Hip-Hop Vinyl New Releases - News

Over the years, Claremont 56 has played host to some memorable collaborative
projects, most notably Bison, an unlikely super-group whose members included
Holgar Czukay, Ursula Kloss, Liquid Liquid’s Sal Principato, Ben Smith and label
boss Paul ‘Mudd’ Murphy. Now Murphy is at the helm of another collaborative
outft, Hillside, whose seductive debut single contains two deliciously pie eyed
instrumental workouts.
Hillside is very much a family affair, with Murphy joining forces with two old
friends: bassist/guitarist Alex Searle and percussionist Patrick Dawes. The trio
has a collaborative history that stretches right back to Murphy’s time in Akwaaba
in the mid nineties. For their debut outing, Hillside has also welcomed a very
special guest musician: award-winning jazz violinist and long-time Bert Jasch
collaborator Mike Piggott.
As opening gambits go, “Hidden Port” is an emphatic statement of intent. The
audio equivalent of sailing slowly around a cluster of sun-baked islands in
search of shelter from an approaching storm, the track sees Searle wrap bluesy,
Peter Green style guitar passages around a shuffing, Latin-tinged groove rich
in Dawes’ distinctive percussion patterns and Murphy’s languid electric piano
and synthesizer lines. As the track progresses, Piggott steps up to make his
mark, with his undulating electric violin lines complimenting Hillside’s impeccable
instrumentation while adding extra emotional weight to proceedings. It’s a
stunning beginning to the Hillside story.
Piggott also makes a big impression on accompanying cut “The King’s Tun”,
delivering fuid and energy-packed solos that weave in and out of a bright
and breezy instrumental track rich in jangling acoustic guitars, subtly spacey
electronics, freside-warm bass and more sparse-but-intricate percussion
courtesy of the effervescent Dawes. Searle’s eyes-closed, rock style guitar solos
cap another memorable excursion from Claremont 56’s latest in-house band.

Fantastic 80s pop music with a soul and funk touch and an outstanding singer. A must have for fans
of Billy Ocean, Barry White and similar artists. Perfect playing, perfect production, perfect songwriting.

On the edge of the lightfooted disco movement there was sophisticated funk music and one of the often
overlooked protagonists oft he scene was Mr. Sterling Harrison, born in 1941, passed in 2005. His legacy contains
two solo albums from the early 80s and this, dear friends of funk music, is his second from 1981. Copies in good
shape fetch prices up to 800 Dollars so we should give this current reissue on EVERLAND warm welcomes. Is it all
worth the enthusiasm Oh, you can bet it is. Sterling Harrison had left behind the 70s and was ready for the 80s.
The sound is up to date, clear, clean and powerful. The music still shows the fire of the earlier funk records but the
synthesizer passages, the whole production proves that we are now entering a new age. 80s Synthie Pop is part of
the mix, despite the main ingredients are soul, funk and a bit of disco here and there. The vocals are overwhelming,
sung with great emotions and a feeling for the freaky edge of soul. The tunes here come as diverse as they can be,
each one with his very own face, but they all have the same spirit courtesy of Sterling Harrison. Each one should
have had a spot on the top ten pop charts in 1981 but in this case this album would probably be legendary in
another way. This music will drive every 80s black pop enthusiast wild. When after all these powerfully driving pop
and dance tunes, with a more relaxed reggae groover in between, your feet ask for a break, just go for a sweet soul
ballad in the best Barry White style. Smooth and slick, yet still performed with depth and spirit, such a song might
calm you down until the next dancefloor sweeper will hit your ears. The overall atmosphere of this record is truly
happy and enlightened. Good vibrations pour from every note, played here by a team of highest order musicians. A
perfect record for 80s black pop aficionados who admire Billy Ocean's 80s albums for example. This record is a
typical example of the contemporary pop music of its era, but this is what makes it even more charming. And the
songs will definitely stick to your mind after just a few spins without losing their fascination. A true gem for true
music lovers.

Modeselektor veröffentlichen eine dreiteilige, limitierte Picture-Disc-12"-Serie mit den Highlight-Tracks ihres Albums "Who Else" samt Vinyl-exklusiven B-Seiten. Die Single "Wealth" mit der Londoner Grime-Künstlerin Flohio erscheint samt Instrumental und Accapella-Version (Vinyl-only). "Who", die knusprige Kollabo mit dem estnischen Rapper Tommy Cash, wird mit Modeselektors atmosphärischem "Who Else" gespiegelt. Und der Dancefloor-Hammer "I Am Your God" mit Otto von Schirach ist gekoppelt mit dem nicht minder effektiven "Bronko". Alle Picture Discs erscheinen in vollwertig bedruckten Innenhüllen und Außencovern.

