like those records, comes with a powerful message.

Known predominately in the UK as ‘the Northern Soul star that sold over one million records’, Dean is an esoteric musician who has worked with the likes of Jimi Hendrix, Santana, Herbie Mann and Bob Marley. All whilst following a career as an actor too, appearing in hit US TV series The Sopranos

The iconic status of his hit records such as I’m On My Way, Tell Her & Bricks, Broken Bottles and Sticks has meant that Dean has always been welcome in the UK. In the noughties, he released records with Acid Jazz and was the subject of a Radio 2 documentary by the late and much missed Pete Mitchell. Now 79, Dean has not stopped writing & recording. This latest single presents us with a stunning return to form.

Taken from his debut mixtape "1999", Brooklyn's Joey Badass drops 2 slices of classic 90s sounding hip hop. Limited to 300 copies only.

A new project by Chicago-based drummer/producer Makaya McCraven. An addendum to his critically-acclaimed 2018 release Universal Beings, which The New York Times said "affirms the drummer and beatsmith's position as a major figure in creative music," Universal Beings E&F Sides presents fourteen new pieces of organic beat music cut from the original sessions, prepared and produced by Makaya as a soundtrack to the Universal Beings documentary film. Directed by Mark Pallman, the Universal Beings documentary follows Makaya to Los Angeles, Chicago, London and New York City for a behind the scenes look into the making of the artists breakthrough album, taking the viewer through the story of Makaya's life, his process and the community of musicians that helped bring this project to life. The Universal Beings documentary and Universal Beings E&F Sides album will be released on all DSPs this July 31st on International Anthem.

Roy Ayers, at the height of his career, embarked on his own Uno Melodic record label. He wrote and produced for an array of artists including himself on two albums “Silver Vibrations” and “Drivin’ On Up” (amalgamated as “Lots Of Love”) in 1983. From these sessions come the boogie dancer “Everybody” and jazz funk classic “And Then We Were One”, presented here on 7” on original Uno Melodic artwork.

Among the Most Influential, Inventive, Invigorating Records Ever Released: Run-D.M.C.'s Raising Hell Brought Hip-Hop to the Mainstream, Includes Crossover Smash "Walk This Way"

Mastered from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity 180g 45RPM 2LP Heightens Rick Rubin's Pioneering Production

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity's simply illin' analog edition.

Mastered from the original master tapes, pressed at RTI, and strictly limited to 3,000 copies and 2000 SACD, the unsurpassed reissue label's 180g 45RPM 2LP set elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Afforded extra groove space, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on-shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

Bombstrikes deliver another outstanding limited edition 7'', this time with Bristol's Beatsmith X-Ray Ted at the controls. This double A release offers up two sure-fire jams, both showcasing why the likes of Craig Charles have been shouting about X-Ray Ted's talents for some time now. On the A side, the already much loved 'Mirror Ballin' finally gets a vinyl release, perhaps finding the format home it was always destined to shine on. Over on the flip, new track 'Party Time' hits all the right spots with a with virtuoso cut up of Funk and Beats. Bombstrikes don't do many vinyl releases these days but when they do it is always worth the wait! This is one donut you will not want to miss out on, so be quick they will not be around long.

Freestyle Records are proud to present the first ever reissue of this rare Black Ark-era Lee "Scratch" Perry production on LP & CD w/ bonus tracks. Both formats feature liner notes from author of the acclaimed People Funny Boy: The Genius of Lee 'Scratch' Perry and Solid Foundation: An Oral History of Reggae, David Katz.

The late Bunny Rugs was best known as the frontman for legendary reggae band Third World, but prior to that he completed an apprenticeship at Lee Perry's Black Ark resulting in this solo LP, originally released in 1975 and credited to Bunny Scott.

The album captures the laid-back sessions of the early Black Ark, with a few surprising innovations lurking amongst the soul covers and love ballads. Highlights include the sought after Blaxploitation-influenced funk track 'Kinky Fly' featuring members of The Chi-Lites' backing band, passing through Perry's infamous studio whilst in Jamaica for a series of shows - their horn section and Chinna Smith's wah-wah guitar give the track its outstanding difference as synth overdubs add to the moody feeling, underpinned by the ghostly click tracks of the Conn Rhythm Unit (constituting one of Perry's earliest experiments with drum machines).

