Hip-Hop Vinyl New Releases - News

SOL DISCOS is honored to introduce its 3rd reissue, with these two songs from Frank Eddie: "Love Has Never Passed Me By" & "Forever". While the original record's been known by a handful connoisseurs, very few people are actually proud owners of it. Originally released on the private INSYNC label by Mr Eddie himself, most of the 1000 pressed copies where abandoned in some random houses he used to live in, in South Miami, Florida.

Frank Eddie's music life started with piano at the age of 13, when he was living in Yonkers, New York in the early 60's. At this time Soul music was everywhere around and Frank quickly switched to guitar, which has remained his instrument since then. Influenced by Soul as well as Rock Music, Frank met with drummer/singer William Hopkins after settling in Florida. They created a band together, and played music with talented Jazz students from the University Of Miami (Curtis & Carmen Lundy for instance). At the time, they would also jam with people that would later become famous: Steve Morse (Deep Purple), Jazz steel-band player Othello Molineaux, or Jaco Pastorius to name a few. Surrounded by such a creative musical environment, Frank & William co-wrote the two songs you have on this record. They gathered the personnel and recorded within a four days' time.

After a couple of unsuccessful meetings with majors, and partly discouraged by the way music business was conducted, Frank decided to self-release a single record. He then worked on his own to sell it locally, without actually meeting the audience it deserved. According to the singer, "The black radio stations would not play it because I did not give them cocaine or money, and the disco clubs had their own list to promote".

Several decades later, SOL Discos' A&R and DJ, Waxist, got introduced to Frank Eddie's beautiful music through "Independant Movement" radio show of Mark Gurney in UK. After months of researches and with the help of US digger Josh Goldman, he's been able to establish contact with Frank and to get his approval for officially reissuing his music.

Today, Frank Eddie is still active by playing American Rhythm & Blues and Jazz in Cuba, as well as supporting the Cuban musicians, bringing instruments to the Caribbean Nation.

Soul Jazz Records' new journey into the mighty vaults of Clement Dodd's Studio One steps once more into the fertile musical environment of Jamaican music in the late 1960s and early 1970s, from the sweet harmony vocals of seminal 1960s Rocksteady right up to the nascent birth of Reggae and Roots music at the start of the 1970s. Sleevenotes to this album are by Steve Barrow, author of 'Rough Guide to Reggae' as well as Soul Jazz Records' own 'Reggae Soundsystem Cover Art' books.
While Ska at the start of the 1960s had taken American Rhythm and Blues as its main influence, Rocksteady focused on the emergence of American Soul music - with Jamaican vocal harmony groups such as The Gaylads, John Holt & The Paragons, Carlton & The Shoes showing a particular fascination with the close harmonies of Curtis Mayfield and The Impressions and other US Soul acts. Here The Heptones even feature with a cover of Bob Dylan's 'I Shall Be Released'.
The influence of Soul music on Jamaican Rocksteady and Reggae is almost palpable, so much so that one wonders
how much more successful singers like Delroy Wilson, Alton Ellis, Slim Smith and John Holt would have been had they been born in Chicago, Detroit or Memphis. Artists such as Alton Ellis, Delroy Wilson and Owen Gray defined the era - a slowed down beat as Jamaican political and social heat slowly increased when the 1960s progressed into the start of the 1970s - and the music evolved further from Rocksteady into Roots Reggae.
This album is released on heavyweight gatefold sleeve double vinyl (plus download code), CD with slipcase and digital album (ex-North America).

'I take my guitar and strum and sing some tings and blow people's mind. But I ain't trying to do anybody's music. I'm doing what I feel' - Shadow

When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago's Shadow (aka Winston Bailey) was described as 'way ahead of its time'. Undeservedly it was panned by critics and, unable to reach markets, disappeared into the dusty record collections of a few music aficionados. Now, more than three decades later that cosmic dance-floor UFO is about to take off again, change all that and set the record straight. Remastered and cut by Frank Meritt at The Carvery the album is truly a masterpiece.

