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In a long line of rock and roll outsiders hailing from Ohio, Screamin' Jay Hawkins may very well be the first. Born and raised in Cleveland, Hawkins' 1956 single 'I Put A Spell On You' is one of the most instantly recognizable songs in the history of R 'n' B and rock. Baptize Me in Wine compiles that classic track along with 18 other specimens of pure, unhinged, guttural R 'n' B madness into what is sure to be considered the definitive Hawkins' collection on the vinyl market. Most tracks were originally released as singles on the Okeh label except for the last four, which are outtakes from the first album. Before Devo, before Pere Ubu, before Guided By Voices, there was Screamin' Jay. There really must be something in the water out there.

Classic Bunny Lee production that's been unavailable since it was first pressed on the Justice label. Cornel Campbel's rocking version of William DeVaughn's 1974 hit is perfectly suited to Cornel Campbell's sweet falsetto. Comes with a heavy Tubbys piece on the flipside, in a hand stamped bag.

The original cut of the Althea and Donna 'Gone to Negril' track. Released by Pressure Sounds in 2005 and then deleted. Back by popular demand. Presented now with original Talent 77 label in a hand stamped bag. Produced by Tommy Cowan and more on the roots tip than the playful Althea and Donna cut.

Reggae legend Gregory Isaacs blows the roof off of Hollywood's Roxy Theatre with the help of superstar backing band, The Roots Radics! Recorded in 1982, to an adoring crowd of rastas, punks, freaks, and 2nd wave ska kids, Isaacs in in top form during one of his earliest USA live performances. One of the heroes of roots reggae, Isaacs plays many of his classics including Slave Master,' My Number One,' Soon Forward,' Top Ten' and more! The Cool Ruler of reggae lays it down here.

Limited edition of 500 copies.

Die Mischung von Dub und Techno gibt's ja schon eine Weile. Aber wie der gute JPatterson sie anrührt, erfüllt alle Kriterien für das, was man gemeinhin als frisch und spannend bezeichnet. Seine rustikalen Grooves stehen für draufgängerische Tanzbarkeit in waschechter Prog-a-Dub Manier, der Klang seiner Trompete für eine Gefühlsintesität, die es in der digitalen Musikwelt so nicht gibt. Das zentrale Element von Elevator ist aber die Stimme - bzw. die ansteckende Lässigkeit, die sie verbreitet. Mit der Dub Version liefert uns JPatterson einen in Rhythmus und Melodie gebannten Sommertag. Es wird tatsächlich noch spannender, denn eine handverlesene Meute aus dem Acker-Umfeld hat Elevator geremixt. Timboletti kommt im Digitalrelease mit schleppend-bewusstseinserweiterndem Afterhour Groove. Dole & Kom gestalten das Teil zur hintergründigen Hymne um. Und Mollono.Bass schafft in der stilistischen Schnittmenge von Dub Version und Original eine hochgradig tanzbare Ryhthmuskulisse für die schwerelose Trompete.

EN:
The mix of Dub and Techno is not exactly new. However, JPatterson found a way to combine these genres in a way that checks all the boxes to be classified as fresh and exciting. His rustic Prog-a-Dub grooves burst with reckless danceability, the sound of his tumpet has an emotional intensity that simply doesn't exist in the digital music domain. But the catchiest element of his track Elevator is yet another one: It's his voice and its contagious casualness. The Dub Version of this track is a bright summer day turned into rhythm and melody. It gets even more exciting than this, as a hand-selected group of party heads from the Acker family has remixed Elevator. Timboletti turned it into a slow, delirious afterhour groove (digital only). Dole & Kom redesigned it into an understated anthem. And Mollono.Bass created an energetic rhythm environment for the weightless trombone that feels like it's vibrating right in middle between the original and the Dub Version of Elevator.

Mad Professor is back with a new series of releases titled Electro Dubclubbing!! More classic Dub cuts from the master blaster himself. Tracks include 'Repatriation Dub' and 'Psychic Vampire'.

Recordings feature Sly Dunbar and Robbie Shakespeare with vocals by Mad Professor, Aisha and U Roy and many more.

A prodigy of the Alpha boys school, Owen Gray delivers a heartfelt roots vocal on a rhythm most likely supplied by Sly Dunbar and Lloyd Parks. This is a top tune and Phil Pratt's production is sympathetic to Owen Grays voice. The rhythm was remixed at London's Easy street studio and used on the 'War is on dub style' set. There is a distinct Roots Radics feel to the rhythm, and the veteran Owen Gray handles it perfectly. A classic that is well worthy of being re-issued: 'Why did you kill your brother for a dollar' as appropriate now as it was when it was released. Bobby Kalphat makes an appearance on melodica in the second half of the track. Comes in a Pressure Sounds house bag.

