- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL
The famous Jamaican record producer Duke Reid founded record label Treasure Isle in the 1960s. Some of his best production skills can be found on the compilation album Here Comes The Duke. Showcasing the talents of some of the giants of the rock steady era, the recordings, all issued during the latter half of '68, demonstrate just why the Duke is widely regarded as the king of the rock steady sound. The grooves are thoughtful and the brass section adds the right attitude to the different songs.
Here Comes The Duke is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.
Last year we welcomed Grup Ses to our sister label Sucata Tapes with "Program #01", a mystically mixed soundtrack of far-out new age and film sountracks from Turkey circa 1986. A new set of Turkish delights were prepared for this year's release. "Deli Divan" it's a two-part record with incredibly crafted beats that tell a different story depending on the version you chose to listen.
A side captivates by its voracity. Hi-tech and fierce beats drop with the sharp voice and flow of Ethnique Punch, delivering 14 - yes, f-o-u-r-t-e-e-n - short and punchy tracks. The diggin' liveliness
of Grup Ses is well present in the samples used, manufacturing beats that serve well the fast paced and nocturnal voice of Ethnique Punch. The first part of "Deli Divan" is pretty much a straight story. A good one.
But then comes the surprise. The other side. The same fourteen tracks without voice, just the beats. And here "Deli Divan" tells a completely different story. It loses the emergency, darkness and
robustness of the A side, specially because the beats float on a limbo without a voice. But that limbo reveals the straight forwardness of the beats created by Grup Ses for this record. There's a hidden narrative here, without the voice the short tracks connect like an outer world radio broadcast.
But there's no narrator. Just time-travelling beats that interlink past, present and future, synthetizing complex ideas in short bursts of 1 or 2 minutes. A Deli-Delight this is.
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Hot on the heels of their acclaimed album 'Tikounen' - an album the Guardian called 'aleap forward in the modern Tuareg sound...truly radical' - Kel Assouf return with an even more transformative collection.
Produced by the band's keyboardist Sofyann Ben Youssef, the mastermind behind AMMAR 808, the new album strips things back to a power trio and focuses on the crackling, electric energy of Nigerian front man Anana Ag
Haroun's next level Tuareg rock songs. Available on CD and 180g heavyweight vinyl Anana exudes a steadied yet powerful charisma when he walks onto a stage. Wearing his trademark Panama hat and holding one of rock
and roll's most archetypal guitars - a Gibson Flying V - both his presence and his music personifies the interconnected paths he has travelled in the past years Kel Assouf's musical journey has flowed seamlessly from the well-spring created
by Ishumar desert rock pioneers Tinariwen - that Haroun first encountered as a young musician in Niger - towards sonic horizons that include the rock classicism of groups like Led Zeppelin, Black Sabbath and Queens of the Stone
Age and the club beats and astral ambiance of European electronic music. On Black Tenere, the band pushes these different textures and influences towards a persuasive, raw-edged crescendo.
The Wire - review + promoting/streaming the album on their website ahead of the release
Additional reviews expected in MOJO, The Guardian, Sunday Times and more broadsheets/music magazines.
Radio: Plays and support from The Cerys Matthews Blues Show on BBC Radio 2 / Gideon Coe on BBC Radio 6 Music / The Tom Robinson Show on BBC Radio 6
Music / X-Posure with John Kennedy on Radio X Plays with On The Wire on BBC Radio Lancashire, African Caribbean show on BBC Radio Leicester 104.9FM, The Outerglobe on Resonance 104.4fm London,
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Max Romeo has teamed up with UK based, Grammy Nominated Producer Daniel Boyle, to create a stunning return to form, Roots Reggae album with accompanying Dub versions.
''Max is noted for his critically acclaimed work with Lee Scratch Perry in the 1970's, and for his timeless classic songs penned over the last 50 years - Such as 'War ina Babylon' 'Melt away' 'one step forward' and the worlds most sampled reggae song ever -''Chase the Devil'. Picked up by artists such Jay Z, Kanye West, The Prodigy and Blockbuster hit movies.