But who is this Shadow behind Sweet Sweet Dreams Shadow is a man of understated magnitude. A truly enigmatic artist, he first emerged in Trinidad and Tobago during the 1970s, becoming a part of the tapestry of Caribbean music and reinvigorating calypso at the time. Calypso, the indigenous folk music of Trinidad and Tobago, has roots in West African kaiso rhythms, French Creole influences, and the hardships endured by the African slaves brought to Trinbago, whose descendants still use it as a tool for satire, self-expression, and social commentary. Calypso has also given birth to several other music genres, including soca, with its uptempo beats and festival context. Shadow effortlessly moves between both.

Shadow came from a humble but musical family and started writing songs as a youth while tending cattle in the fields. To his family's initial chagrin he chose calypso over church music but his talent and drive were undeniable. In the early days of his career Shadow's style was cramped when working with some of the more conservative music arrangers who felt that calypso and soca should fit a mould. But after a while Shadow teamed up with more innovative arrangers, including Arthur 'Art'de Coteau, who followed their and Shadow's intuitions resulting in a long line of hits.

'The first time we met for me to arrange his music we had a heated argument on the arrangement for one of his songs, I was theoretically correct but Shadow was musically right. Shadow broke all the traditional musical rules and made his own and that made him a musical giant. He changed the face of Calypso music in 1974 with the release of "Bassman" a tune in which Bass and magnificent horn line took central stage changing Soca music for ever. What Shadow did with his music was to put calypso on the International Dance circuit, giving it a totally different groove. You could take his music and swing it in any direction, Disco, Pop, Calypso, you name it. His music was different from anything that existed before'. - Carl "Beaver" Henderson, one of Trinidad's veteran producers.

This inert creativeness culminated in Sweet Sweet Dreams which was arranged by Shadow and deals with burning and ever-relevant themes like love and the ups and downs of relationships. a surprising fact for someone mainly known for his satirical and political lyrics. It prompted his manager to wonder if Shadow had written the lyrics while in a state of 'tabanca' (a word used in Trinidad and Tobago to describe lovesickness).

Sweet Sweet Dreams was recorded at the legendary SHARC studios, located on a hill in Chaguaramas (near Port of Spain) and despite a fantastic sound and monster Soca-boogie tunes like 'Lets get it together', 'Lets Make it Up' and 'Way, Way Out' the album was a commercial flop, probably due to the fact that it didn't sound like anything else coming out of Trinidad & Tobago at the time: It fused a range of different rhythms and new sounds, primarily heavy synth riffs.

Shadow took the album's lack of success in his stride with usual aplomb:
'When I did Sweet Dreams I expect something could happen. But nothing big happen because I have no big market and no distribution and all this thing now. So I just cool myself and move on to another song. I wasn't doing just one song. I used to always have plenty songs at the one time. And be writing music'.

What Shadow didn't realise back then was that the proto-electronic cocktail he had mixed in 1984 would only find the recognition it deserved three decades later. Life has swung full circle: Sweet Sweet Dreams has come true and been elevated to holy grail status becoming one of the most sought-after Caribbean disco records in existence.

For this re-release we carried out extensive interviews with Shadow and the musicians and have included as bonuses exclusive photos from Shadow's personal collection and the dancefloor filler tune 'D'Hardest' was added as a bonus track.

One of the best acts in the land is finally releasing its first official live music. This limited edition, etched vinyl, features three live songs from The Budos Band's 2015 Halloween engagement at the Grey Eagle, in Asheville, NC. Get ready to move!

Mit dem Titel - But You Caint Use My Phone' bezieht sich Badu auf ihren Song - Tyrone', der 1997 auf
ihrem - Live'-Album erschienen war und sich damals als Radio-Hit entpuppt hatte. Das Mixtape, mit
dessen Ankündigung sie für massive Furore im Netz gesorgt hatte, nahm Badu binnen 12 Tagen in
einer intensiven Non-stop-Kreativphase auf, nachdem sie sich dazu entschlossen hatte, eine eigene
Version von Drakes - Hotline Bling' (später umbenannt in - Cell U Lar Device') für einen guten Freund
als Geburtstagsgeschenk einzusingen. Aufgenommen, geschrieben und abgemischt wurde das
gesamte Mixtape in Badus eigenem Homestudio in ihrer Heimatstadt Dallas, wo sie sämtliche Tracks
mit dem Produzenten Zach Witnessin einspielte