Breakup track 'Second Avenue' shows how suited Rugs' powerful, deep tenor was suited to a soul framework, the Chi-Lites' horns again making a striking difference. The Bee Gees' evergreen 'To Love Somebody' takes James Carr's soulful rendition as its reference and 'Big May' re-works the 'Return Of Django'/'Sick And Tired' rhythm, with a new drum part. while the broken-hearted 'What's The Use' was cut at the request of Sonia Pottinger, who ultimately failed to release it.

Somehow the sublime rendition of William DeVaughans' 'Be Thankful', recorded during the same session, was left off the LP - but appears here as a bonus track on the CD along with I Never Had It So Good & Hip Harry + it's version track.

Looking back on the sessions documented on this LP, Rugs said that Perry's creativity taught him that music could be limitless. As he explained, 'It was so simple that it became complex. The approach he has to music and to recording, I think the music nowadays lack that kind of intuition. He's somebody that would use pliers and a screwdriver to create percussion; he wouldn't hesitate to experiment. He was a little...not crazy, but somebody with that kind of thinking must be somewhere else, in another zone sometimes.'

Meet Ephemerals, whose debut LP 'Nothin Is Easy' was a fresh, exciting and soulful body of work that commanded some serious attention on release. Known for fusing styles including soul, spiritual jazz, psychedelia, and spoken word, to convey an identity that is unmistakably their own, the band has evolved exponentially over the course of four critically acclaimed albums to date. They continuously push beyond the boundaries of traditional genre ideas and traverse unexplored musical territories. The core of their work is built from the honest and incisive compositions of Hillman Mondegreen combined with the unmistakably emotive vocal delivery of singer Wolfgang Valbrun. Their loyal following demanded the vinyl repress of this debut album and so they return with a very limited blue and black smoked marble version to fulfil that need.

Glen Brown pleasantly covering the familiar Beatles classic not to mention stunning arrangement by Bunny Lee. Backed with popular female rocksteady vocal

Manchester has produced some of the UK's greatest rock bands from Joy Division to the Stone Roses, but it isn't just the indie scene that thrives there, from the likes of Jon Thorne and Stuart McCallum to the Beats & Pieces Big Band and trumpeter Matthew Halsall, Manchester's jazz scene has produced some of the UK's brightest and most original jazz groups. Now with its eighth release Matthew Halsall's Manchester based Gondwana record label shines a light on another of Manchester's well kept musical secrets, the expansive, brilliant piano trio GoGo Penguin. Featuring pianist Chris Illingworth, bassist Grant Russell and drummer Rob Turner (all still in their twenties), GoGo Penguin, draw on a heady brew of influences from Aphex Twin to Brian Eno, Debussy to Shostakovich and Massive Attack to EST. GoGo Penguin who have already developed a growing cult following in the North West as well as turning in storming performances at the Gateshead International and Manchester Jazz Festival's first came to Halsall's attention when he heard them at a friends night (Norvun Devolution) at the Roadhouse in Manchester. He was immediately drawn to their sublime collective empathy and the seamless fusion of jazz, classical and electronica influences in their music. 'I was blown away the first time I heard them, for me tracks like Last Words and HF are modern anthems and I knew immediately that I wanted to release their music". I am very proud to welcome them to the Gondwana label"

GoGo Penguin met whilst studying music at the RNCM in Manchester. After doing frequent gigs together with various other bands and musicians they started jamming together and started creating new music. They had no specific sound in mind, but just wanted to be free to create freely and honestly. The new band quickly became a vehicle to combine all the best bits from the music they where influenced by and loved. Individually Illingworth brings a lyrical and melodic style influenced heavily by classical piano music and electronica. Turner brings a driving modern style of drumming influenced by jazz, electronica, ambient, classical and dance music. Russell brings a gritty energetic double bass style influenced by the likes of Charles Mingus but also more modern electronic producers. The band's modus operandi is to have one of them bring an idea to rehearsal. Then there's a lot of experimentation, they try out as many different ways to play the piece as they can think of, until it begins to sound like something they all like.

