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Rare R'n'B rocker with driving guitar and sax breaks that never shows up on original press.

Ital Foundation Came Together In The Winter Of 1977, Out Of A Shared Belief In Rastafarianism And Deep Love Of Reggae Music In Their Home Place Bermuda.

Their Music Tackles Global Issues Of Colonialism, Poverty, Prophecy And Redemption. They Released Only One Album In Their Legendary Career, The 1980 Release Ital Foundations Vol.1.

A Tumultous History Rought With Trial And Tribulation Resulted In Ital Foundation Being An Underground Musical Movement That Saw Record Sales All Over The World While The Band Languished In Obscurity.

Vocal group rockers !!!!

After his debut single "Tell Me That You Love Me" on Timmion's Stylart imprint, Jonny Benavidez is back with a tighten uppish slab of Texas tinged soul. In "Let's Get Together" Jonny pulls out his best dance craze chops and delivers a positive message over the rolling northern soul rhythm track by Cold Diamond & Mink.

It doesn't matter if you get down to soul music in leather soled slicks or sneakers, this 45 should be your ticket to dance floor heaven. With these two tracks under his belt Jonny is set to continue melting hearts and moving feet anywhere you hear him on record or a live performance.

Bar by bar it starts to come clear that Jonny's gentle voice has some of the same emotive depth as legendary cats like Richard Caiton, so it's nice to know that he has fresh material in the pipeline. If you enjoy the crossover soul sounds of classic indie labels such as Ovide or San Antonio's Dynamic, you will undoubtedly get along nicely with this blast of sunshine.

The new Release on Shaddock Records is more than just dance tracks, 2 songs that come with full-blown vocals, a Re-edition of classic Latin Freestyle by Jorge Ojeda ft. Hilda Mariee with an up-to-date cover version by Mr. & Mrs. Jonson

The original version is a freestyle slammer coming straight from Miami the capital of Freestyle Music.

Driven by hard electro beats and Ojeda's signature Miami Bass with Latin Hip Hop/ Freestyle Dance grooves, "Betrayal" when initially released on Ojeda's Destune records became a club and street phenomenon in Miami. It would be one of the first of many productions between Jorge Ojeda and Hilda Mariee' and their project Teaz II Pleaz.

Now "Betrayal" catches new life on Shaddock Records and continues to tell it's story.

On the 2nd A side Mr. & Mrs.Jonson aka Mathew Jonson and Isis Kuaygarond created an incredible cover version keeping the electro and freestyle spirit but taking arrangement and production to the next level and thus into 2018.

Mathew and Isis, after their recent marriage have spent endless hours in the studio and with Betrayal - the couple's very 1st release - they are giving us a first insight into their joint musical vision.

Songs about the unity of Sudan, peace between Muslims and Christians and the fate of war orphans, backed by grooves equally taking influence from Arabic sounds, American funk as well as neighboring Ethiopia.

Kamal Keila was among the first artist we met in Sudan during our two trips to Khartoum and Omdurman last year. He is one of the key figures of the Sudanese jazz scene that was a vital part of the musical culture in Sudan from the mid 1960s until the islamist revolution in the late 1980s. When we meet Kamal he luckily presented us with two mold covered studio reels.
Each tape included five tracks. One with English lyrics and another with Arabic ones. Musically you can hear the influence of neighboring Ethiopia much more than on other Sudanese recordings of the time, as well as references to Fela and American funk and soul. His lyrics, at least when he sings in English which gave him more freedom from censorship, are very political. A brave statement in the political climate of Sudan of the last decades, preaching for the unity of Sudan, peace between Muslims and Christians and singing the blues about the fate of war orphans called "Shmasha".
A note inside one of the boxes specified the track titles, durations and the fact that the sessions were recorded on the 12th of august 1992. Both sessions stand as a hearable testament how Kamal Keila stuck to a sound aesthetic from decades ago, while incorporating current events into his lyrics.
Kamal Keila's album is the first in a series of releases covering the Sudanese jazz scene on Habibi Funk. Be on the lookout for albums by The Scorpions and Sharhabeel coming soon.