Japanese P-Vine re-issue of the rare Positive Force and Denise Vallin's AOR/Soul album which was originally released on small private press label and can fetch up to $500 for the first pressing.

Grattis! Thomas Flachsbinder 40år EP, otto002.

The title of the EP is "Happy birthday! Thomas Flachsbinder 40 years" and it pretty much sum´s up the whole reason for this EP. Our dear friend Thomas have been making lovely music for some 20 years now. And this EP is an selection of different aliases his created or been involved with. The genres goes from 50-60´s surf, rockabilly, rock, german house, ska, jazz, amen breakbeat organ pop to bossa nova. So hopefully you´ll find something that you´ll like.

Summer is coming sooner this year, and you can tell from the heat of the two latest releases from Slow Motion: yes ladies and gents, Italian Dance Wave Compilations are back! The first of the two, “Italian Dance Wave Disco Sette”, is here to delight you: starting from a half Italo and half Asian influenced Altieri track, killing it with a dancefloor belter that will make you sweat the night away, raving sensations guaranteed. Lukebox (Fabrizio Mammarella and Umberto Saba from the duo Loudtone) will serve you a slightly more downtempo, modular, weirdo beast that will make your head bang without you even notice: banger. Back on your turntables, is also Robotalco who is providing some proto-house extravaganza and adding some charme to the dirty, chunky beats of the compilation. Last but not least, José Manuel, delivering a touch of biting deep house and electro tribal feels to close the gap, and make us scream “hell yes”.

Detroit native Javonntte, keyboardist to the late Aretha Franklin, delves deep into the Jazz Fusion vaults with Primetime Voyage.

Little Things 04:51 B5. Onlee Desire 01:58 B6. Reelax 03:43 Shortinfo: soulphonic Means Speaking From The Soul, And That's What My Sound Is All About.' - Ohbliv

In light of soul singer-songwriter Rick James' wild and controversial behaviour during his career, it's easy to forget that he wrote some vastly successful and celebrated music. Nowadays he's best remembered for a famous and celebrated sketch from the TV show Chapelle's Show, or for his various arrests for drug charges, but during late-1970s and 1980s he was a powerhouse of his genre. The nadir of this success was undoubtedly James' fifth album. He was already a gold-selling funk/soul artist with multiple Top 40 hits under his belt, but 1981's Street Songs was the album that broke him into the mainstream. The album took the smooth, swaggering sound that he had built his career upon, and fused it elements of rock and new wave, into a sound that James dubbed "funk punk." It even featured vocal backing from The Temptations, and a harmonica solo from Stevie Wonder. Street Sounds was an immediate commercial hit, reaching #3 on the Billboard Pop charts, reaching platinum status, selling over a million copies. In addition to various Grammy nominations, Street Sounds also produced major chart hits in tracks like "Give It To Me Baby", "Ghetto Life", and what would become his most successful signature song; "Super Freak", which peaked at #16 on the US Pop Charts, and was famously sampled by MC Hammer for his mega-hit "U Can't Touch This." It caught the attention of publications as well, who heaped critical praise upon the album, even netting a rare A- grade from noted rock music curmudgeon Robert Christgau.

Wu-Tang Clan have been hailed as the most influential hip hop and rap group of all time along. They have released four gold and platinum albums and are touring across America and the UK this year, 28 years after forming.

Disciples of the 36 Chambers is a live recording of the Wu-Tang Clan set at the 2004 Rock the Bells concert in San Bernardino, California. The live set contains many classic hits from the group's albums as well as the individual members' solo albums. All nine original members perform, which by the time of this show was an increasingly rare event. Even the elusive Ol' Dirty Bastard appears.

This album has been remastered and is being made available across three formats after only previously being available on CD. Now available on CD, 2LP and as a digital album.

Five years after their eponymous debut LP London's Hot Border Special return with a powerhouse album entitled 'Are You Ready?'

With studio wizard Malcolm Catto (The Heliocentrics/Mulatu Astake/Gaslamp Killer/Hannah Williams) at the helm, recording took place at Malcolm's Quatermass Sound in London, where the band recorded the freshest of tracks sure to inflict the severest head nod inducing whiplash!

Hot Border Special certainly aren't afraid to take risks, with heavy tracks like opener 'Woo!' a funk/rock/latin killer and Cop Drama funk of 'Who is Tony Soap?' - showcasing just how filthy a groove can get - contrasting effortlessly with the mellow beauty of 'Good Egg Bad Egg' or the funky Sly inspired 'The Martha Strut'. They even take on classic Bollywood theme 'Sholay' and Mandrill's stonecold classic 'Mandrill' to thrilling effect.

