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One side ragga drum and one side ragga drum with french featurings!

Two Queensbridge classics. The A side is reconstructed from the original samples. The Don takes it back to Brooklyn with Top Bliilin drums.

Josie Falbo is, and has been one of Chicago’s busiest studio singers for over 35 years. A decade ago, Josie released an album on Southport Records entitled ‘Taylor Street’, named after Chicago’s Little Italy area where she grew up.
Two outstanding tracks have been on the IZIPHO radar and we are thrilled to finally present these masterly examples of jazzy soul on a 45. Josie’s breathtaking voice hits every note with pitch and clarity, accompanied by a multitude of Chicago’s finest musicians.

Kidaf is a New York City based hip hop artist and a member of the LOAF collective.

More than just your typical rapper, Kidaf also sees himself as a musician, whose instrument of choice is his voice, though he's no singer, He says The voice is the original instrument, and the best way for me to communicate'. Kidaf began writing rhymes and songs at a young age, he is heavily influenced by the greats of the Golden Era' of Hip-Hop, but admits he listens to a little bit of everything'.

Having released his first project Adolessons' in 2013 to rave reviews, Kidaf has toured Domestically & Internationally and performed at famed venues like the Apollo Theater in New York City and the El Rey Theater in Los Angeles, he has also maintained a steady stream of releases solo and as part of the collective Loaf Muzik', with his fan base growing along with his catalog.

His debut Album "In The Air" is a masterpiece when it comes to lyrics,deepness and flow as said by some industry insiders who have already previewed the music. GRABBA the first single, has generated attention at the MTV headquarters, this track is now featured for the spring TRL campaign . The album also features fellow Loaf Muzik collective member "Shine Sinatra and uprising Brooklyn Rapper Chelsea Reject as well as one of underground hip hops finest BLU. The whole album was soley produced by Shuko (Talib Kweli, B-Real, Evidence, CL.Smooth, The Clipse) who is also taking care of the distribution on his own imprinit "For the love of it" together with "Groove Attack"

Mr. Mike James Kirkland, a legend who’s dear to our european Soul Community having performed live in Bilbao to a packed Kafe Antzokia in 2015 and counting several tunes in the top list of many great djs. MJK sent us a collection of demos written and produced by himself, his brother Robert and a few other Artists at the dawn of the 90’s which never made to the stage of arrangement/production/release. He said he would have been pleased for us to present our vision and, if the ideas we would submit to him were good enough, then a real project would take off. So Electrified presented their classic iron-snare take to it, which Mike absolutely loved. Then I personally felt the urge of doing a 4 beats arrangement in analog which gives it a late night modern room appeal and this version was approved too. So here we are with a project meant to celebrate the late Robert Kirkland, beloved brother and music team buddy who Mike James dedicates this release to. I’m biting my nails off as I’d love to tell you more than this, but then there won’t be much left to read on the beautiful booklet Fabio has done which comes with this record. The only way to know it all is to get yourself a copy and read the notes on the booklet and on the back of the picture sleeve.

IZIPHO SOUL RECORDS are thrilled to collaborate once again with Sound Of Superbad. If you thought ‘I Want ‘Cha’ was great, the bar has well and truly been raised with ‘Vibration’!

We are honoured to welcome Chicago-based singer extraordinaire Robert IMtume Owens. Robert’s rich and mellifluous voice, layered over Sound Of Superbad’s sophisticated production values are a match made in musical heaven.

On the B Side we present the ’S.O.S. Vibe Mix’, which is heavier on the percussion, with extra strings and synths; all are fuelled by Robert’s trademark soaring vocals.

More glorious heat from the vaults of NYC's Disco powerhouse - P&P Records!

One of many labels operating under the equally legendary tutelage of Patrick Adams and Peter Brown, two truly colossal figures in NYC's music scene, the P&P records catalogue is still fascinating underground dance music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds its way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

Cloud One was one of Adams' numerous studio outfits, featuring a ridiculously healthy dose of the man's virtuoso keyboard and synth playing. This was a progressive Disco sound, the pairing of extremely danceable funk and R&B with some spaced out over-dubbed analogue synthesizers and keys made for a heady concoction indeed, especially in 1976 when this cut was released. This was one of many Cloud One trademarks and one of the things that make these records still sound so way out today! 'Atmosphere Strut' could not be a better title for this immense slice of true NYC space Disco - it's got it all - the driving rhythms of the Cloud One band, the killer vibes, celestial vocals and Adams' totally wigged out synthesizer workouts. On top of all this goodness, the main man Kon, Boston's editor supreme and self confessed DIsco fiend and digger, has dropped a stellar and respectful edit of Atmosphere Strut' for all your disc jockeys out there, featured here across the length of the B-side thus making this an essential repress of this legendary 12". If you don't know this jam, and you're a Disco head - you're in for a treat! You're gonna fly......!

