Hip-Hop Vinyl New Releases - News

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

Crossings was the second release by the Herbie Hancock Sextet lineup known as the Mwandishi Band, following 1971's Mwandishi which stretched Hancock's already-adventurous writing and expanded the music through post-production. This approach would play an even larger role on Crossings, the pianist's final album for Warner Bros.

For two of Crossings' three pieces ("Quasar" and "Water Torture"), Hancock took basic instrumental tracks to Patrick Gleeson's Different Fur Studios, hoping to learn how to play the Moog synthesizer. Instead, Hancock let Gleeson contribute layers of sound to both pieces. On "Quasar," a ballad in 7/4 time, Gleeson extends the horn playing of Bennie Maupin, Julian Priester and Eddie Henderson through electronic accents, while on "Water Torture," he provides a ghostly counter melody on the Mellotron, a keyboard that utilizes samples from string instruments.

These studio enhancements give Crossings an otherworldly dimension, making the album feel bigger and more fantastical, yet the Sextet's playing - recorded without much in way of edits or overdubs - keeps everything grounded. Indeed, Gleason's additions are often so natural that it is hard to pick out what's acoustic and what's synthesized.

While the Mwandishi Band's tenure was unfortunately short-lived, the advances Herbie Hancock made with them still sound exciting today and would propel him into further inventive territory with future jazz-funk project The Headhunters.

Two previously album-only jazz dance classics. Vibes player Johnny Lytle always made records that were full of soul, but 'Selim' - released on the tiny Tuba label - is a step above. A shuffling modal classic, this is essential.

Finnish electro-tropical ensemble Maajo is delivering a new Queen Nanny EP with Ismaila Sané from Senegal. Currently based in Finland, Sané started his career as a dancer and percussionist in Dakar in 1974. He has since pursued an extensive international career and worked with the likes of Jimi Tenor and Piirpauke. Ismaila and Maajo have produced two powerful songs in Jola language, spoken in Casamance, Southern Senegal. Sèmbè is an off-beat mix of disco reggae grooves, dancehall rhythms, trancey synths, and African gospel. The dub version on the flipside does what a dub is supposed to do, strips the track to its bones for bass-heavy sound system. The second track, Anaata, is a dark and mellow dub disco groover with an equally sublime vocal performance from Ismaila Sané.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDING INSERT
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON FLAME COLOURED (YELLOW & ORANGE MIXED) VINYL

The post-hardcore band Orange 9mm released their debut studio album Driver Not Included in 1995. Listeners will get excited about their East Coast hardcore with flashes of metal and funk. This album rocks hard, but slows down to give the listener a break from all their energy and raw power. 'High Speed Changer' and 'Cutting and Draining' are two outstanding tracks. With the forceful choruses and intensive bass riffs they're giving you just a quick moment to catch some breath, before the band's moving on to the next song. It definitely deserves a place among the list of important '90s hardcore releases.

Driver Not Included is available as a limited edition of 1000 individually numbered copies on flame coloured (yellow & orange) vinyl.

Description : Following on from the 'Apache Shedits', the first pressing of which sold out on Daytoner's Bandcamp in 2 days, Daytoner returns on the Friday's Funky 45 label with another limited edition 7' - the 'Rocksteady Shedits'. These Daytoner reworks of 2 classic Rocksteady records have proved very popular in digital form having clocked up over 1/4 million Soundcloud plays, featuring in many radio shows, DJ mixes and blogs, but despite regular requests, they've never been released on vinyl, until now! Side A features Marcia Griffiths feel good anthem 'Feel Like Jumping', tempo-locked and tweaked for DJs with a hip-hop back beat, FX and vocal samples, whilst the flip features Phyllis Dillon's classic undergoing similar treatment for festival season.

Digitaldubs present a reworked version of the classic Gilberto Gil tune form his 1977 LP of the same name. With Gil's original vocal, coupled with Jeru Banto on the mic.

Established in 2001, Digitaldubs was the first reggae sound system in Rio de Janeiro, creating a new chapter in Brazilian reggae culture. Their productions fuse the mood of UK dub, Jamaican dancehall, all with a Brazilian accent.

