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This heavyweight double EP is Dubkasm's typically forward-thinking tribute to soundsystem dub, and the hardware that shaped it. Named after the Soundtracs CM4400 console in the duo's Bristol studio sides A & B are deep, brooding synth instrumentals, showcased at the Deep Medi Boiler Room set, and reminiscent of greats like Dread & Fred and Sound Iration. Sides C & D feature very special remixes by Leeds digital legends Iration Steppas, with an extra remix of Dubkasm's killer 10" No Retreat. The second 12" is unmistakably the work of Mark Iration: filled with growling filter bass and siren-like keyboards, Year 3000 style! These tunes are already soundsystem killers.

For more than a decade, Jimmy Edgar has experimented in sound structure and design, utilising an array of digital and analog hardware to release delphic signings on Warp, !K7 and Hotflush. After launching his enigmatic label Ultramajic in 2013, the Detroit born space cadet delves into mystic philosophy with his latest metaphysical embodiment.

Following on from Lando's July release, the forthcoming EP 'Shine' sees a continuation in pulsating chunky house chords with an industrialised varnish. The gargantuan brawn and weight of 'Let me tell you' ensures crowd-pleasing thump. This theme then slightly diverts, with the synthetic minimalism of 'The Dip Chair' and 'Two of Wands'. However, Edgar harks back to earlier influences in his career with 'Feel what it is', embodying Detroit house seen through R&B elements, reflective of his hometown influences.

Big Crown Records is proud to present the second single from Lady Wray's Queen Alone album Smiling'. An instant feel good anthem, Smiling finds Lady Wray reminding us to keep our heads up and keep a smile on our faces through whatever life deals us. With production from Leon Michels & Thomas Brenneck that rides the line between bubblegum pop and lo fi tough grit, Nicole lays out with a voice as encouraging as the lyrics she is singing. Listeners will be hard pressed not to find themselves singing along after the first listen. A proper good vibe tune guaranteed to move dance floors the world over. The B side Make Me Over' is a lushly scored tale of letting your guard down and letting the one who loves you take care of you when you are down and out. A relatable tale of having expensive taste and empty pockets, Nicole finds herself asking for a little help so she can get a break from being strapped for cash promising to take care of her man as soon as her check comes in.

Galang sees Parly embracing a tough ragga riddim track provided by Danny T & Tradesman that is reminiscent of the futurist, minimal style that was pioneered in the late 1990's and early 00's by producers such as Lenky, Ward 21, Frenchie and Steely & Clevie. As always Parly brings his distinctive vocal style to the track that perfectly rides the space and weight the riddim brings. Deliciously low slung, and punching at all the tastiest low end frequencies, this is one for the winers! This is the perfect taster for next year's eagerly anticipated debut album from Danny T & Tradesman.

15 years after its original release back in 2000 we managed to get hold of of a few archive copies of - Smart Dust , the debut album of the former Cologne-based electronic supergroup consisting of Dr. Walker, Freddy Fresh, Wulfmanson, Thee Joker, Nik Frost, M.Flux, LL Nino, Frank Heiss, Thomas Thorn and Mike O'Connell.

Together this amazing collective explores the realms of BigBeat, Downtempo, TripHop and Electro on a stunning 14-track gatefold double LP that introduced elements of Jazz and World Music to the electronic scene many years before these influences became widely recognized in the electronic mainstream. A classic, groundbreaking record!

AGGROLITES keyboard wizard puts his two volumes of "ORGAN VERSIONS" on wax for the first time ever. Hear ROGER lay new organ parts over original Jamaican early reggae sides, giving many of these stone cold classics a new edge. Stickered DJ sleeve. limited to 300 copies on black vinyl.

S. Job Organization (also known as SJOB Movement) was a rarity in the Nigerian music scene - a collective of equals in a world where band 'leaders' ruled the roost and 'band boys' had to make do with the crumbs. The name was an acronym representing each of the members - Samuel 'Spark' Abiloye, Johnnie Woode Olimah, Ehima 'Blackie' Ottah and Prince Bolarinwa Agba. They were music scene veterans and the nucleus of Sonny Okosuns' group, Ozziddi. Unshackled, their undeniable chemistry fizzed. Listen to a SJOB record and you can almost hear band members nodding their heads in appreciation of each others' mad skills. On Freedom Anthem, the music is deep, dark and funky. It took inspiration from the new sounds coming out of black America with a focus that was increasingly political. 'Ayamoto' calls for Africans to stand up for their rights. 'Freedom Anthem' is another funky call to arms. 'Oya' and 'Wombiliki' incorporate local folk sounds and a tinge of reggae for a distinctly African burnish. The egalitarian structure of SJOB eventually lead to its demise. Without a dominant personality to galvanize the band, they lost direction. Johnnie Woode rejoined Ozziddi. Prince Bola joined King Sunny Ade. The great social experiment was over. But in Freedom Anthem, the magic it created lives on. - Peter Moore,