Wir hatten noch nie so viel Spaß beim Musikmachen', sagt Karuzo über die Platte. - Das hat sich so
angefühlt, als wäre es unser erstes Demo gewesen.' Und das hört man: Der ganz spezielle
Genetikk-Humor, eine Mischung aus bisweilen galliger Ironie, Selbstironie und bissigem Sarkasmus,
wo er nötig ist, halten ein Album zusammen, das auf sehr angenehme Weise old school und straight
ist. Wo man bei vielen modernen deutschen Rap-Produktionen den Eindruck hat, dass der Produzent
mit einer Checkliste danebensitzt und so lange To-dos abhakt, bis jeder aktuellen Rap-Mode, jedem
angesagten Feature-Gast, jeder sogenannten Zielgruppe Genüge getan ist, schöpft - Fukk Genetikk'
die Kraft einmal mehr aus sich selbst. Genetikk erzählen hier gänzlich unbeeindruckt die Storys, die
sie eben erzählen wollen.

The Guelewar Band of Banjul are a band quite unlike any other - an explosive mix of soul and funk with local rhythms like Boogaraboo and Ndaga combined with a defiant insistence on singing in their local language, Wolof. They certainly blew a young Youssou N'dour away. He cites them as his biggest influence. Warteef Jigeen marks the point the band found its groove. The title track sets the tone early with parping horns and psychedelic guitar licks. 'N.T.C. The Gambia' and 'Jilana' seamlessly blend traditional percussion and plaintive sax. 'Leen Te Koun' and 'President Diawara' showcase some of the freakiest synth ever to come out of West Africa. It was Laye Ngom's decision as bandleader to draft in his cousin as singer that elevates Warteef Jigeen. Moussa Ngom had paid his dues singing at traditional circumcision ceremonies and his rough, expressive vocals bring a level of melancholy and intensity to the album. It's a melancholy and intensity that can only come from years of watching young boys take this painful journey to Gambian manhood, a journey, in a way, that Guelewar Band Of Banjul made on Warteef Jigeen.

The Guelewar Band of Banjul are a band quite unlike any other - an explosive mix of soul and funk with local rhythms like Boogaraboo and Ndaga combined with a defiant insistence on singing in their local language, Wolof. They certainly blew a young Youssou N'dour away. He cites them as his biggest influence. Warteef Jigeen marks the point the band found its groove. The title track sets the tone early with parping horns and psychedelic guitar licks. 'N.T.C. The Gambia' and 'Jilana' seamlessly blend traditional percussion and plaintive sax. 'Leen Te Koun' and 'President Diawara' showcase some of the freakiest synth ever to come out of West Africa. It was Laye Ngom's decision as bandleader to draft in his cousin as singer that elevates Warteef Jigeen. Moussa Ngom had paid his dues singing at traditional circumcision ceremonies and his rough, expressive vocals bring a level of melancholy and intensity to the album. It's a melancholy and intensity that can only come from years of watching young boys take this painful journey to Gambian manhood, a journey, in a way, that Guelewar Band Of Banjul made on Warteef Jigeen.

It takes a lot of swag to wear a hat as big as the hat that I.G. wears on the cover of Bomp. But I.G., a.k.a. Bobby I.G., a.k.a. I.G. New Yorker, had swag by the bucket load. That hat tells you everything you need to know about I.G. and, indeed, about Bomp - it's a big funky slice of Nigerian cowboy disco magic. I.G. was a player in the thriving Enugu boogie scene, a scene, in the east of the country, that also produced Goddy Oku and William Onyeabor. With Mr Mighty Flames, Willie N'For on bass, Austin Onwurah on drums and all the bells and whistles of the Godiac Studios close at hand, a Nigerian disco classic was inevitable. 'Disco Bomp' and 'Disco Power' are straight-ahead floor-fillers. 'Funk ina Ghatto' has a slower, dirtier groove. 'World of Misery' takes a slight calypso reggae detour, before 'Take Me Home' brings it on home, with an unabashed plea for 'loving' and some delightfully wonky synth lines from another Mighty Flame, Frankie Song. Bomp was I.G.'s only album. It's a startling one-off disco boogie classic that was clear in its ambition and perfect in its execution. A bit like the hat, really.

