Hip-Hop Vinyl New Releases - News

The third and final EP featuring remixes from UNA's "LAUGHING MAN" album. This one kicks off with a house remix of "THE ASTRONOMER" by HEATH & SKAGGS while JOHN TEJADA does a techno remix of the same cut B/W "LAUGHING MAN" remix by NIGHTMARES ON WAX and "MYTH" remixed by DJ CAM. Full pic sleeve.

At a time when bandleaders in Nigeria used titles as an affectation, Dr. Adolf Ahanotu was the real deal. He had a PhD in music compilation and Master's degrees in education and communication. He also played a mean tenor sax, an instrument he mastered touring Owerri with the Mirabels. Ahanotu's scholarly background is apparent in the impeccable arrangements and the way each track is labelled with its musical type. The banging opening track, 'Sensation' is disco, notes the helpful doctor. The legendary 'Ijere' is to be considered Remire or Afro Jazz. 'Litany of Freedom' is reggae, 'Cupid' is rock and 'Tropical Moonlight' classified as the blues. The mandatory ode to the nation, 'Happy Nigeria', is labelled as calypso. But these are not dry, scholarly pieces. 'Sensation' reeks of dance floor freakiness not the hallowed halls of academia. And listen to the pitch bend craziness on 'Injere'. Sure, Dr. Ahanotu had studied the rules. But he wasn't afraid to break them. From the freaked-out opening seconds of the title track you are left in no doubt: The doctor is in the house. Mastered and produced by Goddy Oku. - Peter Moore

At a time when bandleaders in Nigeria used titles as an affectation, Dr. Adolf Ahanotu was the real deal. He had a PhD in music compilation and Master's degrees in education and communication. He also played a mean tenor sax, an instrument he mastered touring Owerri with the Mirabels. Ahanotu's scholarly background is apparent in the impeccable arrangements and the way each track is labelled with its musical type. The banging opening track, 'Sensation' is disco, notes the helpful doctor. The legendary 'Ijere' is to be considered Remire or Afro Jazz. 'Litany of Freedom' is reggae, 'Cupid' is rock and 'Tropical Moonlight' classified as the blues. The mandatory ode to the nation, 'Happy Nigeria', is labelled as calypso. But these are not dry, scholarly pieces. 'Sensation' reeks of dance floor freakiness not the hallowed halls of academia. And listen to the pitch bend craziness on 'Injere'. Sure, Dr. Ahanotu had studied the rules. But he wasn't afraid to break them. From the freaked-out opening seconds of the title track you are left in no doubt: The doctor is in the house. Mastered and produced by Goddy Oku. - Peter Moore

Channeling a love affair with classic 90's hip hop, an affinity for otherworldly themes and an ear for raw funk, Barclay Crenshaw uses his given birth name to bare his soul and deliver a slowed-down, emotive collectiob of collaborations and instrumentals. This self-titled debut album is a left-field deperature from his better known allias, Claude Von Stroke, but the quality is undeniably the same. The themes of alien abductions and exploring of time and space are discovered and brough to life over ten tracks that sound like a mixture of gold rope chains and new age enlightenment. Modern organic beats mixed with gorgeous melodic movements and underlying grittiness create an experience that is eclectic, expressive, and expansive. Coded art furthers the sense of mystery and the unkown. Harking back to the past while gazing into the future.

- Composed by renowned swiss artist Marco Repetto (Grauzone w/ Stephan Eicher, Rephlex Records) , - For fans of Fax +49-69/450464, Rephlex, Tetsu Inoue, Electronic, Ambient and Chill Out. - - Strictly limited edition of 500 SADCD copies housed in heavy double digisleeve jacket.

Mental Groove Records is thrilled to announce Bigeneric's new double album entitled 'Spielmanda' in collaboration with the artist own INZEC imprint. Swiss artist Marco Repetto is the chromatic brain behind Bigeneric musical project and has a strong background in the burgeoning scenes of minimal synth (Grauzone with Stephan Eicher), early techno (Synectics on Aphex Twins' Rephlex imprint) and ambient / trance (Planet Love on Superstition). Spielmanda album reflects the artist deep love for nature, psychedelia, health and futurism. The title is borrowed from a book by Berner writer and myths researcher Sergius Golowin and is a fictional legendary and mystic place in the Swiss pre-alps, a place that Marco Repetto explores through the 16 tracks of this album that he has constructed and tested at numerous performances. A truly justified and bright +2 hours long daydreaming walk across the deep forests and infinitively colorful meadows of imaginary Spielmanda's landscapes and beyond, with Marco Repetto's heart rebel signature, a unique and modern mixture of technology driven hippie & punk culture. - 117th release from versatile swiss imprint Mental Groove Records (Donato Dozzy, Bruno Spoerri, Eduardo De La Calle, Kenji Kawaii, Orlando Voorn, Nate Krafft, Sinner DC, Orbe, Lugano Fell, Keiichi Tanaka, Tommasso Cappelato...)

