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ALFIE DAVISON first came to prominence in the early seventies as a DJ on the New York dance scene breaking cutting edge singles such as Soul Makossa' by Manu Dibango. Eventually he hit with his own song -- Who's Gonna Love Me' -- recorded by The Imperials and breaking the U.K. Top 20 in December 1977. Davison did record his own version which saw a release in the U.S.A. on the RCA imprint, but it failed to chart.
However, it was his sublime single - Love Is Serious Business' - that propelled him into the Northern Soul Hall of Fame. Released on Mercury Records in 1979, in both 7 and 12-inch formats, it was an instant hit in the North of England where it packed the floor at Wigan Casino courtesy of the forward-thinking DJ Richard Searling who, at the time, favoured the rare 12-inch import.
Sadly, the song failed to chart despite a favourable reception in the trade magazine Billboard, although, oddly, it was reviewed in the Pop', rather than the Soul' section. Davison was completely unaware of the serious' club action that the song received in the U.K. and he never performed it in public, until Ian Levine met up with him at the dawn of the new millennium, in Brooklyn, for the filming of The Strange World Of Northern Soul'.
Alfie Davison passed away in 2014 and leaves behind a small but precious legacy that will be forever cherished in the Hearts and Souls of Northern Soul fans worldwide.

COBBLESTONE Trick Me, Treat Me' polarized opinion when it was launched onto the Northern Soul scene in the latter half of the Seventies by DJ Richard Searling. Whatever side of the cobblestone's you were on, it captured the dance floor at Wigan Casino and became one of the biggest sounds of the decade. 40 years on and it's still in demand, particularly with record dealers as it's a sure-fire seller every time it's listed - which is increasingly infrequent. Trick Me, Treat Me' was co-written and produced by Reid Whitelaw who also gave us the brilliant Love Is Serious Business' by Alfie Davison (also available from Outta Sight). The group would eventually morph into Magic Night who filled the floor at Blackpool Mecca with If You And Had Never Met', also produced by Whitelaw. As befitting the strange world of Northern Soul, all is not quite as it appears. The group were originally called Yellow Brick Road and a few copies of Trick Me, Treat Me' were pressed under that name. Bob Reno at Mercury decided it was too confusing with Elton John's chart topping album and withdrew the disc!

THE MOODS Rainmaker' was released in the same year as Trick Me, Treat Me', 1970, and was produced by Philly legend John Madara. The two sides are further connected by the aforementioned Reid Whitelaw who, today, administers the Madara catalogue, however, that's where the similarities end. The Moods pedigree is firmly rooted in black music having been born out of The Volcanos whose legacy includes the wonderful Storm Warning', Help Wanted', You're Number 1' and Laws Of Love'. When The Volcanos disbanded part of the line-up went on to form the nucleus of super group The Trammps who hit the Northern scene with Scrub-board' a couple of years later. Other group members formed The Moods releasing Rainmaker' which became a Northern Soul classic most associated with the Talk Of The North' All-Nighters on the pier at Cleethorpes. Ironically The Trammps appeared live at Cleethorpes to celebrate the First Anniversary All-Nighter, 21st Feb, 1976.

There is a long-standing love affair between DJ Harvey and Pikes, Ibiza. As well as coming back for his third consecutive 'Mercury Rising' residency, the legendary 'DJs' DJ has been appointed 'Cultural Attaché' for Pikes, meaning his magic touch and feel-good presence will create even more special moments at Pikes this summer, including the launch of new label, Pikes Records.

In 2015 DJ Harvey made his hugely anticipated return to Ibiza and made Pikes his home for his Mercury Rising debut, a concept inspired by the beauty of the real Ibiza, the incredible history of Pikes and a genuine love for music. The love, the dancing, the music and the Balearic spirit perfectly and poetically encapsulated by DJ Harvey has seen Mercury Rising widely recognised as the most special night to embrace the island in over a decade.

The next step in the Harvey and Pikes story sees him launch Pikes Records - the first record label founded by Pikes owners and Ibiza Rocks Co-Founders Andy McKay and Dawn Hindle. On the label, Harvey explains: I see so many avenues to work together to release music, everything from live recordings from Ibiza Rocks and Pikes, mix tapes, original productions, showcasing new artists, there's all sorts of avenues to open up.'

With the finer details still under wraps, it's safe to say fans can look forward to the first release being Harvey's very own Mercury Rising compilation. But what can we expect from the third instalment of Mercury Rising Putting it quite simply, Just a serious good time really' says Harvey.

The Sound Of Mercury Rising will be released September 1st on Pikes Records and DJ Harvey and his infamous all night long sets return for Mercury Rising from Monday 7th August to 25th September at Pikes Hotel.