Max and Daniel have teamed up with an all-star cast of musicians to create a true Part 2, to Max's legendary, ''War Ina Babylon'' album. Using strictly Studio equipment ranging from between the 1950's - 1970's, recorded and mixed in 100% analogue format, and presented with stunning artwork in Physical format.
Nyami Nyami Records present a lost piece of Zimbabwean musical history: the only album from local legends the New Tutenkhamen, combining Jazz, Soul, Folk and Township rhythms. There are only 2 known copies of the original LP - this reissues make the music available again for the first time in over 40 years.
The New Tutenkhamen included many stars of Zimbabwean township music: Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano's long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher 'Chex' Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen's most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax.I WISH YOU WERE MINE was recorded at Teal Records and was produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic 'Skokiaan', and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the heavyweight producing talents of Matema and the writing chops of Josamu, the New Tutenkhamen band created an album showcasing various musical styles popular at the time.
From the afro-jazz jam session aesthetics of 'Tutenkhamen Theme', 'Big Brother Malcom' and 'Forever Together', to the almost Van Morrison-sounding 'Sunday Morning'; from the upbeat rock ballad 'True Love', to the funk-infused dance song 'Togetherness'; from the bouncy jazz exhortations to work hard in 'Ane Nungo', to the brassy, raunchy foot-stomper 'Me & Dolly'. The title track 'I Wish You Were Mine' is a ska-infused ballad that wouldn't be out of place in post-war Birmingham, while the star of the show is 'Joburg Bound', itself a fast-paced rock piece with Motown undertones and funky guitar lines.
Afro-Cuban Jazz of the highest orderl! And even better, these two songs have remained UNRELEASED for the past 52 years! Vibraphonist, flutist, and band leader Ulysses Crockett was a big name on the Bay Area latin-jazz scene of the 1960s. He started out with his own group Afro Blue Persuasion which included a very young Paul Jackson on bass who later became famous as a member of Herbie Hankock's fusion-jazz masters The Headhunters.
"Cuban Fantasy" and "Poinciana" were both recorded live in 1967 but remained unreleased until now. Both songs are taken from the soon to be released 33rpm record titled "Live at Haight Levels" which includes more unreleased material as well as the full length version of both of these two edited tunes.
This 7" runs at 33rpm to provide the best sound quality possible.
On the second TRULE release Al Wootton (AKA Deadboy) drops his first ever record under his own name. Traces of dub, UK garage and techno inform the forward leaning, club-focused sound.
On SELAH, Al creates a driving steppers rhythm shot through with dub manipulations and UK swing.
OMEGA and UNTITLED on the B side continue in the percussive, tracky, swung techno vein of the first TRULE record.
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As a first listen it was 2 am, 46° in a village Portugal, in a Convent, after a good night out. That moment stroke me from being magic, the energy was perfect, we were laughing and relaxing amongst friends. That listen was pushing the magic further because of the surprises it has all along the journey. A first groaning A simple rhythm Soft realms Noisy Round sounds Type machine sounds, of a sampled hi hat that never reveals, cut cut cut cut. Just because it's fun to not reveal it. And put that fist cut part of the upcoming timber that is not 'yet' one. It's like if the drum pack was used the wrong way, which is a great way. Flipping. (=to flip something) Belp has this ability to bring the most horrible samples in front, and turn over your mind to enjoy what first sounds like 'horrible'. Facade. 'Crocodile' is flipping it over. Rhythmically vibrating, ears are wide open, full attention. I'm into the non-repetition. Track 'Crocodile's call reminds me of the call in 'Klabb' by Deena Abdelwahed as well as within its playful change of tempo, of notes. Who cares The album is like a randomly composed pack. It is not random. It's flipping something, and I like that disturbance, it's what I want to hear. It is alive, through composition, arrangements, falsely randomised, non-arranged, it is a trick; it is the drunk clown playing 'endless preparations for a ceremony' and 'catch'. Not bothering about anything reveals a deep understanding of music and of arts, a crafted album in details. It is years of listening, it is years of challenging ones ears, and putting it all together in this piece.