2LP + Download Code + 8 Page Booklet

Originally Released In 1974, Flesh Of My Skin Is Keith Hudson's Key Achievement: Magnificently And Deadly Serious, Hauntingly Unique.

Since the release of his first album in 2013, Lucas Arruda has quickly established himself as one of the most talented young artist and composer from Brazil. His music is filled with fusion style, mixing influences and elements from his Latin musical background, with his genuine admiration for Jazz, Soul and Funk music.

In spring 2015, it was also not surprising to find Lucas Arruda back with a new LP called SOLAR, receiving great supports and feedbacks from international medias and tastemakers. One of the highlight of SOLAR was the track 'Melt the Night', on which Lucas asked legendary producer Leon Ware for his help, reminding his collaborations in the 80s with Marcos Valle, when they perfectly merged together the sophisticated Boogie and AOR touch from California, with the blazing sense of rhythm from Brazil.

Willing to enlighten even more this timeless song, which could easily be produced in the early-mid 80s, Favorite Recordings decided to give it a brand new suit and found the perfect tailor with Nu-Funk raising producer, XL Middleton. Part of the modern-funk movement and based in Pasadena, XL has released volumes of work, the sound of which embodies the party feel, bringing music back to where it was before it found its way into upscale clubs, while at the same time mixing it with a futuristic brand of funk inspired by legends such as George Clinton, Roger Troutman, or Morris Day.

The result is a stunning remix, bringing 'Melt the Night' into a futuristic Boogie-Funk world with massive basslines and heavy beats!! This great vinyl 12inch comes with Original and Instrumental Versions on the B-Side, to finalize a perfect package for DJs and diggers.

Separated from both its reputation and its sleeve art, the music of Muslimgauze explores the relationship of visual sensations - space, colour, depth, illusion - to the listening experience. The music on 'Maroon' is dub-like inspired techno music, laid back with voices appearing randomly in the mix. The thick drums and rich found sounds that densely populate the soundscapes on "Maroon" give materiality to the warm presence of the synth washes. The music is so layered and textured that it ceases to be aural and exists almost solely in the realm of sight and touch. Devoid of reference to any external reality, Muslimgauze's Ambience gets remoulded by subjective experience and moved around in the memory. By shifting the quality of perception with the producer's sleight of hand, Bryn Jones (the Mancunian behind Muslimgauze) makes explicit the interiority of the senses. Thus, the fact that our inner life determines our relationship to the world outside becomes the music's unspoken subject. Divorcing Muslimgauze's music from its image is like listening to Take That without seeing Robbie's pelvis or Mark's pouting. This is precisely why the music is so effective. Relocating music's power within the listener instead of as an external force acting upon the listener forces reappraisal and reinterpretation. The muezzin's wailing call to prayer and the shrieks of women mourning the dead conjure up images of a fierce 'death-to-the-infidels' fervour in the Western imagination, and are recast as holy prayers for the ultimate, womb-like peace that most Ambient music aims to express. The usually easy exoticism of sampled tablas and ouds instead hint at the dread on the road to the water coloured bliss of run-of-the-mill Ambient and force the listener to internalise difference and confront the received images of Islam that Muslimgauze detour by such strong powers of suggestion.

Canadian production duo Potatohead People are back on Bastard Jazz with their 3rd single from their upcoming sophomore album.

"Do My Thing" features harmonized vocals from Kapok - out of Vancouver - and verses from frequent collaborator Illa J, over swelling chords and a funky bassline.

On the B-side, "Returning The Flavour" highlights the synth chops of Dutch producer Trian Kayhatu in a danceable, beat-heavy jazz instrumental.

'Nick & Astro's Guide To The Galaxy' will be released worldwide on May 11th on Bastard Jazz.

Quantic's Debut On Breakin' Bread Gets The Reissue Treatment, Albeit With The Heavier Rob Life Remix Of we Got Soul' (1st Time On A 45). First Released 18 Years Ago, The Original 45 Is In Demand, And Who Would Have Known Where It Would Take The Multi Talented Will Holland -a Deal With Tru Thoughts & A Ridiculous Number Of Top Notch Releases Under Various Guises, The Man Knows No Limits. Both These Tracks Are Bangers - Snooze You Lose On This Limited 45. Officially Licensed From Breakin' Bread.