The self-proclaimed funkiest band on the west coast of Africa, the Heads Funk Band, could arguably make that claim for the whole continent. Featuring the slick guitar of Felix 'Feladey' Odey, the slinky drumming of Eddie Offeyi and the swirling keyboard chops of Kevin 'Fortune' Coburn, nobody was funkier. And that's not even taking into account the dance floor monsters they were releasing at the same time as Akwassa. Cold Fire was their second album as the Heads Funk Band. Where their first album, Hard World, was in a hurry to get you on the dance floor, on Cold Fire the funk is given room to breathe. The title track has a dark ghetto groove, straight from the mean streets of New York. 'Got To Know' has a loose, feel good vibe. 'Put On Your Funky Shoes' and the instrumental, 'Funky Port Harcourt' live up to their names. With Feladey laying down a hybrid chicken scratch/wah-wah sound over Eddie Offeyi's assured drumming, and 'Fortune' Coburn supplying the free-range keyboards, this is a band at the height of their powers. Cold Fire is killer stuff and proof that in the mid-seventies Nigeria was producing the funkiest bands in the world. - Peter Moore

The self-proclaimed funkiest band on the west coast of Africa, the Heads Funk Band, could arguably make that claim for the whole continent. Featuring the slick guitar of Felix 'Feladey' Odey, the slinky drumming of Eddie Offeyi and the swirling keyboard chops of Kevin 'Fortune' Coburn, nobody was funkier. And that's not even taking into account the dance floor monsters they were releasing at the same time as Akwassa. Cold Fire was their second album as the Heads Funk Band. Where their first album, Hard World, was in a hurry to get you on the dance floor, on Cold Fire the funk is given room to breathe. The title track has a dark ghetto groove, straight from the mean streets of New York. 'Got To Know' has a loose, feel good vibe. 'Put On Your Funky Shoes' and the instrumental, 'Funky Port Harcourt' live up to their names. With Feladey laying down a hybrid chicken scratch/wah-wah sound over Eddie Offeyi's assured drumming, and 'Fortune' Coburn supplying the free-range keyboards, this is a band at the height of their powers. Cold Fire is killer stuff and proof that in the mid-seventies Nigeria was producing the funkiest bands in the world. - Peter Moore

The eastern Nigerian city of Calabar in Cross River State was colloquially known as Canaan City - a place of lush landscapes, alluring women and delicious cooking. When the Biafra War ended it became a land of milk and honey for bands as well, with jumping venues like the Taj Mahal and Luna Nite Club and a label called Clover, set up local entrepreneur Ben Okonkwo, releasing albums by bands like The Doves, The Visitors, Aktion and The Apostles. The youngest band on the Clover roster was Mansion, a teenage highlife group, led by singer and bassist John 'Holy Mountain' Ebiong. Okonkwo decked them out in flares, repackaged them as a funk band and put them in the studio with EMI super-producer, Kayode Salami. The result was Devil Woman, an astoundingly assured funk/rock album. The title track revels in a '60s psychedelic vibe. 'The Love Song' is a direct appeal to teenage hearts. 'Heaven Here On Earth' has an irresistible shuffling groove while 'You Can't Stop Us' is what James Brown would have sounded like if he'd been born in the Cross River State. Devil Woman is an album designed to set young hearts aflutter and draw approving nods from seasoned musicians. It succeeds in both. - Peter Moore