It takes a lot of swag to wear a hat as big as the hat that I.G. wears on the cover of Bomp. But I.G., a.k.a. Bobby I.G., a.k.a. I.G. New Yorker, had swag by the bucket load. That hat tells you everything you need to know about I.G. and, indeed, about Bomp - it's a big funky slice of Nigerian cowboy disco magic. I.G. was a player in the thriving Enugu boogie scene, a scene, in the east of the country, that also produced Goddy Oku and William Onyeabor. With Mr Mighty Flames, Willie N'For on bass, Austin Onwurah on drums and all the bells and whistles of the Godiac Studios close at hand, a Nigerian disco classic was inevitable. 'Disco Bomp' and 'Disco Power' are straight-ahead floor-fillers. 'Funk ina Ghatto' has a slower, dirtier groove. 'World of Misery' takes a slight calypso reggae detour, before 'Take Me Home' brings it on home, with an unabashed plea for 'loving' and some delightfully wonky synth lines from another Mighty Flame, Frankie Song. Bomp was I.G.'s only album. It's a startling one-off disco boogie classic that was clear in its ambition and perfect in its execution. A bit like the hat, really.

In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-skool highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the Holy Grail of 70's Ghanian groove.

In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-skool highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the Holy Grail of 70's Ghanian groove.

Welches Instrument wird benötigt, wenn ein Komponist Regen auf die Bühne bringen will Die Antwort
ist simpel, wenn es nach Jimek geht: Essstäbchen. Wie hört es sich an, wenn 78 Musiker mit ihren
feinen Lackschuhen im Takt auf den edlen Holzboden des großen Saals des Konzerthauses Berlin
stampfen, während MoTrip seine Punchlines zum Besten gibt Ab dem 02.12.2016 werden diese
Fragen auf der CD/DVD - MOSAIK - MoTrip orchestrated by Jimek beantwortet

It's 1981 and Nigeria is booming. Oil was still bringing in the big petro-bucks and a new civilian government brought hope that the dark days of military dictatorships were over. A new album by a baby-voiced, permed, lipstick-wearing vocalist is riding high in the charts, capturing the mood of the nation perfectly. The singer was Oby Onyioha, the university educated daughter of the Godian prophet, His Holiness Ogbaja Kama Onu Kama Onyioha. The album was I Want To Feel Your Love, a collection of slick, up-tempo disco tracks, produced by the 'Quincy Jones of Nigeria', Lemmy Jackson. Handsomely packaged, sumptuously produced, it was as sophisticated and glossy as anything coming out of the west. The album also marked a cultural shift in Nigeria too. Oby Onyioha was a smart, modern woman exhorting her Nigerian sisters to 'Enjoy Your Life.' She wasn't sitting around waiting for a man to call. 'I Want To Feel Your Love', she sang. And 'I'll Put It Right Again,' not some dominant boyfriend. Bright, brash and living for the moment, I Want To Feel Your Love is the soundtrack of a Nigeria confident and ready to take its place in the world.

It's 1981 and Nigeria is booming. Oil was still bringing in the big petro-bucks and a new civilian government brought hope that the dark days of military dictatorships were over. A new album by a baby-voiced, permed, lipstick-wearing vocalist is riding high in the charts, capturing the mood of the nation perfectly. The singer was Oby Onyioha, the university educated daughter of the Godian prophet, His Holiness Ogbaja Kama Onu Kama Onyioha. The album was I Want To Feel Your Love, a collection of slick, up-tempo disco tracks, produced by the 'Quincy Jones of Nigeria', Lemmy Jackson. Handsomely packaged, sumptuously produced, it was as sophisticated and glossy as anything coming out of the west. The album also marked a cultural shift in Nigeria too. Oby Onyioha was a smart, modern woman exhorting her Nigerian sisters to 'Enjoy Your Life.' She wasn't sitting around waiting for a man to call. 'I Want To Feel Your Love', she sang. And 'I'll Put It Right Again,' not some dominant boyfriend. Bright, brash and living for the moment, I Want To Feel Your Love is the soundtrack of a Nigeria confident and ready to take its place in the world.