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Phase One Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

It's no exaggeration to say that Geraldo Pino and his band the Heartbeats kickstarted the whole soul/funk/afrobeat scene in West Africa. Mixing highlife, funk and jazz, and using the latest equipment, they laid waste to all before them. In 1966 Fela Kuti was a jobbing musician, eeking out a living with highlife bands. When Gerlado Pino came to town, it changed his life. Pino tore up the scene,' he recalls in an interview with Carlos Moore. I knew I had to get my shit together. And fast!'. Produced by Odion Iruoje and engineered by Emmanual Odenusi, Let's Have A Party is Geraldo Pino's masterpiece. It's slick and heavy, tough and uncompromising, with musicianship that will blow your mind. It's all killer, no filler, with 'Heavy Heavy Heavy' and 'Let Them Talk' bonafide, nailed on funk classics. The Heartbeats are exactly that, a tight and efficient engine that keeps the groove moving. This is US-style funk, with an emphasis on extended percussion workouts and organ wigouts. You can't listen to 'Power To The People' without being impressed - or compelled to dance. The extended call out to each Heartbeat in 'Let's Have a Party' is well deserved. If my house caught on fire, this is the one album I'd rescue. After one listen, I reckon you'd do the same. - Peter Moore

In the Spring of 1978, Aaron McCarthy Jr, a.k.a. ‘Jelly’ was invited to Miami by local producer, Thomas Fundora to assist Herman Kelly with his forthcoming album, ‘Percussion Explosion!’. Herman, who was studying at the University of Miami at the time, had met Jelly whilst studying Music Theory together at Henry Ford Community College in Detroit. Both Detroit natives, Jelly had founded the group the Soulful Sonics, later to be known as Pure Pleasure whilst Herman transferred to Miami.
The group Life consisted of Jelly on Vocals, Percussion & arrangement, Oliver Wells on Keys, John DeMonica on Bass, Michal Cordoza on, Guitar, Travis Biggs on Horn Arrangements and Keys.
‘Percussion Explosion!’, which included the infamous ‘Dance To The Drummer Beat’, was recorded at ‘Miami Sound Studios’, as a forthcoming release on Fundora’s Electric Cat label, distributed by RCA. On reviewing which tracks made the album, there was a track recorded during those sessions that Herman decided to leave out, a song Oliver Wells had been working on and completed once Jelly arrived called ‘Everybody Needs Lovin, Now’s The Time’. Originally known as ‘Now’s The Time’,

The Detroit Reels Project, est. 2019.

We are proud to welcome to the world of Unissued Soul something we have been working on since almost a year. When Brad Hales from Peoples Records out of Gratiot, Detroit, invited us over to discuss the project I had no idea of what was going on.

Turns out a posse was coming together to handle a very relevant archive of reel tapes, mainly containing demo takes from a handful of recording Studios based in the area. After the discovery and the subsequent physical restoration of the reels (baking and transferring to a workable format), we at would play the role of complete/arrange and release those original recordings rolled up on a spindle since 50 years.

We have set up a little sister label called Cannonball Detroit with the not-so-easy task to handle the “artistic” side of this delicate plan. All releases within this program bear an arranged/finished version on Side A and original reel demo on Side B.

Back with a bang for 2021 the TD team tame another couple of unclassics, offering end of night emotion and druggy chug on this wavey wax.

The A side looks skywards from the Mediterranean shore, waves of delay lapping its toes as Italo melancholy and Balearic sincerity go straight to its head.
A lovelorn ragazza finds comfort in kalimba and 'Wicked Game' sobs softly from a nearby tabaccheria, signing off a postcard of this holiday romance.

Things take a turn for the trippy on the flip as 'Close Orbit' shifts gears on a synth-pop standard in favour for a zero gravity throb.
Packed with slap bass, slanky percussion and the faint hint of new beat, this Afro-cosmic stomper is a slow tempo, high energy heater.

Limited Press - Numbered Insert - Drum Fun Guaranteed.

Bon soir et bisous.

