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Paris - Brazzaville - Kinshasa - Abidjan - Douala.

A celebration of the underground Pan-African music scene centred around Paris in the 80s featuring never-before-reissued productions and dancefloor sure-shots taking in new forms of dancefloor-ready Rumba, Bikutsi, Soukous, Boogie and more.

In the early 80s a perfect storm of social, technological, political and cultural developments brought about a unique music scene centred around Paris, away from the major labels and pop charts. Musicians, ideas and styles flew between the small independent studios and labels of the French capital and Francophone Africa and the Caribbean, experimenting with new technology and drawing in a dizzying array of influences to soundtrack clubs, bars and radio stations.

Comes with 28 page magazine format booklet featuring previsouly unpublished photos from the archives of photographer Bill Akwa Bétotè as well as interviews with producers Cyriaque Bassoka and Rigo Makengo, musicians Michel Alibo, Denis Hekimian & John Jongos and Studio Caroline owner Jacky Reggan.

From the inheritor of John Coltrane's mouthpiece a re-integration of deep South African jazz roots with the Black Atlantic spiritual jazz continuum.

Celebration's release trumpeted the emerging dawn of South Africa's epochal changes. Sainted and blessed, Bheki Mseleku appeared as the herald of a new era, a prophet of rebirth and reconnection. This is a work signalling transition and change, and a sign of a South African music that was properly reconnected with global currents - a music that could journey far beyond the stifling combination of exile and oppression in which it had been bound.

Recognising Bheki as a kindred spirit to her late husband, Alice gave him the saxophone mouthpiece that John Coltrane had used during the recording of A Love Supreme. Coltrane was a permanent touchstone for the pianist, one of the few who Bheki felt had the same esoteric and spiritual focus as himself: 'the only musicians I know of who were deeply into this were Coltrane, and Pharoah and Sun Ra', he told an interviewer in 1992.

While the idioms of post-Coltrane spirit jazz are certainly to the fore on Celebration, they are energised by a swift and original musical vision, quite specific to Bheki's music, in which whole musical systems - the marabi and mbhaqanga jazz of the townships, American jazz, European classical, and more - are seamlessly mended together by the pianist's quicksilver musical sensibility and legendary technical ability.

Celebration was originally released on compact disc and cassette in the middle of 1992 by World Circuit. It was Bheki's first statement under his own name, and the first recorded presentation of his personal musical vision. This vision had been tempered across two decades which had combined intense professional playing with profound personal trials in both the spiritual and earthly domains, all set against the greater backdrop of South African political turmoil and exile in Europe.

The band brought together musicians hailing from three signally important points within the interconnected, communicating spaces of the Black Atlantic continuum - North America, post-colonial Britain, and southern Africa. With them, Mseleku created the first major South African-led musical statement to be produced after the sufferance of exile was ended. The ultimate and most egregious remnant of the centuries-long colonial era, apartheid, was finally being dismantled as they played. At this critical point, Mseleku's musical spirit work, channelled from a higher source, spoke of a time to come where all divisions might be transcended by a greater unity.

This is one of the big bad dub album of the 1990's and have been off the shop shelves for over 20 years.

Landing on Alchemy Dubs is our sixth release on 7" format, a collaboration between
Ojah and Rider Shafique.

The A side contains the track "Dreams", a mid tempo riddim that goes into the realms of
dub poetry. Lyricist and MC Rider Shafique provides the powerful lyrics and a unique
vocal delivery that combines spoken word with dreamy melodies, while Ojah's music and
production duties complete the landscape.

On the B side we find a dub version as usual, "Dreams Dub". The mix is true to it's name
resulting in a deep meditational dub that will take the listener into the land of dreams.

Limited edition of 500 copies, hand-stamped and hand-numbered, served in a thick custom
reversed kraftliner sleeve with inner black disco sleeves.

Superb album... compilting great music remixed in a generous Bass way... the travel starts with some funk and finish on reagge... Time Travel !