LOU LAWTON was born Lucius Lavarn Lawton in Savannah, Georgia in 1942. Shortening his name to Lou (Lew) he scored a record deal with Capitol Records at the dawn of 1966 and released the raucous Doing The Philly Dog' in March that year. The B-side featured the insistent dancer I Am Searching (For My Baby)', which was adopted by the Northern Soul scene and was also released in the UK by Jeff Kruger's Ember label. Lawton's follow-up single in the Summer of '66 was the excellent beat ballad I'm Just A Fool' coupled with the uptempo Wrapped In A Dream', also released in the UK on the Ember affiliate Speciality. Both 45s failed to garner any chart action and signalled the end of a promising major label career.
A move to New York's Wand label spawned our highlight Knick Knack Patty Wack' which, despite its odd nursery rhyme title, was an instant hit on the Northern Soul dance floors and remains a sought after original today. It was tipped by Billboard to reach the R&B Singles Chart in July 1967 but failed to capitalise on its potential.
A final hop to Cathy Lynn's short lived Heart & Soul imprint resulted in two more 45s under the moniker Lou Moondog' Lawton: the funky remake of St Louis Blues' and the 90mph Mod dancer Dollars And Cents'. Both singles were produced by the great Richard Tee but sadly did nothing to save the doomed career of the big-voiced R&B singer. Lawton passed away in 2004.
WALTER WILSON Love Keeps Me Crying' is the rarest record on the highly collectable Wand label out of New York. Until the Noughties it was considered to be an unreleased track by Walter Johnson, but thanks to Ace/Kent Records exec. and rare soul expert Ady Croasdell, an original 45 was finally unearthed. In a further twist it was revealed that the true identity of the singer was in fact the All Platinum singer/songwriter Tommy Keith.

First & foremost - thank YOU for supporting this album, and for your patience. Special thanks & love to my family, friends - you know who you are. Your love & support means everything - I wouldn't be here without each one of you. Much love & P.E.A.C.E. to my Bruvz - RaSoul & Testament, for blessing our track & always having my back! Huge thanks & love to Relic/Rel McCoy for the hilarious impressions & Skydiving with us! Mad love & respect to Timbuktu for steering the ship & keeping us laughing at all times. Tremendous love & thanks to Evul & the entire Droppin' Science family - a dream come true! Massive love to my UK fam - DJ Rumage & Ruztik Records, for connecting us with Mr. Fantastic & the AE Productions crew - so thankful to be working together! And last, but never least - to my partner in rhyme, Ghettosocks - nothing but eternal gratitude, love & respect for you, your unmatched artistry, & incredibly selfless dedication from day one. Thank you for saying yes.

Valkyrie is a voice for the Warrior. It is dedicated to those who have faced adversity, and been tested in life. For those courageous souls who push through to the end, prevailing against all odds. It is especially for those who feel like giving up. You will make it. You are powerful. Keep going. Surround yourself with the truth-sayers. Educate your minds, hearts and souls. Show love. Give love. Be love. Connect with all of our generations. Be strong. Be brave. Be real. And above all, remember - always stay true to yourself.

Brought together from Brighton's diverse and thriving arts scene and a love of the hypnotic, spontaneous and psychedelic sounds of dub, Resonators is a band blurring genre boundaries and carving their own niche within the ever- evolving sounds of dub-reggae.

2016 saw them release their third album, Imaginary People, described by as "nine tracks of beautifully crafted, exquisite roots reggae" and this latest single is a timely and much needed celebration of coming together as one people and one community with no leaders, just mutual understanding and uncensored joy! In that way it represents the band themselves and their need to create positive change through music.

The Ash Walker remixes of Right Time - the fourth single to be drawn from their latest album - see this super hot producer and multi-instrumentalist, whose fans include Gilles Peterson, Don Letts and Lefto, take the tune into futuristic King Tubby territories.

This extremely limited, hand-stamped white label 7" of Ash's mixes won't be around for long, and is sure to quickly become a collector's item!