Reginald Omas Mamode Iv Is Set To Release His Third Album 'where We Going' Via Five Easy Pieces On 10th May 2019. The Album Was Partly Recorded On A Journey To The Mascarene Islands In Search Of Family Roots. 'where We Going' Is Reflective Of The Search For This Lineage, Which Branches From Ancient Mauritian Maroons - Whose Rich Heritage, Music And Culture Includes An Unrecognised, Undocumented Resistance To Colonialism - Though Swahili And Malagasy To Sugarcane Plantation Creole Slave Decent. Influenced By Golden Era Hip-hop, Jazz, Soul, Afro, Funk, Sega And Maloya, And Music From Africa, The Caribbean, South London And Us, It Is In Part An Attempt To Evoke Feelings Of Universal Love And Compassion. Mamode Recorded The Album Using Various Drums And Drum Machines, Percussion Instruments, Fender Rhodes, And Roland And Korg Synthesizers. His Two Earlier Albums - 2016's S/t Debut And 2017's 'children Of Nu' - Were Warmly Received, Collecting Critical Success From Mojo ("a Brand-new-retro Delight"), Mixmag ("peckham Beat Brilliance"), Record Collector ("equal Parts D'angelo To J Dilla"), The Wire ("soul Music Turned All The Way Inward"), Dj Mag "a Masterpiece") And Bandcamp ("lifeforms That Are Equally Steeped In Hip-hop, Funk, Soul And Jazz"). He Was Also Nominated For 'album Of The Year' At Gilles Peterson's Worldwide Awards 2017. Along With Mo Kolours, Jeen Bassa, Henry Wu, Al Dobson Jr And Tenderlonious, He's Helped Forge In The 22a Co-operative That The Fader Calls "a Kaleidoscopic Patchwork Of Hip-hop, House, And Groove Investigations Bound By One Thread: A Timeless Belief In Rhythm As A Universal Language

DJ Center and Sly5thAve share a love of two things: the drum heavy, 'Samba-Jazz' of Brazil and the transcendent songs of the Queen, SADE Adu.

Coming off the success of Sly's epic orchestral interpretation of Dr. Dre's music, The Invisible Man and Center's Afrobeat-infused dance floor rocket, Dem Say Ah (feat. Akoya Afrobeat), the two come together for this future soul session- fuelled with cosmic synths, driving bass grooves, funk-filled guitar licks and a samba backbeat to match.

The lush vocals on the tune come courtesy of Rio de Janeiro's own, Thalma de Freitas, who styles on this version of Sade's Paradise, dancing between lyrics sung in both English and Portuguese, ending in a smoky jazz scat to take out the song. Thalma's melodies transport us to a magical place that we never want to leave, one that could only be found in paradise. A Paradise that Sade once described in 1988, and now one that DJ Center, Sly5thave and Thalma de Freitas revisit in 2018, with their own style and flavor.

The original artwork found on the cover is blessed by the amazing, Indie 184.

Night Drive encourages you to enjoy the ride with your car windows down, and volume & bass at
the highest volume possible. Cruise the back roads during Sunset hours, or through some city
lights, as the album titled track 'Night Drive' gives you a warm & fuzzy funky feeling from head to
toe.
'Moving And Dancing' will surely make you move every limb in your body, and it's set to be a
dance floor jam in 2018 & beyond. This melodic groove & retrofit tempo features Brian Ellis on
guitar & Chini on Vocoder & production, setting the upbeat tone for the remaining tracks off the
album. 'Freak Out' features the iconic Linn Drum, who pulsates a heavy groov & Moog bass line
from start to finish. Crunchy vocoder lines, soft pads from the Oberheim, and Chini's experimental
live drumming at the end is sure to make your body move.
'High Life' brings an arrangement of synthesized vocal pads from the Sought-after Korg DVP-1,
which will make you feel like your head is in the clouds. A four on the floor disco tempo from the
LINN drum, a catchy delayed lead & dry bass line form a psychedelic tinge & feeling. This track sets
itself apart, and hopes to please music lovers everywhere. 'Waiting All Night' features Portugal's
underground Funk front man Sair, while Boy Dude (Adam Chini's brother) lays a funky bass line
over the top from start to finish. 'Wanna Do Ya' is a track strictly for the Break dancers & Poppers.
Layered vintage drum machines, Jonzun Crew sounding vocoder parts, and a dirty bass line, set an
aggressive mood for the second to last track. Chini takes you on a wild ride, while closing this track
out with his heartfelt lead solo. 'Clap Boogie' was meant for the 1970's. Chini drives the tune with a
loose style of live drumming, Stevie Wonder influenced clavinet work, dirty bass lines, Brazilian
instruments, live percussion, and more. Cruise in a low-rider & turn the volume up. This tune sets
the tone for what's to come from Chini's future production & style, and will leave you wanting more.