Tilmann Otto aka Gentleman lebt in Köln und servierte bis jetzt ungeachtet Reggae, der genau so gut aus dem Herzen Jamaikas hätte stammen können. Gentleman legte den Grundstein für eine stetig wachsende Reggae- und Dancehall Bewegung in Deutschland. Mit Ahoi erschien erstmalig eine Single auf Deutsch. Gefolgt von den Singles Time Out, Garten, Devam und Schöner Tag. Auf Deutsch zu singen, aus der eigenen musikalischen Komfortzone auszuscheren und ein völlig neues Territorium zu markieren, für Deutschlands ersten und noch immer einzigen ReggaeA-List-Ambassador ist es wohl die ultimative Herausforderung. Doch Gentleman überzeugt auch auf Deutsch durch frappierende Natürlichkeit und Schwerelosigkeit. In diesem Sinne legte Gentleman bereits eine handvoll Vorboten, Taktsetzer und Kickstarter seines anstehenden ersten deutschsprachigen Album-Projekts Blaue Stunde. Schlussendlich ist es die thematische und gedankliche Geschlossenheit, die das Album vom Opening Shot Ahoi bis zum elegischen Grand Finale Ich komm zurück zu einer Widescreen-Affäre macht und ganz viel vom Künstler erzählt.

Love Me Like Cooked Food Featuring Legendary Jamaican singer and rapper Nardo Ranks. And Renualt Used Car sellsmen John FM on Secrets with Andre Foxxe on guitar.

Mothball Record in association with Bordello A Parigi is proud to present one of the strangest and most mysterious recordings from the whole Italo-Disco era. Sitting somewhere between goth, italo and new wave, “Space Melody” is a dedication to ancient Egypt and outer space.
The original EP was almost totally lost to the sands of time, until recently the original mastertape was unearthed by the artist and later painstakingly transferred by Rude 66.

The record is completed by new instrumental versions from the Danish Italo king Flemming Dalum and the Spanish italo duo Futuro.

Born Osborne Ruddock in Kingston in 1941, he grew up around High Holborn Street in Kingston, before moving to the new Waterhouse district in 1955. His electronic genius grew from working and fixing radios and TV sets. A natural progression led to working with amplifiers, and starting his own sound system, 'Tubby's Home Town Hi-Fi'. A very competitive games i the late 60's. You were as good as the EXCLUSIVE records you played.
Tubby discovered during his time cutting discs for Duke Reid's Treasure Isle set up, that by dropping vocals/instruments in and out of the backing tracks, you could invent new versions of existing old tunes. These early versions tried and tested on his sound system went down so well that he invested in a four track mixing console with delay echo effects, sliders and phasing units and so began King Tubby's 'Studio Of Dub' at 18 Drummlie Avenue, Kinston 11 , Jamaica...His Home.....
This is where all the producers would bring their tracks for Tubby to put his magic over. Most tracks that came out in Jamaica from here on in would carry a 'Version' on it's B- Side more than likely a Tubby Dub.
One of the producers who used him the most was Bunny Striker Lee, who's labels Jackpot, Justice and Attack all carried Tubby's mixes/versions on their flip sides.
Our collection here, all taken from original master tapes you might have heard the tracks before but not these versions....Lost in the vaults till now. So sit back and enjoy the dub master at work.

RESPECT.... JAH FLOYD

Track 1 CHERRY'S DUB
We start off with a very early version of Eric Donaldson's 'Cherry O Baby'.
This version was recorded at Dynamic Sounds, in 1971 and has remained lost on master tape until now.

Track 2 FRENEMY DUB
This classic rhythm known as 'Mad Mad World' and 'Crying in the Ghetto' both voiced by Winston Jarret
got worked on by Tubby as an exclusive mix for his sound system. Released here for the first time featuring
the late, great Jacob Miller on dubbed vocal.

Track 3 FALLING FOR DUB
A version here of Cornell Campbell's 'My Whole World is Falling Down' Tubby in fine form.

Track 4 DUB ON THE STREET AGAIN
Yes my friend The Street Again finds Cornell Campbell's vocal dubbed King Tubby Style Nice Rockers drums from Sly Dunbar.


Track 5 DECEIVING THE DUB
Sly and Robbie dubbing up Delroy Wilson's ' So Long Jenny' with King Tubby at the boards

“Semilla” ist das Kollabo-Debütalbum von Multiinstrumentalist Pachakuti und Produzent young.vishnu. Pachakuti ist ein klassisch ausgebildeter Saxophonist und Pianist mit Hang zu Jazz und lateinamerikanischer Musik. young.vishnu ist Beatmaker, Arrangeur, Sampleologist und Gründer des Nima Composition Archive. Beide lernten sich vor 5 Jahren in Hildesheim kenn und freundeten sich auf einem gemeinsammen Raod-Trip ins Baskenland an. Pachakuti und young.vishnu gründeten eine neunköpfige Band namens Soularkestra die der Ausgangspunkt für ihr neues Projekt war. Auf “Semilla” vereint das Duo Hip-Hop, Jazz, Latin, Funk und Soul mit starken Botschaften zu Politik, Identität, Globalisierung und Neokolonialismus.

