1973-1976 was a period in Reggae's history when the music coming from Kingston,Jamaica was at its peak.
So many talented singers,who sang soulful/righteous songs found their way onto tape.
Maybe it was the competition between the studios like Randys,Channel 1 and Harry J's and the quality of the singers available to sing these tunes.But whatever caused the explosion the mighty voices of Horace Andy,Cornell Campbell,Johnny Clarke and Ronnie Davis never sounded better....
The tracks as you can see here were culled together from sessions recorded at the fore mentioned legendary studios.Then taken to King Tubby's home style studio at 18 Drummlie Ave in the Waterhouse district of Kingston.This is where the great Dubmaster himself would record the vocal tracks.
A method in which he preferred to work and then mix the tracks Tubby style...We have travelled to Jamaica and listened to hours of master tapes to bring this set to you.
So please sit back and enjoy what we believe to be a wicked set by Kingston's finest..
ALLSTARS one and all........
One more tiem Mr.Tubby if you please ..roll that tape....
Praise Poems Vol.1: Gilles Peterson (Worldwide / Brownswood Rec.): One of my fave comps of 2015.
Praise Poems Vol.2: Oliver Korthals (Mojo / Out of Spectrum on Byte FM): Extremely well put together track listing of artists which I have never heard before. Left me with my mouth open... - highly recommend!
Praise Poems Vol.3: Dom Servini (Wah Wah 45s): This is incredible.
Praise Poems Vol.4: ...
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Dieser unerbittliche Underdog der New Orleans' Soul-Geschichte, bekannt für seine Arbeit mit The Meters und Allen Toussaint, wurde lange Zeit in den nördlichen Teilen der USA unterschätzt. Mit seinem neuen, rohen Sound, seiner sehr persönlichen Lyrik und als einer der tatsächlichen Überlebenden von Hurricane Katrina erzählt Soul-Sänger Willie West mit "After The Storm" die Geschichte von dem was passiert ist.
Hurting, spiritually-charged, Creole genius from the island of Réunion in the Indian Ocean, east of Madagascar, recorded in the 1970s and 80s.
Gorgeous songs seamed with Eastern mysticism and the Romantic sublime — about childhood, eschatology, sufferation, fishing, favourite island haunts — explore the existential homesickness of the Creole wanderer, at the crossroads of African, Indian and European cultures.
Gently hypnotic percussion, Fender Rhodes, ngoni, two plastic bags rubbed together... A one-of-a-kind blend of blues, maloya and outernational roots, with strains of reggae, prog and free jazz.
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One of the most popular tracks from last year's "Survival Of The Fittest" LP finally gets a single release and the remix treatment from Reggae Roast's Vibration Lab. Taking the track in a deeper, more digital direction, the veteran duo have crafted a classic slice of modern dancehall, reminiscent of the legendary sounds of Gussie Clarke and that timeless 90s vibe. Flip it over for a dubwise version for your own MC or singjay to get busy with.
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10 x 7'': Das komplette Album im Singleformat, jeweils mit Original und Instrumental
Der Musiker und Produzent James Dewitt Yancey erlangte als Jay Dee und später J Dilla enorme Popularität in der Hip-Hop-Szene. Er verstarb am 10. Februar 2006 in Los Angeles an den Folgen einer schweren Autoimmunkrankheit. Und hinterließ mit "The Shining" ein unvollendetes Album. Obwohl er selbst noch im Krankenhausbett - mit Unterstützung seiner Mutter Maureen "Ma Dukes" Yancey - an Beats, Basslines und Loops gebastelt hatte, blieb das Projekt ein Flickenteppich. Diesen final in Form zu bringen, wurde zur offiziellen Aufgabe von Karriem Riggins, einem guten Freund Dillas, der ebenfalls aus Detroit stammt. Er machte seinen Job als Executive Producer so gut, dass "The Shining" allseits als "echtes" und qualitativ hochwertiges Dilla-Album geschätzt wird. Ein Grund dafür ist sicherlich dem Umstand geschuldet, dass neben Riggins selbst mit Busta Rhymes, Madlib, Pharoahe Monch, Common, Guilty Simpson, D'Angelo, MED, Dwele und Black Thought eine ganze Reihe hochkarätiger Gaststars zum Mikro greifen. Anlässlich des 10-jährigen Jubiläums veröffentlicht das Label BBE "The Shining" als limitierte Single-Box. In dieser sind zehn 7''es enthalten. Auf der A-Seite findet sich jeweils das Original, auf der Rückseite das entsprechende Instrumental. Damit sind die Stücke erstmals im Singleformat erhältlich.
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Soul Has No Tempo and 4101 Records are proud to present CLOAK - the debut album from Jordan Rakei.
Delving deeper into his creative well, Jordan has delivered a record that continues to push personal and societal boundaries, a visionary journey through groove based soul, jazz and hip-hop with hints of psychedelia and afro percussive rhythms. Written and recorded in his new adopted home of London, Cloak is a scintillating and timeless debut drawing influence and inspiration from the discovery of meditation, the separation from ego and a personal conversation with self.
With guest appearances from fellow Australian's Remi. and Ngaiire - and a feature cameo by the sublime Richard Spaven on Toko - Cloak will take you down the rabbit hole as Rakei expertly navigates explosive new boundaries, where colour and sound collide.
A raw and rare talent, Jordan Rakei today releases his debut album 'Cloak' via Soul Has No Tempo and 4101 Records . Recently completing UK tours with Hiatus Kaiyote and Jamie Woon - including a sold-out show at London's O2 Arena with the latter - the Brisbane native, London-based musician, producer, singer and songwriter, with a Disclosure credit to his name is making waves at home and abroad, his refreshing, modern take on jazz and hip-hop influenced soul resonating globally.