'Are You Ready?' is a true representation of Hot Border Special's Live show, displaying fantastic musicianship but never sounding in the least self-indulgent and with members from bands including The Heliocentrics, The Quantic Soul Orchestra, The Mighty Mocambos, Noisettes & JetTricks to name but a few. The very heaviest of drums and percussion from Dan Hale and Paul Elliott underpin the funkiest of bass from Jamie Lawrence and with Dan Smith's soaring rock guitars let loose alongside James Beckett's psychedelic keys, Hot Border Special have produced a surefire future classic. Truly powerful - you've probably heard nothing quite like it, the only question is...Are You Ready?!

Helen Merrill has done something very few others have done in the world of


jazz for, just with one record, she has come to be considered one of jazz's


greats. Usually a budding new star has to do quite a bit of waiting before he or


she can be acclaimed. It all depends on the public's opinion of the musician's


merits. Sarah Vaughan"amongst the singers "and Julian "Cannonball"


Adderley"among the instrumentalists"have had to take their place in the


queue awaiting the people's favourable reaction. In Helen Merrill's case
Notte e Giorno

Night and Day

Accade Tutto A Me

Everything Happens To Me

Autunno a New York

Autumn in New York

Perchè Non Fai Di Tutto

Why Don't You Do Right

Tu Non Sai Cosa Sia L'Amore

You Don't Know What Love Is

Queste Piccole Sciocche Cose

These Foolish Things

Aprile A Parigi

April in Paris

Ti Ho Nella Pelle

I've Got You Under My Skin

Solitudine

Solitude

Salice Piangi Per Me

Willow Weep For Me

Quando il tuo Amore

When Your Lover Has Gone

Helen Merrill has done something very few others have done in the world of

jazz for, just with one record, she has come to be considered one of jazz's

greats. Usually a budding new star has to do quite a bit of waiting before he or

she can be acclaimed. It all depends on the public's opinion of the musician's

merits. Sarah Vaughan—amongst the singers —and Julian "Cannonball"

Adderley—among the instrumentalists—have had to take their place in the

queue awaiting the people's favourable reaction. In Helen Merrill's case

however, it only needed her 1955 recording with Clifford Brown and Oscar

Pettiford—with arrangements by Quincy Jones—for the critics to state that at

long last jazz had a fair skinned singer. And yet we cannot exclude June

Christy, Anita O'Day or Chris Connor. It was just that Helen seemed to have

that certain "je ne sais quoi" which, before her splendid entry into the realm of

jazz, seemed to be exclusive right and property of the coloured singers—with

Billie Holliday leading the field.

Helen was born in New York thirty years ago. Her "education" in jazz was

handled by musicians like Bud Powell, Miles Davis and J. J. Johnson, and then

she carried on to her first important musical engagement—Earl Hines and his

orchestra. Her style is decisively "instrumental" and her interpretations never

set up that old problem of styling which often crops up when we think of the

recordings of other modern singers, that is whether it's really jazz or whether

we are listening only ballads to pazz style. Helen uses her voice with

intelligente and is deliberately "discret" i.e. she tries to make her voice seem

like an added instrument to the orchestra. Her recordings of "Willow Weep for

Me" and "Everything Happens to Me" are especially good examples of this

ability of hers.

In 1960 Helen Merrill went on a tour round Europe and was the star at the

Comblain La Tour Jazz Festival. Later, she came to Italy in order to record a

series of concerts for a television programme called "Moderato Swing" with

Piero Umiliani and his orchestra. She has also recorded 4 songs in Italian with

Armando Trovajoli and his orchestra (a 45 r.p.m. extended play—RCA EPA 30-

387). She has even been to sing in Japan...

In this record are gathered the songs that Helen Merrill sung for the Italian TV

show I have just mentioned. The Italian words have been kept from the original

and they are by Fernando Cajati.

In "Night and Day", "Everything Happens to Me", "Autumn in New York", "These

Foolish Things" and "I've Got You under My Skin", Helen Merril is accompained

by a sextet made up by Piero Umiliani (piano), Nini Rosso (trumpet), Gino

Marinacci (baritone sax), Enzo Grillini (guitar), Berto Pisano (bass) and Sergio

Conti (drums). In the other items we hear instead a quartet formed by Piero

Umiliani (piano and celesta), Nino Culasso (trumpet), Tonino Ferrelli (bass) and

Ralph Ferraro (drums).