One big tune a day keeps the evil away! Happy to welcome the notorious dub masters Dubbing Sun & Digid on our next output. This monster EP from the infamous duo features Troy Berkley on the vocal and Dj Madd on remix duties. Big tunes!

Gratitude's rare Canadian disco 12" is well know to the heads, there is also a VERY rare 7" with a slightly alternate mix that is almost entirely unknown (not even listed on Discogs).

'We Are Here To Party' is a driving Deepfunk disco banger in the vein of King Tut. On the flip 'Loving You' is a Chic influenced disco production as strong as the A-side, always good when its a solid flip as well. We have taken the 12" Versions and put it on to 45, the forthcoming David Haffner compilation will have the even rarer 7" Version on it. Back into disco turf, loads more on the way.

Obas Nenor prepares his Nenorion imprint's third release this July with 'Warm Yellow Stickers' EP. Tel-Aviv's own Obas Nenor has been DJing and producing for over two decades with prolific releases on iconic labels such as Moodymann's Mahogani Music, Defected, Strictly Rhythm and Heist Recordings to name a few. For this new release, the talented producer returns to his own Nenorion imprint with a 4-track EP packed with his signature, wild dancefloor goods.

Utilizing a variety of vintage synths, Fender Rhodes, percussions, guitar and bass while bouncing samples back and forth to his trusted MPC3000, Warm Yellow Stickers is as heady as it is club friendly.

The title track Warm Yellow Stickers (Part I & II) kicks things off with enigmatic vocals chops, otherworldly synths and a swinging bass groove all shuffled into a cosmic disco saga that takes on many turns and twists. Next is Everybody which is warm as a summer breeze with its guitar strums, delayed chord stabs and naughty synth gestures.
Love gets real on the flip side with Wrapped in Plastic which features Jenny Penkin on vocals (who collaborated on his recent Defected release titled "My Intuition") and bended keys backed by escalating pads. Last but not least, Movin' wraps things up with a head nodding groove and funky vocoder vocals that will get stuck in your head long after you're done listening.

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 750 NUMBERED
COPIES ON ORANGE VINYL

Primarily released to showcase the sublime talents of one of Jamaica's most celebrated vocal trios, The Heptones, the aptly titled Heptones & Their Friends album features a selection of superior reggae sides by the group alongside hugely popular works from the three of reggae's biggest stars of the period: Judy Mowatt, Nicky Thomas and Peter Tosh of The Wailers.

Backed by top session crew, the Now Generation, the Joe Gibbsproduced selection is of a predictably high standard throughout, with highlights including Be The One', a pitch-perfect slice of classic roots, a gloriously cheesy pop cover of the Drfters' Save The Last Dance', the strident Freedom To The People' and one of the biggest Jamaican hits of the early 1970s, Hypocrite'.

Too $hort's legendary 1992 effort 'Shorty The Pimp' is back in effect on vinyl thanks to the hip hop preservationist at Get On Down. Though many don't consider this to be one of Too $hort's strongest releases, the project did move well over 80,000 in its first week of release landing at Number 6 on the Billboard Top 200. Taking the title from the incredibly rare 1973 Blaxploitation film, Too $hort does what he does best on Shorty The Pimp: funk beats, boastful braggadocio, a few conscious rhymes and layers of straight up pimp talk. The lyrical content can certainly be considered comical and entertaining. 'Shorty The Pimp' is also a stand out project for producer Ant Banks who did many of the beats for the project, his first works with Too $hort with many more to follow over the next decade. Oddly enough, one of the best comments on 'Shorty The Pimp' comes from a random guy on the internet who commented on his experience listening to the release, 'I ran my car into a tree after listening to 'It Don't Stop' Definitely made for cars with the booming systems!'

PRESSED ON ORANGE COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 1000 COPIES

2023 is the year of Too $hort at Get On Down with our 4th reissue and album number 7 in the catalog of the Bay Area legend. Shorty The Pimp was released 31 years ago on July, 14, 1992 and has not been in print since we originally reissued it on wax in 2018. Taking the title from the incredibly rare 1973 Blaxploitation film, Too $hort does what he does best on Shorty The Pimp: funk beats, boastful braggadocio, a few conscious rhymes and layers of straight up pimp talk. The lyrical content can certainly be considered comical and entertaining. Shorty The Pimp is also a stand out project for producer Ant Banks who did many of the beats for the project, his first working with Too $hort with many more to follow over the next decade.