Double A Side Back To Back - Great Rockin' Jiver With Pacey Mid Tempo Driving Mover On The Flip.

Great R'n'b Dancer From The Dolemite!

Another Great R'n'b Dancer From The Dolemite!

Electyro Dub dans l'esprit KHALY live Dub / Uzinadub. So Good !
One of the early Electro DUb indie prod from france !

Must re-discover !

As the '60s progressed, cultural and political revolutions occurred both in the US and in Europe. Jazz was both a victim and a saviour, with radical developments in the music occurring in both continents.

Strut presents the definitive reissues of two all-time classic Caribbean soul and funk albums, The Beginning Of The End's 'Funky Nassau' (1971) and 'Beginning Of The End' (1976).

Emerging from Nassau in the Bahamas in 1971, the band was formed around the Munnings brothers (Ray, Leroy and Frank) and the first song they recorded, 'Funky Nassau', became a No. 1 Billboard R'n'B hit, selling over a million copies. We wanted to create something new,' remembers Ray Munnings, something that was truly Bahamian. We loved funk but wanted to include elements of junkanoo, the indigenous music of The Bahamas.' An album was written within a week and recorded at Criteria Studios in Miami. We brought in more Bahamian themes, like 'Monkey Tamarind', a wild fruit that grows there.'

By the time of their second album in 1976, the band was managed by Don Taylor, also Bob Marley's manager. Don took us to Byron Lee's studio in Jamaica and used Teddy Randazzo (Little Anthony & The Imperials) to direct the sessions,' recalls Munnings. He gave us more of an uptempo jazz funk sound with Chicago-style horns.' The album led to a run of incredible bad luck. Booked to support Marvin Gaye's 'What's Goin' On' tour, the US Musicians Union stepped in and ordered a US group to fill the slot. They were then added onto a major Bob Marley tour in 1976 before he injured his foot, cancelling all dates.

These definitive official reissues of 'Funky Nassau' and 'Beginning Of The End' are remastered by The Carvery from original tapes and feature full length tracks from the studio sessions. Both albums feature a history of the albums and the band by vocalist Ray Munnings, alongside rare photos. 'Beginning Of The End' appears on loudpress 2LP for the first time. The CD edition features both albums + all extra singles recorded by the band.

Recorded in Philadelphia in 1969, The Deirdre Wilson Tabac's sole album is a beautiful blend of funk, jazz and soulful pop. Possessing the complex grooves, thrilling breaks and ethereal weirdness that The Rotary Connection pedalled so brilliantly, the LP failed to connect with audiences upon its original release.

In the decades since, it has deservedly attracted a considerable cult following. However, almost inevitably, it has become increasingly tricky to pick up a copy in good condition for anything less than eye-watering sums. As such, we're delighted to present the first officially licensed vinyl reissue of this undoubted masterpiece of freaky funk-rock, limited to just 500 copies.

The Tabac were, in fact, a trio. Discovered, managed and produced by Svengali Sonny Casella (who'd earlier managed garage band The Magic Mushrooms), they comprised Deirdre Wilson, Stu Freeman (formerly of said Mushrooms) and Barbara Payne (formerly with the James Brown Revue). They were backed by session players including jazz guitarist Chuck Anderson, bassist Hugh McDonald and keyboardist Roy Bittan (who went on to be a long-term Bruce Springsteen sideman).

Their first single coupled two fine Casella compositions, each featuring powerhouse vocal workouts, the supremely funk-fuelled blues beat of "The Other Side Of Life" and the psychedelic-flavoured "Look In My Face" - both of which are featured here. This 7" picked enough up airplay to merit an album, which duly appeared early the following year, but, as is often the way with these lost classics, it received barely any press. Correspondingly, sales where low and the trio didn't last long.

And herein lies the real tragedy. The rest of the LP deserves to be heard from start-to-finish - it's that good. A beguiling mix of funky folk and rocky jazz tracks, with some deep, string-drenched harmony soul ballads and a handful of remarkable covers elegantly presented througout. Indeed, they put some sauntered head-nod funk into The Beatles' "Get Back" whilst tearing through a version of "Sittin' On The Dock Of The Bay" which gives Otis' original a real run for its money.