By the 1970s Studio One and Clement 'Sir Coxsone' Dodd had already proved himself to be the defining force in Reggae for almost two decades. From running the Downbeat sound system on the lawns and yards of Kingston in the late 1950s to opening Studio One at 13 Brentford Road at the start of the 1960s, ushering in Ska and Rocksteady and establishing the careers of most of Jamaica's artists - everyone from Bob Marley and
The Wailers, Ken Boothe, Toots and The Maytals, The Skatalites, Jackie Mittoo and more - Clement Dodd had until this point dominated the Jamaican musical world.
And yet, incredibly, Clement Dodd was barely half way through his musical path, maintaining Studio One's number one position in the Jamaican music scene throughout the 1970s with a combination of musical and creative innovation and an endless capacity to adapt and create new musical fashions. By the end of the 1970s
Dancehall had become the defining sound on the island. Dancehall was essentially a tribute by other Jamaican producers and artists to the classic music of Studio One created in the 1960s as young artists across the island created new songs, while musicians recreated these original classic foundation Studio One rhythms. As on other occasions, Clement Dodd rose to this new musical challenge by producing a whole new era of classics for Studio One.
The roots of Dancehall begin with the DJs of the early 1970s, who were the first to sing new material over earlier classic rhythms. Early DJ pioneers such as Dillinger and Prince Jazzbo both feature here toasting over classic songs - The Mad Lad's Ten to One and The Eternals' Queen of the Minstrel. But it is the new wave of artists who arrived at Studio One at the onset of Dancehall which enabled Studio One to maintain its number
one status as the whole of Kingston's rival music producers - Channel One, Joe Gibbs and many others - attempted to challenge this position.
Sugar Minott, Michigan and Smiley, Willie Williams, Lone Ranger had all grown up listening to the classic Studio One music of the 1960s and were able to pay the greatest compliment to the label by creating the defining new music of this new era with songs that combined all the musical and technological developments
of the 1970s - dub, deejaying, discomixes, syndrums, synthesizers and more - into the sound of the future: Dancehall.
Throughout this era Clement Dodd also continued to work with a number of original and returning artists - such as Alton Ellis, Horace Andy, Freddie McGregor, Johnny Osbourne - updating old rhythms and creating new ones while employing the in-house band variously known as The Brentford All-Stars/Rockers/Disco Set to update these sounds in order to maintain Studio One's number one position as the defining force in Reggae.
This is Soul Jazz Records' latest new collection of classic and rare Studio One recordings and is released on triple LP (+ download code), deluxe CD and digital album.

REPRESSED !
A mixture of live recording and studio post-production, 'On Jupiter' sounds unique to any other album Sun Ra made. The arkestra reflects a disco pulse right back on itself, and delivers one of the most cohesive albums of their career. The title track is a masterpiece of gentle atonal harmony, while 'UFO' pushes along at a cracking disco-ish pace with fierce brass and spacey dub effects. This a timeless Ra classic.

Originally released in 1992 this is a 13 track single black vinyl from one of the pioneers of the Dancehall scene. Includes digital download code.

The Eminent Stars were founded by saxophonist Ben Mendes and drummer Toon Oomen. They both share the love for the great music emerging from cities like New Orleans in the 60's and 70's: Dr. John, Freddie King, The Meters and many more! Just mix up some soul, Rhythm & Blues, funk and Blues and there you have it: a sound that consists of authentic elements: it's danceable, intriguing, vibrant and fresh!

Their debut Sittin' In (Tramp TRLP/CD-9035) was released in february 2014, accompanied by a 45RPM single to support the album. In the past three years the Eminent Stars heavily toured in
their home country as well as Europe. They kept writing new songs and here we go with two new, fresh cuts. "Bar Shift" features guest vocalist Bruce James while "Brown Thang" is a smokin' blues-funk instrumental. These two sides give you an excellent foretaste of their second full length album, scheduled for release in early 2018.

South London based rappers Too Many T's have crafed a faithful following with their golden-era hip hop formula, positve vibes, trademark rapid back to back fows and turbo-charged live performances. 'South City' is the duo's long-awaited debut album.
Too Many T's have built up a strong fan base with their electric performances and positve vibes stage shows, touring all over the UK over the last four years. They have supported some
of hip-hop's greats including Snoop Dogg, Big Daddy Kane, De La Soul and Public Enemy. But it's now tme for the T's to step forward & take centre stage with 'South City'.Produced alongside Flux Pavilion and Odjbox, 'South City' is one of the freshest hip-hop albums to come out of the UK, with a high-energy sound that will appeal to music lovers around the globe. They have found the formula to bring the lively lyricism and refreshing levity that has made them a must-see live act to this year's must-have album.

* Over the past six years, Dimensions has become a leading name in the underground, with its festival, International Series, DJ Directory and Dimensions Soundsystem. Now, Dimensions extends its influence with the start of its label - Dimensions Recordings. The label launches with a 12-track compilation across three separate discs. 'An Introduction' makes a huge statement in setting out the label's intent and breadth. With artists established and new stepping up to present 12 exclusive tracks.

* Dimensions Recordings explores its darker side on An Introduction Part 3 with intergalactic oddities and twisted techno constructions, the release is definitely ones for the late hours. 'Crosstalk' from gear heads London Modular Alliance opens; a squelching, electro, hardware excursion demonstrating a small snippet of what's to come from the talented trio. Next, French artist, Upwellings steps up to demonstrate his purist approach as he unites elements of dub and techno to create the beautifully spacey 'Soft Shadows'. The third offering comes courtesy of Fachwerk label boss and prolific techno artist, Mike Dehnert; who presents raw but melodic track in 'Tokio,'which maintains his minimal and stripped back aesthetic beautifully. Chicago's Steven Tang in his Obsolete Music Technology rounds off the release with 'Comb Freq,' a devastatingly powerful mix of acidic, bleeping dance floor energy!