'Willow' has been his most anticipated record to date, and its release will mark more than 12 months since Viken Arman's last EP 'Aragatz'. As you step into the musical world of Viken you will soon find out that the musician has taken an interesting turn in his sound.The EP is building a bridge between the electronic music and the artistic environment Viken grew up with. Whether it
was Jazz or Classical, music was omnipresent in his family, and this EP gives you a chance to catch some of these colours.Viken searches through these cultures to create a powerful musical dialogue giving the impression that these influences are talking to each other. Throught his EP, Viken explores his own identity as both an Armenian and a Parisian, as both a musician and a producer.

* 'Inventing Massive Attack, Soul II Soul, Tricky, Portishead, Bjork, Mo'Wax, trip hop, The Bristol Sound, Roni Size and just about every British dance record since 1988 that has attempted to meld dub, ambient and hip-hop beats. Ladies and gentlemen, give it up for Smith & Mighty.' Garry Mulholland, from 'The 500 Greatest Singles Since Punk and Disco'

* 'Though most people will think of Massive Attack, Portishead or even Roni Size when asked about Bristol's influence on UK music in the late 80s and 90s, really none of them have had anywhere near as much of an impact as Smith & Mighty. With a hand in the development of jungle, dubstep and the particular of-Bristol-ness that so defined the aforementioned artists, their influence is comparable to that of the city itself.' Crack

* 'Smith & Mighty are producers and originators. From 1985 onwards they took lovers rock, mixed it with heavier modern beats and came up with a new sound. All you needed was the drums, the voice and that spatial dub awareness to create something special.' Test Pressing

* Celebrating 30 years since their first release, on November 9th foundation laying forefathers Smith & Mighty release 'Ashley Road Sessions'. This special one-off double label partnership between Pinch's Tectonic and Peverelist's Punch Drunk is an endeavour in homage to their Bristol neighbours, whom they both hold in high regard.
* "Smith & Mighty are true pioneers in music whom I've found deeply inspirational on many levels. Tracks like 'Closer', 'U Dub' and 'Same' are some of my all-time favourites. To be putting out these unreleased gems is such an exciting project for both me and Tom. We both took a great deal of influence from Smith & Mighty - especially from 'Bass Is Maternal' - the album and era from which most of this compilation's source material originates." Pinch
* It's irrefutable and well documented that Smith & Mighty are integral to the story of Bristol music, but the duo (and occasional trio) are accountable not only as key proponents of that local sound, but also for propagating the wider array of much urban and electronic music, to this day.
Despite being inextricably linked to the South West England sound, 'Ashley Road Sessions' proffers an array of styles, the breadth and spectrum of which might surprise. Breakbeat, hardcore, balearica and acid house all feature as prominently as the dub, reggae, hip hop beats and soul for which they're most commonly associated. 'Smith & Mighty's lack of genre tribalism and melting pot approach certainly influenced how I make music', comments Peverelist.

* Especially timely in light of the recent breakbeat and jungle revival, this important document feels both historical and relevant, with the classic hip hop sample, crisp breakbeats and Gat Décor bass of perky opener 'Always Be There (Step Up)' sounding remarkably current.

* Airborne dub fx float around heavy beats on the sparse pulse of 'Stalagnate', which wouldn't seem out of place on Bokeh Versions, sounding both vintage and very now.

* The aptly titled 'Morning Light' surely soundtracked the end of long orbital rave nights, straddling funky hardcore breaks, emotive melody, sub bass and heartening Balearic optimism.

* The deft break chopping of 'Film Score' shows they could do deep jungle as well as anyone, contrasting with 'Higher Than Tempo' - a cerebral slow IDM trance dance, that was post 'E2 E4' and pre 'Landcruising'.
'Dub Song' seamlessly blends hardcore, jungle and steppers with a smooth liquidity, whilst frenetic sixteenths, hard snares and purring bass drive the skeletal head-snapper 'Through A Dark Cloud'.
Percussion and drum machines meet melodic chords on 'Leaving Pt 1 & 2', which exemplifies the plaintive, melancholy British bass, later made famous by Massive Attack.

* As FACT so aptly put it, 'with their productions it's all about the separation of sounds. The sense of size and distance between that massively present bass and the far distant subliminal instrumentation gives a sense of immersion, plunging you into an opiated dream of future cities.'