Recorded in the USA, E Je Ka Jo is the only record released by Nigerian brother and sister act, Xtasy. It is also a stone cold, boogie classic and remains one of the most sought-after records of its type in the world. E Je Ka Jo means 'Let's Dance' and in 1983, Roy and Stella Bruce were whisked away to LA to record their certifiable dancefloor classic. Their brother, entertainment mogul Ben Murray Bruce, owned the label and called in favours with the America's finest session players, including songwriter Greg Wright and bass player Keni Burke. Wright produced the album and wrote all the songs. He'd worked with Diana Ross, Thelma Houston and Bobby Womack and added a slick international sheen to each track. The sound is smooth, sophisticated and sexy and one that would be welcomed on dance floors anywhere in the world. Strangely, E Je Ka Jo was only ever released in Nigeria. An international release was stymied, but that only served to cement the albums status as a modern soul boogie classic. Thirty years later, that injustice has finally been rectified.

Recorded in the USA, E Je Ka Jo is the only record released by Nigerian brother and sister act, Xtasy. It is also a stone cold, boogie classic and remains one of the most sought-after records of its type in the world. E Je Ka Jo means 'Let's Dance' and in 1983, Roy and Stella Bruce were whisked away to LA to record their certifiable dancefloor classic. Their brother, entertainment mogul Ben Murray Bruce, owned the label and called in favours with the America's finest session players, including songwriter Greg Wright and bass player Keni Burke. Wright produced the album and wrote all the songs. He'd worked with Diana Ross, Thelma Houston and Bobby Womack and added a slick international sheen to each track. The sound is smooth, sophisticated and sexy and one that would be welcomed on dance floors anywhere in the world. Strangely, E Je Ka Jo was only ever released in Nigeria. An international release was stymied, but that only served to cement the albums status as a modern soul boogie classic. Thirty years later, that injustice has finally been rectified.

The next single from Dub-Stuy Records marks a return to conscious messages and uplifting vibrations with an international collaboration between American producer Bukkha and Brazilian vocalist Junior Dread alongside a remix from Paris' Moresounds. 'Guns N Fiyah' speaks to the ills of the world and the growing cries for justice emanating from the streets of America, Syria, and Brazil.

Bukkha, originally from Louisiana and now based in Spain, follows remix and behind-the-scene dubplate collaborations with Dub-Stuy with an irresistible stepping production for his first vinyl release on the label. Inspired by classic UK steppers and dub, 'Guns N Fiyah' is driven by a heavy bass line with floating guitar licks and ominous horns. Completing the production is a stunning vocal performance from São Paulo's Junior Dread. One of the brightest rising stars on the international reggae scene, Junior Dread calls upon listeners with a conscious message that rises to a fever pitch in the chorus. Molded in the finest tradition of protest music, 'Guns N Fiyah' is an inspirational rallying cry for modern dancefloors.

The 12' also includes two dub versions of the title track: one by Bukkha and a special fromMoresounds, the Parisian producer who's been making waves in the bass music scene with releases for Om Unit and Doc Scott. As only he can, Moresounds transforms the original into a deep and cavernous eyes-down skanker. Completing the release is 'Cocaine Dub' by Bukkha, a bottom-heavy riddim that draws its own line between classic dub vibes and modern bass music.

DJ Sotofet has rearranged two Finnish jazz funk classics from mid 70's that came out in original form on Jazzpuu in 2001.