This single features two tracks that date from the mid-1980s: ‘Give Me Back (What You Take From The Poor),’ first issued on a C&E 12-inch circa 1987, has Thompson tackling the unequal distribution of wealth that has marred so many parts of the world, while ‘Lump Sum’ is a minimal digital-dub re-cut of a tun. By virtue of its transitory format, this single sees Linval stepping into somewhat unknown territories…

“Stop here!” exclaimed Robert Oumaou as we passed a mango tree on the side of the road just outside of Point-a-Pitre, the balmy capital of Guadeloupe. He filled a plastic bag with ripe fruit, and we set off on our journey across the small Caribbean island in search of musicians he hadn’t seen in years. On the way, we shared stories in broken French and English, stopping at truck stops to eat delicious fried fish. Robert took me to his hometown, and placed a mango and a flower on the grave of his teacher and mentor, a local poet. The seeds of Vwayajé (Traveller) were sewn on this trip, but shortly after returning home, I heard that Robert was ill, and he sadly passed away in 2018. This compilation was originally intended as a way to share Robert’s brazen work with a wider global audience, but it now also serves to immortalize his indomitable spirit.

Gwakasonné is the ecstatic articulation of Robert Oumaou’s artistic and political vision, a unified expression of his interests in American jazz, pre-colonial rhythms, Guadeloupian independence, and Créole poetics. Over the course of three albums, all released in the 80s, Robert piloted a revolving cast of musicians, a venerable who’s-who of Point-a-Pitre avant-jazz pioneers, to deftly intone his creative communal concepts. The songs on Vwayajé are compiled from these three releases, Gwakasonné, Temwen, and Moun, along with an electronic mantra taken from his 2007 solo album Sang Comment Taire. Viewed from our current artistic and cultural landscape, Robert’s work is exceptionally enduring, grounded in its declarations of freedom and foundational use of the Ka (drum) and voice, and prescient in its borderless explorations of protest folk, electronics, ambient atmosphere, music from the African diaspora, and spiritual jazz. The long-form hive-mind expression of the group has parallels with similar explorations by The Grateful Dead, electric
Miles, Pharaoh Sanders, and even the Boredoms, but these are only oblique references for a truly peerless sound. Like other conceptual children of Gérard Lockel, the group was part of a progressive movement of like-minded musicians, such as Serge Fabriano, Dao, Erick Cosaque, and Gaoulé Mizik, who embraced Lockel’s modernist ideals, fusing Gwo Ka drumming and tuning systems with contemporary jazz and vanguard recording technologies. Robert’s ecstatic phrasings, embrace of electronic instruments, and daring lyrics set the group apart as the beatific expression of a sagacious soul.

DJ Support: Tensnake, Francois K, Joey Negro, Kenny Carpenter, Tony Humphries, Tedd Paterson, Lenny Fontana, Danny Rampling, Terry Farley, DJ Meme, Severino, Mark Knight, and Hector Romero, DJ Spen, Mousse T, Kraak & Smaak, Bill Brewster, Eddie Amadore , CJ Mackintosh, Mighty Mouse, John Morales, Fingerman

BBC Radio 2 and 6 Music support by Craig Charles. WW and Specialist Radio include RTE Pulse and BBC Surrey.

MIXMAG disco tune of the month March 2019

Blues & Soul: 10/10 Issue 1091 / Reviews

Additional press - Data Transmission premiere, 6AM Group: interview and feature, Soulandjazzandfunk, Child of House

Izo FitzRoy has gone from strength to strength. Her gospel and soul drenched compositions coupled with a powerhouse vocal delivery and an ear for a melody made her an instant favourite with fans, critics and contemporaries alike.

After a tireless touring schedule and some killer feature collaborations she's back with some new original material and she's enlisted the help of the one and only disco don – Dimitri From Paris...

Dimitri of course needs no introduction to the Disco and House heads and the king of Glitterbox comes correct off the back of recent projects remixing the Chic catalogue and running his own 'Le-Edits' label. He teams up once again with his dream house band - fellow high-flying Parisian jazz/funk crew Cotonete who provide the 'magic' backdrop for Izo's stellar vocal performance.

The track sees Izo wishing for a change in her relationship, longing for yesterday and the feelings of excitement and wonder that a child gets to experience so frequently. Between her towering vocal performances, Cotonete's classy groove work and Dimitri's deft studio touches it's the perfect disco storm.

