Hip-Hop Vinyl New Releases - News

Zerolex is born in 2011 - being a prolific producer, he had formed a duet with Superpoze and in 2012 has joined Cotton Claw. In the mean time, he was also perfecting his own productions. Fed by black music and by hip-hop, the 23-year old producer hailing from Besançon, France has dug into the world of beatmaking before broadening his horizon to electronic music. Inveterate and passionate digger, he got into Dorian Concept, Dimlite, Flying Lotus and many more. But Zerolex has also grown up thanks to fated encounters - he met Zo aKa La Chauve- Souris, Lilea Narrative and Yoggy One, who became his first influences into the electronic scene. That being prior he joins them on stage under the moniker Cotton Claw. The Cotton Claw experience has thus enabled him to explore new musical fields and experiment more. After three EP - Floating in solo (Eklektik, 2013), Dusted with Cotton Claw (Cascade Records, 2014), Eclipse in collaboration with Holy Two (Cascade Records, 2014), the Volutes album (Cascade Records, 2015) and Elusive EP (Cascade Records, 2016) with Cotton Claw, Zerolex gets back to work with his debut album M.I.LD - set to be released this fall. M.I.L.D is more electronic and the textures are as multiple as Zerolex's inspirations. All composed on MPC, the trackson the album mixes samples, retro synths and contemporary beats. M.I.L.D gives way to personal productions - a reflection of his unique universe - setting a new etheral direction, where sparkling and melodic sounds get along future beats.

Obscure roots vocal cut produced by Niney The Observer with a nice dub on the b-side

5 Borough Breaks deliver another stone cold hip hop classic in the form of Diggin In The Crates "Day One" from '97, featuring legends Diamond D, Big L and Lord Finesse amongst the rest of the DITC crew. On the B-side you can find the original sample source, Oliver Sain's funky jazz rarity "On The Hill" which regularly brings a pretty price whenever it appears online. Limited pressing of 300.

Off to a flying start in 2017, with four new tracks from Diggory Kenrick and Jah Wobble. A side has the flute business plus a dub, with an alternate cut on the B side with a lush xylophone workout. Wobble's bass comes up from the cellar and Digs' melodies are inspired. Mixed by Diggory Kenrick at Foggy Road studios.

Reward For Me is one of Joe Higgs finest songs. Evocative of the Trenchtown ghetto where evenings were spent rehearsing and songwriting in Joe's informal 'yard' sessions, it has the added bonus of Eric Gale's jazz guitar licks accompanying Joe's rhythm guitar. The B side is a tasteful instrumental, rather than a heavy dub. Absolute classic song long been unavailable on a 45, comes in a hand stamped bag. Essential.

Best known as a jazz drummer and hip-hop producer, Karriem Riggins returns with Headnod Suite. The album is the follow up to 2012's critically acclaimed debut Alone Together. With 29 instrumental hip-hop tracks, Headnod Suite places Riggins' beatmaking chops front and center. It's a testament to why Riggins is the producer of choice for artists like Kanye West, Common, Erykah Badu, and The Roots.

The mysterious Cecil Moses & The S.G.'s (Oliver Klomp - drums, Colin Higgins - guitar, Bob Heinemann - bass, and Marc Hager - keys) unite with deep funk pioneer Lucky Brown to interpret Lucky's original "Mesquite Suite," a collection of spiritual folk/jazz modal melodies fused with earthy and arcane rhythms composed in the summer of 2015 in an ashram in the Texas Hill Country.

The S.G.'s, who specialize in their own brand of great quartet instrumental soul ala Booker T. & The M.G.'s and The Meters, adapted quickly to Lucky's experimental, rudimentary, vernacular, and minimalist approach. One thing you will notice in these tunes is that the vast space created by the musicians and the composition is what allows the FEEL to filter through, and for Lucky Brown, FEEL is what it is all about.

This first single presents the themesong of their collection, a deep tribal shuffle, "Mesquite Beat," upon which Jason Cressey - trombone, and Thomas Deakin - sax, offer their own explorations. The flip is an upbeat and minimal pentatonic anthem entitled "Justice," featuring Lucky Brown himself on funk flute.

With this release, we are proud to introduce the first installment of the "Mesquite Suite" collection on Tramp's own special limited imprint: "Tramp Tapes," a suite of original, raw deep funk inspired as much by Mulatu Astatke as it is James Brown.