Highly sought after dub album, that has not been available since its original release in the early 1980s.

In the early 1980s, one London recording studio became the favoured hang-out for visiting Jamaican producers and British reggae musicians alike. Easy Street Studios in Bethnal Green had humble beginnings, but was soon pouring out an impressive run of hit tunes by artists like Sugar Minott, Winston Reedy, Alton Ellis and Barrington Levy.

Founded by Eddy 'Eddyman' Williams, the studio soon recruited a team of local eastenders, like Dean 'Joe 90' Richards, Mike Stephenson, Jeff Chandler and Stuart Breed, who became known as the Easy Street Crew.

Phil Pratt had an illustrious career in Jamaica stretching back to the rocksteady years of the 60s, scoring huge hits such as 'My Heart Is Gone' and 'Artibella', but by the 80s he was increasingly finishing his productions in London. Easy Street was a low budget studio with professional but fairly limited equipment - a Soundcraft TS24 mixing desk, a Roland RE301 Chorus Echo, an AKG BX5 reverb, and an MXR flanger/doubler - and a speedy way of working which suited the incoming rush of reggae producers.

'The War Is On Dub Style' is an album that typifies Phil's working methods in those days, with the backing tracks recorded at Joe Gibbs' Studio in Jamaica, and overdubs and mixing done in London.

By the mid 80s Easy Street was scoring further successes with homegrown lovers' rock and deejay tunes, and to support their breakthrough acts the Easy Street Crew started to go out on the road and into concert venues and dancehalls.

Drums and Percussion:
Lowell 'Sly' Dunbar
Bass: Robbie Shakespeare,
Lloyd Parks
Lead Guitar: Lloyd 'Gitsy' Willis
Rhythm Guitar:
Winston 'Bo Peep' Bowen
Keyboards and Melodica:
Bobby Kalphat

Two crisp and crunchy Phill Pratt productions. The A side has an extended version of the song Strange things. Ronnie Davis takes the lead vocal on this version of the song that was written by Horace Andy and made famous by John Holt. 'Black Cinderella', on the flipside, was originally cut by Errol Dunkley for Jimmy Radway. Ronnie Davis' version is an update that was recoded in Jamaica with Sly and Robbie as the rhythm section. These songs were remixed in the UK as dubs for 'The War is On Dub Style' set. Both sides of the ten inch are extended versions. Comes in a Pressure Sounds house bag.

U Roy, also known as the originator is one of the greats of the toasting DJ Reggae scene. From his early Treasure Isle Records releases through to releases on Island, Virgin, Front Line Records and a few records on ARIWA, U Roy has been laying down some Heavy sounds for years. This is U Roy's 21st studio record. U Roy has worked with some of the biggest names in Reggae, from Keith Hudson and King Stitt aka The Ugly One to King Tubby and Peter Tosh.

A fully legit 2018 repress of a Jazz-Funk & Boogie classic!
'Nard' is Bernard Wright's bonafide Funk masterclass, boasting some truly amazing and heavily sampled cuts including - 'Spinning' (Used by Skee-Lo on 'I Wish') 'Haboglabotribin' (Used by Snoop Dogg on 'G's & Hustlers') as well as some heavy-duty Boogie workouts like 'Just Chilling Out' , 'The Master Rocker' and many more. A truly solid record and one that features boundless flashes of genius writing and playing from Bernard and his killer outfit including luminaries such as Dave Grusin, Marcus Miller, Weldon Irvine, Patti Austin, Luther Vandross and many more! This one's a keeper and will have you locked in from start to finish, a total groove-fest. Originally released on the mighty Arista sub-label GRP label in 1981 'Nard' has it all, the beats, the wigged out Oberheim solos and most importantly - The FUNK! Remastered and repressed with the full involvement of Arista / Sony BMG by Above Board distribution for all you Boogie freaks. A truly essential album!

7"

Ethereal new age funk infected out from the neapolitan crew.

Ein 44 Minuten starkes Instrumental-Album inklusive eines Akere Vocal-Features.

Es ist Ansichtssache, ob ein Antlitz unfassbar schön oder besonders verstörend sein kann, sodass der bloße Anblick den Betrachter seiner Handlungsfähigkeit beraubt. Man sollte sich jedoch nie einzig von einer Erscheinung erstarren lassen.

Also heißt es:
Augen schließen und die Schönheit einer Mischung aus zeitlosen Vibes, warmen Klängen und verschobenen Rhythmen irgendwo zwischen Trip Hop, Boom Bap und G-Funk auf sich wirken zu lassen. Die Reise führt durch Höhen und Tiefen, beeinflusst von Musik aller Himmelsrichtungen und Sonderbarkeiten verschiedener Genres.