Combo Lulo returns to Names You Can Trust for their sophomore single, digging deeper into the diversified sounds of the Caribbean that helped define their debut. While the first single took a Jamaican foundation south into the neighboring continent, fusing the sensibilities of rock steady with those of classic Afro-Latin orchestras, this single goes far east. Inspired by the heady and sublime sounds of foundational ska mixed with East African influences, (think Buster's Islam, Don D's Addis Ababa or Further East), The Sieve & The Sand is a brand new composition within this natural order, albeit with the fortune of different reggae eras and studio styles to draw from. Divided into two parts (but also available seamlessly as it was played in the studio), Combo Lulo's talented players move effortlessly from the galloping shuffle of ska into a deep and dark, Roots Radics-styled instrumental. It's a lovely ode to the original styles of reggae, but also another impressive accomplishment that will surely leave listeners and new fans in anticipation of the shape of things to come for Combo Lulo.
Dubben is back! The highly esteemed producer duo make their debut on Matasuna Records with this superb 7inch. The two have been active since 2007 and released great music with their unmistakable style on labels like GAMM, Resense or Dejavue. Their reworks are not only appreciated by brasileiros, but are also popular all over the world.
With "Jesus Boogie" on the A-side, Dubben turns in a new direction and give this Brazilian gem from the 70s a nice boogie touch. The focus of their treatment is the dance floor, so that the usual dub effects are not used here. The result is an extremely danceable number that makes you scream for more!
On the B-side you'll get "Cachaça" - a rework of an obscure 60s bossa number from Poland. The song was re-arranged and got new rhythm parts, which were flavoured with additional sounds and various effects. The extended dub part with psychedelic harmonica and delays blends seamlessly into the track. A great tune in beloved Dubben style!
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'This collection of performances, previously unissued in their entirety, drawn from five recording sessions from 24 June 1968 to Duke's second-to-last Blue Note session on February 13 1970, shows both sides of his musical nature. On one hand, Andy Bey is belting out a backbeat-driven Buddy Johnson tune. On the other, Duke is scoring Brazilian guitarist Baden Powell's haunting Canto Ossanha for alto flute and alto clarinet. From October 1969, on his own Xibaba (Brazilian slang for marijuana), Airto Moreira is wailing with both his voice and hands. Soul music from another part of the world.'
-The first ever complete release of the 1968, '69 and '70 sessions on a limited edition double vinyl LP
- All Analogue mastering: taken from Rudy Van Gelder tapes; transferred by Grammy-Award winning mastering engineer Sean Magee at Abbey Road Studios
-180 gram audiophile quality double LP
-Gatefold cover artwork features previously unpublished original Blue Note session photos
-Limited to 1,000 copies
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McLeod was born in 1946 in Trenchtown, Kingston, Jamaica, and before his career in music he trained as a cabinet maker and. Boxer. His debut release was "Mackie", which was produced by Sid Bucknor, who at the time was the resident engineer at Studio One. Under Bucknor's tutelage, McLeod learned the basics of record production, soon having success with late 1960s releases such as "Young Love" by Lloyd Clarke. His production work included recordings with some of Jamaica's top singers, including Gregory Isaacs, Ken Boothe, and The Gaylads. McLeod also produced the first recording by Michael Williams credited to Prince Far I, previous recordings being issued under the name Cry King Cry, with new stage name given to Williams by McLeod. McLeod also produced Augustus Pablo's 1975 album Thriller. McLeod continued to work as a singer, having hits in Jamaica with singles such as "Tel Aviv", "Hi-Jacking" and "If You Love Jah", and the combination hits "Jestering" (with Shorty the President) and "Jericho" (with The Mighty Diamonds).
In the mid 1970s, McLeod's boxing skills saw him employed by Joe Gibbs as a bouncer at the latter's recording studio on Retirement Crescent, also working on recording sessions with resident engineer Errol Thompson, with McLeod voca l sides from this era including "Money Worries", and his biggest hit "By The Look". He also recorded several singles under the name Preacher, including "Black Moses", "Psalms of David" and "Rhythm Bible". McLeod continued recording sporadically, and became based in Europe from the 1980s.