A1. Anthony Joseph
A2. Mr Complex
A3. Greenblood meets Akilignouma
B1. Bosq & Laflamme
B2. Colours Afrobeat Foundation
B3. Pablo Moses

Numa Crew and Killa's Army join forces on this banger that will represent the first release of the brand new label Numa Recordings.

The first release of Numa Recordings is all about a mediterranean and jamaican alliance, an explosive blend of grime and reggae vibes.

Killa's Army is a crew from London formed by Killa P, Irah and Long Range, one of the most powerful trios in the contemporary UK Grime scene, their own original style is distinguished by a "heavy" jamaican dancehall & reggae influence.

The italian collective Numa Crew has developed their unique sound over the years, ranging from dubstep to jungle, through a limitless exploration of the different styles in the wide spectrum of genres in the uk underground scene. In the production of "We nuh tek talk" lies the essence of this musical journey.

The main theme of the tune is the legendary motive of Courtney Melody's 'Ninja mi ninja' chorus, adapted to a modern day grime beat.

Backing the title track is the 'We nuh tek riddim' version by Numa Crew, the beat and the bassline are simple and heavy at the same time. It will be fire in the dance!

Craig Clouse's $hit & $hine is an amorphous entity that's forever in flux, from scuzzed up, bass-heavy and raucous noise sessions to inverted dancefloor shenanigans; this time round serving
Diagonal with a 30 min plunderphonic special, curling purple funk, R&B and rap specials to order, the man just don't give af...
So this is essentially the $hit & $hine edit whitelabel, scorched and blunted 30 min / 3 track madness somewhere between John Oswald and slowed down Secret Mixes & Fixes tackle, bubblin'
computer funk > like Material and Rhianna on a slow spin oozing summer vibes and blurred vision. Here's what Diagonal label head Powell has to say..."i always loved craig's slow jamz from the various lps he's done over the last few years (anyone remember WHO'S YOUR WAITRESS) and we both were excited to work on a 12 like this together. seems like perfect music for the last few days of summer . . ."

To celebrate the anticipated release of the 4th episode of the iconic soul compilation 'Shaolin Soul' this September, Uncle O has unearthed two new special soul treats: the extended version of 'Float On' by the Floaters and a rare vocal version of Marvin Gaye's 'I've Got Mine'.

Dancefloor raggatek with a bit of a new generation of producers and some good oldschool ones such like Mikkim ! Masterpiece !

Massive stepper Mooshine style !

Blair French returns to Rocksteady Disco after last year's brilliant Standing Still Is An Illusion for another 12' of mind, body, and soul music. 'Public Park' starts off the release, with flutes, guitars, and African marimbas abound, presenting itself as the song of the summer. 'Spirit Guides' follows, taking listeners and dancers on a spiritual afro jazz odyssey. The flip features two versions of 'Public Beach', a communal ecstatic dance meets Detroit Jit footwork cut with a massive bassline, pulsing percussion, and harmonized chanting, constructed for open-minded dance floors and deejays. Limited to 300 vinyl, TIP!

collecting orders for repress ... !

After his Festival at The Albatross in Montreuil (Dub A Train Festival) Green Arrow Sound System offers you the unique opportunity to get its majestic new release on exclusive vinyl, inviting the successful French duo Von D & Moresounds. A masterpiece!

8th release of Room Full Of Records Japan comes from Onegram extended with a dub in support of Chikazhi Ishizuka (founder of Nice & Slow Japan).