An independent band since 1998, Dub inc are nonetheless fully acclaimed by the entire reggae scene. The group won no less than three Victoires du Reggae awards (in 2014 for the "Paradise" album, in 2011 for "Hors Contrôle", and 2008 for "Afrikya"). In 2016, they are back with a sixth LP, "So What". No doubt this one will be yet another important landmark. Completely self-produced, as is their habit and will, this fourteen-track record is the result of a long process of composing and writing songs inspired by the dark events that have been going on in France in the last few months. Featuring a mix of dancehall, hip-hop, and electronica influences, "So What" is a pure reggae album upholding the values of this rebellious, spiritual, and universal music genre.

The album uninhibitedly addresses complex themes such as identitarian closure, the anxiety of countries who only speak out of fear and rejection of the other, or conspiracy theories that have no other purposes than to confuse people ("Triste Epoque", "So What"). However, it does include a large dose of optimism too, as well as calls for love and respect for your neighbours, whoever they are. As sons of immigrants who built their lives in France and transmitted them the values of integrity, respect and solidarity, the members of Dub Inc are the epitome of the fact that we can accomplish beautiful things only together and united ("Exil", "No Matter Where You Come from"). The social themes dear to the group are present ("Justice"), but "So What" also features lighter songs such as "Grand Périple", offsetting the record's mood with notes of optimism. "Love is the Meaning" brings a softer touch to the album, "Fêlés" pays tribute to the band's fans and "Ragga Bizness" humorously deals with the throes of the music world. Besides these risk-taking songs, some more typical tunes are reminiscent of the band's debut albums ("Exil", "Comme de l'or").
The band's politically conscious lyrics lie somewhere between constructive projections into the future and implacable analyses on the present. Each tune is a cleverly orchestrated composition, proving once again the band's production qualities.
After five successful albums, Dub Inc have been eagerly awaited. "So What" successfully converts the try, placing them for good in the French musical landscape.

The brand new album from James Blake- Exclusively launched on Annie Macs Radio 1 Show on 5/5/16. Physical releaswe date of the CD will be next week- SELL AS SOON AS YOU RECEIVE. The LP format will not come till later in the project at the end of July. More details to follow on this format

RECORD STORE DAY 2015 RELEASE! RSD CONDITIONS APPLY - ONLY FOR SALE TO REGISTERED SHOPS AND NO ONLINE PRE ORDERS!

Classic Arthur Russell 7" from the depths of West End's vaults. Timely re mastered from the original tapes...

This is a different version to the Soul Jazz 12" released in 2003 with more moog bleeps and a slower tempo and has never been commercially available on vinyl (track run time 2:45). It also includes the uptempo freakout rare as hens teeth 'Instrumental Mix'. Original 7"s going for up to £200 on discogs and only 12 people in the world showing they own a copy. This release never got passed promo stage at West End in 1980.

Brooklyn's Tour de Force (TDF) begin 2016 with an update to one of their best, and most loved, dubplate weapons. Soundboy Prayer was written in late 2013 and has spent the past few years as a centerpiece of TDF sets, wreckin' havoc on the Dub-Stuysystem with its iconic Johnny Osbourne vocal sample, trampling horns, and dark melodies. Consistent support from DJs and crowd reaction convinced TDF to dust off the riddim and give it a full release. The official 12' refreshes the production with added bass weight, a new arrangement, and a cavernous dub version.

Backing the original and its dub are two remixes from producers within the worldwide sound system community whose approach echoes TDF's blend of reggae and bass music. Chopstick Dubplate's Jacky Murda, who has worked with Barrington Levy, Top Cat, and Johnny Osbourne himself, was a natural fit to capture the junglist vibe of the original and turn it into an energetic jungle remix that begs for the rewind. Poland'sRadikal Guru, one of the brightest lights of the European dub community, provides the second remix, keeping things dubby and nice with a blend of reggae and dubstep that emphasises catchy string melodies and a weighty bass line. Radikal Guru's approach to blending traditions has been an inspiration for us,' says TDF Q-Mastah, so he was a natural choice for this release.'

The legendary Screamin' Jay Hawkins was one of pop's most colourful characters, a one-man circus sideshow with some of the most memorable routines - and props - the music world had ever witnessed. Yet the author of the R&B standard 'I Put A Spell On You' was also an accomplished and serious musician, as his many vintage recordings demonstrate.