Debut album from Chicago's 2-TONE ska champs finally available on colored vinyl. If you're a fan of THE SPECIALS, MADNESS, or
THE BEAT you need this. B&W 2-TONE style sleeve, includes versions of NINEY's "BLOOD & FIRE", PRINCE BUSTER "WASH
WASH", BILLY BRAGG "LEVI STUBBS TEARS" and more.

REPRESSED !!
Cali roots reggae powerhouse whose recent album was released by EASY STAR. THE EXPANDERS play Jamaican "country roots" reggae ala MIGHTY DIAMONDS, THE EHIOPIANS or ROOTS RADICS. This 12 tracker features a dozen covers including PETER TOSH, CULTURE & JUSTIN HINES. Yellow wax.

Here at Scotch Bonnet Records we love Reggae music's rich heritage. Not only is it is as strong today as it ever has been, soundsystem culture has now spread to every corner of the world. To celebrate this we have compiled a few musically important releases from some of the key musicians and producers that have influenced and nourished Scotch Bonnet records since the start. Some have appeared on single, some are dubs that Mungo's Hi Fi couldn't stop playing on the Soundsystem, and there are some brand new pieces to keep it crispy fresh. The end result is Puffers Choice.

Whilst not the first UK dance scene - the mods had that covered - northern soul is the longest running. Those northern clubbers who eschewed late 60s psychedelic fripperies for obscure old soul records with the requisite beat, couldn't have known what they started. After using up all the UK released sides they began digging in the United States and after nearly 50 years the northern soul scene has probably unearthed more great music than any other.

Funk was the syncopated groove that emerged in the mid-sixties through hits from James Brown and Dyke and The Blazers. It was a natural development out of rhythm and blues. Thousands of local bands tried to emulate Brown's success, and in the process created a plethora of rare and sought after 45s and album cuts that have been mined by DJs and producers to fill floors or provide breakbeats. Whilst the 20 tracks on this compilation would cost you thousands of pounds to own on their original issue, that isn't really the point. Instead you get to listen to magnificent grooves such as Mickey & The Soul Generations explosive 'Iron Leg', Andrew Brown's blues tinged 'You Made Me Suffer' or the message music of 24 Carat Black.

There is a lot of confusion with regards to the modern soul scene. An off-shoot of northern soul, it initially mixed new release independent soul, with post late-60s soul that didn't fit with the northern scene. They championed a lot of great records, but this was the mid-80s and it now seems odd to describe nearly 50 year old records as modern soul - but somehow the name has stuck. Extra Added Soul luxuriates in this contradiction, as it allows us to mix up the boogie like 'Love Explosion' by Donnell Pittman, with two-step Chicago classics by Elvin Bishop or El Anthony, or the danceable sweet soul of Dyson's Faces with Gil Scott-Heron alike 'Patience' by Rokk. Amongst the twenty tracks there is also room for a touch of Prince on 94 East's exceptional 'If You See Me' and the cosmic soul of Karriem's super rarity 'I Love You'.On the 14th October 2016 J&D Records release three exceptional compilations that look at vintage African-American music through the prism of UK club culture.