The eastern Nigerian city of Calabar in Cross River State was colloquially known as Canaan City - a place of lush landscapes, alluring women and delicious cooking. When the Biafra War ended it became a land of milk and honey for bands as well, with jumping venues like the Taj Mahal and Luna Nite Club and a label called Clover, set up local entrepreneur Ben Okonkwo, releasing albums by bands like The Doves, The Visitors, Aktion and The Apostles. The youngest band on the Clover roster was Mansion, a teenage highlife group, led by singer and bassist John 'Holy Mountain' Ebiong. Okonkwo decked them out in flares, repackaged them as a funk band and put them in the studio with EMI super-producer, Kayode Salami. The result was Devil Woman, an astoundingly assured funk/rock album. The title track revels in a '60s psychedelic vibe. 'The Love Song' is a direct appeal to teenage hearts. 'Heaven Here On Earth' has an irresistible shuffling groove while 'You Can't Stop Us' is what James Brown would have sounded like if he'd been born in the Cross River State. Devil Woman is an album designed to set young hearts aflutter and draw approving nods from seasoned musicians. It succeeds in both. - Peter Moore

In mid-seventies, Nigerian bands came and went with alarming regularity, rising meteorically from the slums to stardom and falling back again just as quickly. Masisi Mass Funk from Anamara State was one such band. But during their brief moment in the stratosphere, they produced a funk gem in I Want You Girl. The band was championed by Ebere Ikoro from the Hygrades. He took them under his wing after an ill-advised collaboration with Soly Dibong. They were originators not imitators, he said. He produced I Want You Girl and played on it as well. It's easy to see what appealed to Ebere Ikoro. The title track has a Manfred Mann sixties vibe. 'Care To Love Me' is a wonky, off-kilter reggae calypso number. And 'Ungrateful People' bounces along with a Sly And The Family Stone chirpiness. However, it's the gospel numbers that really stand out. 'Heavenly Father' rocks out with strident keyboards and plaintive vocals. And the relentless 'He Is To Be Praised' is an afro-funk-rock-gospel monster, guaranteed to raise your eyes to heaven while keeping your feet firmly planted on the dance floor. Sadly, Masisi Mass Funk only released one album, their star burning as quickly as it did brightly. They went on to form First Planet, an Afro Boogie band that tore up Lagos dancefloors in the '80s. But that's another story for another day. - Peter Moore

In mid-seventies, Nigerian bands came and went with alarming regularity, rising meteorically from the slums to stardom and falling back again just as quickly. Masisi Mass Funk from Anamara State was one such band. But during their brief moment in the stratosphere, they produced a funk gem in I Want You Girl. The band was championed by Ebere Ikoro from the Hygrades. He took them under his wing after an ill-advised collaboration with Soly Dibong. They were originators not imitators, he said. He produced I Want You Girl and played on it as well. It's easy to see what appealed to Ebere Ikoro. The title track has a Manfred Mann sixties vibe. 'Care To Love Me' is a wonky, off-kilter reggae calypso number. And 'Ungrateful People' bounces along with a Sly And The Family Stone chirpiness. However, it's the gospel numbers that really stand out. 'Heavenly Father' rocks out with strident keyboards and plaintive vocals. And the relentless 'He Is To Be Praised' is an afro-funk-rock-gospel monster, guaranteed to raise your eyes to heaven while keeping your feet firmly planted on the dance floor. Sadly, Masisi Mass Funk only released one album, their star burning as quickly as it did brightly. They went on to form First Planet, an Afro Boogie band that tore up Lagos dancefloors in the '80s. But that's another story for another day. - Peter Moore

OFO The Rock Company (originally known as OFO The Back Company) were Nigeria's first acid-rock band. Blending Hendrix and Deep Purple with shamanism and a pro-black philosophy, they cut their teeth at Fela Kuti's Afrika Shrine, developing a fearsome live reputation that intimidated every other band in Lagos. No one wanted to follow the guys from OFO, not even Fela himself. Lead by the charismatic Larry Ifedioranma, OFO The Rock Company considered themselves a musical cult. Their live shows were a heady mix of mind-melting musicianship, mysticism and theatre. In 1973 the band tour Europe and Fonkafrika gathers together the best of those performance. The moments captured range from small intimate gigs in London, where you can hear the conversation amongst the crowd, to an astonishing gig in East Germany where they played before 900,000 people. The undoubted highlight is the extended prog-rock wig out of 'Ayaya,' recorded at the Berlin gig, before an obviously delighted crowd. See if you can pick out the moment where the band were joined on stage by a long-haired hippy who insisted on playing guitar. They didn't realize it at the time but it was Carlos Santana. It was in Europe that the band fell apart, riven in two by Ifedioranma's increasingly autocratic rule. Fonkafrica remains as a precious testament to what the band did best - playing loud and proud and putting on a show you would never forget. - Peter Moore