While Hawkins recorded prolifically during the 1950s and 1969s, he only released three long-players during that same period. The second of these, The Night And Day Of Screaming Jay Hawkins' is not only the rarest, but was for many years considered the strangest. Recorded in London in 1965 with UK session men and issued the following year on Shel Talmy's Planet label, the record's fascinating blend of louche lounge balladry, frantic R&B workouts and cool club groove is now regarded as a quintessential mod-jazz artefact.

Ace's The Planet Sessions' sees the first official reissue for this overlooked gem, and the original album's running time is doubled with unissued stereo variants, alternate takes and a pair of exciting outtakes, all drawn from the original Abbey Road session tapes. Detailed notes spell out Hawkins' various UK sojourns during the mid-1960s. All in all, The Planet Sessions' is not only a reappraisal, but a reaffirmation of the bizarre genius of Screamin' Jay Hawkins

12 tracks of horn-led funk from one of the great unsung bands of the late 1960s. The Pazant Brothers, Ed and Al are jazz and funk royalty having played with Kool & The Gang, Pucho & The Latin Soul Brothers and Lionel Hampton.

Their recordings for GWP were made under the auspices of producer Ed Bland. They are highly sought after by producers and DJs, and represent the very best of their recorded work. This is the first time that this work has been available on LP.

Includes sought-after singles 'Skunk Juice', 'Juicy Lucy' and 'Chicken Scratch', as well as a previously unreleased version of 'High Heel Sneakers' and two vocal tracks with Betty Barney recorded live at MOMA which have never been on vinyl before.

Regular weight black vinyl.

The Selecter is led by their iconic frontwoman Pauline Black, alongside an incredible talented band of musicians, and co-fronted by original member Arthur 'Gaps' Hendrickson. The anarchic passion that fuelled Selecter gigs during the 2 Tone era is still there, except the pair (Pauline & Gaps) are more driven than ever. Their confidence is sky-high and they're also writing the best songs of their career, which is saying something given the enduring popularity of hits like Three Minute Hero, Missing Words and On My Radio. They've played at most major festivals, headlined 3 UK tours, toured the US and recorded three studio albums in the last few years.
The Beat, fronted by Ranking Roger released their spectacular fourth album Bounce (the first in over 30 years) in September 2016. The album shows off every gleaming aspect of one of the most musically diverse bands to come out of the multiracial, multicultural explosion that remade British pop from 1979 onwards. The same energy that drove the hit singles of the 80s, Mirror In The Bathroom, Stand Down Margaret and Too Nice To Talk To reggae looseness plus razor-sharp song-writing meets the paranoid pace of punk is here again.
2017 live dates are being announced now for both bands, including a co-headline tour in March and April 2017.

Scepter/Wand and Musicor/Dynamo records were quintessential New York soul labels. Their common link was Luther Dixon, who set Scepter on the right road with the Shirelles and followed up with success for Tommy Hunt, Chuck Jackson and Maxine Brown. He split for Musicor in 1966 where he got the Platters, Tommy Hunt and Inez & Charlie Foxx back into the charts.

Scepter/Wand had the bigger black music catalogue and dominates this compilation. It is the third in the recent Manhattan Soul' series: across-the-board soul covering the 60s and the first half of the 70s. A recent detailed book about those imprints by frequent Kent contributor Steve Guarnori has thrown the spotlight on the wealth of great material issued.

Kent's privileged position of accessing the tapes has meant we can show how the labels' recordings were even bigger than their sizeable output. This CD features a previously unheard early Chips Moman song from Helen Henry, the Shirelles' take on Luther Dixon's superb 'Two Stupid Feet', Van McCoy's own interpretation of that group's 'What's The Matter Baby' and a previously unheard R&B group sound from the Tabs. Earlier vault discoveries from Junior Lewis and Big Maybelle are given their first CD outing.

R&B is provided by Billy Adams on a hip and raunchy nursery rhyme-themed number and the Soldier Boys, an early 60s doo wop super-group consisting of Wally Roker from the Heartbeats, Don Covay and John Berry from the Rainbows and Robert Spencer of the Cadillacs. Ex doo woppers Brenton Wood and Harold Hopkins demonstrate how pop-soul should be sung.