Koma Saxo is a highly potent new five-piece produced by the visionary Berlin-based Swedish bassist-producer Petter Eldh. The lineup brings together five heavy jazz names on the Berlin–Nordics axis, including Eldh on bass, Christian Lillinger on drums and the frontline of three saxes: Otis Sandsjö, Jonas Kullhammar and Mikko Innanen. Despite the top-billing names, make no mistake: this is not just another "supergroup", but a real working band with their own sound and musical trejectory.

Eldh's vision for the Koma Saxo sound is one step ahead of what groovy avantgarde jazz could sound like in 2019, involving postproduction work with the raw material recorded in Helsinki in connection to Koma Saxo's successful debut at the We Jazz Festival. Both studio and live tapes exist side by side, and Eldh goes deep in molding the final music to be heard on the upcoming Koma Saxo releases.

The first introduction into the world of Koma Saxo comes in the form of a 7"/digital single "Port Koma / Fanfarum For Komarum". Side A presents a restlessly dubby beat track, which would be ripe for hiphop sample use. The flip launches into a joyful full-on groovy free jazz fest which is hard to resist. Think Art Ensemble of Chicago at their swingingest but add a little "Nordic Noir" dropped right into the busy streets of Berlin's Kreuzberg.

ABOUT//BLANK is a collage of collages, an EP pasted together from tracks that are built of parts of various tracks, recordings, sketches, hooks, grooves and loops that Persian Empire has been working on in the past few years. It's a warm piece of fragmented soul music and a project that's far more vocal than any of Sam Khatam's previous productions.

The vocals, though, float in a cloud of haze. Recorded lo-fi, on the fly, impro style. They're intentionally imprecise, leaving blank spots and holes for listeners to fill in. Thus the play of these ambiguous lyrical fragments becomes not just open to but in fact invokes obligatory interpretation. It's the listener who with active interventions solves the mumbles and connects the gaps.

The EP draws from classic funk samples and hiphop production techniques and nods to the end of 90s cut 'n' paste of vanguard styles Mo' Wax, Warp and Chocolate Industries championed so well. With all this retro, throwback swing Persian Empire delivers soft soul that doesn't fit anywhere but in the present.


Persian Empire has been immensely influenced by UK dance styles, from 2step to bass yet his music usually can't happen without the usual intruders - from jazz to experimental electronics and hiphop. With special attention to rhythmical details Sam's put out music for labels likeCosmonostro and Record Record and since 2015 he runs his own Prrrrrrr Records, with a focus on young promising blood.

His live acts are not to be missed.

• Durham born Ruth Copeland was an unusual signing to the Invictus label but her folk-funk albums have become cult items in recent years

• Collaborations with her husband Jeffrey Bowen, George Clinton and members of Funkadelic, this is her highly acclaimed second album and is hard to find on original pressing

• Funk/Rock classic, ‘I am What I Am’ has never been available on vinyl since its 1972 initial release and features the club classis ‘Gimme Shelter’

• Demon Records are proud to reissue on 180g heavyweight vinyl with printed inner sleeve and original artwork

IND 003 is the 2nd Vinyl release on INDUSTRIA. Robi Insinna’s new project label. Industria is not just about music, but also products, art and more. This record one can say was planned a while back when Robi had a DJ gig together with Vox Low. The next day while meeting in the lobby for a late coffee and a croissant in a quiet Bordeaux Hotel, the idea came for a swap Remix on Vinyl. When Robi started Industria, he still had in mind that the second Vinyl release could be that swap. Guess both Artist coming from a similar background and working in a similar analog organic style liked the idea and knew what they would get sound wise would be something both have plenty to play with.

On the A side Vox Low remixed Robi’s HARD WORK, which was already released in 2018 including a remix by Die Wilde Jagd. Vox Low turned the track into a dark more dancefloor orientated version. Still with the trademark Vox Low sounds and Guitars.

On the B side Robi remixed You Are A Slave. He liked all the sounds so much that he thought it is better to keep as much from the original as possible, still trying to make it his own version. He added percussion to create a more funky/dark sound and extended the track. The dub was done in an old school kind of way. All the parts where laid out on a mixer and assigned to various tape delays and reverbs and would be dubbed real time, in the school of Mad Professor or Lee Perry. Not an easy approach and it needed several takes till it started making sense. All mistakes and organic things where important to this Dub.

• This is the 1974 debut studio album by soul singer William DeVaughn

• Features the classic and much covered and sampled track ‘Be Thankful for What You Got’ – sampled by Massive Attack on Blue Lines album, covered by Arthur Lee and Love

• Featuring the crème of the Philadelphia session crew MFSB

• Soul classic reissued on 180gm heavyweight vinyl with original artwork and printed inner sleeve

Clear vinyl version of J.Robinson's 'More than Music' LP.