This is a band project from the late 1960s with a very young Bobby Marin, a leading figure in the invention of BOOGALOO music, a cocktail of Latin music, Rhythm & Blues, Soul and Rock'n'Roll oft he day clearly geared towards the western pop music that made the top of the charts. As he grew up on 107th Street in Harlem / NYC he and his mates played a game called Stickball during the day which is a street variation of baseball originating from the New York area while at night he rehearsed with a doo wop ensemble named THE LATIN CHORDS and others from his team got together in a percussion group in buildings on the opposite site of the street. It was no miracle that both groups soon merged into one act that became the 107TH STREET STICKBALL TEAM producing this sole LP in 1969 with a 7' decoupled probably upfront that featured the two album tracks - On old Broadway' and - Mojo shingaling'. Well shaped originals of the full length vinyl go for 200,00 € now as a mono pressing, while even those which fetch lower prices never fall beyond 100,00 €. Therefore this reissue on Everland Records suits us fans of outstanding 1960s music fairly well with even four bonus tracks added that band leader Marin unearthed from his personal vaults. This is clearly a typical album in the field of BOOGALOO music of the later 1960s. Western popular music such as beat with British roots, American soul music with lush arrangements and orchestration and the well known elements of bossa nova, salsa, cha cha cha and merengue team up in an exciting sound that gave us some very intense albums during the short span of it's real popularity in between 1966 and 1969 around NYC but also far out in the latin world. The anthems of one's life in the Bronx or in Harlem given by the likes of Tito Puente could be felt pouring out of the relaxed, yet intensely pulsating rhythms from drums and percussion on this record while the melodic constructions on top of this groundwork were either soul inspired such as with the hauntingly dreamy opener - On old broadway' with a great pop appeal and beautiful horn section and vocal arrangements, had a bluesy approach such as the ballad - Look to me' in three - quarter time at first but adopting a latin melody and cha cha cha beat towards the end of the song or showed a 1960s pop beat affinity with the vocal melodies on top of a bed of ever grooving mid paced salsa rhythms with powerful horns accompanying the basic structures as you can hear it in the two minute shorty you put a hurt in my heart. But this was only one side oft he coin. There were even more traditional latin songs to be found here which were even sung in Spanish. - Toma Guajira' could easily be an evergreen on the dancefloor in every bar in Havanna. The mixture was breathtaking for you did not get away from dancing and twirling to the enthralling rhythms upon which sometimes the instruments could take a frantic path such as the organs or the saxophone in the soul inspired instrumental - Barbara with the kooky eyes', which has this typical late 60s atmosphere. Wherever you put the needle in the groove the music will grab you by the heart and legs. The four bonus tracks fit well with the original album and if you would not know they were added only for this reissue you would never realize they would have stayed unreleased for about 50 years. - Come live with me' is a hot blooded latin groover with a late 50s soul and doo wop feel merged with cumbia and salsa elements. The melodies drag you straight into the clubs of Cuba's capital. - Rosemary with the funny knees' is rather modern soul pop and Northern soul of the day in which more of these Cuban aspects appear for a moment but with the late 60s sound prevailing. It feels like the band drifts from one one world into the other and back without losing a beat. - Hey mama' is a cross of 60s doo wop vocal music and Latin sounds that makes up a prototypical boogaloo style dance floor sweeper. - Lost in the jungle' adds some 1950s exotica elements to the haunting 60s pop with latin rhythm groundwork and once more frantic performances from the horns and the singers make it an instant classic. I could go on raving about this album but instead I recommend to buy a copy of the reissue and get the full boogaloo experience. If I should limit myself to only one record from this style it would certainly be this.

November 5th, 2018 would have been Charles Bradley's 70th birthday. In celebration of his extraordinary life, Daptone imprint Dunham Records is proud to announce the release of his fourth and final album, Black Velvet. Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.
It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.


Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world's pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.


Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.