Fanfares opens with the wistful tribute Seven Sons of Bjorn, written by pianist Illingworth as an act of catharsis shortly after the untimely death of Esbjorn Svenson. The dreamy Last Words was written by drummer Turner and is inspired by Aphex Twin. The melancholic Unconditional is influenced by the harmonic ideas of Kenny wheeler and the Miles Davis cool school and melodic contours of Chopin, originally written by Russell as a piano ballad, Illingworth heard it and asked him to bring it to a trio rehearsal, the resulting arrangement is by all of them. The forceful title track Fanfares comes from an original idea that came to Illingworth while improvising with some ideas from the etudes of Ligeti and Einojuhani Rautavaara. Turner's drumming adds a real bounce and vibrancy to the music that propels this piece forward. I am That was wriiten by Turner and features a lot of unusual prepared drum sounds. Akasthesia started life as a reflective bass groove written by Russell after playing with the harmonics that he was hearing played by Jaco Pastorias, Miroslav Vitous and Anders Jormin. Finally HF opens with a distinctive piano riff written by Turner and developed by Illingworth. The middle section is a free drum and bass style collective improvisation and it is this unique ability to synthesis and develop each others melodic and harmonic ideas while drawing on music from classical to electronica that makes GoGo Penguin's music so enthralling and their debut album such a powerful opening salvo from a powerful new voice in UK music.

High quality laqcuer cut 7 inch that comes with a nice booklet with photo album, lyrics, inner sleeve, PVC outer sleeve and a hype sticker!

Two super cool 7-inches of Ivan Ave's new RNB singles, featuring artists like Byron The Aquarius & Mndsgn. Both seven inches comes with a nice booklet with photo album, lyrics, inner sleeve, PVC outer sleeve and a hype sticker! Illustrations by the grand imperial Nick Dahlen.
Mutual Intentions is proud to announce the long awaited comeback from one of Norway's biggest exports of urban music - Ivan Ave - rapper turned singer. It's two songs on each 7-inch which makes it four new singles in total, all released with instrumentals on their flipsides. The 45's feature production and vocals from artists such as Byron The Aquarius, Mndsgn, Joyce Wrice, Devin Morrison, Sasac & Clever Austin of Hiatus Kaiyote.

Studio One and Dub Store co-produced single featuring Jennifer Lara covering Marlena Shaw's 1968 masterpiece "Woman of the Ghetto". This happens to be her last ever recording, riding on funky Side Walk Doctor rhythm led by Jackie Mittoo. Mastered and cut by Moritz Von Oswald.

KURU IS THE FIRST ALBUM COMPOSED BY THE COLLABORATIVE PROJECT KARU, AND ORCHESTRATED BY THE MULTI-INSTRUMENTALIST ALBERTO BRUTTI. HE DELVES INTO HIS PASSIONS FOR TRIBAL CULTURE, JAZZ AND ELECTRONIC PRODUCTION COMBINING THEM IN A WORK THAT IS IN EQUAL PARTS UPLIFTING AND SOMBER. THE ALBUM STARTS OFF WITH SELVA, WHICH UNFOLDS WITH ITS MYSTIC CHANTS AND A WARM SAX PAVING THE WAY FOR A SHIMMERING TRACK PUNCTUATED BY THE POLYMORPHIC PULSE OF THE DOUBLE BASS. THE HYPNOTIC CRESCENDO MELTS INTO THE SPACIOUS SERENITY OF UPYA, THE SINGLE EXTRACTED FROM KURU; TO CLOSE THE A SIDE, ZALIWA FEAT DAYKODA, WHICH SETS A VIVID FOREGROUND GROOVE AND BLENDS THE EDGES BETWEEN HIP HOP PRODUCTION AND JAZZ. ON THE B SIDE, KARU GO INTO DARKER EXCURSIONS; KENZO AND ROOT TURN UP THE BASS PRESSURE SOFTLY GUIDED BY THE GLOWING SAX, THAT STILL FEELS DISTORTED AMONG THE TRIBAL RHYTHMS AND VOICES. LIKE A WISTFUL SUNSET IN A DESERT, KURU CASTS A DELICATE NOSTALGIC MOOD THAT CALLS FOR PEACE AFTER THE STORM. THE ALBUM FEELS INTENSELY HUMAN, SOPHISTICATED AND EVENTUALLY PLAYFUL THANKS TO THE GUEST APPARITION OF THE ARTIST AND DJ GUEDRA GUEDRA WHO DELIVERS A BOUNCY FOOTWORK REMIX OF UPYA, THAT SHINES WITH ENERGY AND LOOPY SAMPLES WITHOUT MESSING WITH THE ELEGANCE OF THE TRACK.