Ahmed Fakrun's first single originally released in 1977, now officially licensed from Universal Italy.

Following on from our previous release of two of the more in demand songs from the Washington D.C Tec label by Roscoe & Friends and Tojo, we at Soul Junction have decided to release the remainder Of Roscoe (Bowie) & Friends Tec output in the format of an EP single.

The A-side features the currently in demand Funk outing “Barnyard Soul” the official A-side on the original release of Roscoe’s classic Northern Soul dancer “Broadway Sissy”.

The B-side features a Roscoe & Friends cover version of the Herbie Hancock penned classic “Watermelon Man” a song first recorded by famed Latin Jazz percussionist Mongo Santamaria in 1962 and released on the Riverside Records subsidiary Battle label. “Watermelon Man” has been covered by many, many artists ever since with Santamaria’s version being inducted into The Grammy Hall Of Fame in 1998. Herbie Hancock also, due to the popularity of Santamaria’s version recorded the song on his debut Blue Note album “Taking Off”.

As we return to the performer on this particular version. Roscoe Bowie Jr, a talented multi-instrumentalist who had honed his skills as a jazz musician in and around Washington, D.C. As an arranger, Roscoe’s name can be found on many generic Washington recordings such as Leroy Taylor’s sublime Brunswick outing “Oh Linda”, The Ascot’s Miradon sides “Miss Heartbreaker”, “Anytime and Sometimes I Wonder”. When Knight Brothers Jimmy Diggs (of “Temptation ‘Bout To Get Me” fame) briefly accepted an invitation to join Larry Bell and Jerry Norris in the vocal trio The Carltons it was Roscoe who arranged the first two of their 3 excellent Argo 45’s “Can’t You Hear The Beat/Ooo Baby” followed by “Easy Living/Hey, Mr. Lonesome”. Roscoe again featured as the arranger on another fellow Washington, D.C artist Andy Magruder’s 1964 Chess outing “Later Than You Think/Do You Wanta Go” released under the artist name of Andy Mack with The Carltons featuring as backing singers.

Record producer Harry J. Coombs used several local musicians on his productions such as pianist “Porkie Johnson and guitarist Buzzy Bowie (who later toured with Major Lance). Studio time was often hard to get as well as being expensive so rehearsal sessions would often take place in Buzzy Bowie’s basement. During one particular session Buzzy was joined by his older brother Roscoe then predominately a horn player, and it was during this session while jamming that the tracks “Barnyard Soul”,” Broadway Sissy” , Do Watcha Know” and the cover version of “Watermelon Man” were first laid down. Later to be released on the Washington Tec label under the artist name of Roscoe & Friends.

Introducing Dive Reflex Service’s debut album on Limbo Tapes – 12 tracks of deeply enthralling downtempo sketches from one of the most mysterious outfits operating on the fringes of the Bristol underground.

Three cassette releases deep, rounding up a seriously respectable roster of talent, the label isn’t one to court hype or social media stats. A pure outlet for musical ideas and exploration with no ego – Limbo Tapes has been flying the flag for the more abstract beats coming out of different corners of Bristol, plus a few friends further afield.

With two compilations and one artist cassettes under their belt, the label have made the jump to vinyl in fine style, headed up by Dive Reflex Service who was a contributor to their second compilation.

It’s hard to pigeonhole Dive Reflex Services sound, which is no doubt why he/she/they have found a home here – Loosely hip-hop related, heavy with dubwise production techniques – thick washes of atmospherics & dense layers of stretched vocal phrases flow between low passed beats and high end FX. Flecks of eskibeat & dancehall jut through at points, never fully materialising, it’s these hints that keep the whole album fresh and very re-listenable. Immediately enjoyable and deeply rewarding upon repeated listening.

The Fat Hop 7" series returns with a bang for 2014 with killer Instrumental B-Boy Breaks peppered with Bleeps, Hoovers and Warehouse raves references ! Label boss Jerome Hill return to his Itsu Uno guise and is joined by the mysterious Han Do Jin abley providing the flip side..

Oh f*ck, this LONG awaited burner from Manchester-based socio-political underground vocal force Michael O’Neill is here, FINALLY

“Essentially, we’re dealing with problems here. Let’s call it the 0800-FUCKPUNK-helpline, Michael O’Neill is on the other side of the speaker and needs you to know, as the ‘proper’ press text aptly puts it below, and as Mr. Huxley already warned, we’re all taking too much of that fucking soma!
Well here’s your undiluted antidote. 100% honest, 100% direct, 100% no bullshit – take the hit, Micheal O’Neill is here with a wake up call for us all. The album is called ‘The Binary Order’ but you can also just call it a slam in the face to all weakhearts and vampires, because this is political power punk poetry… That’s four P’s: one for each knuckle.”