The next instalment of quickly rising star Binary Digit comes on Seven Hills Records, following two EP’s on the Zeitnot sub-label. The Never Owned a 303 EP ups the ante into stratospheric energy levels. Feel good anthems ‘Acid Racing Head’ and ‘Luring Acid’ work wonders on the floor. While the headier jams ‘Ze7u II’ and ‘Never Owned a 303’ are better suited to deep off-kilter segments in the dance. Positively Drexciyan sounds feature in ‘Virtual Modular 2 Tape’, and a pure adrenaline rush inducing ‘Crazy 4 R’ makes this release a combination of different moods, Binary Digit’s most varied record yet.

This is the iconic Ska compilation from Coxsone / Studio One including top tunes like The Wailer’s “Simmer Down” “How Many times (Do You Remember)” and Jackie Opel’s “Push Wood” “Sit Down Servant”, released in 1964 - 65, when Ska was at its zenith.

Andy & Joey’ s evergreen “You’re Wondering Now” has been famously covered by The Specials and the late Amy Winehouse. “Wonder No More” was an earnest follow-up. The cover of Willie Mitchell’s “20-75” is replaced by brushed up 7 inch version. Don Drummond’s “Heaven & Earth” has been mis-credited on the original LP & reissues as “Roll On Sweet Don”, but this is the correct title.
The CD includes 4 rare ska cuts from The Blue Beats, Gaylads & Skatalites recorded in the same period.

On its 50th birthday this influential slice of soul is celebrated again. A 7” remastered, reissue of Minnie Riperton’s iconic, majestic and much sampled ‘Les Fleur’ in a hand numbered, limited edition picture sleeve run of 1000.

Favoured by the likes of Jurassic 5, Damu The Fudgemunk & Cut Chemist, famously covered by Dego and backed with the equally serene ‘Oh By The Way’.

With original copies selling for upwards of £60+ here’s a chance to own this slice of soul perfection at a fraction of the price.

Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing. "Lo Que Tengo" is full of rock solid dance floor killers and no filler, recorded in 1980 with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. This a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off, there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy. Presented in its original artwork and pressed on 180g vinyl. Good to know: Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Ever since the 1960s in Lima Peru when his career began, his records have always been on point, being super tight, sharp, and hard as hell, what salseros call salsa brava con afinque. It's no surprise that Lo Que Tengo is exactly that: full of rock solid dance floor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios (sometimes even in several countries!), this album has the advantage of being produced, recorded and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals who Linares had already played with, both in the studio and on stage, lending it a consistency and sonic integrity that is excitingly manifest in every groove. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia (INS, 1982) and the US (Gallo, 1984), both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. Through being on the salsa scene there he became friends with the band Mango and even guested on an album with them in 1976. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (Fonodisco, 1976) and then again with ¡Con Todo! / Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the 'break' (la cierre)-there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section that sends shivers up the spine and makes the dancers go crazy. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. The album's title tune (originally credited on the Venezuelan edition as 'Lo que tengo que crear'-'What I Have To Create') is by Mango's timbalero José "Cheo" Navarro and sums up Linares' central career philosophy: the musician lives every day to create music, to spread joy and create a party, without complications, wherever he goes. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy.