This new 45 by Soul Supreme pays homage to Mf Doom and Madlib with a rework of raid and a cover of a 70s jazz-funk gem by Cortex on the flip side. While the music was already being pressed on vinyl, reality caught up with the release: the devastating news of MF DOOM's passing turned this 45 into an unintended posthumous tribute of sorts.

On the A-side, you find Soul Supreme's take on the classic "Huit Octobre 1971" by Cortex, a track that was sampled by Madlib (for MF DOOM's "One Beer," Jaylib's "No Games" and the intro to his first Mind Fusion project), among many other producers. The rework also appeared on Soul Supreme's self-titled LP, which was released late last year.

The B side features Raid, a jazz-fusion rework of the Madvillain track. Spaced-out keys and off kilter drums transfer Raid into different territories far away from the average 'hip hop cover'. The track features a great line-up of musicians getting free-form like a DOOM flow.

After the near-instant sold out 45s of The Message / Umi Says (and last year's repress) and the A Tribe Called Quest reworks Check The Rhime / Lyrics To Go, better act fast to not miss out on this third record.

Gospel is not something we often delve into at AOTN, I like the odd track but to make the grade it has to be really good. I used to play 'He's Alright' (the B-Side of this 45) from the LP back in the day when you could pick it up for $10. At that point nobody cared or was looking for Gospel Disco (especially on LP) but Times and tastes catch up with us out there on the front line ,) so when I heard Floating Points play 'The Power of Your Love' at the Plastic People closing party I was surprised as I had all but forgotten about the LP (credit where credit is due). I jumped into action, hit up Calvin Bridges who wrote and recorded the LP (and is still recording gospel to this day) and he was happy to help out, so here we have it, A now historic track flipped with my preferred B side and old secret weapon, this will fly.

*Repress*

The third Skratchorama release is an extended version of the 7″ Mighty Wicked. Full of fresh vocal phrases, noises, ahhhs and fresshhhes will give you hours of fun and if you know the voices, you will enjoy it even more! Side A contains 14 133BPM skipproof tracks with phrases and noises. Side B begins with an 83BPM beat followed by 3 x drumming track, 7 x 100BPM skipproof tracks and some bonus samples.

Artwork: Maciej Kwietnicki

Mastering: D.Perez

Legendary activist and Afrobeat originator Fela Kuti used his
music to lament social injustices and political corruption in his
native Nigeria. Fela’s legacy spans decades and genres,
touching on jazz, pop, funk, hip-hop, rock and beyond. While
this impact can be felt in Nigeria and the entire world, it also
greatly affected Fela’s son Femi and his son Made, both of
whom carry his legacy as torchbearers for change. Partisan
Records release two albums from Femi and Made, packaged
together and appropriately titled ‘Legacy +’.
Both albums that make up ‘Legacy +’ are steeped in the
tradition of Afrobeat invented by Fela but each also offers their
own unique vision.
Femi’s ‘Stop The Hate’ honours Fela in a traditionally fun,
sharply political and affirming way. Meanwhile Made’s
‘For(e)ward’ is a modern and progressive freedom manifesto,
pushing boundaries of the subgenre even further. Made also
performs every instrument on his album.
Both albums also feature portraits of Femi and Made, done by
Brooklyn-based artist Delphine Desane, whose work was
recently featured on the cover of Vogue Italia.

The first publishing house SKRATCHORAMA RECORDS - Only For Kumats is a collection of ten sentences in Polish, arranged in a skip-proof manner.

Side A is specially prepared for ultrapitch turntables, while side B is adapted for turntables with a narrow pitch range.

Chmielix is ​​responsible for arranging the samples. The sound "aaahhh" was prepared by Steve Nash, and the whole was mastered by Le Jad. The cover design is the work of PENS, and the whole album was created with the support of ELADE and the City of Toruń.

Brown Marbled Vinyl