“Chewed up and spat out, targeted and watched.”
Surplus labour piles up in concrete reservations. The veneer of democracy is fading fast. Confusion reigns. Our subjection to the economy’s ravenous death drive is eased and obscured by Silicon Valley soma, street drugs and the media’s trivialising babble. Pop music’s part of the distraction, of course, but it doesn’t have to be.

‘Binary Order’ is the debut album from Michael O’Neill, a child of Irish immigrants born and raised in North Manchester. A polemic on culture, class and society, ‘The Binary Order’ is fiercely political and musically infectious.

“I’ve had enough of this avant-garde shit”

O’Neill can rant like a Mancunian Mark Stewart when it suits him, but he’s a fine storyteller too. Privileged social butterflies, desperate addicts, vapid pop stars, and frazzled info-workers pass by in vivid character sketches. Lead track ‘One Rule’ is an anthem for the dispossessed millions – the clear-eyed urgency of its chorus contrasts bitterly with samples of a royal correspondent, fawning abjectly.

Produced by Sam Weaver (Hungryghost / Charles Hayward) with O’Neill, and additional input from electro-acoustic composer Danny Saul (‘Beowulf’ / ‘The Last Kingdom’), the album’s visionary production combines hip-hop swagger with clattering dub and cleansing acid. Its surgical hooks, unflinching lyrics and moments of sonic chaos are pacey and possessed of an irresistible narrative flow, you’ll be lucky to hear anything as bracing in 2019, or beyond.

"has pretty much been a ‘those who know, know’ sorta figure, but word of mouth isn’t enough for an album this good." - The Quietus

6 years talking to the Family, which led to Gary Bailey (Singer and co-writer) coming to Scotland to meet me, the private press grail is finally here. Modern Soul, Disco, Sweet Soul there is a not a bad track on the whole LP.

The Jamaican lovers masterpiece by Sharon Forrester and UK lovers classic

A limited edition 300 copies 45 release for one of the most in-demand track on the northern soul scene.

Due to popular demand, we're happy to present you Alexis Evans' first single on Record Kicks "I Made A Deal With Myself" on the superior 45 vinyl format. The single is a soul stormer that equally pays homage to the glory days of northern soul and bands such as the Style Council and since its LP's only release it has been heavily in demand on the rare soul scene. On the 45 flip side you'll find Alexis Evans brand new single "Your Words", a deep soul number with Rock Steady influences.

Bordeaux-based singer-songwriter-producer Alexis Evans landed on the international soul scene with the heavily acclaimed album "I've Come A Long Way" released in March on Record Kicks, with the aim of making Bordeaux the new French capital of deep soul. The album it's been declared by Rolling Stone Magazine France "soul album of the year" and got raving reviews by magazine such as Blues & Soul (Album of the Month), Record Collector, Shindig, Rock & Folk and constant support by Craig Charles on his BBC Radio 6 Show and FIP/Radio France.

Watch out the 45 vinyl is limited to 300 copies worldwide, so don't sleep on it.

Prelude Records is easily one of THE most influential Disco labels of all time. The label released classic upon classic and launched the careers of many now influential artists and producers and engineers. Names like Francois K, Shep Pettibone, Tony Humphries and more were all intrinsic to the Prelude story. The music this label released throughout it's life has shaped modern day club culture and continues to do so....

1977 saw the release of one of Prelude's most sought after, desired and rare offerings. A 12" promo that features 2 insanely deep cuts from the labels impressive repertoire. Bill Brandon & Lorraine Johnson's split DJ promo '‎We Fell In Love While Dancing / The More I Get, The More I Want' - 2 megaton Disco bombs that will have your dancefloor in a frenzy. This essential release has changed hands for hundreds of pounds on the used market and has never been legally reissued before, there are sub-standard boots around and they sound awful. This official reissue has the full unedited versions of the tracks and has been repressed from the master sources and with the full involvement of the licensors to provide 2019's clubs with a true Disco rarity, as it was way back in '77!