But the real standout cut for most - with its soulful, haunting vocals, swinging hammond organ and stabbing horns, is the incredible 6/8 time jazz dancer "I Can't Keep From Cryin' Sometimes." Staggering.

- Double tape retrospective from Gwilly Edmondez, the dad from Yeah You
- 90 minutes of music
- RIYL: Richard Youngs, Jandek, Cosmic Dennis Greenidge, Mark Wynn,
Sensational, Yeah You
- 100 copies

Gwilly Edmondez Is The Dad From Yeah You, One Of The Maddest, Most Vital Duos In Underground Uk Music Right Now. Slip's Trouble Number Retrospective Extends A Hard-to-resist Invitation To Peruse Four Decades Of Gwilly's Work At The Outer Limits Of Pop Music, Pairing The Gnarlage Of Self C30 Tape With A C60 Mixtape ...made Questionably And Unquestioningly By Himself, To Present A Cherry-picked And Unflinching 90 Minute Portrait Of A Properly Prophetic, Pop-wizened Soul In His Element.
Prone To Magpie Whatever Snags His Ear And Turn It To His Own Ends, Gwilly Ransacks Hip-hop, Black Metal, Folk, Power Balladry And Much More, Adapting Inventive Extended Vocal Techniques To Consolidate A Syncretic Blatz Of Bewildering Musical Logic And Unrhymed Reasoning. To The Casual Observer It Could Appear To Be A Study In Mental Health Or A Dadaist Play, But Pay Some Respect To Listen And Gwilly Will Reward Closer Attention With Flashes Of Genuine Pop Genius Mixed With Baffling Non-sequiturs And Hallucinatory Levels Of Captivating Oddness.
The Gnarlage Of Self Tape Was Made On Newcastle's Hottest Day Of 2017, In An Upstairs Room In Heaton, And Documents Finely Graded States Of Mind Between The Skittish Tangle Of 10 Banks Of Nein And The Reeling Soul Cadence Of Make Your Own World, Which Could Arguably Be Considered A Definitive Edmondez Anthem. On The C60 Tape Gwilly Edmondez: A Retrospective Mixtape Made Questionably & Unquestioningly By Himself, The Handrails Are Further Erased, Resulting In A Tumbling Sequence Of Slapstick Songcraft And Spare, Improvised Electronics Mulched Into Mixtape Form. It's Here Where The In/sanity And Truth Really Comes Out, Oozing And Ranting In A Disarray Of Bluesy Declamations, Gender-bent Torch Songs And Psychotomimetic Scramble Drawn From
Auld Tapes Dating To The Mid '80s, The Dankest Niches Of Ubuweb Archives, And Up-to-the-minute Snatches Of Recent Live Shows. For Anyone Who Is Intrigued By Or Appreciates The Work Of Richard Youngs, Jandek, Cosmic Dennis Greenidge, Mark Wynn, Sensational Or Fenriz, Consider This Crucial Listening.

Compilation with impossible to find songs by June Evans. TIP!
.
"Excited to announce Tambourine Party's first release of June Evan's music. We dug through hours of unreleased recordings from June's archives of studio sessions, jams and official releases to compile June's first ever album. TPR001 master material comes from a variety of formats from master tapes to cassettes. We attempted to compile a concise and consistent album from start to finish that takes you on journey throughout June Evan's musical career while still dancefloor focused. From the late night modern soul masterpiece Hardly Need To Say' to the high energy boogie bomb June is so well known for If You Want My Lovin'."

4 track 7" with a printed sleeve in his classic WAGON CHRIST alias style. "Throw your hands up" funky crate digging breaks, lush French horn anthems, Indian scat jazz samples, classic hip hop loops and downtempo sci-fi efx. "TURN", "BM" b/w "JJP" (feat. JEAN JACQUES PERREY) and "JUICE".

Sensational NY-based singer/songwriter/producer Amber Mark releases her brand-new EP 'Conexão' via PMR/Virgin EMI. The 'Conexão' EP seamlessly blends slinky soul & Brazilian bossa nova with sublime pop melodies, all delivered with Amber's trademark smoky vocal tones. Across the four-track release, Amber weaves her deep knowledge of international styles into a stunning musical tapestry that cements her status as one of 2018's most inventive artists, both as a songwriter and a producer.