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The only "lost track" from the same session as Lucky Brown's critically acclaimed "Mesquite Suite", "Sweet Tea (With My Sweetie)" reminds fans of Lucky Brown's trademark deepfunk sound that he and his crew can still ignite a dancefloor - and keep it lit for almost 8 minutes! "Sweet Tea (With My Sweetie)" is a cool, refreshing swig of sweet instrumental soul to enjoy while watching the sun set over the pecan trees of the Texas Hill Country with your lover.
Belly-up to the bar and gitcherself a couple tall frosty glasses of Lucky's trademark production/sound swirled with a heady shot of his backing band The S.G.'s. Your thirst for funk will be quenched by a solid deepfunk 2-sider complete with a Texas barbecued guitar feature up front, and jalapeño spiced trombone to take out side one. Then, on the flip: a smoked-out saxophone solo, some cornbread trumpet, some super sweet vintage organ treats, and finally building energy to a tasty drum and horn break - Lucky's brand of Sweet Tea is good to the last drop!
The Tramp team is extremely proud to have been working with such a genius for so many years and hopefully for many more to come! We want to thank all of you who have supported us in the past - thank you so much!
So, go ahead, mix up some "Sweet Tea" this summer! Your listeners will be bobbing their heads, smiling, and feeling good while they holler out for another tall cool glass of "More Sweet Tea".
2018 was an amazing year for the French-born DJ and producer as he dominated the house scene with the crescendo highlight being voted No 1 Afro House Producer on Traxsource.
Very few producers manage to escape the constraints of genre barriers in their work, but Manoo somehow does this with ease. Be it Soulful, Afro, House, Ambient or Techno his musical DNA continues to push the boundaries and interweaves all the right elements.
Speaking of DNA his latest production sees him return to Tribe records for vinyl and digital releases to deliver the Kromosome X EP.
Kromosome the title track with its thunderous atmosphere manifests a storm in its journey. DJ's take note, this is the track that takes your dancefloor to the next level. The bass pulsates with a dark tone throughout whilst the synths swirl and flies into realms activating your DNA to dance and causing your Kromosome gene to express itself through its nucleus and molecular machinery.
Just when you thought you had peaked Manoo has no mercy. Enter his signature Mystical Gong on Elektronikart to warn you he has more to offer. With his ability to tell a story through sound Manoo effortlessly directs this composition in a way that each musical component is having a conversation.
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An album of compositions by Nicole Willis & Banda Palomita who are Ndioba Gueye (electric bass), Julius Heikkilä (electric, acoustic guitars), Antti Kujanpää (keyboards, synths and sequencer), Ilari Larjosto (drums) & Luiz Orlando Sá Do Carmo (percussion). Jimi Tenor appears on the title track My Soul Sensation on tenor saxophone.
Rescued from a haze of drugs, alcohol and questionable women comes a potent blend of heavy Chicago Funk, Modern Soul & Psychedelia. Influential recordings from the group's sought-after Funk classics have been sampled by Beck, The Chemical Brothers, Jim Jones, Raekwon & Leaders of The New School.
Previously unreleased Rasputin's Stash from the forthcoming Stash album due out in April. 'Make Up Your Mind' is a contagious rhythm with Jimi Hendrix-style fuzzed out guitar riffs echoing sweet soul vocals and a brass section tight enough to please any Tower of Power fan. On the b-side is a slow-jam Soul-Steppers classic 'You Are My Everything'
Cut directly to vinyl from the recently found master tapes, this music presents material from the band at their artistic peak and the last recordings before Rasputin's Stash members went on to record Crystal Winds First Flight and Attitude, Belief & Determination
Two monster funk fuelled afro disco monsters released in conjunction with the Triassic Tusk label from Scotland and their 2018 compilation Screamers Bangers & Cosmic Synths Vol II. Now presented here on a fat 180 gram 12'' remastered both tracks get a whole side of wax for the first time and now sound better than ever ! ''It Makes Me Dance And Sing'' is pulsating afro disco groove and comes from Liberian artist Tecumsay Roberts who originally released one album in 1979 - ''Getting It On'' which is extremely hard to track down. On the flipside Commy Bassey gives us the main track from her ''Let's Dance'' long player from 1980 with the catchy ''We Want Togetherness''.