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 1000 INDIVIDUALLY
NUMBERED COPIES ON PINK VINYL

Demon Fuzz was an afro-rock group of which its members had all immigrated to Britain from Commonwealth countries. The band's name means devil's children or bad policemen'. They originally played soul, but the music they heard during a trip to Morocco lead to a change in their style to what has been described as a blend of funk, rock, jazz and African music.

Released in 1970 the band's only album, the extraordinary
Afreaka!, demonstrates their excellence in playing psychedelic soul, dub-heavy funk, progressive rock, Afro-jazz and black acid rock. Demon Fuzz these days are amongst the most bootlegged and sampled bands from the early 70s British underground. This re-release, which includes the stunning and rare EP that at the time was released along with the album, tells the band's full story
for the first time ever.

All tracks were credited to Ray Rhoden and W. Raphael Joseph, except for the second track, which was credited to W. Mitchel and Paddy Corea. Corea was also credited with all arrangements'. It was a Billboard 4-STAR' selection in June 1971.

Released in 1970 the band's only album, the extraordinary Afreaka!, demonstrates their excellence in playing psychedelic soul, dub- heavy funk, progressive rock, afrojazz and black acid rock. Demon Fuzz these days are amongst the most bootlegged and sampled bands from the early 70s British underground. It was a Billboard "4- STAR" selection in June 1971.

The band's name means "devil's children or bad policemen". They originally played soul, but the music they heard during a trip to Morocco lead to a change in their style to what has been described as a blend of funk, rock, jazz, and African music. Afreaka! is now available as a limited edition of 2000 individually numbered copies on purple translucent coloured vinyl. The sleeve has a nice linen laminate finish

A pounding kick, majestic horns and the powerful chanting of Iration Steppas' Dan Man anchor "This A Sound". "This A Version" strips back the horns & voice, opening up reverb-drenched wells of darkness.

Newly signed to Ninja Tune, Jordan Rakei has battled his inner demons and written an inspirational, soul-stirring record in the process.

At only 25, the multi-instrumentalist, vocalist and producer - born in New Zealand to a Kiwi mother and father from the Cook Islands - is a rare talent whose distinct take on soul captures a sonic and emotional awareness many artists spend their entire careers chasing. He writes with a maturity and flair that belies his years and new album Wallflower' sees Jordan edging beyond the peripheries of the genial, often sun-flecked sound his fans have come to know him for. The easy swing that has been the backbone of his sound from the outset is ever present, harking back to teenage days spent in his bedroom with his beloved MPC trying to emulate 9th Wonder and Pete Rock. On Wallflower' the tools and the process have evolved - the focus is on live instrumentation - but the groove and the cadence are unmistakable, framing soul and jazz in a truly vibrant oeuvre that simultaneously recalls his predecessors The Roots and peers The Internet, Nick Hakim and Hiatus Kaiyote.

Jordan's whirlwind rise has been a predominately solo effort. His exceptional musical ability (he writes, sings and plays most of the instrumentation on his records himself) is accompanied by an unrelenting - yet agreeably humble - ambition. His aptitude and knack for songwriting caught the attention of tastemakers following the release of his 2014 EP "Groove Curse'. His self-released debut album Cloak' (2016) lit the blue touch paper, earning him a coveted set at Pitchfork Avant-Garde Block Party that year, supports for the likes of Jamie Woon and NAO, and a call-up to play AMP. Drawing early support from the Soulection crew, he has collaborated with Taku, Tom Misch, FKJ, and lent vocals to the Disclosure track 'Masterpiece' (from their 2015 album Caracal') after the duo were tipped off by a friend who had seen Jordan play a tiny basement bar in Australia. At radio, Jordan has been championed at BBC R1/1Xtra by Annie Mac, Huw Stephens, Mistajam, Jamz Supernova, Toddla T plus Mary Anne Hobbs and Gilles Peterson at BBC Radio 6 Music.

Jordan considers Wallflower' his most personal work yet - it's an emotive opus inspired by his own struggles with introversion and anxiety. Sonically lush and complex, yet lyrically relatable and unguarded, listeners are offered a glimpse into the mind and artistry of a musician who grapples with his own self- image and fears every day. On 'Sorceress' (recently supremely reworked by Photay) the ego is personified as a sinister and controlling spirit figure led by equal parts understated ethereal guitar and Jordan's superb multi-layered vocals. New single 'Nerve', featuring Dave Okumu of The Invisible on guitar, is upbeat and incites a sense of renewal as its lyrics call out the fallacies within self-constructed paradigms. Elsewhere, the ska-tinged 'Clues Blues' is laced with trombone and saxophone by Ahmad Dayes and Wayne Francis II from South London pillars United Vibrations.

