Hip-Hop Vinyl New Releases - News

2020 sees the release of Smoove & Turrell's 6th studio album Stratos Bleu – a slightly different direction for the boys as they take influences from their infamous DJ sets where they fuse northern soul with funk and electronica.

The production is a marriage of everything that they grew up on fused with elements of modern music, taking influences from Chicago House to Massive Attack, Inner City to Kruder & Dorfmeister but with the distinctive drum heavy dancefloor production Smoove is famous for.

For lyricist Turrell the album is a throwback to the rose-tinted halcyon days of his youth, from stealing his Dad's aftershave to hearing house music for the first time. The challenge for both was about finding the right balance between the Smoove & Turrell sound that has brought them such a fanatical following and the raw dance music they grew up on, while always striving to be original.

Do It - the first single from the album is recognizably a Smoove & Turrell dancefloor destroyer and leads into the glorious analogue bubbler It Ain't Working – slated as their second single.
The tougher electronic sound will be a surprise to some but those denizens of the night who have seen these guys work a crowd from the DJ booth will know what to expect – extraordinary lyricism and tight beats.

The ecstatic breakbeat fueled This Time keeps the album peaking but of course there is always shade with the blinding light on a Smoove & Turrell album and downbeat tracks like Never Wanted You More and Talk About Nothing bring you back to a balearic heyday for vocal electronic dance music

(180 gr, Purple/pink/white marbled coloured vinyl) 'Morning Star' is a combination of the sound of The Congos and the Pura Vida Sound. It features 6 new Congos songs, 3 songs from Pura vida and a dubversion called Dub Love. The Album has the vintage LastArk Sound and was mixed the oldschool way using the mixer as an instrument.

German funk stalwarts The Mighty Mocambos unleash another sample of their explosive live energy, a 7" of two brand new tunes recorded straight to 8-track tapeduring JAM PDM! Breakdance Battle at Fabrik Potsdam on February 1st 2020.

"Arabesque Breakin' Suite" on side A is an original instrumental medley written for the occasion and delivers the raw, heavyweight sound that has made The Mighty Mocambos a staple of b-boy battles the world over. Side B is a cover of the Axel F Theme from Beverly Hills Cop, taking the tune from 80s synth-heavy electro-pop to soulful, tropical-flavored b-boy funk.

In these peculiar times without concerts, these live recordings are a real labor of love that capture the special vibes of a Mighty Mocambos performance while remaining suitable for DJ-use and enjoyable to the dedicated listener.

The 45 comes in a beautiful picture sleeve - a reproduction of the tape box used for the recording with a b/w photo from the event.

Nach - trikfilm' Und - im Namen Des Mänschen Folgt Mit - mäkelpott Das Dritte Solo-release Von
Trik17. Wie Die Beiden Vorgänger Ist Die Platte Komplett Von Oskar Hahn Produziert Worden. Kratzige
Unterstützung Von Dj Polar. Der Gewohnt Knackige Boombap-sound Gepaart Mit Authentisch
Kritischen Texten, Aber Auch Der Ein Oder Anderen Ohrfeige, Drückt Dem Werk Den Gut-mänschlichen
Stempel Auf Die Pausbäckchen. Die Scheibe Erscheint In Einer Limitierten 300er Vinyl-auflage Über
- soultunes Und Bietet 10 Anspielstationen

Somewhere between electro soul and melodramatic pop. Music focused towards the youth set in some strange dream. Not sugarcoating anything.
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Aset was a collective founded by a group of individuals deeply involved in community improvement initiatives and the struggle for justice and equality. A project that would link motivated adults with talented young people in the Washington, DC metropolitan area.

The compilation takes songs from three released projects of Aset, and one semi-unreleased single. Latonya, a spunky 11 year old kid singing about divorce, love, and dancing. The poster child of Aset. Treo, a trio of high school gals in harmony singing about love and relationships. Whax, the high school boys who were a bit stranger, the silly side of Aset. All backed by The Aset Players.

Release comes housed in a newly designed jacket with inner sleeve containing info on the label/artists and an interview with the label director, Mba Mbulu.

The 4th release from Heat Rock Records features 2 versions of Altered Tapes’ “Cherchez Le Ghost remix.” The Chicago duo flips a classic track from the Wu-Tang catalog into a b-boy burner complete with a massive drum break, rolling bassline, and a few shouts to the Godfather of Soul. Includes the vocal remix and b-boy remix instrumental.

Follow up to their debut Liquid Deep, Dreamcast Davon and Sasac are back for another PPUPRODUCT.

The wildly-talented keys player returns with a luminous jazz-funk masterstroke

Tipping a hat to Herbie Hancock and Mad Scientist alike!