70s African Nuggets and Garage Rock From Nigeria, Zambia and Zimbabwe. Download Card Included. Globetrotter of parallel subcontinents and digger of rare, forgotten records, Eothen Egon' Alapatt tracks sounds from the dawn of time to the four corners of the world. On the other side of the globe, French designer Christophe Lemaire stays forward thinking and audacious in his choices: far from our deified present, he cultivates a love of timeless designs and mixed influences, a passion for iconoclastic music hidden in the dark corners of a global cultural industry. This extraordinary openness has been at the heart of their friendship since 2007. Their exceedingly eclectic, fierce rock discoveries gave birth to a first anthology, Where Are You From (Now-Again, 2010), the fruit of Lemaire's excavating Alapatt's archives. That was a postgeographic exploration in psych, rock and funk territories from 1968 to now, this second anthology celebrates their impressionist vision and explores garage rock from the 1970s, voicing the struggles of independence in Zambia, Nigeria and Zimbabwe. Can't You Hear Me comes from a track by charismatic Zamrock icon Paul Ngozi, a Lemaire favorite. Ngozi's title track sets the tone for a drastic selection of seventeen songs with rebellious undertones, riddled by an infectious groove, the forsaken writing about a forgotten chapter in the history of music. Ngozi, WITCH, Chrissy Zebby Tembo, Amanaz, Wells Fargo, Eye Q and the Funkees represent a generation fighting for their freedom, armed with fuzz guitars, symbolic objects of a new movement. They played in Fela's kingly shadow, were influenced by Hendrix's psychedelic solos, Jefferson Airplane's penetrating chords and Cream's repetitive melodies. The music of their colonial oppressors they reassembled and reinterpreted with pure energy, without nod to hymn or flag. A halo of cosmic design and pure lines, the cover for the anthology by Sanghon Kim transports us in this whirling odyssey in space and time while composer/producer Pilooski concludes the album with an edit of WITCH's No Time,' an expression of the critical need to open up to new perspectives, new imaginations and to keep unearthing riches of our universal heritage. Through these tracks we can feel the communicative energy, this pure vitality, not only of Africa , but of youth and hope,' Lemaire states. And I find it quite universal and timeless. It is not about music as an industry , or as product , but music as a craft . And one can immediately recognized when music is created with heart and soul.'

Starting life as a small New York event aimed at raising awareness for Fela Kuti's musical message, Rich Medina's Jump N Funk party has now been rocking dancefloors across the globe for over 15 years. Honouring Fela's contribution to music as well as his political and cultural legacy, Medina has made his events a platform to celebrate Afro-Life across the Black Diaspora.
With guests such as Wunmi, the cast of Fela! On Broadway, Asiko and Antibalas providing captivating live performances, Jump N Funk is so much more than a club night. In creating this compilation to represent the spirit of his events, Rich Medina has chosen an eclectic selection of undeniably afro-tinged,
unashamedly life-affirming music. With most tracks either referencing, sampling or inspired by the great man, the record also includes material by Fela himself,
as well as son Seun Kuti and long-time band member Tony Allen the inventor of the afrobeat set drum syncopation that is equally as notorious as Fela and his message... The album's artwork has been lovingly created by Lemi Ghariokwu, the fabled Nigerian artist who designed some of Fela's most iconic covers. From
the record's sleeve to the music contained within, Jump N Funk is a cultural artefact with one foot in the past, the other in the future. An echo of Fela's message: a reminder to celebrate, to empower, to progress.





Benitez BV Dub)






Beat (Mutaba)

REPRESSED !!
Label owner Fracture, fresh from landmark release 'Loving Touch' on Exit Records, and Sam Binga, of 'AYO' and 'Lef Dem' fame, team up to presentFDGD, three alternative takes on minimal sub-led Dancehall at the higher end of the tempo range. All three riddims are vocalled byRider Shafique, a key member of Bristol's Young Echo collective, who deviates from his trademark conscious lyrical content, choosing instead to roll out some of that dutty slackness in the finest traditions of Yellowman and Shabba Ranks.

Alongside this heavy pressure, man of the moment Logos (known for his collaborations with Mumdanceand groundbreaking releases on Keysound Recordings) provides a next-level 'devil mix', taking inspiration from classic Eski and Grime but travelling far beyond that starting point to end floating, in beatless hyper-space.

As ever, Astrophonica team up with Utile Creative to bring hand finished, magenta rubber stamped artwork to the limited edition vinyl sleeves.

Early support from Toddla T (BBC Radio 1), Brackles (Rinse FM), Murlo, Machinedrum, Smutlee, Breakage, Chimpo and The Two Bears, amongst others.

Long overdue for a vinyl pressing, Kenny Dope's extended mix of Shy As A Butterfly' by The Mighty Sceptres is now available on a proper 7in. The B-side features a killer dance floor-ready cumbia rework of Nothing Seems To Work Right' by Spark Arrester.

With a well-received debut album under their belt and notable song placements in shows such as Ray Donovan on Showtime, The Mighty Sceptres drop a new 7in single featuring Kenny Dope's extended mix of Shy As A Butterfly', previously only available as a bonus on their digital album. With collectors, record shops, and fans alike clamoring for a vinyl version, the 7in was hands down the preferred format of choice. Hailing from Blacksburg VA where he's been a mainstay of the local music scene and purveyor of all things funky, Spark Arrester's cumbia rework is a perfect fit on the B-side rounding out a single that's sure to keep bodies moving on the dance floor all summer long and beyond.