"It's about how the ego can fully control the way you act and perceive life,' he says. Jordan's decision to leave his home in Brisbane for London in 2015 has had a life changing effect on his music, his career and his outlook. Just thinking about a 10,000 mile relocation was traumatic, and these feelings were exacerbated by his introversion and anxiety. However, he plucked up the courage to make the move and never looked back.

In Australia, I was stuck in a bubble', Jordan explains. "When I moved to London I had to deal with my introversion through 'exposure therapy'. Every day I met new people for a whole year. I met every producer, songwriter, and musician I could. You have to improve as a person to improve as an artist'. Building a new community in London, Jordan linked with Tom Misch, Loyle Carner, Richard Spaven and Alfa Mist - musical likeminds experimenting on the fringes of jazz, soul and hip-hop - and also met Bradley Zero, founder of South London record label and party Rhythm Section. Bradley encouraged him to try his hand at a collection of dancefloor-driven tunes which became the EP "Joy, Ease, Lightness", released by the label at the end of 2016 under the alias Dan Kye.

In many ways Wallflower' is a direct emotional response to his new surroundings and is undoubtedly testament to Jordan's personal strength, drive and overriding passion for his art as well as a reflection of his openness and eagerness to reach out and explore London's fertile music underground. It cements not only his importance as a contemporary, and truly exhilarating, soul voice on the international stage, but his stature as a producer, songwriter and multi-instrumentalist in total command of his sonic vision.

Newly signed to Ninja Tune, Jordan Rakei has battled his inner demons and written an inspirational, soul-stirring record in the process.

At only 25, the multi-instrumentalist, vocalist and producer - born in New Zealand to a Kiwi mother and father from the Cook Islands - is a rare talent whose distinct take on soul captures a sonic and emotional awareness many artists spend their entire careers chasing. He writes with a maturity and flair that belies his years and new album Wallflower' sees Jordan edging beyond the peripheries of the genial, often sun-flecked sound his fans have come to know him for. The easy swing that has been the backbone of his sound from the outset is ever present, harking back to teenage days spent in his bedroom with his beloved MPC trying to emulate 9th Wonder and Pete Rock. On Wallflower' the tools and the process have evolved - the focus is on live instrumentation - but the groove and the cadence are unmistakable, framing soul and jazz in a truly vibrant oeuvre that simultaneously recalls his predecessors The Roots and peers The Internet, Nick Hakim and Hiatus Kaiyote.

Jordan's whirlwind rise has been a predominately solo effort. His exceptional musical ability (he writes, sings and plays most of the instrumentation on his records himself) is accompanied by an unrelenting - yet agreeably humble - ambition. His aptitude and knack for songwriting caught the attention of tastemakers following the release of his 2014 EP "Groove Curse'. His self-released debut album Cloak' (2016) lit the blue touch paper, earning him a coveted set at Pitchfork Avant-Garde Block Party that year, supports for the likes of Jamie Woon and NAO, and a call-up to play AMP. Drawing early support from the Soulection crew, he has collaborated with Taku, Tom Misch, FKJ, and lent vocals to the Disclosure track 'Masterpiece' (from their 2015 album Caracal') after the duo were tipped off by a friend who had seen Jordan play a tiny basement bar in Australia. At radio, Jordan has been championed at BBC R1/1Xtra by Annie Mac, Huw Stephens, Mistajam, Jamz Supernova, Toddla T plus Mary Anne Hobbs and Gilles Peterson at BBC Radio 6 Music.

Jordan considers Wallflower' his most personal work yet - it's an emotive opus inspired by his own struggles with introversion and anxiety. Sonically lush and complex, yet lyrically relatable and unguarded, listeners are offered a glimpse into the mind and artistry of a musician who grapples with his own self- image and fears every day. On 'Sorceress' (recently supremely reworked by Photay) the ego is personified as a sinister and controlling spirit figure led by equal parts understated ethereal guitar and Jordan's superb multi-layered vocals. New single 'Nerve', featuring Dave Okumu of The Invisible on guitar, is upbeat and incites a sense of renewal as its lyrics call out the fallacies within self-constructed paradigms. Elsewhere, the ska-tinged 'Clues Blues' is laced with trombone and saxophone by Ahmad Dayes and Wayne Francis II from South London pillars United Vibrations.

"It's about how the ego can fully control the way you act and perceive life,' he says. Jordan's decision to leave his home in Brisbane for London in 2015 has had a life changing effect on his music, his career and his outlook. Just thinking about a 10,000 mile relocation was traumatic, and these feelings were exacerbated by his introversion and anxiety. However, he plucked up the courage to make the move and never looked back.