Debut single from forthcoming full length out in May 2019. The first time we heard Bobby Oroza, it was his slow moody ballad 'This Love', that perked the world's ears and made a name for the dapper crooner that calls Finland his home. Since it's release, 'This Love' has become somewhat of an underground hit, the soundtrack to car shows and swap meets in the West Coast, numerous movies and TV shows, and it even made it to Earl Sweatshirt's most recent mixtape. This new single from Bobby Oroza picks up the tempo and showcases another side of his range with a record sure to move bodies and nod heads. The A side 'Your Love Is Too Cold' is a stomper that blends the groovy soul drumming of early Motown records with guitar that could have been lifted from a James Bond

soundtrack. Bobby pleads over the track of his decision to call it quits and keep it quits. The B side 'Deja Vu' finds Oroza leaning again into the B side ballad stylings that made him a name to check for. Heavy duty drums lay down the canvas on which Bobby's vocals paint the picture of a relationship that has come to a fork in the road. The Cold Diamond & Mink production and backing band are tight as ever and this is sure to be another classic with the slowie fans.

Discom proudly presents Du Du A- Du Du Archive 1984-1989 LP, a collection of previously unpublished and rare tracks of Belgrade's cult band Du Du A. Discover the music of the group whose leaders Dejan Kostic and Zoran Zagorcic primed for their never-released second album and find out why they earned a cult status among DJs and collectors worldwide!

“New York’s Harlem River Drive is a dividing line, a highway where the rich zip past the poor,” says singer Jimmy Norman. Eddie Palmieri’s Latin-funk band of the same name tackled these hard truths, playing prisons and speaking to the common man. Ultimately, Norman and Palmieri made a powerful socio-political statement that continues to resonate to this day." Pablo Yglesias/Wax Poetics. When initially released in 1971, many critics panned Eddie Palmieri’s album Harlem River Drive. Those critics were wrong. Regardless of critical opinion, the release was not the crossover success Palmieri and Roulette Records had hoped for, at least in the immediate. Over the years the release has developed a following among listeners, DJs, and aficionados of rare-grooves. The record may have been recorded towards the end of the Latin soul era, yet it features that genre's wonderful mix of Puerto Rican soul, Spanish Harlem Latin, and New York funk. Palmieri worked with an incredibly talented crew of Latin and R&B session musicians to create this quintessential New York vibe, a synthesis of funk and Afro-Cuban sounds. Contributors include Victor Venegas from Mongo Santamaria’s band, Palmieri’s brother Charlie, an accomplished musician in his own right, Bruce Fowler who went on to join Frank Zappa’s band, Dick Meza who went on to great things with Tito Puente, Ray Barretto and Celia Cruz, as well as Andy Gonzalez who’s pedigree includes recordings with Barretto, Johnny Pacheco, Willie Colon and even Chico O’Farrill. Also appearing Randy Brecker and one of the all-time greatest of the greats Bernard Purdy. An over-arching theme of Harlem River Drive is the thought that, as Palmieri puts it “The U.S. is richest country, all this immense wealth, side by side with the most intense poverty, racial prejudice; how is that possible?” A question that’s perhaps more even more relevant today than it was in 1971. A question that can be further explored with Get On Down’s reissue of this seminal recording.

Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band's name is derived for the dazzling new album Doko Mien. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on Doko Mien, the followup to their Merge debut Uyai.
In a glowing piece in the New York Times, those songs were praised for following 'in the tradition of much African music, [making] themselves the conscience of a community.' By pulsing the mystic shapes of Williams' lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents.

Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk. The London octet have enveloped themselves in that maximalist quilt proudly since their 2013 formation. Though it can often bring with it news of stress and uncertainty, the modern world further brings all these disparate traditions into connection.
'Everyone has everything now,' says multi-instrumentalist Max Grunhard. 'Everyone has immediate access to every genre, picking things up from everywhere—like magpies.' And while they haven't suddenly left their African roots behind, Doko Mien does find increased representation of English lyrics in the ratio. By sharing more directly with more universal lyrics, the record feels more anthemic, reaching for grander heights.
'We wanted to give people a reason to sing along, to find their soundtrack every day,' Williams says. 'We wanted everyone to feel as if they're part of the music as well.'

Late album highlight 'Guess We Found a Way' addresses the change with a coy smile. 'Guess we found a way to speak to you/ Guess we found a way to say what's true/ To say what's real,' Williams coos over glistening chains of reverberant synth and diamond dust percussion, before returning to Ibibio in the chorus. Perhaps the best example of the group's ability to convey meaning across language and tradition, to blend past and future into a singular present comes on 'She Work Very Hard'. The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette's drums and Derrick McIntyre's bass funk groove bring everyone to the dance floor. 'These stories won't be forgotten. Feel the music: it speaks to everybody,' Williams says. 'We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.'

Doko Mien: Tell me everything. On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.