OFO The Rock Company (originally known as OFO The Back Company) were Nigeria's first acid-rock band. Blending Hendrix and Deep Purple with shamanism and a pro-black philosophy, they cut their teeth at Fela Kuti's Afrika Shrine, developing a fearsome live reputation that intimidated every other band in Lagos. No one wanted to follow the guys from OFO, not even Fela himself. Lead by the charismatic Larry Ifedioranma, OFO The Rock Company considered themselves a musical cult. Their live shows were a heady mix of mind-melting musicianship, mysticism and theatre. In 1973 the band tour Europe and Fonkafrika gathers together the best of those performance. The moments captured range from small intimate gigs in London, where you can hear the conversation amongst the crowd, to an astonishing gig in East Germany where they played before 900,000 people. The undoubted highlight is the extended prog-rock wig out of 'Ayaya,' recorded at the Berlin gig, before an obviously delighted crowd. See if you can pick out the moment where the band were joined on stage by a long-haired hippy who insisted on playing guitar. They didn't realize it at the time but it was Carlos Santana. It was in Europe that the band fell apart, riven in two by Ifedioranma's increasingly autocratic rule. Fonkafrica remains as a precious testament to what the band did best - playing loud and proud and putting on a show you would never forget. - Peter Moore

After CITY BABY RECORD's hot 2016 debut from Tokyo's LIQUID PEGASUS, the label heads to LA to deliver SKY TONY's inaugural EP. "BERRI" is a sun ray sparkling through dew in the desert. A modern funk blend of Italo naive melodies & subtle UK jazz funk. 500 copies include 100 random white vinyl.

Unafraid to push boundaries, ephemerals' third album, egg tooth, explores new directions: their modern soul and R&B songs now tinged with flavours of jazz, afrobeat, psychedelia and bluesy cinematic orchestral arrangements.

With influences ranging from Nina Simone to Kate Tempest, Steve Reich to Alice Coltrane, egg tooth sees songwriter Hillman Mondegreen and singer Wolfgang Valbrun combine beautifully, marrying direct and honest lyricism with powerful vocal delivery.

It's an album with recurring themes of rebirth, love, world politics and philosophy in a varied and eclectic collection of songs - an eclecticism perhaps a reflection of ephemerals diverse backgrounds: the singer Wolfgang is a New Yorker living in Paris, the writer in Nottingham, the sax player lives in France, while the keys, trumpet and rhythm section are in Bristol, Sussex and London.

Gemma & the Travellers give a nod to the early deep Soul, R&B, Northern Soul and Funk of the Sixties but add a refreshing twist with their unique songwriting. With her powerful and distinctive voice, Gemma M. is a true Soul woman who left the south of Italy as a teenager with a small bag in her hand and a bit of cash in her back pocket. Travelling through Europe, she met Robert P., an Anglo-Swedish guitarist living in Germany at the time and formed a travelling duo, which ended up returning to Robert's hometown London. After many years getting sick and tired of the city's distractions, they looked for a more creative environment beside the sea and fell in love with Northern Brittany, where they formed the band Gemma & the Travellers with friends and musicians from down the road.

Contrary to the "Motown" or "manufactured" model where the singer is rarely the songwriter, Gemma M. writes all of her songs with the help of Robert P. on the guitar. Her influences are Aretha Franklin and Julie Driscoll - genuine vibrations where life is your own creation! Recorded live at Lemoncake Studios in northern Brittany, producer Robert P. strived for an authentic and original Soul sound with a certain crunchiness and analogue distortion, like that of an old vinyl from the Sixties without falling under the overused retro banner.

The title track of Gemma & The Travellers' debut album "Too Many Rules & Games" is a song about a woman who has had enough of a world run by the men looking only for their own personal glory and fame. Love is the answer to the problems of this world! "Where I lived before" is another highlight: "I am looking back at the years of my upbringing living in the south of Italy, a juxtapose of poverty, injustice and hardship with all the beauty of the land and warmth of the people, it was hard to be a teenager there as my mum would not let me go out, which amplified the rebel in me," Gemma explains.

In 2015, the band played their live debut at London Jazz Cafe, opening for the Craig Charles' "Funk & Soul Show", who then described the band's sound as a "tasty little nugget of Soul".