Bass-heavy dub and contemporary club culture are the foundations for Joe Armon-Jones’ phenomenal second album. “Turn to Clear View” builds on the celebrated keys player’s singular vision, exhibiting a sound with flourishes of R&B, hip-hop and p-funk, and featuring regular bandmates Oscar Jerome, Moses Boyd and Nubya Garcia. He builds on his close-knit core personnel with guest spots from artists he’s long admired, including Georgia Anne Muldrow (Brainfeeder, Stones Throw), Obongjayar (XL) and Jehst.

From character-fuelled raps to Afrobeat-influenced jams, Armon-Jones channels the diversity of the ascendant scene that surrounds him. Co-produced with longtime collaborator Maxwell Owin, the record has a carefully plotted feel that reflects their meticulous approach. The duo carefully perfected every touch, with Armon-Jones ever-present throughout the mixing and mastering processes. Between his highly acclaimed solo career and his work with the influential Ezra Collective, Armon-Jones is building on a rush of acclaim – winning Session of the Year at Gilles Peterson’s Worldwide Awards and being nominated for UK Act of the Year at the Jazz FM Awards. His electric, open-ended live shows have brought him to Glastonbury, SXSW, Boiler Room and a sold-out headline show at London’s Village Underground.

We present to you our eleventh release on 7” format, a collaboration between Ojah and UK singer Dan Bowskill, a.k.a. Danny Vibes.

The A side contains the track “Rebels”, a modern roots vocal performance by Dan over a new steppers riddim. These lyrics first appeared on his collaboration with Russ Disciples in 2014 and is now given a completely new perspective and delivery over this riddim.
On the B side we find a dub version as usual, in this case an instrumental dub,
mixed live in analog by Ojah at his studio in London.

South London wordsmith Pinty releases ‘Midnight Moods’ mixtape via his new label Winged Feet.

Coming back on the night bus, the whole ambience of South London when there is no one around... that is the midnight mood”

Following off the back of his debut ‘City Limits’ EP last year, Pinty makes a welcome return with ‘Midnight Moods’. Described as a late night mixtape recorded over several sprawling nocturnal sessions, the release features guest productions from DJ JD Sports aka King Krule and Maxwell Owin. Culminating in 6 tracks and a ‘lullaby’, the woozy and loose takes were eventually mixed down and mistakenly bounced in mono as the sun came up in the misty room at 7am, then lovingly mixed in stereo during daylight hours some weeks later.

Leading with the DJ JD Sports produced ‘It’s Just Life’ in early March, Pinty rolls through with the 2-step tinged ‘E’s’ and ‘Moonlight Duty’, drawing from his late brother’s UKG influence which helped pave the way for him. Filled with deeply personal lyrics, Pinty isn’t your usual party MC as he spits over luscious lo-fi house melodies with closing tracks ‘Go To Bed Pt. 2’, ‘All Nightly’ and ‘Fresher’. The mixtape showcases his vast appeal, from smoky basement clubs to slinky jazz bars.

Pinty’s witty wordplay and effervescent club sound take influence from the introspective poetry of The Streets and the jazz tinged house tones of Peckham’s vibrant night scene. The lyricist released his debut EP on Rhythm Section International in 2019 to much acclaim, making waves with his distinctly individual live performances, appearances on Boiler Room and Just Jam, radio residencies on Reprezent and Balamii, and the front cover of the Peckham Peculiar.

‘Midnight Moods’ is out on the 24th April via new label Winged Feet from Pinty and Alexander Waldron, co-founder of Greco-Roman.

After 3 year of Northern Soul mad Brits travelling to the Motor City to attend “Detroit A-Go-Go”, the headline making event comes to Leeds in October and a commemorative 6-track 10 inch LP is being released.

Interest in the Detroit-A-Go-Go 2020 at iconic venue Leeds University is sky high and the LP is guaranteed to grab the attention of a dedicated core audience.

Three of the artists appearing at Leeds - Yvonne Vernee, Ronnie McNeir and Spyder Turner - are featured on the LP.
All 6 tracks are hugely in demand with original copies of the impossible to find Yvonne Vernee and The Tomangoes having £3,500 plus price tags.

The marketing campaign for the 3 day October shindig, which is shaping up as an early sell out, will include promotion for the LP, which will become a must buy on the buoyant vinyl loving Northern Soul scene.