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For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.
Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.
This, the first of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor sees recognised musicians (David Byrne of Talking Heads) nestle up alongside the belatedly recognised (Arthur Russell's Dinosaur L and Loose Joints, and Suicide's Alan Vega) and the downright obscure (Gray, 2 Teens Kill 4 and Tuxedomoon). An indication of what's to follow, Dinosaur L's original album version of 'Go Bang' has been dramatically overshadowed by the definitive François Kevorkian remix yet received regular play by David Mancuso and remains an enthralling experimental Arthur Russell jam.
Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.
This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.
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Brownswood-signed, sublimely talented vocalist Zara McFarlane is back, linking up with legendary producer Dennis Bovell for a new single picking up where she left off on 2017 album, arise. She carves out a soulful, reggae-and dub-influenced sound, marrying the rhythms of her Jamaican heritage with a finely-tuned jazz musicality. Delivering four different reinterpretations of the title cut from Augustus Pablo's 1977 classic album, 'East of the River Nile', she sings the original's Melodica Melody, her crystal-toned vocals as the track's guiding force.
Since announcing her arrival with her 2011 debut, Until Tomorrow, she's released 2014's assured follow-up if you knew her, and 2017's arise, where she took a further step in lacing together her different strands of musical upbringing. In that time, she's also worked with house music icon, Louie Vega, collaborated with new york trumpeter, Leron Thomas, and supported iconic acts such as Hugh Masekela and Gregory Porter. She's performed at iconic venue, the royal festival hall, as part of Orphy Robinson's reinterpretation of Van Morrison's astral weeks, and toured venues and festivals internationally, from Istanbul, to Vietnam and St. Lucia.
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Wicked lost Canadian business from 1984. Fisherman is a low-fi proto digital masterpiece which predates the release of King Jammy's Sleng Teng by a full year. Hooky as a fishermans rod. DEADLY! TIP!
Peter Allen released only one tune, recorded at Aquarius Studio in Kingston, Jamaica in 1984.
Allen recorded an album's worth of material with his backing band Food Clothes and Shelter before emigrating to Canada. Unfortunately Fisherman is the only track that survived after a basement flood in Toronto tragically destroyed his other master tapes.
In 1986 he self-released Fisherman in his new home Toronto on his Ponko Dread label, hand distributing it to local record stores and sound systems.
Perhaps it was too ahead of its time -- or too unusual, with its dirge-like synth and deep roots lyrics -- but Fisherman was largely overlooked until a few copies emerged around 5 years ago, becoming coveted grails by European digi collectors with deep pockets.
Shella Records located Peter Allen who lives east of Toronto where he drives a school bus and still loves to sing.
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By popular demand, Analog Africa is repressing a high quality LTD edition of 1000 copies of Rob's first legendary 'Funky Rob way' album - comes in a gatefold cover and a 60x30cm poster !
Rob "Roy" Raindorf, born on the 13th of May 1949 in Accra, is definitely one of the most enigmatic artists to come out of Ghana. He appeared from nowhere with a unique and twisted sound. An admirer of American artists Otis Reading, James Brown, Wilson Pickett and Ray Charles, Rob began his trade by learning the piano at a music school in Cotonou, Benin. One off pressing - tip!!
When his education ended, he ventured out to make what money he could by getting gigs with the movers and shakers of the Beninese music scene, namely Orchestre Poly-Rythmo as well as the Black Santiagos. Absorbing and learning the intricacies of music composition, Rob returned to Ghana where he began to write his own songs and eventually sought the backing of a band, specifically one which possessed horns.
In 1977, a young Rob travelled to the city of Takoradi in western Ghana to approach an army band named Mag-2 whom he had seen perform in Accra. Mag-2 had an entire section of its ensemble dedicated to horns and some of the sophisticated music equipment available in Ghana at the time - Hofner guitars, Yamaha keyboards and the like.
Belonging to the "magnificient" second battalion of the Takoradi-based army unit, original founder Amponsah Rockson decided to aptly name the band "Mag-2." Joining the army during the 1970s was often an easy decision, particularly for musicians, since the army provided not only good music equipment but basic services such as food and medical care.