Although best known in the global music world for his four years (1984-1988) as the music director and bandleader for Whitney Houston, John's tenure in the soul music field began when he was a member (with his brother Edmund 'Butch' Simmons) of The Reflections, a New York City-based quartet who toured from 1972-1975 as the backing group for the legendary Melba Moore. In 1975, The Reflections had a Top 10 R&B hit with Three Steps From True Love.'
In 1978, John began touring with Stephanie Mills, at the same time collaborating with Phillip Ballou, a member of another New York-based vocal group, Revelation and UK soul music journalist David Nathan (who he met when Nathan did an interview with The Reflections for Britain's Blues & Soul' magazine in 1975). The trio wrote a number of songs for Ballou's demo as a solo artist and while nothing transpired in that regard, John recorded his own version of one of the tunes, Ain't Nothing Like The Love' for a small independent Michigan label, Sabrina Records in 1981. John had worked with Cissy Houston at New Hope Baptist Church in New Jersey where she was the minister of music was asked by her to do some initial promotional dates with her daughter Whitney after Arista Records released her first single in 1984, he continued doing world tours with Houston until he passed away at the age of 45 in March 1989.
The Ballou sessions (held mostly in Montclair, New Jersey) expanded into recording dates for both Nathan and Simmons. None of the original recordings were released commercially - until now. In the wake of the interest among rare groove collectors in John's version of Ain't Nothing Like The Love,' Nathan - himself a recording artist since 2003 - has uncovered the tapes of all the material he, Phllip and John recorded in 1978 and 1979.
Gaining its first-ever release now on Nefer Records via Super Disco Edits is the coupling of John's solo composition, the upbeat gospel-infused Safe' and the midtempo, I Wanna Be Closer,' another one of the songs also recorded (and thus far unissued by both Ballou and Nathan).

Repress

Electrobass from the city of The Hague (La Haia Bass) in effect. Ruff, nasty and punk.

A twenty-year-long career, a staggering number of huge collaborations (Lee "Scratch" Perry, Cedric Myton, BB "Gaylads" Seaton, etc.) and countless tours played across Europe: Najavibes know no stopping. Living and breathing roots reggae, and with a memorable 2016 Jamaican tour imprinted on their hearts, the Geneva-based band now bring you Same Sun, their glowing second studio album.

Jamaican reggae transcends between blends of dub and jazz in these fourteen tracks, mixed by Prince Fatty and featuring Kumar, Mark Wonder, Roberto Sánchez and Aston Barrett Jr., son of Family Man from the Wailers.

With the added boost of their new members, Najavibes are still defending the roots tradition while drawing their dynamic from modern influences and the boldness of striking stylistic crossovers: afrobeat, rub-a-dub, new- roots.

Authentic, positive, sunny and open to the sounds of the world: this is the mark of the greats.

The Devonns dust off the golden age of Chicago Soul.
Straight from the streets of Chicago, Illinois, The Devonns (pronounced "De vaughns") are the brand new soul outfit and the latest addition of the Record Kicks' family, whose self-titled debut album that drops April 06, is an assortment of influences taking us back to the heyday of soul. "Tell Me" is the 1st single from their anticipated full length and sees the lights on limited edition 45 on March 06 and digital. Drawing influences from bands such as The Dramatics, The Isley Brothers and Leroy Hutson, yet bringing in their own unique modern twist, influenced by artists such as Jamie Lidell and Raphael Saadiq; singer Mat Ajjarapu explains how unintentionally, the rich heritage of Chicago's history with soul music influenced him. "The city was at the epicentre of a lot of good music back in the 50's all the way to the 80's, a lot of the labels specialising in soul were based in the Chicago and we even had our own sound known as "Chicago soul". Through several years of crate digging it surprised me how many songs I loved were recorded in this city, for example one of my favourites is this great little song by The Natural Four, produced by Leroy Hutson 'Can This Be Real', and released via Curtom Records." The band started in 2016 after multi-instrumentalist and songwriter Mathew Ajjarapu dropped out of med school and found himself unemployed and drifting. Listening to music constantly at the time, he found inspired to put a band together and create his own music. Pairing up with some of the best musicians Chicago has to offer, he founded The Devonns: the rhythm duty is entrusted to Khalyle Hagood (bass), Ari Lindo (guitar) and Khori Wilson (drums).
Originally he wanted to focus on 50s style doo-wop, similar to The Flamingos; rich in reverb and vocal harmonies, but in the first initial practise they had it was evident the band clicked on their love of soul music from the 70s, so their music took a natural turn towards that sound, with tracks such as the Wilson Pickett-esque single 'Tell Me'.
The release took almost two years to complete as Mat explains "I am a perfectionist, I had a very specific vision in my head about how it should sound and I wasn't going to rest until I achieved it." "This is a definitely a throwback soul record, as well as being drawn to lush and intricate arrangements of Motown, I was also inspired by the more lo-fi works of smaller labels such as Chess and Capsoul, and I wanted to capture the magic they had in those recordings in our record, as everything feels too precise nowadays" clarifies Mat. It was thanks to his engineer Mike Hagler, who introduced him to Paul Von Mertons (Mavis Staples, Paul McCartney, Elton John) who arranges and conducts for Brian Wilson's live touring show and after a 45 minute phone conversation about what Mat wasn't keen on, on the album, he realised Paul totally understood where he was coming from. After a few months wait for Paul to get back from touring they entered the studio with "Paul's players" and as soon as they hit record, Mat explains "I was getting chills up my neck, it was one of the happiest days of my life, and finally we had nailed it!"