L One´s Medusa ist durchaus in der Lage den Hörer in den Bann zu ziehen. Jedoch ergibt sich dadurch keine langfristige Betäubung, sondern vielmehr ein Moment, der sämtliche Wahrnehmung der äußeren Welt an einen Ort unendlicher Möglichkeiten lenkt. Wo es hingeht und was passiert, bleibt jedem selbst überlassen. Quasi ein Mythos!

Medusa ist nach der Farska LP bereits die zweite Zusammenarbeit zwischen dem jungen Münchner HipHop Produzenten und dem jungen Münchner Label Beat Art Department und erscheint in Kooperation mit dem renommierten HipHop Label 58Beats, dem Label der Band Main Concept.

- The long awaited return of the Nottingham based DJ and Producer duo with a brand new EP Mentaltainment'. Featuring the best underground US underground MC's together with some NYC legends, all over the P Brothers signature hard beats and production.

- Featuring Your Old Droog, Doo Wop, Milano and Daniel Son

- 7 track vinyl EP with an exclusive track "Moon Airlines" which is unavailable to download online.

- It has been 10 years since The P Brothers released The Gas' LP to critical acclaim on their own Heavy Bronx Records label. "The Gas", which featured MC's such a pre-Marcberg Roc Marciano, was listed as the number 2 Hip-Hop LP of the year for 2008 and was also named by Hip-Hop Connection magazine (HHC) as one of the most influential UK rap albums of all time.

- Their last release received rave reviews across the board, from feature pieces in The Guardian, The Telegraph and the NME in the UK to New York rap bibles The Source and XXL magazine.

- In the 10 year gap since "The Gas" LP, the P Brothers have produced tracks for NYC artists such as Your Old Droog, Roc Marciano & Money Boss Players. They have also made music for films, adverts and TV channels such as ITV in the UK and Cartoon Network/Toonami in the USA.

* 180 gram audiophile vinyl
* Insert
* Printed inner sleeves
* Gatefold sleeve
* Remastered audio

Travelling Without Moving (1996) intentionally offers more of what Jamiroquai does best: highly addictive funky grooves with a social consciousness that is matched by front man Jay Kay's charisma. The third effort of Jamiroquai was carried by an inventive video for "Virtual Insanity", the album's flagship song.

Pressed on two heavy weight champions packed in a gatefold sleeve, Travelling Without Moving is finally available on vinyl again, this time with remastered audio for maximum aural pleasure!

Malina Moye, die vom Guitar World Magazine als eine Musikpionierin und eine der besten Gitarristinnen gefeiert wurde, hat für sich eine eigene Nische in der heutigen Musikszene geschaffen - als eine von nur wenigen Künstlerinnen in der Geschichte, gelingt es ihr, den Graben zwischen Rock und Soul zu überbrücken. Darüber hinaus ist sie eine der führenden Gitarristinnen ihrer Generation. Moye hat "das Talent, das Aussehen, die Energie, einfach alles", attestierte die Huffington Post. Das Seventeen Magazine konstatierte: "Auf der Bühne liefert Malina eine berauschende Mischung von Funk, Rock und Soul ab." The Examiner erklärte Moye zu "einer der besten 10 U.S. Independent-Künstlerinnen" und das Billboard Magazine nannte ihre Zusammenarbeit mit Bootsy Collins "explosiv". Hier kommt nun ihr neues Album "BAD AS I WANNA BE". Eine bärenstarke Sache!

- Vinyl (schwarz/180g/Direct Metal Mastering)

The womb is the Stargate of Humanity' says Ras G relating to the title of his third and strongest full length for the LEAVING label. Ras is more than your L.A. beat-scene beatmaker/producer/DJ, but rather an influential OG with an admirable no-fucks-given attitude towards liberally experimenting with fidelity and genre in the Los Angeles underground producer scene since the early 2000's. Ras has released multiple projects on luminary labels such as Brainfeeder, Poobah, and Fat Beats.