Rare vinyl is represented by beautiful ballads from Sonny Turner with 'Now That You're Gone', Billy Byers' 'Remind My Baby Of Me' and Dan & The Clean Cuts' 'Open Up Your Heart (And Let Love In)'. The Charts' 'Nobody Made You Love Me' and the Fabulous Dinos' 'That Same Old Song' are now expensive dance tracks and the Esquires' glorious 'How Could It Be' is currently enjoying many DJ plays on the rare soul scene.

Late 60s, gritty, southern funk comes from the New Orleans Johnny Moore aka Deacon John Moore and the highly regarded Lee Moses. The subtler sound of the south is heard in Earl King's overlooked slowie 'A Part Of Me'. Similarly neglected is Melba Moore's pretty ballad a la Dionne 'Does Love Believe In Me' and Tommy Hunt's 'Lover' a super song sung over the 'Any Day Now' backing.

repressed !

We're so pleased to finally be able to offer up a hard and timely digi stepper from Reggae Roast's Adam Prescott alongside the unbeatable Macka B.

Always insightful, clever, and serious-as-your-life, Macka B delivers a lyric tailor-made for these treacherous times, a deeply insightful essay on the many ways fear is deployed as a Babylonian weapon to keep us passive, obedient, distracted, confused, and compliant. From Brexit to Trump, the message is both universal and very local.

Relicking a classic Horace Andy tune (we'll let you figure out which), a twinkling melody leads the way alongside militant snares and a darkly addictive bassline for a riddim grounded firmly in the 90s UK dub tradition. "Fear Dub" cracks open vaults of dubspace with Macka B's voice delaying into pure signal, and the bass heaving from reverbed depths. Percussion multiplies through the stereo field while skanks, synth, and tones cut through the darkness like thermal images in a dark night.

Adam Prescott has releases on labels including his own Reggae Roast, Liondub, Grand Ancestor and Trigram. Macka B is a veteran with no less than 100 releases on many of the greatest reggae labels of all time, including Black Scorpio, XTerminator, Fashion, Penthouse, and an especially long and amazing run of releases on Mad Professor's Ariwa label.
Mastered by Lewis at Star Delta.

EXTRA LIMITED REPRESS

Eloh Kush & Budamunk!!

Here 's fantastic collaboration EP by Eloh Kush & Budamunk.

Eloh Kush is MC from Ner Jersey well known as crew of "Angelz Inc" ."Angelz Inc" we features on 1st of album by Scienz Of Life.

And now Eloh Kush is playing with John Robinson,Count Bass D,J Rawls,Dr Oop at "Water The Plants".

This project started by their friendship ..around the artist like Ras GJohn Robinson.DIbiase

And they made album Fly Emperortheir featured John Robinson (Scienz Of Life),ID 4Windz (Scienz Of Life),60 Second Assassin (Sunz Of Man / Wu-Tang Clan)Angelz Inc.

Here's three track cuts from the album and will be ltd 300pcs pressing.

artwork done by Yosaku.

Repress !

Max Roach's 1960 masterwork, We Insist!, is a suite based on the Civil Rights Movement, and involves variations on the theme of the struggle for African Americans to achieve equality in the United States, a struggle that is still all too relevant still. Roach began composing with lyricst Oscar Brown Jr. in 1959, with the initial intention of having the suite performed in 1963, on the 100th anniversary of The Emancipation Proclamation. Featuring the wonderful Abbey Lincoln on vocals, as well as Booker Little, Julian Priester, Coleman Hawkins, Olatunji, and more, We Insist! is a truly stunning album, one that knows no equal from that time or since, reissued on 180 gram LP with download code.

Legacy Vinyl celebrates the 30th anniversary of Run-DMC's classic third album on a 150gm picture disc vinyl, featuring the "Raising Hell" album cover image. Features the hit singles "Walk This Way", "My Adidas", "Its Tricky", "Peter Piper" & more. Marketing.

MEGA LIMITED REPRESS !