A crown jewel of the US American soul music of the 1960s. The earthy production and vivid feeling makes this album way more tangible for fans of the genre than most polished and slick major productions. A true gem for all collectors of underground soul from the USA.
Oh, sweet soul music, you make my life so wonderful. Well, especially when I have the pleasure to rediscover long lost treasures from the late 60s soul music scene that were not the obvious albums by the obvious bands or artists like Four Tops and Marvin Gaye but appeared and fell under the radar despite the great quality of the songs. Now here we have Freddy Butler, a man with a smooth and soft, yet powerful voice that you will be able to recognize from a dozen or more soul singers oft he same era. A kind expression lies on his face when you look at him smiling from the cover of his sole album - With a dab of soul' released in 1967. Original mono copies of this gem already fetch 150 US$ or even more when they turn up in a more or less good shape. So it was time for a vinyl reissue and this comes from Dutch label Everland Records. And they dug out a vinyl treasure par excellance here. - With a dab of soul' is a jewel of Northern Soul or Street Soul far from the mainstream productions of the 1960s big labels that held most positions in the charts. It has this earthy feeling, a simmering atmosphere that highlights its authenticity. This man is for real and his music comes as honest as music can. For sure he offers sweet ballads, steaming dancers and thoughtful tunes with a certain pop appeal just as many of the mainstream acts also did but the vivid production that only focuses on the main instruments such as drums, bass, guitar, piano, blues harp and a sparingly used brass section with Mr. Butler's vocals upfront makes this feel like something real. Freddy Butler has this lush voice that pushes the songs with great emotions into the heart and soul of the listener. This power and his charisma make him an outstanding star at the sky of soul music but this album makes one thing crystal clear. Talent alone will not bring you fame and fortune. Being on par musically with all the big names will not get you to the top positions of the charts. We can only thank Everland Records for dragging this album by the long gone Freddy Butler back to the light. Soulfanatics who love a good mix of moods will certainly enjoy these tunes. Freddy Butler puts an emphasize on the song, the melody and the longevity of his works rather than just going for a hot blooded groove that stays with the listener as long as the song lasts. He wanted to create anthems for a generation to come and voilà, here we go. As good as everything the FOUR TOPS have ever put on vinyl, as good as BABY HUEY might have been if he just stayed with us for longer than just 26 years. These are songs so timeless that they will always sound fresh and vivid when you give this record a spin. And be sure, this album won't let you go with just the occasional round. You feel like one turn per side is not enough when you are in the mood for good soul music. There were even two 45s released from this album, - There was a time / This thing' and a promo 7' - That's when I needed you / Give me lots of lovin''. Just to mention that. Band and singer of course are top notch, musicians who really deserve the title. They play with passion and fire while staying precise at any moment. On top of the instrumental substructure you will find vocals with a great range and good variety of intensity levels. Freddy Butler was a crooner who could sing like a gentleman and be a savage the next moment. He always had the situation under control and knew to bring in the right emotion at the right time. They don't make them like this anymore. He should be listed with the greatest of his genre whenever people talk about soul music. And now go and buy your copy of this jewel.

80s synthesizer pop meets soul and funk music from the 70s and this is a captivating musical cocktail. You can sit and listen, you
can dance or sing along to these perfectly produced tunes. The album is a typical product of it’s era but this also makes it a really
charming piece of music and the memorable songs were definitely meant to last with the listener.
The 1980s were a decade where synthesized music was a hip thing and all the handmade trademarks vanished from the scene.
Electronic pop was huge and the charts were blocked by an unspeakable number of productions. But as we all know, the music
industry and the whole business cannot be predicted, so despite being on par with the best acts from the electronic pop scene,
some projects just fell into obscurity right after having released what I would call a true masterpiece. „Mandroid“, the second
album by GIFT OF DREAMS is such a gem. Accessible and also memorable tunes with a long lasting effect on the listener invite
you to have a joyful time. The backing tracks are all made up by synthesizers and spread a spacey atmosphere from time to time
through some really enchanting melodies. There is a catchy beat with all the tracks here, that makes them perfect dancefloor
sweepers. Just in case people get to know them and this used to be a difficult effort due to the degree of rarity of the album. But
thanks to EVERLAND MUSIC this gap has been closed now and a beautiful reissue comes our way. This is synthie pop for sure,
but with a definite soul music expression coming from the powerful vocals. I mean, the album is a product of the time it has
been released. Overloaded with sounds from electronic devices it sounds like the musical vision of a thinking machine. But many
melodies are traditional blues and soul with a touch of funk, this cannot be denied. And each song is a little piece of art with so
many details in the arrangements on which the vocals ride. Futuristic soul music fort he 22nd century probably. Maybe the crew
of Spaceship Enterprise will one day dance to this in the crew lounge while heading for the furthest galaxies. GIFT OF DREAMS
do not stop before reggae elements and whatever they can add to their songs to make them unique. Actually this album should
have been topping the charts in 1983 and staying in the hearts of mankind as an evergreen for every 1980s party. A must have
for 80s synthesized pop fans.