For fans of Dilla, Madlib, DJ Mitsu, Onra, Stones Throw, Jazzy Sport. Very occasionally you stumble across a digital album on one of the many internet music sharing platforms that just stops you in your tracks. Mahatma X 'A Mobtown Suite Vol 1' is a case in point. If ever there was an album crying out for a vinyl release it's this one. Step forward Home Assembly to put matters right. Mahatma X was formed in 2013, initially as an instrumental beat-tape project by producer MALK in St. Andrews, Scotland. He would later be joined in Philadelphia by Jhana Gumption as live drummer and Jahred as MC. The group mixes live instrumentation with samples to create Hip-Hop reminiscent of its golden age. Spanning 17 instrumental tracks over two sides of wax 'A Mobtown Suite Vol 1' has the flow of a beat-tape, with tracks bleeding into one another, going off at right angles, or colliding bumper to bumper. Deep and soulful. Phat, jazzy and funky as! - and all delivered with a bucket full of punk attitude. From the Adderley sampling opener 'come thru' to the flutes and breaks of 'Mahatma and the White Devil', flutes (again) and warm, gospel organ of 'thishustlegame' and the spacey synths and deep, dubby bass-line of 'worddagawd' you know you're in for an exhilirating ride. But then you begin to notice other elements that seem to elevate this record above what is now a fairly crowded genre. Notably, there's the languorous, stoned guitar refrain on 'We Live in Bawlmer, Baby'. And it's there again amongst the snares and samples of 'Bright Moments' and the sun-kissed 'Mad Poetik'. All evidence that as well as being skilled in dealing dope beats, there's also a sensitive musician at the heart of this record, most addictively realised in the sweetly melancholic smoke and woodblocks of 'Gloriaaa'. It would be almost too easy to summon up the ghost of Dilla or the oddball sampling techniques of Madlib as comparisons but they're undeniable - albeit passed through a hazy filter. Pressed in a LTD edition of 300!!

Mukatsuku releases the second of the limited edition Funk Monsters series with two dance floor destroyers to slay the toughest of audiences.Up first Pearl Dowdell who's surname on earlier Saadia issues was misspelt with a killer female funk gem.

On the flip the driving rare funk of Billy Cee & The Freedom Express with 'Hard Times' for peak time play.

Few artists have created a body of work as rich and varied as Prince. During the '80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of ground breaking albums, he toured frequently, produced albums and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince has shown remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres. Occasionally, his music can be maddeningly inconsistent because of this eclecticism, but his experiments frequently succeed, no other contemporary artist can blend so many diverse styles into a cohesive whole.

In 1974 Roy Roberts a well known and respected bluesman (and latterly familiar name on the Northern Soul scene) changed course, shifted gears and temporarily abandoned his soul and blues roots to embark on recording a Country album. The venture was designed, in part, to widen his appeal far beyond his local audience in the Greensboro area of North Carolina, as well as opening up new opportunities in what was a booming and vibrant marketplace. The result was his 'Country Star' long player: nine self penned numbers that ranged from tried and tested traditional Country themes to tracks that barely reigned in the blues influence veterans of that music have - almost against their will - coursing through their veins. It was no doubt an earnest project in which Roy proudly staked his claim within a genre not known for embracing African-American bluesmen with more than a decent back catalogue of soul releases. According to Roy the Country world served him well for nearly a decade of activity. The ace in the pack of country numbers on the album, quietly waiting to be discovered by soul fans perhaps only decades later - was the inclusion of two stunning Soul moments almost defiantly tacked onto the end of the set as if to say 'right, you've had that, now here's what I really do'. 'Thinking About You' is a fantastic dancer that rides along on a groove underpinned by bubbling percussion and spacey synths and with no 7 release at the time, it's the reason that soul people have been hunting down a mainly Country album. The other soul cut on the set, 'You And Me Together' was actually issued on a 7 single although the album version, coming in at over six minutes, is well worth the time invested. For the flip side of our 45 we've chosen a later moment from Roy-s back catalogue, the 1979 disco soul of 'Let's Wrap Up Tonight Baby': a homemade, slightly minimal four minutes plus of raw dancefloor grooves designed to keep the feet in perpetual motion. Soulstacks Records are delighted to offer our first fully licensed 7 courtesy of the talents of North Carolina's finest, Mr Roy Roberts. We hope you enjoy.