Insanely popular across the Maghreb, name-checked in international spy novels and beloved of music adventurers like David Byrne, Libyan superstar Ahmed Fakroun is the most astounding raï-disco-electronica pioneer you never heard of. His 1983 album, Mots D'Amour, recently reissued by PMG, is regarded as a global fusion classic. This self-titled anthology of songs from the late 70's is an altogether mellower affair. The grooves are slower and sweeter, and Fakroun's multi-instrumentalist chops on the saz, mandol and darbouka drum really come to the fore. The album includes tracks from two of Ahmed's rarest and most sought-after 7's. 'Nysan' has an almost West Coast vibe: think Ned Doheny via Benghazi. Balearic-minded collectors will love the haunting flute runs in 'Awedny', produced by Tommy Vance, and 'Njoom Al Leyel'. There's even a touch of lilting reggae on 'Falah' and 'Yu Hussad.' Ahmend Fakroun is the perfect late night, come-down album. Especially after a hot and sweaty evening in a raï club, somewhere in North Africa. - Peter Moore,

Barry Issac - Mau Mau / Dub 1 / Dub 2 / Dub 3 (Reggae On Top) 10"

FF45 are back in effect with Canadian’s Redbull 3style champ Nick Bike, who returns with another sure shot double-sider. ‘Atomic Kenny’, while previously only seeing very limited digital release, has been championed by some of the lands top DJs. An in-demand remix that finally comes forth. On the B, a nod to the late legend Stezo – as always don’t sleep, snooze you lose!

“Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dance floor’s around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings.” - Tone B. Nimble.

Released as a series of eight limited vinyl-only 45, when assembled together the covers reveal a beautiful design courtesy of designer Charlotte McCrae. See the full eight record assembled design here.

A true collectors item.


DJ Support:

Tone B. Nimble, Greg Belson, Skymark, Darryn Jones

Pratt has definitely carved his name in flaming letters on the pages of contemporary soul music during the past few years. This has been achieved with probably the most hyped rola of our days "Lost Lost Lost" currently clocking close to 2M Youtube plays, as well as its sequel single "Words Words Words" which is doing decent as well out there in the world. With "I Got My Wheels Turning (Gonna Run Away From You)" Pratt skids away from his guitar wielding partner Moody and rides towards a morbid dusk with only Cold Diamond & Mink by his side.

Those, who are familiar with Pratt's work under his birth name Tuomo, know that he's a dynamic solo artist, songwriter and musician on his own. So it comes as no surprise, that this new platter brings everything that fans of dark but sweet ballads crave for. The lyrics are loaded with metaphors and we'll let you decipher them for yourself.

What needs no explanation, is that Tuomo is pitching high as he rolls away, leaving a trail of bitter heartache behind. What we are left with is a sweet with a deep beat ballad that'll be hard to put shade on this year.

The original, the inspirational, the bombastic, the never bettered, the one.
'Don't make me wait' is all of the above and so much more. Classic to the core. Huge earth shattering record right here.
OK, so the scoop, for the uninitiated is this - the Peech Boys were Larry Levan's group, we're talking early 80's NYC here, 1982 to be precise, around the height of the Paradise Garage as Larry was making the transition from superstar DJ to producer. He brought a sparse, dubbed out, narcotic late night feel to the overall sound of this record. This was a short-lived project, but the influence is still felt today, the Peech Boys DNA is inside the veins of modern dance music, as is Larry's. There is no underestimating what an impact this record had. 7+ minutes of electronic bliss, trailblazing stuff, and don't get us started on the dub. Do yourself a favour, BUY this classic if you don't own it already, you'll keep coming back to it time and time again. Guaranteed. This essential 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

Storytelling isn’t merely a vehicle for self-expression, it’s a mode of transportation. A two-way mirror in which we process gilded dreams and grotesque nightmares, the transgression of cultural taboos and the upholding of ancient tradition. It’s also the animating idea behind much of the greatest popular music ever made. Consider Exotica, the new album from Houston iconoclast, Fat Tony, the latest brilliant entry in that fabled tradition, what Outkast once described as “shooting game in the form of story rapping.”

While hip-hop supplies the foundation of the Third Ward native’s assault on genre, his futuristic soundclash encompasses seductive velour soul, lecherous French chansons, fluorescent new wave, and even splashes of African pop and reggae; the latter two being the residual effect of Tony’s Nigerian heritage and a sojourn to Jamaica to record the Carpark Records-released album with engineer, Abijah Livingston, son of Bunny Wailer.

“This album is an ode to the art of storytelling through music,” the polymath born Anthony Lawson Jude Ifeanyichukwu Obiawunaotu says, distilling Exotica’s essence. “Picture records like The Great Adventures of Slick Rick. Artists like Neil Young, Bob Dylan, or Bob Marley. Every lyric was carefully considered to make sure we properly conveyed each character’s narrative and motivations. I wanted to create a world of unique stories with room for each to be interpreted in distinct ways.”