History:
* Bristol in the early eighties had both strong punk and reggae/soundsystem scenes, which birthed The Pop Group and later Rip Rig & Panic.

* One of the city's underground hangouts was the infamous Dug Out club, where DJs like Daddy G and Manfred from Def Con played soul, funk, post punk, reggae and eventually electro and hip hop.
In those days, Rob Smith was playing guitar in a local reggae band, while Ray Mighty belonged to the Three Stripe Soundsystem.

* They eventually met musically whilst in another local band named Sweat, where they discovered a mutual punk/DIY ethic and interest in linking beat machines, synths and sequencers together, which was relatively new at the time.
When Sweat eventually split, the pair got together, built a studio in Ray's flat on Ashley Road in St Paul's and started a label called 3 Stripe, in order to release their own records. They were not prepared for the interest this would generate.
1987 saw S&M's first release of sorts, whereby their version of 'Gymnopedies' by Erik Satie had vocals added by Mark Stewart (& The Mafia), who released it as his 12' 'This Is Stranger Than Love'.

* In 1987 Jackie Jackson visited Ashley Road, voicing 'Anyone Who Had A Heart' and 'Walk On By'; two sixties hits made famous by Dionne Warwick. By the following year Rob & Ray had worked the first of these recordings into a downtempo sound which blended dub, reggae, hip hop beats and even samples of the original track. After an introduction by Grant (Daddy G) to Lloyd at Revolver distribution, the pair released their first four track 12' 'Anyone' in 1988. The EP was to stay at the top of the indie chart for weeks. Smith & Mighty were up and running.

* 1988 saw the duo release a further 3 12' singles on 3 Stripe Records: R+R 's 'Acid Off A Way PT1&2', 'Walk On' (their second with Jackie Jackson) and 'Clash Of The Beats' featuring M.C. Kelz. That year also saw S&M mix and produce Massive Attack's first release - 'Any Love' - featuring Daddy Gee and Carlton.
In 1989 Smith & Mighty continued working their mixing and production magic with top 10 chart hit 'Wishing On A Star' by Fresh 4 Featuring Lizz. E (an act that included future D&B stars Krust and Suv), plus remixes of Neneh Cherry's worldwide smash 'Manchild'.

* They also signed to major label London records offshoot FFRR in '89, who in 1990 released the S&M-produced album 'The Call Is Strong' by Carlton. The album 'stiffed', but was later cited by critics as an unsung British soul gem.
'Steppers Delight EP', which featured the proto jungle track 'Killa' was released in 1992, then in 1994 they were dropped by FFRR, who didn't understand what the duo were about, expecting 'hits', in typical major fashion. This may have been a blessing in disguise, as the 'compromised' album they were coerced into delivering was permanently shelved.
Bruised and confused but bouncing back, they returned to the independent underground and formed More Rockers Records in 1995. They went back to the studio, salvaged some of the cooler elements from the failed deal and made a completely fresh and much more representative album - the now classic 'Bass Is Maternal' - released in 1998.
Interest in their sound picked up again almost immediately and they were invited to record a mix for the 'DJ Kicks' series on !K7. This new relationship proved fruitful and a 3 album deal was signed.
After the success of new album 'Big World, Small World' in 1999 and extensive world touring, 'Bass is Maternal' was reissued by !K7 with a much bigger release campaign. A difficult third album released in 2002 was met with mixed response.

* Rob Smith went on to release albums with Grand Central Records and Japanese labels Rush and Zetai Mu. Then one day whilst shopping in Bristol's Rooted Records, he had a conversation with Tom Ford AKA Peverelist, which led to a 12" release on Tom's Punch Drunk label, under the name RSD (Rob Smith Dub). This was the first in a string of 'dubstep' releases, that quickly attained classic status within the burgeoning and world-recognized Bristol scene.

The Sound Exhibitions, for this release we are happy to present an EP with two songs with influences 'Afro Funk', the version titled Karma Experience and a song with a sharp groove from a very hot bass and ethnic sounds that give a magic to the song. The second song titled Soul Free and a fusion of various genres but stands out an Afro groove, certainly will be appreciated by the dance floors.