2 VERY RARE SOUL / JAZZ TRACKS ON ONE 7 INCH PRESSED ON WHITE VINYL.

As Dub Reggae music becomes a global force, Vibronics & Conscious Sounds present an album that celebrates 50 years of dub music. Dougie Wardrop & Steve Vibronics present an album that takes classic music from each decade of dub, starting with 1970s Jamaica music right up 2010s worldwide dub sounds. The two prominent UK Dub producers will take each decade in turn, as the listener is catapulted across half a century of roots rocking Reggae music. This unique dubwise concept album will feature reworking of classic tunes from 1970s, 1980s, new versions of crucial music from the Conscious Sounds & Vibronics back catalogue from 1990s & 2000s and some brand new future dubs for the 2010s. Dubwise music across 50 years.

PROMO : Don Letts 6Music London, Culture Dub France, Jah Shaka, Iration Steppas & Aba Shanti full sound system support, radiodirectx promo

Modern Boogie Bangers! Computa Games drops its second vinyl release on New Orleans own Superjock Records. Computer Rock (OG Mix)' is that feel good Funk with heavy bass, smooth synths and Vocoder vocals to top it off. The flipside, Computer Rock (West Coast Mix)' gets a G-Funk treatment giving it that boom bap that you can rock to! Definitely a staple for the crates.

CD TWO

With a path spent traversing between self-illumination and inner turmoil, Gypsy Mamba continues to persevere forward. He is one of California's most raw and uncompromising electronic artists and rips open new portals of energy during his live performances. Signing with Alpha Pup Records last year for the release of Da Feenux, Gypsy Mamba will soon launch out of the gates with his sophomore record Magnetic Syndromes. Gypsy Mamba has crafted his most dynamic and personal record to date. As the title suggests, Magnetic Syndromes is the sonic description of a life filled with unpredictable changes, carved out from the lens intensive view of Gypsy Mamba's life. It can also be seen outside of the artist, defining the inner conflicts many conquer in their lifetime. Gypsy Mamba finds a battleground between the darkness and the light in Magnetic Syndromes. A unique music environment where tracks fluctuate between the frenetic and the subdued. It's all pulled off with a wild array of colors and rhythms that can't be associated to any other artist. Looking at the new album in context of his career and Magnetic Syndromes can be broken down into a system of trial and error. A level of truth Gypsy Mamba accumulated as he interacted with the people helping to bring his music to the masses and the support that has followed thereafter. Following the release of Da Feenux last year, recordings for Magnetic Syndromes took place immediately at Gypsy Mamba's home studio. Makan of Bür Gür and Kelley Mak add vocal treatment, giving the record an undeniable transformation that his music has never seen before. The LP showcases a more complex side to Gypsy Mamba's usual approach, infusing Reason 8 and their built-in VST's that's a fresh take on the popular music technology. On a handful of the tracks, synth solo's flare well outside of the base and find home in a more lyrical terrain, projecting the soul of Gypsy Mamba in a way that takes the music to new worlds. The tracks move in and out of bass heavy club anthems to thought provoking ambient pop pieces. The energy is constantly morphing, retracting and expanding, much like the process Gypsy took on purging many areas of his life to find true happiness.

For the past four decades, a growing cult of soul music collectors have sought two obscure LPs and a handful of extremely rare 45s released on the vanity record label LAD Productions, Inc. between the late seventies and the mid eighties by the mysterious South Side Chicago singer/song writer Larry Dixon.
Larry's raw songs capture the transition from R&B to boogie-down as disco was rapidly becoming extinct.
They also perfectly illustrate Larry's ability to overcome his environment and discrimination, transcended by his determination to write and produce music. With the support of his faithful musicians, Larry's success was only hindered by lack of airplay and promotion, but his talent shines through.
This is the story of Larry Dixon, his label LAD Productions, Inc., and his friends and family throughout four decades of music in Chicago's toughest neighborhoods.
Jerome Derradji is proud to reactivate Past Due Records - the boogie funk division of Still Music to release this fantastic archive - what many consider to be the Holy Grail - of Chicago Funk, Boogie and Soul.

Raw-Analog-Dubbed out B-Movie instrumentals, from some of Cincinnati's best musicians. Retro early 70's sounding live drums, groovy tight thick bass lines, soulful hammond organ & electric piano backdrops, gritty reggae guitars, splashed with live horns & vintage synths. It all adds up to a unique, hard hitting, original & professional but lo-fi sounding realm. Recorded on analog tape & vintage studio gear.