In Australia, I was stuck in a bubble', Jordan explains. "When I moved to London I had to deal with my introversion through 'exposure therapy'. Every day I met new people for a whole year. I met every producer, songwriter, and musician I could. You have to improve as a person to improve as an artist'. Building a new community in London, Jordan linked with Tom Misch, Loyle Carner, Richard Spaven and Alfa Mist - musical likeminds experimenting on the fringes of jazz, soul and hip-hop - and also met Bradley Zero, founder of South London record label and party Rhythm Section. Bradley encouraged him to try his hand at a collection of dancefloor-driven tunes which became the EP "Joy, Ease, Lightness", released by the label at the end of 2016 under the alias Dan Kye.

In many ways Wallflower' is a direct emotional response to his new surroundings and is undoubtedly testament to Jordan's personal strength, drive and overriding passion for his art as well as a reflection of his openness and eagerness to reach out and explore London's fertile music underground. It cements not only his importance as a contemporary, and truly exhilarating, soul voice on the international stage, but his stature as a producer, songwriter and multi-instrumentalist in total command of his sonic vision.

Newly signed to Ninja Tune, Jordan Rakei has battled his inner demons and written an inspirational, soul-stirring record in the process.

At only 25, the multi-instrumentalist, vocalist and producer - born in New Zealand to a Kiwi mother and father from the Cook Islands - is a rare talent whose distinct take on soul captures a sonic and emotional awareness many artists spend their entire careers chasing. He writes with a maturity and flair that belies his years and new album Wallflower' sees Jordan edging beyond the peripheries of the genial, often sun-flecked sound his fans have come to know him for. The easy swing that has been the backbone of his sound from the outset is ever present, harking back to teenage days spent in his bedroom with his beloved MPC trying to emulate 9th Wonder and Pete Rock. On Wallflower' the tools and the process have evolved - the focus is on live instrumentation - but the groove and the cadence are unmistakable, framing soul and jazz in a truly vibrant oeuvre that simultaneously recalls his predecessors The Roots and peers The Internet, Nick Hakim and Hiatus Kaiyote.

Jordan's whirlwind rise has been a predominately solo effort. His exceptional musical ability (he writes, sings and plays most of the instrumentation on his records himself) is accompanied by an unrelenting - yet agreeably humble - ambition. His aptitude and knack for songwriting caught the attention of tastemakers following the release of his 2014 EP "Groove Curse'. His self-released debut album Cloak' (2016) lit the blue touch paper, earning him a coveted set at Pitchfork Avant-Garde Block Party that year, supports for the likes of Jamie Woon and NAO, and a call-up to play AMP. Drawing early support from the Soulection crew, he has collaborated with Taku, Tom Misch, FKJ, and lent vocals to the Disclosure track 'Masterpiece' (from their 2015 album Caracal') after the duo were tipped off by a friend who had seen Jordan play a tiny basement bar in Australia. At radio, Jordan has been championed at BBC R1/1Xtra by Annie Mac, Huw Stephens, Mistajam, Jamz Supernova, Toddla T plus Mary Anne Hobbs and Gilles Peterson at BBC Radio 6 Music.

Jordan considers Wallflower' his most personal work yet - it's an emotive opus inspired by his own struggles with introversion and anxiety. Sonically lush and complex, yet lyrically relatable and unguarded, listeners are offered a glimpse into the mind and artistry of a musician who grapples with his own self- image and fears every day. On 'Sorceress' (recently supremely reworked by Photay) the ego is personified as a sinister and controlling spirit figure led by equal parts understated ethereal guitar and Jordan's superb multi-layered vocals. New single 'Nerve', featuring Dave Okumu of The Invisible on guitar, is upbeat and incites a sense of renewal as its lyrics call out the fallacies within self-constructed paradigms. Elsewhere, the ska-tinged 'Clues Blues' is laced with trombone and saxophone by Ahmad Dayes and Wayne Francis II from South London pillars United Vibrations.

"It's about how the ego can fully control the way you act and perceive life,' he says. Jordan's decision to leave his home in Brisbane for London in 2015 has had a life changing effect on his music, his career and his outlook. Just thinking about a 10,000 mile relocation was traumatic, and these feelings were exacerbated by his introversion and anxiety. However, he plucked up the courage to make the move and never looked back.

In Australia, I was stuck in a bubble', Jordan explains. "When I moved to London I had to deal with my introversion through 'exposure therapy'. Every day I met new people for a whole year. I met every producer, songwriter, and musician I could. You have to improve as a person to improve as an artist'. Building a new community in London, Jordan linked with Tom Misch, Loyle Carner, Richard Spaven and Alfa Mist - musical likeminds experimenting on the fringes of jazz, soul and hip-hop - and also met Bradley Zero, founder of South London record label and party Rhythm Section. Bradley encouraged him to try his hand at a collection of dancefloor-driven tunes which became the EP "Joy, Ease, Lightness", released by the label at the end of 2016 under the alias Dan Kye.