Mag-2 was essentially filled with the best elements of "The Parrots," a highlife band in which Amponsah was the lead guitarist. Their primary task was to entertain soldiers and with the army tour bus, perform from town to town as well as in reputable venues in the captial. Enticed by the style of music Rob had proposed, Mag-2 backed the Ghanaian sensation on two of his most astonishing records - his first and second albums -"Funky Rob Way" and "Make it Fast, Make it Slow," both of which were recorded at Essiebons studios in Accra.
Despite Rob's training and musical education, Amponsah was responsible for the vast majority of the compositions, such as building the chord progression and arranging the horns that Rob craved. Rob would even wait for the Mag-2 maestro's cue to begin singing. Despite early successes, a once-unflinching interest in Afrobeat began to wane by the early 1980s and Disco Boogie rapidly became the vogue style around which label owners and music producers sought to capitalize upon. The style Rob had shaped his career around was in decline and an adequate income consequently became a major concern, forcing him to travel to Hamburg, Germany in search of a financial backer.
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The Daktaris is a well-disciplined army of two hundred African Bull Elephants marching relentlessly up your business to the beat from Funky Drummer. Or so began the liner notes on the original pressing of this album.
Truth is often stranger than fiction. In 1998 Desco Records—a precursor to Daptone and Soul Fire records—released The Daktaris' Soul Explosion, ostensibly as a reissue of an unearthed Nigerian LP from the seventies. Though it's now common knowledge that the story was a bit of a hoax, the record's significance as a seminal part of the Afrobeat and afro-funk renaissance of the last two decades cannot be denied. The roots of the Budos Band, Antibalas, and uncountable others can be traced back to this enigmatic afro-funk release.
Now, two decades later, Daptone has remastered the album from the original tapes, including a bonus track that had previously only been available on a 45, and featuring extensive all new liner notes by Bosco Mann telling the bizarre true story behind the Daktaris sessions.
KEY MARKETING POINTS:
- FULLY REMASTERED, including new bonus track, 'In the Middle.'
- Extensive new liner notes by BOSCO MANN explaining the real story behind The Daktaris.
- Features members of The DAP-KINGS and ANTIBALAS.
- Features JOJO KUO (drummer for FELA KUTI) on vox and percussion.
- Originally released on DESCO RECORDS in the 1998, has been out of print for years.
- The spirit of the late, great Fela Kuti runs through The Daktaris' Soul Explosion. - Jazz Times
New to the Modern Boogie Scene, Funk'n'Sly seem to have come out of nowhere - from waiting in the wings, honing their production, until it was on point to delivering this bonafide early 80's soul sound.
This EP brings you 4 x original cuts with vocals from Ivanmore, Ty Gabriel, Emma Brammer and Ashleigh Jane.
The pièce de résistance is the killer dub from Ron Basejam, taking you on a dubbed out dancefloor trip, like a late night ode Larry Levan and the heady days of the Paradise Garage.
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Miles Copeland's WONDERFULSOUND label will release the first Monks Road Social collection, Down The Willows.
Curated by the Blow Monkeys' Dr Robert, Monks Road Social is an ever-evolving collaborative outfit. Down The Willows is their first album release and a unique and special project of inspiration, friendship and craft.
Helping Robert get there were some members of the stellar Monks Road Social: Mick Talbot (Style Council, The Who) on harmonium, piano and Hammond; Crispin Taylor (Galliano, Candi Staton, Push) on drums; Ernie McKone (Galliano, Marlene Shaw) on bass; Matt Deighton (Mother Earth, Oasis) on lead guitar; Steve Sidelnyk (Richard Ashcroft, Madonna) percussion and, of course, the exquisite strings of Ben Trigg (Dexys, Richard Ashcroft).
These talented musicians were joined by some of Monks Road Records' exceptional new talent
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Mazy Fly, the second full-length by the Bay Area artist SPELLLING, explores the tension between the thrill of exploring the unknown and the terror of imminent destruction. Chrystia Cabral spent the summer of 2018 in her Berkeley studio reflecting on the thresholds of human progress and longing for a new and better tomorrow. She was struck by the way the same technologies that have given humans the ability to achieve utopian dreams of discovery have also brought the world to the precipice of dystopic global devastation. Despite the darkness of this reality, Mazy Fly is defiantly optimistic. It is a celestial voyage into the unknown, piloted by Cabral.