Gemma & The Travellers are:

'Voyager' is the third full-length album from LA's Moonchild, whose candid style of soul and newschool jazz has propelled them onto a swirling, emotionally charged journey of the heart. Since 2014 they have dedicated their time and energy into honing dreamlike and ethereal compositions which explore the intricacies of relationships with emotional nuance.

Since cementing themselves into the vibrant LA soul scene, Moonchild have released two albums and collaborated or toured with highly-respected names in the soul-jazz crowd including Stevie Wonder, Jill Scott, India.Arie, Leela James, The Internet (Odd Future's Syd tha Kyd & Matt Martians) and more. Along the way, Moonchild have accumulated a host of iconic supporters from Robert Glasper and Laura Mvula to James Poyser, Jazzy Jeff, Jose James, 9th Wonder and Tyler, The Creator who have all shown love for the band.
Praise for Moonchild..

A new single by Pama International and it's again available only on a super limited edition 45 vinyl only. On the A side a superb version of "Man Next Door". The song has been originally recorded by John Holt with his group The Paragons in 1968 on Duke Reid's Duke label and since then it has been covered by numerous other reggae artists including Dennis Brown, UB40 and Horace Andy, becoming a massive hit thanks to Andy's more recent version with trip-hop superstars Massive Attack in their album Mezzazine. On the flip side you'll find the rock steady scorcher Austerity Skank that has already gained support on the airwaves by reagge ambassadords David Rodigan and Don Letts. In their first 10 years Pama Int'l recorded 9 albums, 3 BBCRadio 1 Maida Vale sessions, won the Rebel playlist on BBC6, and became the first new act to sign to Trojan Records in 30 years. Their collective nature saw them work with members of The Specials, Madness, Steel Pulse, Style Council, Galliano, Kasabian, Mad Professor, Toots & The Maytals, Jimmy Cliff to name a few.
Wacth out, the 45 is limited to 500 copies worldwide.

Early airplay and praise from Gilles Peterson, Alex Nut (Eglo), Rob Luis (Tru Thoughts) and Joe Davis (Far Out).

Melbourne composer/violinist Tamil Rogeon (The RAah Project, Harvey Sutherland & Bermuda) brings his most ambitious work to date. That's saying something when your previous works include composing a Stravinsky tribute for a 100-piece orchestra, soundtracking a concert screening of the drawn 2010 AFL football Grand Final for the Melbourne Symphony Orchestra, and the Red Bull Beat Suite, a unique work combining orchestra, turntablists, beatmakers and vocalists including Aloe Blacc and Ladi6! Rogeon's projects have earned acclaim from The Guardian, Resident Advisor and Motor City Drum Ensemble.

24 Hours in Lapa is a mesmerising 12-part song cycle built on Brazilian rhythms, an orchestral score and subtle electronics. Rogeon bases this sweeping, cinematic suite around the tragic story of Joseph Martin, a young expat killed by an off-duty police officer while celebrating his 30th birthday in the Rio party district of Lapa. Rogeon travelled to Rio to record Tiago Loei's percussion group, returned to Melbourne to write the score for Orchestra Victoria, then added vocals from sessions in LA, London, Paris and Melbourne. Guest vocalists include Heidi Vogel (Cinematic Orchestra), earthy soulstress Krystle Warren, globetrotting MC Raashan Ahmad, RAah partner Ryan Ritchie, crooner Bobby Valentine and ethereal backings from Ella Thompson (GL, The Bamboos).E

Early airplay and praise from Gilles Peterson, Alex Nut (Eglo), Rob Luis (Tru Thoughts) and Joe Davis (Far Out).

Melbourne composer/violinist Tamil Rogeon (The RAah Project, Harvey Sutherland & Bermuda) brings his most ambitious work to date. That's saying something when your previous works include composing a Stravinsky tribute for a 100-piece orchestra, soundtracking a concert screening of the drawn 2010 AFL football Grand Final for the Melbourne Symphony Orchestra, and the Red Bull Beat Suite, a unique work combining orchestra, turntablists, beatmakers and vocalists including Aloe Blacc and Ladi6! Rogeon's projects have earned acclaim from The Guardian, Resident Advisor and Motor City Drum Ensemble.