Our final release of 2020 will be a 6-track EP from Adam Prescott Music & Tenor Youthman.

Roots – A rare window on the progressive South African Jazz scene of 1975 - reissued.

Frederiksberg Records is proud to announce the first ever reissue of the self- titled debut of 1970s South African jazz ensemble Roots. Blending jazz and funk with signature South African motifs, Roots was led by the master saxophonist and living repository of the story of jazz in South Africa, Barney Rachabane.

Rachabane was born in Alexandra township on the fringe of the city of Johannesburg and began his career as a young pennywhistle prodigy under the wing of South African jazz pioneer Zakes Nkosi. Moving on to the saxophone, he was part of the influential 1950s Dorkay House scene among the likes of South African jazz notables Dudu Pukwana and Gideon Nxumalo and later appeared on Chris McGregor’s iconic Jazz/The African Sound LP in 1963.

In 1975, Racahbane teamed up with trumpeter Dennis Mpale and fellow saxophonist Duke Makasi to lead an ensemble named Roots. The reedmen were accompanied by a formidable young rhythm section comprised of Sipho Gumede on bass, Jabu Nkosi on keys and Peter Morake on drums. Navigating the poles of popular township soul and avant garde Afro-jazz that characterized the South African music landscape at the time, Roots emerged with a crossover sound that would later open the door for the jazz fusion experiments of Pacific Express and Spirits Rejoice in the late-70s.

Produced by Almon Memela and originally released on the Highway Soul label, Rachabane surmises that their self-titled album owed its sound to the unique combination of musicians featured. “We were just doing original music by a group of individual musicians. We just put out what we had. Not just one direction. As you can hear, the music is quite diverse,” he recalled in an interview for the reissue’s liner notes. Despite commercial ambitions, the Roots ensemble was short-lived but did manage a second recorded offering called Deeper Roots before disbanding.

Rachabane’s career would take off in the 1980s through his participation in Paul Simon’s Graceland album in 1986 and its subsequent world tours. Paul Simon welcomed news that the Roots album was being reissued and remarked that “Barney Rachabane is one of the most soulful saxophone players in the world.” The 2020 reissue of Roots pays homage to the recently retired veteran of South African jazz and contributes to the growing interest in and documentation of the story of South African jazz.

Limited run of Devin Morrison's Bussin LP instrumentals... impress your freinds with your own smooth fresstyles (via Zoom)

The latest vinyl slice from FBNM sees us head to the depths of central Africa via Paris to track down a feast of rare seventies afro funky jams from Cameroonian master musician EKO. We've brought FBNM favourite Riccio along for the journey too, who has provided us with a fantastic Rerub coaxing out some modern dancefloor sensibilities and production sparkle.

Eko Roosevelt Louis has had a music career spanning over forty years, born the grandson of a Kribi tribal chief, his musical persuasion beginning humbly with his village's local church before his formal education at the Senegal conservatoire and Paris' École Normale de Musique. EKO made a number of jazz funk and disco records in the mid seventies during a stint recording and touring in and around France before returning to Cameroon to take over his grandfather's tribal chieftaincy, a role he still holds today! Alongside this position of office EKO has continued to work with music, performing, teaching and even leading Cameroon's national orchestra!

The tracks we have selected for reissue are all taken from EKO's third album, Funky Disco Music which was recorded in Paris and released on his own Dragon Phenix imprint. Sung in a combination of English and EKO's native tongue we've lined up a real excursion in feel good afro-jazz, funk and soul made purely for dancing feet and boogying butts!

All tracks have been officially licensed and lovingly remastered for this special release by Andreas (Lupo) Lubich (CALYX Berlin), packaged alongside Riccio's sympathetic work in the cutting room on 12" vinyl with a special interview with Eko Roosevelt Louis himself!

LIMITED REPRESS - JUNE 2006 - FORTHCOMING!

Big Crown Records is proud to present Ekundayo, Liam Bailey’s debut record on the label. This album is a long time in the making, and after listening, clearly worth the wait. It didn’t take a long time to record, but it did take years for all the stars to line up.