New, London-based label SUNCUT open for business with two rare, mid-70's modern soul gems from the vault of Hi Records. Produced by little known group, Africano these two breezy, club friendly soul tunes have been officially reissued ready for the dancefloor.

NOTE - First 150 records will include an invite to the SUNCUT launch party on the 11th November 2016 in London !

Clinton Fearon was born in 1951 and grew up in the Jamaican hills of Sainte Catherine. He left with his mother to live in the big city, Kingston, at the age of fifteen and this affable man now lives in Seattle on the Pacific coast of the United States. During this time he was guitarist, bassist and singer with the iconic group The Gladiators. He left them in 1987 to start a solo career which included world tours with his group the Boogie Brown Band and ten albums. This Morning is his eleventh album, the third for Chapter Two / Wagram, after Heart and Soul, an acoustic album, in 2012, and Goodness in 2014.

The Brazilian illustrator Willian Santiago did the artwork for the sleeve which is colourful, figurative and geometric. Here is Mister Fearon commanding nature, with his goatee, cap and sun glasses, surrounded by banana trees, a parrot and a traveller's palm. It sums him up perfectly: a being who respects "mother earth", yet is demanding, a man who builds sounds, a reggae man who measures time straight down the line.

Clinton Fearon lives in Seattle, next to the ocean, because he feels "a good vibe" there, a good vibration, which suits his warm, rhythmic voice - it was from North America that Clinton Fearon got his soul and folk influences. The city where Jimi Hendrix was born is "excellent for creation", says the singer songwriter who has swapped the sultry Caribbean heat for the fine rain of the northern United States, without any soul searching, because Jamaica "has always been a complicated country".

The fresh Seattle weather brings a special relationship with nature, which is nurtured by the powerful presence of "Native Americans", the Northwest Coast Indians. "They respect the land and so do I. I was born in the middle of the "bush", where everyone depends on each other. When I arrived in Kingston, I used to say hello to everyone. People looked at me strangely. How could I belong to this city». Through music and its beats, by starting my first group, The Brothers, by stalking the studios, by joining the warrior "Gladiators," from the ghetto of Trenchtown. The kid from the mountains also became a "session man" at Studio One, founded by Clement Coxsone Dodd (1932-2004), where Bob Marley started out in 1969 and which reigned supreme in the golden age of reggae in the 1960s and 1970s. Jamaica gained independence in 1962. "The Jamaican dollar collapsed, kids had to live on the edge to survive". And that's when the money-changers from the temple descended, and made their mark on "rasta" Jamaica.

Rastafarianism is a religion, and Clinton Fearon has his own internal religion. The young Clinton remembers the rastas in the countryside, and a joint being offered to the schoolboy to show him the harmful power of "Babylon" - he used to go to the Adventist Church with his father. Clinton Fearon took the mystery of ska and reggae: the energy and the rhythms of Niyabinghi, one of the mansions of the Rastafarian movement which started in the 1930s and took the name of a central African princess who rebelled against colonialism and slavery in the 19th Century.

"I never preach. I look at my hand for example, and I wonder what life spirit makes it move. I believe in the virtues of parallel forces, the power in the blood. Then we can choose to be happy or not. Distancing yourself from nature is the best idea there is to make you sad. This Morning, like everything that I've done, talks about respect and love. Over time with the insights I've had, the perspective has changed, but it always comes back to the same thing.I live with my own spirituality," says the man with the broad smile who makes friendly discussion so easy and smooth. Clinton Fearon has a recipe for feeling good: "Love what you do, do what you love". Which he applies to his musicians, harmoniously. "A group where everyone is respected can be as strong as a lion. But if it goes wrong, it becomes a headless lion", a raw and helpless power.

What else does This Morning tell us That this urban life which is so "solitary" stops us interacting with each other and pushes us to accept "that control can be taken by one single person or one single group", politicians, businessmen, ideologues, merchants, the powerful from all walks of life who tell us: "I have made you rich, I'll look after you". Clinton Fearon writes songs about this: No Justice, for example, and This Train Is Living. In thirteen tracks, he talks about his rejection of "those who claim to know more than we do and feel free to decide in our place," he also talks about his attachment to his wife and the value of friends and companions in difficult times.

Recorded and mastered in Seattle, mixed at Studio Davout in Paris, the album is a balancing act. "I'm not a fast runner", claims the artist-artisan, the long distance runner, who has left his mark on every curve of his musical drawing. Clinton Fearon plays everything (guitar, bass, percussion, voice), he added piano, saxophone, organ and marimba and made every effort to ensure "that we hear everything, together and separately, so that the lyrics and melodies that I've written sound just right". It's a question of unity.