For PAZ, band leader Dick Crouch assembled a group of the finest jazz musicians working in London at the time. Piano, keyboard and synth player Geoff Castle was a mainstay of the band throughout the years, as well as playing and recording with George Coleman, Ian Dury & Georgie Fame to name but a few. He also composed the highly original and energetic track 'Moonchild', featured on this album. Sax and flute player Ray Warleigh enjoyed a successful three decade career (sadly, he passed away in 2015), playing alongside Dusty Springfield, Marianne Faithfull, Scott Walker and Stevie Wonder as well as 9 years with PAZ. The full breadth of his musical dexterity is on display here, from the gritty alto sax solos featured on 'Laying Eggs' to his eerie home-made panpipes on 'Horrors'. Guitarist Ed Speight also worked extensively with Ian Dury and the Blockheads, as well as performing 'Tubular Bells' with Mike Oldfield on the QEH and BBC2. Now an Associate of the Royal Academy of Music, Ed taught guitar and keyboard harmony between 1988 and 2010. Bass player Ron Mathewson is best known for his years spent working with Ronnie Scott, but he also recorded with Stan Getz, Joe Henderson, Ben Webster and Bill Evans (to whom the stunning 'I Can't Remember' is dedicated). His absence on one album track is noted in its title 'Where is Ron', so called because he realised the song required no bassline (as the original liner notes stated: "this awareness of when not to play is part of his genius"). Appearing with the band for the first time on 'PAZ are Back', drummer Frank Gibson was perhaps better known for accompanying Leo Sayer, David Essex and Dusty Springfield, although jazz was always his first love. Following his time in the UK and touring the world, Frank returned to his native New Zealand, where he won three 'Best Jazz Album' awards and performed at the 1990 Commonwealth Games opening ceremony.

Raw-Analog-Dubbed out B-movie instrumentals, from some of Cincinnati's best musicians. Retro early 70's sounding live gritty drums, nasty thick bass grooves, creepy but soulful hammond organ chords, razor sharp but lush guitars, splashed with live horns & retro synths. It all adds up to a unique, hard hitting, original & professional but lo-fi, sounding realm. Recorded on analog tape & vintage studio gear.

deDUBros begins the 2017 releasing their first 7" vinyl! And it's Elastica N° 100!
Let yourself go in the warm atmosphere of a Caribbean beach with Mr. Caraibo!
Classic roots instrumental tune, singing saxophone and the B-side DUB version Mr. Caraidub!
Limited copies in the marvellous graphic art packaged vinyl!
Get your own one and #STAYDUB

DELUXE 180g VINYL WITH BONUS 7'. Apollo Brown's Thirty Eight is a contemporary throwback, inhabiting the realm of reverent reinvention and innovation. It deftly bridges the gap between '70s Blaxploitation soundtracks (e.g. Curtis Mayfield's Superfly or Marvin Gaye's Trouble Man) and the hip-hop records that sampled from them. The tracks on Thirty Eight are presented in gritty, heavily saturated Technicolor, the scratches and cigarette burns as purposeful as they are happily accidental. These are suites sounding from long barrels held by lone men lurking in grimy project hallways. Tinged with revenge and regret, shrouded in thick tendrils of hollow-point smoke, the songs have all the makings of an epic gangster tragedy. They're also great when paired with anything Raymond Chandler. Crackle and sample hiss run like electric current throughout, charging the record with a retro feel and resonant warmth. Yet these qualities are only secondary to Brown's impeccable ear for instrumentation. Thirty Eight is full of funk, soul, jazz, blues, hip-hop, and everything in between. The bluesy guitar twang of slow-burner 'Black Suits' and the lush, orchestral strings of 'The Warning' are just two examples of the depth and diversity Brown brings to the table. All singing on the album comes in the form of brief samples, some high-pitched and sped up, others left untouched. Taken together, they amount to glimpses of an emotionally affecting narrative, enabling the listener to fill in the plot and words between the booms and baps. Brown enlists New York mercenary Roc Marciano for the soundtrack's two features. With the sharpest of eyes and the frostbitten wit of a Polo clad hustler slanging in the dead of winter, Marciano delivers his best verses in recent memory, his vivid narratives perfectly suited for Brown's soulful production.

[J] B5 Mo Azz[