600 only very limited ONE OFF PRESSING

Two all time Funk Soul dance floor monsters. from the Skull snaps' album. Dynamite Cuts is releasing these two gems as a limited edition 500 only pressing showcasing's the two best tracks on the album. Both huge Hip Hop samples and club classics

Track A - It's a new day' Boom, this hip shaking floor moving dance track. Has it all, Killer vocals and driving funky groove enchanted with a super heavy drum pumping throughout - Sampled by almost everyone hip hop, soul, drum & bass, indie pop

Track B - Trespassing' with its signature sample info this super heavy soul groove is a top class party anthem never before on 45 vinyl must have track

Sampled by Organized konfusion

At the corner of Living Legend St. and OG Ave. you will find Lee Fields' house. A home that was built with blood, sweat, and tears, and stands on the unshakable foundation of his god given talent. Lee has been singing for 50 plus years and is undeniably, yet amazingly, at the top of his game. Those who have paid attention know that Lee is part of the class that is directly responsible for the revival of old school funk and soul. He has inspired many of today's younger artists who are doing their best to carry the torch. As long as the road has been, and heavy as the crown may be, Fields is proving yet again that he's 'still got it'. His latest offering is sure to be a warmly received instant classic. It Rains Love is the 2nd album by Lee Fields & The Expressions on Brooklyn's Big Crown Records and gives us yet another masterclass in soul. Teaming up again with frequent collaborator and producer Leon Michels and his devoted band, The Expressions, they have managed again to take a classic approach and update it. Traditional soul sensibilities are mixed with a hip-hop tinged, sample ready sound that is as much an homage to the old as to the new. Some of the songs sound like they could belong to any of the last 4 decades without it feeling like a throwback, while others are 60's soul through and through. Lyrically, Lee runs the gamut from gushing admonishments of love to politically charged calls to action, from proclamations of God's existence to love letters written to his wife. This record marks the fifth studio album from Lee Fields & the Expressions and we are very proud to add it to the already impeccable catalog they have created together. Another strong offering by a man many people consider to be a national treasure, the professor of love himself, Mr Lee Fields. It's all love baby!

Fresh from 1981... this is Leroy Burgess' grand boogie masterpiece and one of the greatest albums of the post-disco era.
Re mastered for 2015 and released in conjunction with Salsoul. 8 classic tracks including the Larry Levan remix of " I Know You Will".

-ku Might Be The Modern Day Renaissance Man. Haven Risen To Prominence As One Of Australia's Most In-demand Beatmakers, The Perth-based Artist Has Found Himself Curator Of A Rapidly Expanding, Multi-disciplinary Creative Empire.

Borne From A Late-night Sideline To His Day Job Shilling Health Insurance, Ta-ku's Music Has Quickly Become A Global, Full-time Concern. From Early Days Uploading Chopped Hip-hop Cuts To Soundcloud, The genre-killer''s Prodigious Credits Now Include Ambitious Projects Like 50 Days For Dilla, High-profile Remixes For Flume, Chet Faker, Banks, Childish Gambino And Justin Timberlake, As Well As A Clutch Of Co-writes, Production Efforts And Countless Self-releases.

Teaming Up With Jakarta Records On The 823 Joint Label Venture, Ta-ku Is Sharing His Now Classic '25 Nights For Nujabes' Project As A Digital/vinyl Release Alongside Two Completely New Bonus Tracks - Both Featuring Toronto Based Producer Matt Mcwaters. Drawing Inspiration From The Likes Of D'angelo, James Blake And J Dilla, Matt Mcwaters Fuses Modern Electronic Production With Soul And Indie Undertones. A Love For Smooth Basslines, Soulful Keys And Catchy Melodies Allows Him To Carry Out His Vision With Every Track.

25 Nights For Nujabes. A Beat A Night For 25 Nights In Dedication To Seba Jun. His Music Was So Full Of Emotion And Beauty. Rest In Peace. - Ta-ku

Incredibly unique concept album from the one and only, Tom Ze´. As featured in
Rolling Stone magazine's 100 Greatest Brazilian Albums of all-time list (2007).

One of Ze's finest albums in our opinion, originally released by Continental
Brazil in 1976 - a tough one to find at a good price in its original form now.

'Estudando do Samba' (or 'Studying The Samba') is a post-Tropicalia studio
experimentation laiden with layers of hypnotic percussion, effects & samples
that deconstructs the 'samba' form. Recorded during what was arguably his most
creative period.

David Byrne found the record in Rio in the late 90's and included several songs
on his Tom Ze collection for Luaka Bop a few years later. At that time Tom was
not recording or touring much; playing low-key shows in Sao Paulo and
contemplating a move back to Irara´ to work at a service station owned by one of
his cousins. Byrne's project helped to reignite his career and he hasn't looked
back since.