Two of the stand out tracks from French production duo DJ Suspect & Doc TMK's debut LP, Giving Space To The Sun' from 2014 make their way onto this precious format of ours for the very first time. Limited Edition of 500 - don't sleep

Steeped in Caribbean flavor and seasoned with a fistful of hand-percussion, Yamar' was initially sidelined from 2009's Cult Cargo: Grand Bahama Goombay for feeling less like cargo than an authentic piece of pan-Americana. Phish fans may recognize this previously unattainable A-side as it as been a staple in their setlists since the late '80s, imported by bassist Mike Gordon who heard the Mustangs performing it in a Bahamian hotel. Backed with the sweltering Words To My Song,' this doubler-sider is a must for any sea side or pool side DJ.

Releasesd on November 11th 'Long Live The Angels' is the second album from multi-platinum selling artist Emeli Sandé, comprising brand new single 'Hurts'. 'Hurts' and the rest of Sandé's upcoming album including the breath-taking ballad 'Breathing Under Water' mark a whole new chapter in her life. The album comes in a jewel case with a 16 page booklet.

'Long Live The Angels' is the second album from multi-platinum selling artist Emeli Sandé, comprising brand new single 'Hurts'. 'Hurts' and the rest of Sandé's upcoming album including the breath-taking ballad 'Breathing Under Water' mark a whole new chapter in her life. The album comes in a 6 Panel Digipak w/ Tray (16 page booklet).

'Long Live The Angels' is the second album from multi-platinum selling artist Emeli Sandé, comprising brand new single 'Hurts'. 'Hurts' and the rest of Sandé's upcoming album including the breath-taking ballad 'Breathing Under Water' mark a whole new chapter in her life. Spec TBC

REPRESSED !!
Charlie P is best known for his reggae and dancehall releases, so this grimey countdown of his rules of the dance comes as a
surprise. The vocal is superbly matched with productions that span the worlds of Soundsystem including two of the most exciting producers around. Mungo's Hi Fi start their side with a digital riddim that creeps into more progressive sounds. Kahn's production is darker with almost eastern atmospherics and is heavyweight as you would imagine.

6th release from RBMB
For the past two decades, Rich Medina has cemented his reputation as an elite DJ, one of few on the planet capable of taking audiences worldwide on a sonic journey through hip-hop, house, soul, afrobeat, funk, breaks and dance classics.

We're very proud to present here the first of two legendary 'lost' albums both previously available only as rare-as-hen's teeth private presses, from one Samuel K. Mfojo, the man known as Rim Kwaku Obeng. As well as heralding the arrival as solo artist of an exciting new drummer, the title of his 1977 debut, Rim Arrives, also makes reference to the long struggle Kwaku had in getting to that point. To say that he 'paid his dues' is an understate-ment!
A member of one of Ghana's most popular bands, the Uhuru Dance Band, during a period when 'every song was a hit', the recording studios of LA were even more alluring to an aspirant musician, and he followed his bandmate, Duke Oketa, there for a session in 1973. Despite having hired a massive string section, Oketa failed to provide charts for the session,
and it was postponed for a week, with Kwaku being asked to write them instead. He turned it around, pocketed $700, and won the admiration of Quincy Jones who was hanging out at A&M's studios and asked Kwaku to join him ... only to back off when Oketa intervened, threatening a lawsuit if Kwaku walked.
That scuppered opportunity was as nothing compared to the disaster that next befell him: having flown to London with Duke's band, to record with 'a band called Traffic' and a young singer-songwriter called Joan Armatrading, Kwaku found himself marooned in the city without money, documentation or friends. Oketa had checked out of their hotel the first night, and had Kwaku's passport and luggage with him. Despite the sympathy of the hotel staff, he found himself on the streets, and thus in 1973 began a six-month period as a homeless, destitute, undocumented stranger. That Kwaku by chance managed to meet Armatrading, who helped him get his life back on track, by chance passing Ronnie Scott's where she was playing, was an even more unlikely twist in the fate of this promising young musician. He never found out why Oketa had abandoned him, but he fulfilled his promise, recording Rim Arrives in San Francisco in 1977.
That year was the zenith of disco, and pretty much anybody who entered a recording studio that year cut a disco record. Rim was no exception, his Ghanaian rhythms tailor-made for the percussive energy that was fuelling the clubs of the day. With a mixture of hot LA session musicians and African emigrés, he cut an album that very much captures the spirit of its time. As well as kit drums, conga and an array of percussive instruments, the multi-talented bandleader also played piano and clavinet on the sessions. Throw in some tight horn riffs, Fela-style call and response vocals, and you have an album that fits the current mania for both vintage African music and ever-more obscure disco perfectly. Cuts like Brushing Means Making Love, Gas Line and Believe In Yourself and have been tearing up dancefloors in the hands of specialist DJs for some time: now it's time for the rest of the
world to catch up.
Also included is International Funk, a very in-demand 12' he recorded later as Rim and The Believers, with drum machines and synths in full 1980s effect!
Serious Afro-disco heat here, with the originals fetching silly money, these records were overlooked at the time, with the glut of amazing music that characterized the era, but, nearly four decades on, it's fair to say that, Rim really has arrived!