Bailey, born and raised in Nottingham, England, the son of an English mother and Jamaican father got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today.
Fast-forward to 2005, Liam is in London and doing the whatever-gig-you-can-get musician hustle with hopes of landing a record deal. And it was through this time that Liam first teamed up with Leon Michels, musician / producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still get spins at reggae spots around the globe. That trip helped kick off what was to follow next for Liam: a slew of record releases, label deals, and working with some wildly-notable mainstream producers. Even a just-famous Amy Winehouse heard one of Liam's apartment-made, lo-fi recordings through a friend and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. She signed him to her label shortly after.

But, as the story can go with major labels, they already had an idea of the Liam they wanted to make, promote, and push. With the typical pay-day enticement, Liam did his best to fit into whatever shape they put him to. "'Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't."

While Liam’s career went through a bunch of record industry twists and turns he and Michels stayed in touch and would regularly connect and collaborate. Finally, in 2019, the time was right to do a full-length album together. And this time, it would be free of any restricting major label presumptions and opinions. "This is the record we always wanted to make," says Michels. Set to release in November 2020, the album is called Ekundayo. And the word's meaning may be all you need to know to get to the essence of this project. It means "sorrow becomes joy" in Yoruba, a language spoken mostly in Western Africa. On the surface, Ekundayo is a weighty Reggae record, full of new and old textured riddims. But listen more in-depth, and you'll find subject matter that's more recognizable from a modern-day R&B record. An example of the former is the first single off the album. Sung to the most beautiful woman at the nightspot, "Champion" is a joyous anthem powered by a silly-thick Juno-bass throb and 808-proof drums. In short, "Champion" is dancehall-ready. But then there's a song like "Don't Blame NY." Moody and sparse with a somber drive, you might have to resist the urge to compare it to a Frank Ocean-ish type vibe. Liam's voice is in a different but fitting element here, showing stripped-back emotion and soulful restraint. Anyone who has lived and tried to thrive in New York won't have a hard time relating to the lyrics but they may join the masses who blame the city, while Liam points the finger at himself and sings praises to The Big Apple.

Credit to Leon's hand, elements of Jamaican production are everywhere, peppered throughout the record. Like the pitch-perfect organ stabs that push through the authentically positive "White Light," or the muted, percussive guitar strums that chug along in the back of "Fight." In the same vein of any fantastic singer/songwriter album, Ekundayo is a reflection of who Liam Bailey is, taking on topics and approaches he never would think of just a few years ago. Some evidence: "Ugly Truth" is about reconnecting with his biological father, a subject he once thought would be too personal to address. The journey from conforming to major labels to this latest record has been a long one for Liam, and a bit of a struggle. But struggle may be the only way we truly grow and evolve. With a new clarity of purpose, sound, and life, Liam has found joy out of those struggles. And it's called Ekundayo.

Released for the first time on 2LP, 500 limited. NBN Archives’ fourth reissue is the debut album by Louisiana R&B singer Tina, «Are U 'Bout It?».

Originally released in 1998 on Lynch By Lynch Enterprises, Tina Ashton's first album truly establishes itself as a cult R&B album from the «Dirty South».

Tina Ashton was born in Shreveport, Louisiana in the early 80’s, she grew up singing at the Church, and after trying out with a few high-school girlbands and performing at local talent shows, her family encouraged her to pursue a career in singing due to her obvious talent. Tina got hired as a receptionist by Lynch By Lynch studios during the summer of 1996 and when they needed some background vocals for one of the artists they were recording, Tina got her opportunity to record for the first time, and the rest is history.

For the dance-floor, for the ride and for the bedroom, the album contains all the right ingredients of classic mid-90's R&B/Hip-Hop. Uptempo songs such as «Inhale/Exhale», «Crazy Thang» were made for Radio, but the tracklisting is also filled with infectious Slow Jams such as the single «Are U 'Bout It» and the contagious «Wiggle It». Tina showcases her exceptional vocal talents all over superior productions from the Lynch brothers. This independently-produced album could have definitely competed with the ones from R&B biggest stars of that time.

The hit single «Are U ‘Bout It?», a gentle nod to local superstar Master P, ended up peaking at 73 on the Billboard Top 100 in January 1998, a beautiful accomplishment done without the help of a video.