Each song on Mazy Fly enshrines distinct sentiments within this imagined voyage, from the deeply personal ('Hard to Please Reprise') to the cosmic (aliens travel to Earth to hear music on 'Real Fun'). 'Haunted Water' is an intensely heavy song about the memories of colonial violence that haunt the historical slave ship routes of the Middle Passage. 'Under the Sun' is a cosmic prayer for good
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Mazy Fly, the second full-length by the Bay Area artist SPELLLING, explores the tension between the thrill of exploring the unknown and the terror of imminent destruction. Chrystia Cabral spent the summer of 2018 in her Berkeley studio reflecting on the thresholds of human progress and longing for a new and better tomorrow. She was struck by the way the same technologies that have given humans the ability to achieve utopian dreams of discovery have also brought the world to the precipice of dystopic global devastation. Despite the darkness of this reality, Mazy Fly is defiantly optimistic. It is a celestial voyage into the unknown, piloted by Cabral.
Each song on Mazy Fly enshrines distinct sentiments within this imagined voyage, from the deeply personal ('Hard to Please Reprise') to the cosmic (aliens travel to Earth to hear music on 'Real Fun'). 'Haunted Water' is an intensely heavy song about the memories of colonial violence that haunt the historical slave ship routes of the Middle Passage. 'Under the Sun' is a cosmic prayer for good
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The return of the Zanzibara series: first-time reissue of a Deep Taarab masterpiece from legendary Swahili singer Zuhura Swaleh, recorded in Nairobi in 1981.
Zuhura Swaleh & Party initially rose to fame on the Mombasa scene in the early 1970s. Traditional taarab music - the Islamic music of Zanzibar and the East African coast - had for a long time been influenced by Bollywood soundtracks, but Zuhura & Party were instrumental in bringing the focus back onto classic Swahili styles, at the same time introducing a new fast-paced and electrically amplified style known as chakacha that revolutionized the scene.
Zuhura was not afraid of speaking out and her music - sometimes featuring risqué lyrics - dealt with contemporary issues from a female perspective, something of a rarity at the time and something that would pave the way for the new 'modern taarab' sound that came to fore in the 1990s.
The group played across Kenya, Uganda and Tanzania throughout the 70s, and while playing a wedding in Nairobi in 1981 they were approached by the local Polygram studio to record an album - one of the only full-length Taarab recordings of the period. The record did not catch on as the LP format was not suited to the tiny portable record players in use in Kenya back then, and the record industry as a whole collapsed in the wake of the 1982 coup d'état attempt and the resulting economic slump. Only a few records were pressed and have since become much sought-after collectors' items. Locally the songs survived and remained popular as pirated dubs (first on cassette now on CDR).
Buda Musique is proud to present one of the few Taarab LPs ever recorded for the first time on vinyl outside of Kenya.
*180 gm pressing.
*First time reissue.
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Whether he is Sample Jesus, MPC-Man or just Cuthead from the block, the Dresden based artist is here to help you discovering your body's potentials. With his latest EP "Can't You See" for Uncanny Valley he proves himself once again as a master in producing music that is both punchy and playful. You might not know how it feels to be on the moon but it's safe to say that "Lunar Lander" is an astral experience and a programmatic intro for the EP with heavy bass work and Trap Hi-Hats from space. "Can't You See" and "Sweet" is Cuthead to the core. Warm samples are combined with hard-hitting drum work and bass lines to remember. The results are House inspired dance floor stompers which you won't be able to resist. While "Kimono" and "Too Dark To See Tomorrow" shows off his Hip-Hop roots in typical head-nodding fashion, "Tranquility Base" is another kind of thing. Still based deeply in Hip-Hop, the track establishes a much gloomier feel with its meandering synths. Those of you that long for life-affirming House music will be very pleased with "Mount Platti". And on "Schlagzeug faellt die Treppe runter" various sharp synths und percussions are having a party that is as infectious as it's frisky.