A crown jewel of the US American soul music of the 1960s. The earthy production and vivid feeling makes this album way more tangible for fans of the genre than most polished and slick major productions. A true gem for all collectors of underground soul from the USA.

Oh, sweet soul music, you make my life so wonderful. Well, especially when I have the pleasure to rediscover long lost treasures from the late 60s soul music scene that were not the obvious albums by the obvious bands or artists like Four Tops and Marvin Gaye but appeared and fell under the radar despite the great quality of the songs. Now here we have Freddy Butler, a man with a smooth and soft, yet powerful voice that you will be able to recognize from a dozen or more soul singers oft he same era. A kind expression lies on his face when you look at him smiling from the cover of his sole album - With a dab of soul' released in 1967. Original mono copies of this gem already fetch 150 US$ or even more when they turn up in a more or less good shape. So it was time for a vinyl reissue and this comes from Dutch label Everland Records. And they dug out a vinyl treasure par excellance here. - With a dab of soul' is a jewel of Northern Soul or Street Soul far from the mainstream productions of the 1960s big labels that held most positions in the charts. It has this earthy feeling, a simmering atmosphere that highlights its authenticity. This man is for real and his music comes as honest as music can. For sure he offers sweet ballads, steaming dancers and thoughtful tunes with a certain pop appeal just as many of the mainstream acts also did but the vivid production that only focuses on the main instruments such as drums, bass, guitar, piano, blues harp and a sparingly used brass section with Mr. Butler's vocals upfront makes this feel like something real. Freddy Butler has this lush voice that pushes the songs with great emotions into the heart and soul of the listener. This power and his charisma make him an outstanding star at the sky of soul music but this album makes one thing crystal clear. Talent alone will not bring you fame and fortune. Being on par musically with all the big names will not get you to the top positions of the charts. We can only thank Everland Records for dragging this album by the long gone Freddy Butler back to the light. Soulfanatics who love a good mix of moods will certainly enjoy these tunes. Freddy Butler puts an emphasize on the song, the melody and the longevity of his works rather than just going for a hot blooded groove that stays with the listener as long as the song lasts. He wanted to create anthems for a generation to come and voilà, here we go. As good as everything the FOUR TOPS have ever put on vinyl, as good as BABY HUEY might have been if he just stayed with us for longer than just 26 years. These are songs so timeless that they will always sound fresh and vivid when you give this record a spin. And be sure, this album won't let you go with just the occasional round. You feel like one turn per side is not enough when you are in the mood for good soul music. There were even two 45s released from this album, - There was a time / This thing' and a promo 7' - That's when I needed you / Give me lots of lovin''. Just to mention that. Band and singer of course are top notch, musicians who really deserve the title. They play with passion and fire while staying precise at any moment. On top of the instrumental substructure you will find vocals with a great range and good variety of intensity levels. Freddy Butler was a crooner who could sing like a gentleman and be a savage the next moment. He always had the situation under control and knew to bring in the right emotion at the right time. They don't make them like this anymore. He should be listed with the greatest of his genre whenever people talk about soul music. And now go and buy your copy of this jewel.