at mule musiq, we've focused on shining light on the many aspects of what electronic music can be, putting out house, techno and ambient releases on our main label, while releasing alternative-leaning dance music through our endless flight imprint. but with the launch of our new label, studio mule, we are stepping away from electronic club music for a bit. the label will not be tied to a specific genre, as we will instead focus on releasing any kind of music that we feel is a little bit different and interesting, but somehow make sense in this day and age. for our first batch of releases, we will be focusing on japanese music.
to be honest, i have been watching the recent rise of global interest in japanese music with a skeptical eye, not sure of how to feel about all these labels overseas licensing great albums that were birthed in our country. but then, i was told by somebody i greatly respect that i should do something similar with mule, and put our own spin on it, which sounded like a good idea to me. after a period of procrastination, i finally got around to doing it. we are starting things off with a compilation of japanese disco, boogie and soul music that we selected from a modern dance music perspective — the kind of songs that we feel would intrigue music fans across the world.
at first, i started seeking authentic-sounding disco that sound like it could have been recorded in the states, but after struggling to get licensing rights for many of those tracks, i started to wonder if that was really the direction we should be going in. when we start new labels or projects, we often come up with the title or artwork first, before deciding on the actual music. we came up with the title midnight in tokyo first, which dictated that we needed to find music that would be a perfect soundtrack to listen to at night in tokyo. we ended up compiling a selection of tracks that you could both listen to at home, and play in clubs at certain time slots. the compilation also ended up sounding a lot more pop than we initially imagined...
during the selection process, we did not care whether the tracks have been reissued already or not, and how rare the original copies of the records were. our sole purpose was to gather a handful of songs from across labels, major or otherwise, that we felt could be listened to for many years to come — even after this whole japanese music trend dies down. although we put together this release mainly for listeners outside of japan, the compilation can also be a chance for japanese music lovers to rediscover the greatness of domestic music, as we did during the process.
the compilation starts off with the afro disco classic 'mi mi africa' by harmonica player nobuo yagi, which was also included in the compilation mastercuts.
'silver top' is a jazzy fusion disco taken from composer, arranger and multi-instrumentalist nobuyuki shimizu's first album, which he released when he was 19. the track features singer epo, whom he worked with many times over the years as an arranger.
'samba night' is by vocalist keisuke yamamoto and his band piper, from their masterpiece second album summer breeze. a delightful city pop number that should appeal to tatsuro yamashita fans.
'akogareno sundown' is a japanese soul classic, sang by singer haruko kuwana (the sister of well-known musi-cian masahiro kuwana). recorded in hawaii and produced by mackey feary band, known for the soulful classic 'a million stars.'
'koiwa saiko (i'm in love)' is a mellow and groovy track by singer aru takamura, the great-grandchild of sculptor kouun takamura, whose son kotaro takamura is a famed poet and sculptor. can be thought of as japan's answer to cheryl lynn's 'got to be real.'
'what the magic is to try' is a cult electropop track by honma express, a project helmed by producer kanji honma. hailed as japan's trevor horn, he is also known as the producer of legendary techno pop band tpo.
'colored music' is a song by colored music, a duo of pianist ichiko hashimoto and her partner atsuo fujimoto, who have gone on tour with ymo. taken from colored music's sole album, the japanese rare groove treasure is a mesh of new wave, synth pop and jazz influences.
the dubby electronic new wave disco 'electric city' is a b side of pop idol group shohjo-tai's debut 12' single, but the girls aren't actually singing on it, making the instrumental one of japan's greatest '80s dance tracks.
'love is the competition' is a breezy disco jam by okinawa-born bilingual artist hitomi tohyama. featured on her album next door, the song's melody seems like an interpolation of the whispers' 'it's a love thing.'
taken from mariah project's diva yumi murata's first album, 'krishna' is a funky and soulful rockin' disco cut.reminiscent of chaka khan's 'i know you, i live you,' 'live hard, live free' is a song by jazz vocalist eri ohno who is known for her work with dj krush and singing on the soundtrack to anime rupin the third.
'rocket 88' is a melancholic disco number by singer minnie. though the track was released through sapporo's independent label paradise records, the superb production quality suggests otherwise.
closing out the 13-track compilation is japanese disco staple 'tokyo melody,' sang by half african and half swedish american singer shoody and backed by tetsuji hayashi's disco band the eastern gang.

Jamwax Records proudly presents We Sing Gregory. On this album, jamaican producer Bravo used the best roots and culture band, the undomitable Roots Radics, featuring Flabba Holt on bass, Style Scott on drums and Keith Sterling on keyboards, and hired legends Robbie Lynn on keyboards, Cat Coore and Chinna Smith on guitar, Stick on percussion, Dean Fraser on horns, thus ensuring a heavy and flawless riddim foundation and superb arrangements.

The Roots Radics were Gregory Isaacs band in the early 80's, playing on the Night Nurse and Out Deh! albums, touring around the world with the cool ruler. Gregory Isaacs' songwriting is magnificient and the subjects are always treated with humbleness and consideration for others.