Discover Le Deltaplane, fifth album by Andre Solomko, and third produced on Favorite Recordings, pursuing a collaboration that started more than 5 years ago.

Born in Ukraine in 1965 and now based in Finland, Andre Solomko is primarily a rich and engaging personality, but above all, a brilliant saxophonist, composer and engineer, whose contagious passion cannot leave anyone indifferent. After beginning a meteoric career in USSR, fate led him to Finland, where he started the adventure Vinyl Jam, a label / studio / group. It resulted in two self-produced albums that will capture the attention of some international collectors, including Pascal Rioux (founder of Favorite Recordings). Between 2012 and 2014, they released 2 albums together, Où es-tu maintenant and Le Polaroid, hailed by many tastemakers and meeting notable success in Japan.

Following Le Premier Disco Sans Toi, an acclaimed single released earlier this year and unveiling two new compositions with Disco flavors, Andre Solomko and Favorite Recordings also proudly present Le Deltaplane. Fully composed and arranged by Andre Solomko, the 6 tracks of the album are deeply infused with his longtime passion for Jazz-Funk and Movie-Soundtracks, this time also injecting more influences from WestCoast and Modern-Soul music.

Andre's backed again by a team of great musicians, recording and producing the album in analog like he always did. As for vocals and lyrics, he teams up with Charlotta Kerbs, a young emerging and talented singer from Helsinki.

Andre Solomko, an artist who spreads love like in the good old days!

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES I SCARE MYSELF' AND BROKEN ENGLISH'
- LIMITED FIRST PRESSING OF 1.000 INDIVIDUALLY NUMBERED COPIES ON YELLOW VINYL

Barry Reynolds earned his reputation in the 60s when he was working as a key session player in the Compass Point Allstars. It meant the start of his collaborations with among other Marianne Faithfull and Robert Palmer. In 1981 he released his first and only solo album I Scare Myself, which consists of both own material as covers written by other artists. With the help of his earlier band the Compass Point Allstars he recorded some intense songs with sincere words. His music is a great mix of singer-songwriter stuff and reggae music. From the sad ballad Times Square to the impressive title song I Scare Myself'.

After the release of I Scare Myself Barry Reynolds continued working together with Marianne Faithfull, with whom he recorded songs like Broken English' and Why Do You Do It'.

I Scare Myself is available as a limited first pressing of 1.000 individually numbered copies on yellow vinyl.

* 180 gram audiophile vinyl

Herbie Hancock Is One Of The Most Prolific Jazz Pianists Of The 20th Century. A Child Prodigy, He Played With The Greats Such As Donald Byrd And Miles Davis. As He Was A Bit Of A Geek, He Enjoyed Gadgets & Buttons And He Was One Of The First To Embrace And Master The Electric Piano, But He Always Stayed True To The Acoustic Sound. In Fact, He Always Bounced Back And Forth Between His Electronic And Acoustic Sound, Touching Upon Almost Every Development In R&b, Funk And Jazz While Retaining An Original And Distinctive Voice.

Head Hunters(1973) Was Thefirst Offering Ofherbie's New Backing Band,the Head Hunters. In His Own Words: "i Began To Feel That I Had Been Spending So Much Time Exploring The Upper Atmosphere Of Music And The More Ethereal Kind Of Far-out Spacey Stuff. Now There Was This Need To Take Some More Of The Earth And To Feel A Little More Tethered, A Connection To The Earth....i Was Beginning To Feel That We (the Sextet) Were Playing This Heavy Kind Of Music, And I Was Tired Of Everything Being Heavy. I Wanted To Play Something Lighter."

This Is One Of Herbie's Funkiest Records Andone Of The Best Selling Albums In Jazz, Due To The Fact It Appealed To A Broad Audience - Think Hip Hop, Funk, Soul & Jazz Funk Fans. With Head Hunters, Hancockclaims Astake In Jazzwith Hisinfectuous Synthesizers And Clavinetmelodies On Top Of A Supertight Groove, Augmented By Subtile Horn Soloing.classic Songs Such As "chameleon" And "watermelon Man" Are Living Proof Of His Genius And Ability To Craft A Coherent Jazz Fusion Album.special Mention For Drummer Harvey Mason, Bassist Paul Jackson Andreedist Bernie Maupin (who Also Contributed To Miles Davis' Bitches Brew (movlp020).