Assembling a Manhattan Project-style team of experts, the atom-splitting production came via Tony and his longtime collaborator, GLDNEYE (aka Tom Cruz), and engineering via Livingston and Brooklyn’s Steel Tipped Dove. To make the Third Coast cypher complete, Bun B pops up on “What Wake You Up,” courtesy of a cross-island dash where Tony paid visit to the legendary underground king, then vacationing in Montego Bay.

Each song is a rich and compact iteration of rap short fiction: Biggie’s “I Got a Story to Tell” channeled through John Cheever. Take lead single “Feeling Groovy,” a frantic meditation on lust, desire, and the notion of throwing it all away while puffing on a Black & Mild. Picture something like if Fat Pat fronted Scritti Politti. Or “Gambling Man,” where Tony one-ups the late great Kenny Rogers to tell the story of a ne’er-do-well schemer named Johnny, obsessed with the thrill of the roller coaster emotions before he discovers whether he’ll win or lose. If the Tom Tom Club knew every word to DJ Screw’s Wineberry Over Gold, it would probably sound like this.

Bob Dylan once famously said that an artist should “always be in the state of becoming.” And in the case of Fat Tony, Exotica is the latest stage in an evolution that has included everything from a bravura turn on the first A$AP Rocky mixtape to co-hosting a TV show on Viceland, founding a DIY Houston culture magazine to subversively expanding the parameters of experimentally-minded rap. Here is Exotica, nine new stories, more untrodden ground on the left hand path, a novel strain ready to be unpacked.

Pure heat is the result when Bosq gets his mitts on Kaleta & Super Yamba Band's track "Jibiti", transforming the mid-tempo original into a bonafide Afro-Disco dancefloor burner rife with psychedelic vibes and punchy horns.The band is currently riding high revelling in their short yet scene-stealing turn rocking the stage on Hulu's series remake of cult-classic film High Fidelity

After a first edition acclaimed internationally, Favorite Recordings and Charles Maurice finally follows-up to their French Disco Boogie Sounds compilation with a second volume!!
Pursuing his fine work at digging rare music from around the world, DJ and collector Charles Maurice presents another brilliant selection of great music linked to France and French West-Indies: 12 hidden and forgotten titles, all produced between 1978 and 1985, whether in France, or by French artists abroad. This time again, he perfectly browse and defines the great energy and quality of this specific Disco/Funk scene at that time, both in the underground market, or through bigger labels.
On one hand, tracks by Crystal, Jackie Esam, Ideku Dynasty or Marc Ashy, were produced by small artists and labels from the French Caribbean and African community and also filled with a raw spirit and some Tropical influences. On the other hand, tracks by Claude Morgan, Greg Smaha, Roots, or Black Bells Group, were released by major labels such as Phonogram, RCA, Derby, or Carrere, thanks to confirmed independent producers, acting not only in France, but also in Canada and the US.
Today, Favorite Recordings and Charles Maurice are very proud to unearth these 12 gems, with amongst them some very hard to find and almost unknown titles.

* First appearing on A&O’s album `King and Queen’ in 1991, `Pure and Clean’ became an instant classic, with Jah Shaka cutting the track and running it on dub. Fast forward to 2013, Partial Records release it on 45 for the first time backed with one of the Shaka-championed dub cuts,
it remains the best fastest selling 7” on Partial.
* So, all good things come to those who wait. Partial have repressed it with 300 only copies available, with a tasty hand stamped outer sleeve.

Livity Sound present the 'Magnetic Service' EP from Azu Tiwaline exploring the intersections of Berber music, dub culture and techno hypnosis across four mesmerising tracks.
Fresh from the acclaimed Draw Me a Silence LP on IOT Records and collaborating with musician and sound artist Cinna Peyghamy, this new record further explores the hypnotic percussion and mystique of the Tunisian Sahara, a hybrid sound playing on contrasts and nuances, light and dark with echoes of techno minimalism and modern dub.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

Killer 1975 Gospel version of Marlena Shaw's 1969 sister Soul standard, a deep, socially conscious 45 asking some heavy questions about ghetto life set against a beautifully arranged, string heavy backdrop of low slung Funk. A truly sought after rare groove, produced by the UK's John Abbey, the man who set up the legendary "Blues & Soul" magazine as well as the Contempo, Mojo and Ichiban labels who worked with countless Soul and Funk artists throughout his lengthly career. Quite tough to track down on 45, "Woman Of The Ghetto" is now available again, dug out from the mighty SAM Records catalogue, the first release in their impressive discography now made available again on dinked 45 as it was presented in 1975, legitimately licensed, remastered and reissued in conjunction with SAM Records New York City.