24 Hours in Lapa is a mesmerising 12-part song cycle built on Brazilian rhythms, an orchestral score and subtle electronics. Rogeon bases this sweeping, cinematic suite around the tragic story of Joseph Martin, a young expat killed by an off-duty police officer while celebrating his 30th birthday in the Rio party district of Lapa. Rogeon travelled to Rio to record Tiago Loei's percussion group, returned to Melbourne to write the score for Orchestra Victoria, then added vocals from sessions in LA, London, Paris and Melbourne. Guest vocalists include Heidi Vogel (Cinematic Orchestra), earthy soulstress Krystle Warren, globetrotting MC Raashan Ahmad, RAah partner Ryan Ritchie, crooner Bobby Valentine and ethereal backings from Ella Thompson (GL, The Bamboos).E

Following the release of Commodo's acclaimed debut LP, 'How What Time', and Memotone's 'Chime Hours' album earlier this year, Bristol label hub Black Acre have enlisted new recruits in Wallwork — co-head of burgeoning club collective, Nervous Horizon — and London grime emcee, Nico Lindsay, to deliver their latest record.

* Two-track single, 'Facts' / 'Fyah', taps into the experimental zones that both Nervous Horizon and Lindsay operate. Wallwork and Tsvi's hard, steadfast drum workouts have been a feature of their work with the label and on 'Facts', the pair turn a stripped-back, minimalist hand to a beat that Lindsay takes on with a relaxed, near-horizontal flow. With neither afraid to deviate from grime's more familiar 140bpm template, their collision of styles is not only refreshing — it's fully vindicated.

* On B-side 'Fyah', Wallwork — assisted by Nan Kolè — leans more toward UK funky, with the beat patterns softer and the percussion less harsh, instead driven by a fierce, chugging groove and twisted, wonky bass notes that Lindsay again navigates. Only featuring across certain sections of the track, his vocals phase in and out almost at will, as the beat's unrelenting sense of rhythm carries 'Fyah' firmly into club banger territory.

Jesse Munroe Johnson (Gulls/Boomarm Nation) & A Walker Spring (Bitch'n/Heat Unit) meld the former's atmospheric electronics, and percussive dub sensibilites, w/the latter's moody vocalizations, for some dreamy pop meditations.

Unearthed by groove archeologist Betino Errera, this black gem was cut in Paris in 1980 by American vocalist Robert Helms. His French career being rather confidential with releases under his own name as well as Bobby Helms or simply Bobby, the Lay Down Girl album remained a well-kept secret for decades despite the fact that it contained two very strong disco-funk tunes.

Helms was backed by a seasoned studio band including Donny Donable (of Lafayette Afro Rock Band) on drums, Christophe Zadire (of Zulu Gang fame) on bass and Beckie Bell on backing vocals. The session was led by master musician Jacob Desvarieux on guitar, piano and synths, who was already at that time one of the founders of Kassav. These recordings were made under the supervision of Pierre Jaubert, who was a major player on the independent French production scene from the late 60s onward, operating his own studio, famous for also being a much appreciated meeting point for musicians. He is responsible for bringing forth works from legendary bluesmen like John Lee Hooker, Memphis Slim, Roosevelt Sykes and jazz greats including Mal Waldron, Archie Shepp and Charlie Mingus. But to funk lovers, Pierre Jaubert is mostly known for his involvement with the mythical Lafayette Afro Rock Band whose prominent breaks and riffs have been sampled by the most illustrious rappers including Public Enemy, De La Soul, Naughty by Nature, Digital Underground, Wu Tang Clan and Ice Cube to name just a few.

Today, Betino's Records reissues two very sought after tracks from the original album: "Feet On The Ground", cowritten by Desvarieux and Helms and "Sekele I Like It", written by Desvarieux and Pasteur Lappe, the latter hailing from Cameroon was the first one to record the song in 1979. In addition, both tunes get the contemporary rework treatment. Baptman and Betino editing the vocals out of "Sekele I Like It" then turning it into a very danceable Philly inspired dub. For his part, DJ Vas digs the Afrobeat seam on "Feet On The Ground", thickens the sauce with thumping bass lines and adds an "Earth Wind & Fire" feel by putting the emphasis on the horn section.

And last but not least, this 12inch pressing is limited to 700 copies worldwide.