Keshavara debuts on FILM.

Taking it's influence from downtempo Alt-Pop and Hip Hop, but with nods to blissed out Dub and World Music - the Indian producer arrives on the Berlin based label with Creators of The Rain. Danny Wolfers takes control on the flip - turning in a gorgeous, transcendental remix under his Legowelt alias.

Live instrumentation provides the backbone of the work - dusty drums drive the music forward, complemented by shifting dub-guitar leads, off kilter bassline licks and delayed drum machine breaks. Singer Gio's vocals sit com-fortably at the back of the mix, soft but inviting - present but realised with a distinctly otherworldly energy. There's a fine, organic feel to the recording - ambient surface noise shifts and warps between elements, and live FX pop and duck in and amongst instrument strikes giving the work a rolling, hypnotic feel. It's a deep and fully realised piece of music - wonderfully three dimensional in it's execution, and a striking homage to the artist's wide frame of refer-ence.

On his remix, legendary synthesiser enthusiast Legowelt draws for a characteristically Sci-Fi finish, in keeping with the best of celebrated output for Clone, L.I.E.S., Creme Organisation and more. Maintaining the tempo of the origi-nal piece, but augmenting the work with a growling Reece bassline and hazy lead synths, the Dutch producer care-fully shifts Keshvara's recording up a gear. Where Creators of The Rain began life as a grooving, Hip Hop indebted piece of World Music - immediate but markedly laid-back in it's execution - Danny Wolfers injects a more anthemic, uplifting sentiment, highlighting the dub elements with a delayed drum machine line and pushing the vocals back with a touch of reverb to give his glorious synth-work space to breathe. It's a wonderful take on an already accom-plished piece of music; respectful but inspired - and no doubt some of the Hardware Occultist's finest work.

* 180 Gram Audiophile Vinyl
* Original 1980 Soundtrack
* First Pressing Of 2000 Numbered Copies On Blue Vinyl -> Sold Out, Available On Black Vinyl

Comic actors John Belushi and Dan Aykroyd rightfully get credit for exposing many people to the music of Blues and R&B veterans. The soundtrack to their hugely successful musical comedy Blues Brothers was released on June 20, 1980 as the second album by the Blues Brothers Band, which also toured that year to promote the film.

The rollicking remake of the Spencer Davis Group's "Gimme Some Lovin'" was a Billboard Top 20 hit, featuring an arrangement notable for the horn section that replaces Steve Winwood's rumbling organ work. Ray Charles has a good time with "Shake a Tail Feather," and he's helped out by Jake and Elwood Blues (Belushi and Aykroyd, respectively). The cover of Solomon Burke's "Everybody Needs Somebody to Love" is a lot of fun, thanks to the great overall rhythm and Elwood's lightning-fast stage rap, while James Brown and the Reverend James Cleveland Choir provide a blast of gospel music on "Old Landmark." Aretha Franklin's "Think" is explosive, and Cab Calloway's "Minnie the Moocher" is slyly irresistible.

MESSAGE TO THE BLACK MAN CHAPTER 1 & 2 - PRINCE BUSTER FORGET PUBLIC ENEMY! CHECK NATION OF ISLAM'S MINISTER MOHAMMAD YUSUF ALI (AKA PRINCE BUSTER) TALKOVER ROCK STEADY CUTS OF LOUIS FARRAKHAN'S 1958 CALYPSO MANIFESTO A WHITE MAN'S HEAVEN. RECORDED IN KINGSTON JA. 1967. EXPLICIT LYRICS. EXCLUSIVE REISSUE.