Official Mr Bongo reissue. Licensed courtesy of Warner Music UK Ltd.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- PRINTED INNERSLEEVE WITH LYRICS
- DEBUT ALBUM, INCLUDES THE SINGLES 'GORIK
PT. 1' AND 'SHIT IS SO GOED' FEATURING SELAH
SUE & DARRELL COLE
- LIMITED FIRST PRESSING OF 1500 INDIVIDUALLY
NUMBERED COPIES ON RED VINYL (LP1) AND
GREEN VINYL (LP2)

For Gorik, alias Zwangere Guy, 2018 was the year of the great breakthrough. By releasing his first solo album 2019 must be the year of the big takeover. He is one of the key players in the Brussels Hip-Hop scene and also part of Hip-Hop collective STIKSTOF. 'Who Is Guy' Contains the heart-breaking single 'Gorik Pt. 1 '.

Wie is Guy Is available as a limited first pressing of 1500 individually numbered copies on red vinyl (LP1) and green vinyl (LP2).

First Word Records are thrilled to announce a brand new addition to the label - LA beatmaker and producer 14KT.

Known for his deft, soulful hip hop production, KT has broadened his palate for his FW debut to create 'For My Sanity', the first offering from his jazz-influenced project IAMABEENIE.

The album will be released in early 2019, but we couldn't wait that long to share this taster of what 14KT created as a form of escaping from his "normal" ways of making music. Case in point: the first single taken from the project - 'The Power of Same' feat. Muhsinah.

Strongly rooted in KT's spiritual practice, 'The Power of Same' is a bass and synth-heavy ode to consistency and unconditional love, laced nicely together by his signature drum lines, harmonious guitar riffs (played on the track by Stro Elliot) and the unmistakable sound of James Poyser (The Roots). Vocal powerhouse Muhsinah adds layers of emotion via her endearing delivery of the core message, and, deep in the background you can hear KT sharing a very personal routine with us all - giving thanks to God.

How much of a personal project this is, in 14KT's words "This was inspired by a bible study plan I was reading called The Power of Same. It spoke about the power of being consistent in our lives. I thought about how consistently God's love and my family's love have gotten me through my journey of life. Once I made a "skeleton" of the song, I reached out to the brother James Poyser who I was extremely blessed to work with. My brother Stro Elliot was living right down the street from me at the time. One night he walked over to my house, I played the record for him, he picked up my electric guitar and played the first thing that came to mind - which was perfect. I played the record for my brother Tall Black Guy, who suggested I reach out to Muhsinah to add vocals. I sent the record to her and two days later she sent me exactly what you hear. Amazing. That was definitely the spirit of God working. Huge shout out to my Playlist family. Love y'all."

To date, 14KT has released seven solo albums, as well as his collaborative hip hop album, 'Takin' Ls' with emcee Ozay Moore, R&B/soul album, 'Saturn Return' with singer/songwriter AB, and 'The Big Knock', together with Mayer Hawthorne as Jaded Incorporated.

Last year saw another duo collaboration album with Michigan rapper Ro Spit, entitled 'RSXGLD', a project held in high regard by the global hip hop community.14KT is also part of Jazzy Jeff's Playlist Retreat, alongside our very own Eric Lau, Tall Black Guy and Kaidi Tatham, who also turns out an unmistakably dope remix on this 7" single.

A very warm welcome to the family, KT!

'The Power Of Same' is available on 7" and all digital platforms on March 1st 2019.

291out ensemble return on Fly By Night with another well orchestrated project by Riccio.

The latest release on FBNM, 291out - Habbanera is thematically inspired by the 1982 Italian film score, "No Grazie il Caffè Mi Rende Nervoso" "No Thanks, Coffee Makes Me Nervous".

It was originally composed by James Senese and directed by Lodovico Gasparini, "Habbanera" has only previously been released on Senese's self titled LP in 1983.

This four tracker includes two new versions of the main title theme "Habbanera" and two remixes by the two Italian pioneers of house music and the balearic sound; Leo Mas and Fabrice.

291out "Original Version" is a cover of the main score theme, which also features on Senese's 1983 LP; the "Alternate Version" is also taken from the movie, but from a different scene, which has the same melody of the opening theme but with a different rhythm, never having been released before and completely reassembled by 291out.

Leo Mas & Fabrice provide two different cuts, one pitched-down boogie slow jam and one 4/4 dance-floor banger.