Years before Scientist and Jammy battled the space invaders, Tradition dreamt up a sci-fi jazz/dub odyssey in north London.
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Captain Ganja and the Space Patrolis one of the most singular dub albums that barely saw the light of day. A conscious effort to create a new breed of dub centred that around the cosmic synths and keys of Paul Thompson. Making use of an early Roland sampler, Tradition broke away from the standard drum / bass workouts that ruled the day. With the Captain, dub becomes an atmosphere, a feeling, not a formula - littered with babies cries, tribal chants, radiophonic noodlings and library soundtracks for space-age bachelor pads.

Originally issued by Venture Records in 1980, this small run was easily lost beneath the weight of their huge vocal LPs for RCA and everlasting lovers-tinged tracks like 'Movin On','Breezin' and 'Summertime'. The experimental strains in one of their early 45s led the BBC to approach them about contributing to the Dr. Who soundtrack, Captial Radio did likewise for the Hulabaloo theme. Neither saw fruition and this facet of the band's sound is easily forgotten by diehard fans.

These collections of Winston Riley's early reggae releases shine the spotlight on his superb vocal productions with the Shades, the Mad Lads, and of course the Techniques, and feature the impeccable lead vocals of Dave Barker

Winston Riley started his production career as a singer with an enviable track record, having formed the Techniques in 1962 and hitting the top of the charts two years later with the splendid 'Little Did You Know' for Duke Reid's esteemed Treasure Isle label. When the frantic ska beat slowed down and turned into rocksteady Winston remained the only permanent component of the Techniques, arguably Jamaica's finest vocal group.

As the beat changed yet again from rock steady to the faster reggae format, Winston's thoughts turned to production, and he decided to create his own 'Techniques' label. A serious man with a serious work ethic, the quality of his music was apparent from the start as he released hit after hit, producing and singing as part of the different combinations of singers and vocal groups that he worked with.

In 1970 he produced his biggest ever hit 'Double Barrel', a ground breaking track that went on to be the biggest reggae track of 1971, reaching the very top of the UK national pop charts in May, and peaking at number 22 in the US Billboard charts in August.

After this pop success Winston Riley continued working as he always had done, producing top quality reggae tracks with a host of Jamaica's finest singers and musicians. After opening his shop in Chancery Lane, he continued on his quest for the best throughout the 70's, 80's, 90's and into the 21st century, never failing to bring his decades of experience and peerless production skills to bear on whatever contemporary music he was producing.

These collections of Winston Riley's early reggae releases shine the spotlight on his superb vocal productions with the Shades, the Mad Lads, and of course the Techniques, and feature the impeccable lead vocals of Dave Barker

Winston Riley started his production career as a singer with an enviable track record, having formed the Techniques in 1962 and hitting the top of the charts two years later with the splendid 'Little Did You Know' for Duke Reid's esteemed Treasure Isle label. When the frantic ska beat slowed down and turned into rocksteady Winston remained the only permanent component of the Techniques, arguably Jamaica's finest vocal group.

As the beat changed yet again from rock steady to the faster reggae format, Winston's thoughts turned to production, and he decided to create his own 'Techniques' label. A serious man with a serious work ethic, the quality of his music was apparent from the start as he released hit after hit, producing and singing as part of the different combinations of singers and vocal groups that he worked with.

In 1970 he produced his biggest ever hit 'Double Barrel', a ground breaking track that went on to be the biggest reggae track of 1971, reaching the very top of the UK national pop charts in May, and peaking at number 22 in the US Billboard charts in August.

After this pop success Winston Riley continued working as he always had done, producing top quality reggae tracks with a host of Jamaica's finest singers and musicians. After opening his shop in Chancery Lane, he continued on his quest for the best throughout the 70's, 80's, 90's and into the 21st century, never failing to bring his decades of experience and peerless production skills to bear on whatever contemporary music he was producing.

As a spare time dj and only one of the many thousands of record collectors on this planet (but avowedly one of the not so many from Austria) it's a wonderful feeling to share some of my personal favourite songs with fellow music lovers from around the world. I don't wanna bore the pants off anyone out there as the music clearly speaks for itself. But then I think that I should shine some light on particular songs of my choice selection.

The sixteen tracks on this album display a wide range of genres with some being difficult to categorize. The set starts with an in demand modern-ish soul cut by J.T. Allen & Little Richard's Band (yes THE Little Richard). It's a winner for sure as is "Love that stranger" which does indeed sound like it's from some far off place. On "This is me", intricate yet soulful jazz guitar drifts in and out as subtly drums serve as the anchor. Walter Jenkins and Jimmy Ellis represent the funkier side of things while Kurt Ochshorn and Feather give you a taste of groovy AOR. The album finishes with some exceptional outsider folk, five tunes with which I have fallen in love since I have discovered them. The Blue Pioneers and Sandy Lee deliver remarkable examples of beautiful home made recordings. "Song for stormy" simply had to be the final song on this album.