In many ways Wallflower' is a direct emotional response to his new surroundings and is undoubtedly testament to Jordan's personal strength, drive and overriding passion for his art as well as a reflection of his openness and eagerness to reach out and explore London's fertile music underground. It cements not only his importance as a contemporary, and truly exhilarating, soul voice on the international stage, but his stature as a producer, songwriter and multi-instrumentalist in total command of his sonic vision.

La Mambanegra (The Black Mamba) is a powerful latin music orchestra. Its venom is made of 70s NYC Salsa and elements of Jamaican and Colombian music, Funk and Hip Hop. Made up of some of Colombia's finest players, La Mambanegra are the advance guard for the rebirth of Salsa, twisting the genre into the 21st Century.

Inspired by the story of an anonymous and mythical hero of the Barrio Obrero, a popular neighborhood of Cali, who had a series of fantastic adventures in Cali, La Habana and New York, this band brings a new concept of Salsa and Latin Music to the world.

But, La Mambanegra are more than just salsa. Indeed, their leader Jacobo Vélez prefers to believe that they inhabit a genre all of their own. He calls it 'break-salsa', on account of the band's easy assimilation of hip-hop, ragga and knife-sharp funk.

Hailing from the Colombian salsa capital of Cali, this nine-piece have been grooving hard for four years now, their polyrhythmic, horn-heavy and thoroughly modern sound quickly earning them a devoted following across South America and beyond. Their full-throttle live shows overflowing with the absolute commitment of each band member. In Vélez, they have an exuberant, passionate leader for whom the music is an essential life force. "Salsa is sweat, sex, liquour and Pielroja cigarettes," he announces. "It's the gasoline that turns my heart on."

"As funky as James Brown and as hot as the Cali nightclubs that they light up on a regular basis... La Mambanegra are a force of nature and one of the most exciting bands to come out of Colombia for a while." Sounds And Colours

"If you go for music loaded with venom, with a spicy and dangerous mix, so push play and replay at this concoction of pure "salsa caliente"" VICE

"Achieving a balance between danceable and virtuosity is no simple feat, but bandleader-saxophonist Jacobo Velez pulls it off. To make things more interesting, he's based the band's persona on a mythical musical hero who's lived incredible adventures. A visual and sonic treat." Billboard

While frmly based in the island grooves that inspired the birth of the band nearly two decades ago, The Black Seeds' sound casts a wide net, layering funk, soul, Afrobeat, and other eclectc elements over their dub/reggae foundatons. It's contemporary groove music with infuences from soul and funk and reggae rhythms - and even rock...' explains guitarist/vocalist
Barnaby Weir.

Lead track Beter Days' is a Black Seeds classic and an excitng taster of what is to come from the new record. Rich with chugging guitars and soothing vocals, the track is warm with a positve message: Beter Days are calling, lonely nights are leaving. I see beter Days, are just around the corner. No it wont be long tll something good happens for ya.'
Described by Clash Magazine as one of the best live reggae acts on the planet,' The Black Seeds legendary eight-piece live show infuses raw energy and good vibes wherever they go, fueling mult-platnum sales and a growing worldwide following. With countless sold out tours behind them and performances at many of the world's leading festvals, The Black Seeds will be bringing touring the new record around the world this summer.

Aeon Seven, DJ and producer for more than 15 years and former member of french electronic duo Christine, is now again running solo and had recently joined the mighty 45 live crew.
His productions celebrate the golden age of analog music, that he restyles into a retrofuturistic Hip-Hop concept.
When it comes to turntablism, he is anything but a beginner, as his very first vinyl release Beyond The Time Barrier' (2000) was aimed at turntablist.
For his first collaboration with Beatsqueeze records, he comes with 10 classic and unusual skipproofs combos that will electrify the 7inch scratch game.

Limited Edition 7" vinyl (Clear Blue)

Das siebte Album der belgischen Fusion-Band BRZZVLL (Brazzaville) ist ein psychedelisches Jazz-Funk-Werk zwischen Jazz-Fusion, Afro-Funk und Rare Groove, auf dem sie nach Kollaborationen mit Poeten wie Anthony Joseph und Amir Sulaiman wieder die instrumentale Karte spielen.

A hypnotic flute-led instrumental from singer, composer and genre-hopping multi-instrumentalist G.T. Moore, originally released in 1991

Lily Of Da Valley is the first full-length album from Jesse Royal, who in his short career so far, has already been featured in Vogue magazine, had a Vice TV episode appearance, a #1 Jamaican single, and over 8 million views on a single video. Keeping authentic reggae music alive is Jesse Royal's mission as he continues on the legacy of the late greats Bob Marley, Peter Tosh and Jacob Miller, to name a few. Jesse Royal's restless musical drive paired with profound music, prolific lyrics and socially-conscious messages has him regarded as the
next reggae star to emerge from reggae's birth land of Jamaica.