2017 startete das französische Label Wagram mit der "Wanted Collection" eine historische Vinylreihe, die
sich im weitesten Sinn um Black Music dreht. Dabei gilt: Pro LP ein Genre. Kennzeichnend für die
Kompilationsreihe sind 180 Gramm schweres Vinyl, soundtechnisch auf den neuesten Stand gebrachte
Raritäten aus verschiedenen Jahrzehnten und eine liebevolle Aufmachung. Nach Funk, Soul, Afrobeat und
Reggae sind 2018 Disco, Hip-Hop und Jazz an der Reihe. Die "Wanted Disco"-Edition serviert zehn
schweißtreibende Stücke von unter anderem Love Committee, A Taste Of Honey, Charo & The Salsoul
Orchestra, Joe Simon, Bob James und Tina Charles. Das tolle 70er-Jahre-Vintage-Coverfoto stammt von
David Hurn.

A.g. Returns With All-start Cast, Featuring The Likes Of Diamond D, Lord Finesse, Alchemist And More. For This Album, He's On His A-game, From Beginning To End. Touching On Topics From The Hip Hop Biz, Street Tales And Political Hypocrisy. The Taste Of Ambrosia Is A Full Meal Serving For Mature Rap Devotees Who've Grown Tired Of Contemporary Rhymesayer Laziness. Joined By Guests Including Diamond D, A-bless And Thirstin Howl Iii, A.g. Backs Up His Claim That He Is Ill Enough To Paint His Own Portrait, And Illustrates And Vision Of Rap Immortality That Hardcore Heads And Fellow Legacy Mcs Alike Can Worship Eternally.

B. Cool-aid Is A Duo Group Made Up Of Producer Ahwlee And Vocalist Pink Siifu. They Released Their First Album Last September '17, Entitled Brwn Via Akashik Records. Together The Group Focuses On The Divinity And Beauty Of Blackness In Every Area And Aspect To Bring Forth Full Embracement. The Mixture Of Culture That Comes With Being In Amerikkka And Difficulties That Come With Being Black In Amerikkka. Embracing The Roots We Come From And Also The Land. The Mission Is Knowledge Of Self With Love, To Embrace, And To Understand A New Perspective Of What We All Have Seen, Lived, Or Been Raised Up Under.

- Debut Album From Rapper, Producer Duo B.cool-aid On Akashik Records, A Label Co-owned By Mndsgn
- Vocalist & Rapper Pink Siifu (vibe Music Collective) Is Frequent Collaborator With Mndsgn, Swarvy And Iman Omari
- Produced Entirely By Ahwlee, Who Has Released Solo Instrumental Project Previously On Paxico Records & Uky Music Out Of Germany
- Features Vida Jafari, Nanna B & Akeema Zane
- Full Color Insert Sleeve
- Mix & Mastered By Swarvy

Fat Beats Records Is Proud To Present Baker's Dozen, An Exclusive Series That Shines A Light On The Best Minds Of Instrumental Hip-hop, Ambient, And Electronic Music. Each Installment Gives One Artist Carte Blanche To Capture Their Signature Sound.
Every Volume's Limited Vinyl Pressing Features One Artist And Twelve Tracks, And Comes Equipped With A 5x7' Postcard Insert That Features A Photo Of The Artist's Workspace Along With The Equipment Used In Their Music-making Process. Visually Cohesive And Packaged With The Utmost Attention To Detail, Baker's Dozen Is A Series That Speaks Up For Artists Whose Craft Renders Voices Superfluous, Whose Instrumentals Alone Suffice To Make A Statement. Volume Nine Highlights The Guelph, Ontario Producer Elaquent, Who Breaks Down His Creative Process Below: since The Beginning, My Philosophy Has Always Been That Perfection Is Boring, So Despite All The Changes That Have Occurred With My Equipment And System, That Main Philosophy Remains The Same.
In The Beginning It Was All About Flipping Samples With Fl Studio And Just My Computer Keyboard, And Over The Years, I Added The Mpd And Masterkey In Order To Be Able To Jam Out Drums Live And Play Keys, Which Speeds Up The Workflow. I Like The Effects On The 404, And There's A Lot Of Dope Ways To Integrate My Ipad Into It, But At The End Of The Day, It Starts With A Melody Or Sample, And I Kinda Just Let The Vibe Take Over.'
-elaquent

"Villa Rosa" ist die zweite in einer Serie von acht Apartmentkomplexen, die zwischen 1964 und 1988 in Shibuya, Toyko, gebaut wurden. Die Villa Serie pionierte die Bauten grosser Apartments in Japan. Die "Villa Rosa" befindet sich zwischen den Wohnorten der beiden in Tokyo lebenden Künstler Fitz Ambrose und Submerse. BRRWD ist eine Kollaboration zwischen den Labelbetreibern Ta-Ku, Repeat Pattern und Jakarta.