A fact which should be mentioned (and which makes me proud to be honest) is that many of the songs have not found its way onto a compilation album yet. Rarity was not the prime reason though, however some of the original records do not turn up often and thus might be considered 'rare'. During the whole process of working on this project I have had listened to this selection at least a hundred times. For some reason I am still not tired of it and this is what I hope for you to experience as well.

Roman Bloecker - February 2017

The Rockers Sound (aka Steppas) came from the mid 70's and was created during sessions with The Revolutionaires band at Channel 1.
Drummer Sly Dunbar came up with a new 'Militant' style double drumming on the snare drum that seemed to add some credence to the political /Rasta based lyrics that were so prominent around this time.

So for this compilation we have pulled together some of the best cuts from this period when producer Bunny Lee was on the top of his game and the sound in town to get on board with was 'Rockers'...
So sit back and enjoy another period in Reggae's history that still sounds as good as when it was created way back when...
EVERYTHING ROCKERS....

A] Track 1 CONTROL YOUR DAUGHTERS - Cornell Campbell

The new studio album from RJD2, 'Dame Fortune', continues the sonic exploration that was started 14 years ago on his seminal debut, 'Deadringer'. An entirely self-produced and engineered affair, longtime vocal collaborators appear here in the form of Blueprint, Son Little (aka Aaron Livingston, the other half of the Icebird duo), Phonte Coleman and Jordan Brown, along with newcomer Josh Krajcik (runner up on the 2011 season of X-Factor).

Always soulful, perpetually psychedelic, this album has found the lost threads connecting Aloe Blacc, Tangerine Dream and King Crimson. From the jagged, angular deconstruction of 'A New Theory' and 'The Sheboygan Left', to the poignant elegance of 'Peace Of What' and 'We Come Alive', 'Dame Fortune' further cements RJD2 as a force to be reckoned with behind the boards.

RJD2 catalogue has over 250k units sold worldwide and has previously released on XL Recordings & Definite Jux. There's support for first single from Rolling Stone, Spin, Complex, Pitchfork, Stereogum, Fact Magazine and Brooklyn Vegan.

'Funky and upbeat backdrop that pairs well with Jordan Brown's smooth vocals' - Complex Mag

'The album maintains RJD2's hip-hop-leaning production style and experimental streak, but was also inspired by the soul music of his hometown' - Rolling Stone

'Right horns, cleverly syncopated drums, and rhythmic string flourishes bolster warm, stirring vocals' - Stereogum

2 tracks taken from the Surinam Funk Force compilation. Cynthia - "Jhoom Le" was only feat. on the cd and was previously not available on vinyl.

Kölns bester Rapper Veedel Kaztro hat es wieder getan: Am 31.03.17 erscheint der dritte Teil seiner Büdchen-Trilogie. "Büdchen Tape III" zeigt einen hörbar gereiften "Veezy", was Delivery und Flow, aber auch Themen und Inhalte angeht: "Coach Veezy" ist ein "Hund ohne Leine", der "Respek" einfordert. Der besorgten "Almans" und ihrer "Angst" den Spiegel vorhält und allen Rassisten, Sexisten und AfD-Wählern ein "LMS 2017" entgegen schmettert. Dank abgeschlossenem "Flermanistik"-Studium gibt es zwar jeden Tag nur "Falalel", doch das tut seiner "Veezyness" keinen Abbruch. Musikalisch baut Veedel Kaztro Brücken. Knarzige Samples werden mit der 808 tiefergelegt. Veezy nimmt seine Boom Bap-Wurzeln mit in die Trap, denn Scheuklappen kennt er auch hier nicht. Produziert haben Yourz, Spexo, Dufsen, Shawn The Savage Kid, Kevoe West und True Lyes. Aufgenommen und gemischt wurde von und bei Dienst&Schulter, die ebenfalls mit zwei Beats auf dem Album vertreten sind. In Sachen Features hält Veedel K es lokal und teilt sich das Mic mit Sparky, Tami und Simon Grohé.