Mr Bongo brings another Brazilian rarity to the masses with this sublime reissue of Tim Maia's Disco Club. Recorded in 1978, it's a latter-period gem from the larger than life legend, combining the glitz and glamour of disco's heyday with Maia's raw funk and soul roots.
When Maia first heard Little Richard as a teenager, he knew what kind of singer and artist he wanted to be. Five formative years spent in the US, where he ran wild in NYC and joined a
doo-wop group called the Ideals, did little to dampen his enthusiasm for black music.
Stirred by the civil rights movement in the US and driven by a punk spirit, Maia went on to blaze his own trail through the early 70s over the course of four successful albums for Polydor. Moving away from the straight MPB, Tropicalia and international rock dominating the airwaves, his sound represented a new black Brazilian consciousness. When he sang, he could be raspy and defiant one moment ... and then romantic and reflective the next. But always on a groove and with a hook. It was an irresistible combination.
Yet by 1977 he was bankrupt and in limbo having first joined a religious cult called Superior National and then alienated listeners with his first album sung entirely in English. To complicate matters further, Brazil was feeling the Saturday Night Fever. Gloria Gaynor, Chic and Kool & the Gang were dominating the charts and filling hotspots such as New York City Discotheque in Ipanema and Frenetic Dancing Days in the Gávea Mall.
Maia left his usual band and went into the legendary Estudios Level with a mighty ensemble of Rio's finest including Paulinha Braga on drums, Jamil Joanes on bass, Robson Jorge on clarinet, Hyldon De Souza on guitar, Sidinho on percussion, trombonists Edmundo Maciel and Darcy Seixas, and Juarez Assis on tenor sax.
Arranger and keyboardist Lincoln Olivetti was a crucial presence during these sessions. He added that all-important string flourish and brassy joy to the uptempo tracks while giving the
star enough room to express himself. The album kicks off with a trio of floor fillers: the exuberant party starter 'A Fim De Voltar', a sing-a-long anthem in 'Acenda O Farol' and the undeniably funky hit 'Sossego' (file that one next to Fatback).
But then Maia drops it down and gets existential on 'All I Want', questioning the meaning of happiness. He also shows his tender side on slow burners such as 'Murmúrio' (written by the great Cassiano) and 'Pais E Filhos', the latter featuring a supersoft bed of harmonies you can't help but lay down on. But the party ain't over and mid-tempo groover 'Juras' gets the feet moving again before 'Jhony' sends us swaying off into the night.
Maia's appetite for excess would eventually get the better of him. But Disco Club is the sound of an unpredictable genius on top form. Get ready for the time of your life.

With a history dating back to Missy Elliot's R&B royalty of the early '90s, Lady Wray has experienced a host of epic career highs and lows over the last 25 years. Following her last project with Teri Walker, she's now rolling solo on Big Crown with a new album - Queen Alone - due in September. Here's a taster of what to expect: "Do It Again" swags with the deft fusion of early 90s Soul II Soul swagger and timeless Nicole Willis-style investigations while "In Love" is a much more stripped back guitar-based track that's reminiscent Macie Gray's breakthrough hits.

Sensational early-seventies funk bomb by Muhavishla Ravi Hatchud and The Indo Jazz Following. Super-rough organ funk, like a dream combination of Mingus, Jimmy Smith and Zigaboo Modeliste from The Meters — plus Ravi's ramped-up sitar, like a tripping, undercover Bo Diddley. In a numbered, limited edition, to launch a new series of Outernational 45s.

'Rockin live ruff and tuff', this is the untrammelled counterpart to Dadawah, six years later in 1980, fresh from the Black Ark: free, rawly spiritual trance-music, a full-force nyabinghi freak-out.
The drummers are headlong and rollicking, thunderous and explosive. Even more so than Dadawah, the mix is ecstatically echoey, giddily dubwise without let-up. Ras Michael himself sings from the mountain-top, like he just don't care — at the top of his lungs, in voices, screeching like a bird — with the delirious abandonment otherwise owned in reggae by Lee Perry.
Amongst the uncredited performances swirled into proceedings, there are squiggles of flute straight from the Upsetters song-book, the minor-key organ stabs and abstraction of electric space-jazz, and sax-playing more attuned to the Headhunters than the Blazing Horns. (I Ya I in particular is a stunning fifteen minutes.)
This is the real thing, music without affectation. Pure reggae. Sun Ra fans should love it, anyone with ears to hear.
Prepared and manufactured at Abbey Road, D&M and Pallas, beautifully presented in rigid, old-school, tip-on sleeves, with matt-coated fronts and untreated-paper backs, 180g vinyl.
'These sounds are sounds of inspiration and love and culture to the universal benefit of mankind... So therefore meditate and stop hate.'
Very hotly recommended.

Leroy Tucker- known simply as L.T. on the scene-and his band the Soulful Dynamics super rare funk 45. The band was a rotating combination of McClyde Sheely, Melissa Riley, Melvin Ausbie, Eric Williams, Collier Carruthers, Lee Berry, Virgil French, Walter Atchinson, and Charles Wakefield. Despite infectious horns and L.T.'s impassioned delivery, neither "Crazy About You Baby" nor "Everybody Needs Somebody" made a dent locally or otherwise. Like all of the Solo platters, the Soulful Dynamics record was manufactured at Monarch in Los Angelas. Dick Smart fondly recalls picking up the record at the Wichita Greyhound station with an excited L.T. in tow.