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180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL
Desmond Dekker recorded some of his best known songs together with his backing group the Aces (consisting of Wilson James and Easton Barrington Howard). Their debut album 007 (Shanty Town) includes their single of the same name, which made him Jamaican music's first outernational superstar, reaching the 14th place in the UK charts. You'll hear how the Ska music from the mid-60s is developing to the Rocksteady sound. This was 'Ska' or 'Blue Beat'—(or its new name for the slower tempo 'Rock Steady'), and the lyrics come from the Calypso-Mento method of telling about current events in music. So in a groovy way, Desmond, James and Barry (the Aces) have given a report of love, politics, nagging women, the celebration of the Fifth anniversary of Independence, and gang warfare. This is were it all started before Desmond became the international star.
Even before Bob Marley and Jimmy Cliff Jamaica already had their own international superstar, Desmond Dekker was his name. Famous because of his international hits, such as 'Israelites' (1968) and 'It Miek' (1969).
007 (Shanty Town) is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.
You're The Man is the first-ever planned 'lost' Tamla/Motown album from Marvin Gaye. Fifteen (15) of the album's 17 tracks are on vinyl for the first time and three tracks are newly mixed by SaLaAM ReMi. The album also includes the rare long LP version of Marvin Gaye's cancelled Christmas single from '72, as well as an unreleased vault mix of its instrumental B-side, and new essay by Marvin's biographer, David Ritz. The release will coincide with the 60th anniversary of Motown as a label and also Marvin Gaye's 80th Birthday (April 2).
While the tracks have been issued on various collections and deluxe editions, this is the first time they have been placed in their proper context. In addition to context, You're The Man was the album that was proposed to follow-up the monumental What's Going On, and it contains all of Marvin's solo and non-soundtrack recordings from 1972 (his next two albums in quick succession: Trouble Man and Let's Get It On).
anaïs - one of the UK's most enigmatic and beautiful new voices - has released a magical 13-track project titled 'Darkness At Play'. It has been produced by the legendary Om'Mas Keith (Frank Ocean, Erykah Badu, Jay-Z) and long-time collaborator Aston Rudi. anaïs arrived in late 2017 with her critically-lauded debut EP 'Before Zero'. Featuring breakthrough track 'nina', the EP was a fiercely intelligent introduction that explored her fascinating life so far (for those unaware, she was born in Toulouse, France but of Senegalese origin, grew up in Ireland and Oakland California before graduating from NYU). A great 2018 included a stunning collaboration with friend Olly Alexander on No Control, her own sold out headline show, festival performances at Great Escape and All Points East, a jam packed room at Pitchfork in Paris plus supporting Nakhane and Samm Henshaw . 'Darkness At Play' isn't a record that shies away from the ugly truth. Within its enthralling 11 tracks and 2 interludes, anaïs tackles various overwhelming themes including capitalism and greed, struggle and disempowerment.
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In 1991 Baritone Tiplove released the highly acclaimed 'Young Ladies Drive Me Crazy' 12' on Easy Street
Records introducing the world to the bizarre minds of this fictional duo. The 12' was well received and
followed up by the cassette only LP 'Livin Foul' which has gone on to be a highly sought after rarity and has
even been called the greatest cassette only rap album. In 2017 Diggers With Gratitude released the first of a
planned three part series of unreleased Baritone Tiplove material, recorded across the late 80's and early 90's.
Now, in December 2018, In Effect Recordings and Diggers With Gratitude are proud to announce the second
EP in this series.
Many people know Baritone as the alter ego of the multi-talented Phill Most Chill (aka Soulman) who has been
enjoying somewhat of a resurgence in popularity of late amongst hip-hop vinyl fanatics. Recent collaborations
with DJ Format ('The Foremost') and Paul Nice ('The Fabreeze Brothers') have been widely acclaimed, as
have his numerous guest appearances, and our previous release of vintage material from Phill, 2011's 'All
Cuts Recorded Raw', remains our best selling release to date and is now highly sought after. Suffice it to say
we expect these to sell out quickly, don't say we didn't warn you!