Repress expected. Date TBA

Last weeks' tragic, untimely passing of Mac Miller just weeks after he released his highly anticipated new album Swimming last month, the album arrived on the heels of his previously released tracks "Small Worlds," "Self Care" and "What's The Use," the final of which finds Mac reuniting with longtime collaborators Thundercat and Dam Funk

Recorded already in 1983/84, these soulful songs still show a relation to 1970s soul pop with lush
arrangements that work with real instruments and have a vibrant atmosphere. An all in all memorable songwriting
and the incredible vocals of Mavis Staples from The Staple Singers make the album stand the test of time, even 35
years after the initial recording sessions and 25 years past its first CD/MC release. Licensed by legendary BRIAN
HOLLAND and for the first time on vinyl now by EVERLAND!

Mavis Staples has come to fame and fortune as member of the family vocal group THE STAPLES
SINGERS from the late 50s onward to the mid 80s and she has released a fair amount of solo albums as well,
many of them in recent years. - Love gone bad' is a solo effort from 1993, originally titled - Mavis Staples' and only
released on CD and cassette back in the days. So EVERLAND have now done the right thing and put out the first
ever vinyl of this gem. And a real gem can be found here. Soul music in a down tempo with a slick production and
lush arrangements that still have this vivid expression making it real music by real musicians. The songs contained
on this album all date back to the early 80s, from a session not released until 1993. The melodies and the way the
compositions flow go back to a mid to late 70s soul pop style that incorporates elements of funk and dance music
but in a moderate pace. You can easily float upon the dancefloor and drift away in silky dreams. Some tunes have
a synthesized beat with a typical 80s sound, but these are compositions that stand the test of time and 25 years
after their initial release and 35 years after these recording sessions they shine on as diamonds of black soul pop
and R'n'B music (not to be confused with Rhythm & Blues). Mavis sings like a grand lady of soul with a timeless
quality that makes her stand out from the crowd of similar crooners. Even in the most gentle moments here the
tunes have an irresistible groove that moves the listener. But you can also sit and listen and explore piece by piece
digging deeper into the arrangements to unearth great bass and guitar lines. You will sing these vocal melodies
over and over again in the days to come until you throw this onto your turntable once again. I wonder why this did
not see a regular release back in the 80s as it would have led Mavis Staples to the top positions of the charts, Pop,
Black Music and Billboard. She was meant to make an impact and although she was already in her mid 40s when
she recorded this collection of soul nuggets, she brought a lightfooted youthful spirit in, which gives so much life to
her songs. A must have for all aficionados of female fronted soul pop.

A compelling slice of Canadian funk from the late 70s - a group and album who were inspired by the righteous power of James Brown's famous Payback album - but who come across here with a warmer, clubbier feel overall! There's a nice degree of boogie in the mix, but the overall approach is definitely funk - with bumping basslines underneath tight horns, including plenty of sweet Fred Wesley-styled trombone. Yet other club elements come into the mix too - keyboards and a bit of strings at times, which warm things up nicely alongside the tighter bottom rhythms - but always in a way that's still relatively funky overall. Most cuts have an instrumental focus - but there's also female chorus vocals on a number of tracks too - and titles include "Le Payback", "Struttin", "Feelin Good", "Funky Feelin", "The Forge", and "The Mad Mechanic".

A cry that is as soulful as reggae music ever got. Wounded and sore Philip Fullwood pleads 'just not the way it should be, we all want to be free. This tune has bucket loads of vibe and bounces along with its spiritual message nailed down by a great rhythm track. Its only real problem is should have been longer! Co-written with Winston Rodney (Burning Spear). Comes in a hand stamped bag. Killer.

Crisp Limited Edition 45 Of The Classic Roots Lament From Philip Fullwood. 'i Gave You My Word' First Floated In From St Ann's Bay Around 1979, But It Had In Fact Been Recorded Some Time Before Then. A Deep Roots Tune (arranged By Burning Spear) That's Improved With The Passage Of Time. Not Been Repressed Since The Early 80s. Comes In A Hand Stamped Bag.