Collection of classic Skip Proof baby !!!

After time travelling with l'Orange on the TimeAstonishing EP (MMG) and delivering a new episode of his Total Orgasm' mixtape series, Kool Keith aka Tashan Dorrsett is back at work with producer Junkaz Lou (aka the Great Priest Of Dark Funk) in order to preach and teach the Galaxy about his religion and lead all you lost sheep and freaks into the light of God. The Preacher' is yet another classic scripture by Kool Keith coming straight from the Junkadelic Temple.

Sean Price sadly passed away on August 8th, 2015. Sean was 1/2 of Heltah Skeltah, 1/8 of Boot Camp Clik and developed a cult-like following with his trio of solo album releases starting in 2011. The Sean Price legacy continues with the highly anticipated posthumous release of his 4th studio album, "Imperius Rex".

Sean Price sadly passed away on August 8th, 2015. Sean was 1/2 of Heltah Skeltah, 1/8 of Boot Camp Clik and developed a cult-like following with his trio of solo album releases starting in 2011. The Sean Price legacy continues with the highly anticipated posthumous release of his 4th studio album, "Imperius Rex".

The Selecter, the riotous skank machine who exploded out of Coventry in the game-changing, multi-cultural 2 Tone explosion of 1979 release their brand new album 'Daylight' on October 6th. Now reunited around the nucleus of original members Pauline Black and Arthur 'Gaps' Hendrickson, The Selecter are firing on all righteous cylinders in 2017 and 'Daylight' is their most urgent, politically engaged and purely uplifting music since the days of 'Too Much Pressure' and 'Celebrate The Bullet'.
Recorded in London against a strangely familiar backdrop of political foment, anger at austerity policies and the sudden emergence of a revitalized left wing vying for Government, 'Daylight' looks at the modern world with classic Selecter energy, wit and danceability.
'Daylight' is also a spectacular return for one of the first British female stars to really shake up gender and racial stereotypes. Cropped and cool, Pauline was the girl who looked and moved like the sharpest rude boy.
She flipped the Tonic suit and porkpie hat into a feminist statement, making the famous 2 Tone label man,
flesh and female.
Many faces have moved through The Selecter's line-up since their early days in Coventry. Now a mix of musicians - four white and four black, very 2-Tone' - work with Pauline, Arthur 'Gaps' Hendrickson and producer-writer-arranger Neil Pyzer in a tight-knit family team.
The album features 10 brand new songs including new single and opening track 'Frontline' (straight onto the 6Music Playlist) which utilises a weapons-grade UK reggae rhythm to talk about the new place where confrontation takes place - digital and social media. Title track 'Daylight' sings of the straightforward joys
and pains of everyday life, whilst 'Pass The Power' is a rallying cry for a newly politicised generation. Full tracklisting goes like this:
Frontline / Remember Me / Daylight / The Big Badoof / Paved with Cold / Taking Back Control / Things Fall Apart / Mayhem / 3 Reasons / Pass the Power Heading off to the US in August to tour with Rancid & The Dropkick Murphys, The Selecter return to
Europe and the UK later in the year. They will launch 'Daylight' at the (now sold out) London Roundhouse on October 6 with a special double-header with fellow 2 Tone veterans The Beat featuring Ranking Roger.
Fans can expect classics from On My Radio' and 'Missing Words' plus the new tracks too.

Fans of the exquisite, often never-before-released funk championed by Now Again Records are no stranger to Amnesty. Based in Indianapolis in the early 1970s, the group released only two obscure 45s in their recording career. Birthed from the same scene as the Ebony Rhythm Band, Amnesty had a political edge similar to LA Carnival and the hardest brass section since The Kashmere Stage Band. In 1973 Amnesty recorded five hard, vocal funk numbers alongside some ballads and a handful of demos based around nothing more than guitar accompaniment. Only two songs were ever released, Amnesty's biting, difficult-to-categorize prog/rock/soul/funk stretched far beyond Indianpolis's bounds and the band didn't have a label to take them to the next level. Finally made available thirty three years after they were recorded, these songs are funk arranged with dangerous complexity and performed with precision - arguably the most unique funk to originate from Naptown, and some of the best music of its kind.

Before Bob Marley came on the scene, many in Britain dismissed reggae as either the stuff of one-hit wonders or skinhead
dance music. Now it is recognised as influential style, which has not only sold millions of records worldwide but had a major effect on the mainstream. But only a few of his fans realise the man's recording career was as lengthy as it was: though he died aged just 36 in 1981, he'd been active in the studio since 1962 onwards.Despite some of the tracks featured here would be re-recorded on later albums, these 'prototypes' exhibit a rough-hewn, soulful feeling. We all knew his music was timeless, this was but further proof.