The Nassau Sessions were recorded in Nassau Bahamas in March of 2013 using zero analog equipment. This debut 7" features four sedated, rum-fueled dubs by Double Pelican Man.
The sounds chosen are familiar to the Dub Reggae lexicon. Deep sub bass, guitar chords, synth bleeps and clacking percussion. All drenched in echo and reverb, each ingredient added with careful consideration to the mix. The rhythms tumble and sway confidently. Grooves are proudly extended, while the occasional overdub effect gives each track a paradoxically haunting undertone.After inhaling these tracks, your perception of time may be altered. Seconds slowing to minutes, minutes drifting towards the open sea and out into the abyss. Suitable for a euphoric afternoon smoke or a back room deal. The Nassau Sessions will be one of the most distinguished dub EP's you will hear this year.

Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

* 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.

Black Helicopters is Agnarkea (Keaton Transue); a 20 year old producer from Richmond, Virginia, whose debut album is forthcoming on Manchester-based label, Natural Sciences.

Originating out of the WaistDeep Clique (a cell of emerging hip-hop crews operating out of the Southern United States) and recorded on budget equipment, across it's near two hours and extended 23 tracks, the project seeks to un-package homegrown 'conspiracy theories' (MK Ultra, Black Helicopters, The Deep State, Black Sun, Waco Texas) and use this web of extended source material to make sense of day-to-day life in Trump's America, police oppression of black neighbourhoods and the systematic suppression of mind-enhancing drugs.

Walton returns to Tectonic to drop his latest EP of deadly dance floor weapons, as Tectonic sets up to celebrate being 15 years old!

With releases dropping on Illian Tape and Kaizen, Manchester’s Walton is a producer in high demand for his inimitable style the blends grime and pirate radio aesthetics with forward-thinking dance floor sensibilities..

‘Scooped’ opens the EP with mood setting pads and 128bpm drums, in preparation for a gut-wrenching bass line, bringing elements of grime, dubstep and techno altogether.

Following on next is ‘SBWYS’. The title references a vocal sample that decorates the rough 138bpm beats, “Sound boy watch ya space!”. Point made.

‘Smashed Crabs’ takes a 2003-era grime style rhythmic framework and paints over hard bass sonics and laser blips at 134bpm.

Lastly, the title track ‘Abyss’ continues the rave lazer aesthetic and tempo of Smashed Crabs, but sending things more intergalactic in trajectory, wrapping up a great EP in fine style. Definitely a bit of something for most dancefloors, crafted in the way of the Walton.

Repress

From its first appearance in 1978 till this day, “Happiness” has been a favorite concert-opener of the Pointer Sisters. A simmering gospelly builder, the Allen Toussaint-penned single was a throwback of sorts both in its earthy sound and in the collaboration with New Orleans legend Toussaint, who’d written “Yes We Can Can,” the Sisters’ first hit. “Happiness” barely cracked the U.S. Top 40, but found favor with soulful DJs who took to the steppers groove and uplifting lyrics. Mr. K’s edit drops the listener into to a church-like live performance that builds tension before seamlessly transitioning to the 12-inch studio mix, perfectly positioned to take the dance floor from Let’s Get Acquainted to Let’s Get Down. Synth strings sizzle as Mr. K stretches the second section; an open drum groove provides a deliciously decadent bit of tension; add a never-heard closing acapella teased by Krivit’s craftsmanship from the extended single’s breakdown, and the transformation from simple opener to subtle centerpiece of the night is complete. What songs will stick with you when the party’s through? This epic edit is a contender.

By the late ‘70s, Gene Harris, leader and pianist of jazz legends The Three Sounds, had well over 30 albums under his belt and could do whatever he wanted on a record. Fortunately for us, he chose to open his 1977 LP Tone Tantrum with a cover of Stevie Wonder’s transcendent “As.” Now a well-worn standard at Loft and Garage-influenced parties, Stevie’s version is undeniably special, but can leave veterans of the scene longing for a different angle on the classic. Enter Mr. K, who has rescued Gene Harris’s rare groove revision from obscurity and fine-tuned it for 2019 and beyond with emphasized percussion and a sinewy extension that cuts the bulk of the lyrical intro and lets Harris’s electric piano and the all-star choir shine. As the chorus steadily swells, riding stellar session singers Venetta Fields (featured on Pink Floyd’s “Shine On You Crazy Diamond”), Deneice Williams, D.J. Rogers and the Waters siblings, Krivit’s edit sails along with it, utilizing all the power of Stevie’s composition in the service of a fresh, new spin for the dance floor.