Swet Shop Boys are set to release new album 'Cashmere' on October 14th.
The trans-Atlantic project unites New York artist Heems with British counterpart Riz MC, with Redinho assisting on production

Swet Shop Boys (SSB) have arrived with 'Cashmere', the debut from Queens, New York's Heems (Himanshu Suri, ex- Das Racist) and NW London's Riz MC (Riz Ahmed). Both are prolific artists, actors and activists in their own right, now bringing their creative experience and the riches of their working class immigrant roots together. Rounding out the trio is British producer Redinho, providing the soundtrack for songs like their first single 'T5', where the emcees lament the discrimination they face as they amass frequent flyer miles while traveling the world for work.
'Cashmere' seems timely in a world where the US and UK look across the pond for different reasons: Trump and Brexit, trap and grime. From Heems' poignant debut 'Eat, Pray Thug', to Riz's acclaimed mixtape 'Englistan', the Trans-Atlantic, Indo-Pak duo have proudly fused their worlds together here. Musically, the palette draws from a gumbo of Qawwali hand claps, hype harmonium, Bollywood string drama, spiralling sitars, Western synths and an arsenal of drums - from 808s to tablas and tars, dholaks and doumbeks.
Redinho provides the heat for their melting pot. His debut solo album earned praise from Mark Ronson, Jessie Ware and Hudson Mohawke, who brought him out on tour recently. Heems started his career with Das Racist and has kept busy since with his label Greedhead, a series of university lectures and rapping from Macau to Malaysia.
Riz MC's debut 'Post-9/11 Blues' was banned from UK radio and his music since has maintained that sharp social commentary as well as his acting career, which includes projects like 'Four Lions', 'Nightcrawler', HBO's 'The Night Of' and the new 'Stars Wars' film.
'Cashmere' is released on Swet Shop Boys' new imprint, Customs.
The vinyl format includes a digital download code.

The importance of gospel music as an influence on soul can hardly be overstated. That influence is most obvious in southern soul music, with its deeply emotional vocal style and horn arrangements and backup vocals mimicking the call and response of the church
.
The mid-to-late 1960s was the heyday of southern soul, but unfortunately the flowering was brief, and as the 70s progressed it was almost completely drummed out by the sounds of disco, pop and a more highly produced northern' soul sound.

The gospel scene continued to flourish throughout the 1970s in churches and programs throughout the south and northern industrial cities of the USA. The sound of gospel had also changed, and an important influence was now the very soul music that it had spawned. Here The Showfa takes two gospel gems and re-edits them for the dance floor. First up Edwin Hawkins the grand pappy of gospel famous for his 60's hit ' Oh Happy Day' gets to reworks Emmanuel' performed live by Tri-State Choir live, a rarity never release before on wax, this is a hands in the air anthem that builds and builds and with a wait for it drum break which ignites D.J Sets. On the flip the Rev Isaac Whittmon covers the D.J Rogers classic 'Love brought Me Back' a gospel soul slow jam burner an infectious extended groove - Hallelujah.

A sinewy guitar, a throbbing bass, and a chorus of haunting females oohs... Eccentric Soul: The Deep City Label started with one unrelenting pleader of a track: Them Two's Am I A Good Man.' Since its 2006 re-release, Am I A Good Man' has appeared in dozens of films and television shows and has been sampled by the likes of Ghostface Killah and 50 Cent. Ten years later, this deep soul classic from Miami returns to its original format with it's long-vaulted B-side Love Has Taken Wings' on the reverse. Both songs were co-written by Clarence Blowfly' Reid and produced by Liberty City wunderkinds Johnny Pearsall and Willie Clarke.