Over The Last 20 Years, Ozay Moore (fka Othello) Has Proven Himself To Be An Exceptional Storyteller Time And Time Again. Whether As A Member Of The Classic Hip Hop Trio, ightheaded, Or As A Solo Artist, Moore's Alto Flow Has Always Moved Crowds. Aided By Some Of The Most Soulful Production And A Deep Knowledge Of Hip Hop Culture, Moore's Music Is Highly
Relatable Because He Blends Personal Experience With Larger Themes That Cross Cultural Lines. Moore Has Been Making Records For Quite Some Time So It Would Be Understandable If He Didn't Have More To Say. Thankfully, Ozay Moore Is Back And Better Than Ever With In The Wake Of O.
Throughout His Life Moore Has Seen A Lot, Done A Lot, And
Wake Is A Reflection Of His Journey In And Outside Of Being An Mc. Moore Is No Longer A Young, Ambitious Rapper From Seattle Focused Solely On Writing Rhymes And Traveling The World. Instead, He's A Family Man In Lansing, Mi Having To Strike A Balance Between His Artistic Goals And What's Best For
His Wife And Two Kids. How Do You Strike That Balance This Is One Of The Central Questions Driving The Record.
As The Album Unfolds, Moore Grapples With The Decision To Drop The Othello Moniker, His Faith, Racial Politics In The U.s. And The Impact Of Hip Hop On His Life. The Word wake' Can Mean Many Things, And In The Wake Of O
Takes Into Account Every Single One. With An Exceptional Set Of Producers Including Stro Elliot, Tall Black Guy, Ess Be, Freddie Joachim And Ohmega Watts, Wake Is A Seamless Blend Of Boom Bap Crunch And Soulful Grooves. With Guest Appearances By Braille, Sareem Poems, Jahshua Smith, James Gardin And Propaganda The Wordplay Is As On Point As It Is Thought Provoking.
Ultimately, In The Wake Of O
Is A Reminder Of Why Hip Hop Is Such A Powerful Mode Of Communication. It Also Speaks To Ozay Moore's Deep
Love And Respect For Hip Hop Culture. As Wake Plays From Start To Finish, Moore Beautifully Speaks On His Personal Journey While Also Making Space For Listeners To Reflect On Their Own Lives. There Is Something For Everyone On This Record.
Written By Gus Navarro

Tony Clarke is from Waterhouse, St. Andrew Jamaica. At the tender age of 10 he started following sound systems like Sir Mike The Musical Dragon with the great toaster Prince Ruff at the controls, and King Tubby's with the legendary U-Roy. Tony Clarke did his first recording in New York in 1971 at Hugh Hendricks recording studio called "Righteous Man" of which he played both bass and lead guitar. The band was later managed by the legendary band leader/trombonist Carlos Malcolm.

Tony Clarke decided to write the song 'Going Home' to reference the roots of his music. In those days and even now good reggae music that was being recorded in the United States was not receiving the approbation from home because, in Jamaica they felt that the best reggae music could only come from and be created in Jamaica to substantiate the true feeling of the genre. So he decided to go back to Jamaica and record 'Going Home' at Harry J Studio with Sylvan Morris as engineer. The rhythm track was played by Lloyd Parks (Bass), Devon Richardson (Drum), Andy Bassford (Lead Guitar), Winston "Bo-Pee" Bowen (Rhythm Guitar), Franklyn "Bubbler" Waul (Keyboard), David Madden & Junior "Chico" Chin (Horns). He also recorded the cover version to 'Hey Little Girl' originally done by Dee Clark. For this 12'' vinyl edition, the artwork was done with a vintage photo of Tony Clarke in front of his house at Waterhouse and extended liner notes on the back cover.