291out are:

Luca 'Presence' Carini: Electric Bass

Tancredi Duccio 'Nagarrius' d'Alò: Electric Guitar / Mandoline

Floriano 'Maja' Bocchino: Electric Piano

Antonio 'Totem' Bocchino: Drums

Den Lacava: Saxophone

Of course the 1982 original is a modern soul anthem. Since 2016, when we released it on a 7'' single for the first time, Gregg and I dreamt of One For The Road's next blessing. Our mutual love of Philly Soul meant there was only one man on the planet who could fulfil this dream; Nigel Lowis!

Imagine the elation when Nigel conjured up not one, but two distinct and incredible versions. Ladies and gentlemen, we are proud to present The Nigel Lowis Uptown & Downton mixes of One For The Road!

Gregg's wife, Amina sadly passed away last year and we dedicate this record to her loving memory.

Paul Fox has created a new album full of flavours from around the world, tastefully mixing genres but all with a conscious reggae flavour. Working with musicians and vocalists from Africa, Serbia, UK, Italy, America and the Caribbean, the album is an interesting mix that will provoke thought and hopefully make you move your dancing feet.

Als Teil des Hip-Hop-Trios Migos landete Takeoff zuletzt mit Culture II auf Platz 1 der US Albumcharts
und sicherte sich eine Platin-Auszeichnung.
Nachdem bereits Migos-Mitglied Quavo sein Soloalbum releaste, ist nun Takeoff an der Reihe und
präsentiert seinen Fans ein 12 Track starkes Werk. Auf The Last Rocket gibt Takeoff seine vielseitigen
Rap-Skills zum Besten und überzeugt das internationale Publikum mit Tracks wie Infatuation oder
Casper.
The Last Rocket ist ab dem 08.03.2019 auf Vinyl erhältlich.

The Wailers cover Marley songs, recorded with the guitarist Lloyd « Guitsy » Willis at the Harry J Studio in Kingston, Jamaïca in 1976.

Radioactive ist das Debüt-Album von Yelawolf, das ursprünglich im November 2011 bei Shady
Records und Interscope Records veröffentlicht wurde. Das Album deckt viele verschiedene Arten von
Hip-Hop-Fusionen ab und stellt alternativen Hip-Hop als Genre dar.
Jetzt auf schwarzem Vinyl (2LP) erhältlich!

Bei Flatpocket Dreht Sich Alles Um Die Scheine Oder - Um Es Genau Zu Nehmen - Um Das Nicht Vorhanden Sein. Das Erste Album Von Flatpocket Hieß "geldfundphantasyen" Und Erschien Im Jahr 2012. Sechs Jahre Später Sind Twit One Und Lazy Jones - Die Beat-genies Hinter Dem Projekt - Immer Noch Pleite Genug, Um Ein Ganzes Album Darüber Zu Machen: "dispo Ii Dispo". Obwohl Flatpocket Durch Samples Und Dialoge Die Ganze Zeit Über Geld Spricht, Ist Der Subtext Eigentlich Die Ablehnung Des Materialismus Aus Einer Künstlerrischen Perspektive. Klanglich Ist Es Ein Halbes Beat-tape, Ein Halbes Hörspiel Und Ständig Dope. Inklusive Features Von Hulk Hodn, C.tappin Und Bob Marley.

BBC Radio Quotes:
Zoe Ball "Frippin LOVE LOVE it!" - It Just Goes
Craig Charles: "It's a tune!" - It Just Goes
Tracks taken from the album have so far received 7 Plays on BBC Radio 2 and 6 Music from Zoe Ball and Craig Charles.
Regional spot plays on BBC Radio Cornwall, BBC Radio Bristol, BBC Radio Jersey, BBC Radio Devon, BBC Radio Guernsey and BBC Radio Somerset. Specialist plays on Jazz FM and Mi-Soul (Deadly's Mi-afternoon delight, Dave VJ,)
It Just Goes was Playlisted Delite Radio and Radio Krimi
Other spot plays on radio from RTE Pulse, KaneFm, Solar Radio, Eastside Radio, 1BTN, Dubmission Radio, Republic 100.3 Thessaloniki, Ketch A Vibe, WBAI 99.5FM, Milk and Chocolate Radio, Radio Pepper 96.6 Greece, AllFm Manchester.
DJ support comes in from Satin Jackets, Marc Hype, Mat the Alien, Basement Freaks, All Good funk Alliance and Noble & Heath