After a successful run of shows across Australia and New Zealand in February, Rakei has set his sights on the release of his debut album. 'Cloak' is a thirteen-track LP, featuring special guests, REMI, Ngaiireand Richard Spaven. Previous album previews, Talk To Me' and "Blame It On The Youth" are blissful journeys into the rhythmic elements of Afro-Beat and Jazz, exploring new boundaries that will delight new and old fans.
On the making and meaning of 'Cloak', Rakei says:
"It was close to midnight. I found myself silently standing on a beach in Piha, staring at the stars. I'd never seen the stars like that before. There was a stillness and oneness that resonated with me. I finally came to terms with the insignificance of "us" and set myself on a quest of self-discovery through music and meditation. It was a war against my pre-conditioned mind, but one I was willing to fight.
I, like many others, was enslaved by reactionary thought and emotional cause. I lived life through the projection of my ego. My ego would feed off negative emotions, public perception, expectation and a need to be somewhere I wasn't. It was through a conversation I had with myself, where I realised I had an ability to control it. This opened my mind to the concept of duality and my second self.
There is a deep space within us, usually cloaked by our emotions. A stillness. The more we delve, the faster we can re-wire our mind and un-learn all that we have been force fed. Shed your Cloak."
After the release of his critically acclaimed 2014 sophomore EP, Groove Curse, Rakei left Brisbane for the UK. He soon caught the attention of perennial UK electronic chart-toppers, Disclosure and Sam Smith, further growing his fan base and reputation as a talent on the rise. His co-written track Masterpiece' went on to close Disclosure's Grammy-Nominated sophomore album, Caracal, alongside featured artists NAO, Gregory Porter, Miguel, The Weeknd and Lorde.
Rakei's since performed solo across Russia, Italy, Belgium, Germany and Dubai - as well as selling out four London shows and receiving a personal invite to play Gilles Peterson's Worldwide stage at 2015'sOnBlackheath Festival. With UK supports for Caracal-comrade NAO, fellow soul-man Jamie Woon and Fat Freddy's Drop under his belt - not to mention headlining Annie Mac Presents live series - 2016 is set to be a huge year for Rakei.
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Ministry of Sound is double dropping two of the best music genres on one album... House AND Garage.
Following in the footsteps of 2014's 100k selling 'The House That Garage Built', it's time to go for the double again with a brand new 3CD set of the latest and greatest house and garage anthems.
Featuring the hottest house tracks from Lee Walker Vs DJ Deeon Feat Katy B & MNEK 'Freak Like Me', White N3rd 'Freaky With You', MK & Becky Hill 'Piece Of Me', Tieks 'Sunshine' and Kideko & George Kwali 'Crank It'.
Plus, anthems from 99 Souls, Disclosure, Duke Dumont, David Zowie, Philip George, DJ S.K.T, Calvin Harris and classics from Robin S, Sandy B, Rosie Gaines and more...
Then, we give you double the trouble with the massive Garage sounds of Craig David, MJ Cole, Sweet Female Attitude, Tina Moore, Artful Dodger, Wideboys and Jodeci.
This is the ultimate mix for any house-head or garage kid so... Are you ready to call it double or quits As Ministry of Sound presents... House x Garage.
13. Diplo & Sleep Tom - Be Right There (Flava D Remix)
14. 187 Lockdown - Rewind (Come Selecta)
15. Troyboi - And Wot
16. Bizzi - Bizzi's Party (Booker T Mix)
17. Ferreck Dawn & Redondo - Love Too Deep
18. 24 Hour Experience - Together
19. Corrupted Cru - GARAGE
20. Tchami - Promesses
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2X 180 gram vinyl with download code. 'TheSoundYouNeed Vol. 2' wraps up the brand's multi-genre explorations thus far and lives up to its name with forward-thinking groove clarity.
Dedicated to exploring the finest music of our time, TheSoundYouNeed represents the most exciting departures dance music has taken this decade: Future Bass, Deep House, Future Garage, Chillwave and beyond... TheSoundYouNeed celebrates, supports and reflects the current rude health of electronic music in every possible direction. 'TheSoundYouNeed Vol. 2' wraps up the brand's multi-genre explorations thus far and lives up to its name with forward-thinking groove clarity.
Established at the end of 2012 in Lyon, France, TheSoundYouNeed was one of the first audio-visual music blogs of its kind on YouTube. In three years the brand has recruited over three million loyal subscribers worldwide and close to a billion views.
'TheSoundYouNeed Vol. 2' doesn't just represent the brand's taste and remit, but also shows us just how creative and exciting electronic music can be when it's curated in the right way.
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Das, was sich viele Fans und Anhänger von Macht-Rap über lange Zeit gewünscht haben, hat nun endlich
Form angenommen: ein Labelsampler, der es in sich hat. Acht Rapper haben sich zwei Wochen für ein
intensives Bootcamp im Hauptquartier in Stuttgart zurückgezogen, um als eingeschworene Einheit eine Platte
zu produzieren. Das Ziel: einen neuen Maßstab setzen. Nicht nur für das Label, sondern für die ganze Rapund vor allem Trap-Szene. Es sind insgesamt 29 Songs entstanden: 20 davon sind auf dem Standard-Album
"M8" enthalten, neun weitere gibt es exklusiv nur auf der Bonus-EP "NWO" in der limitierten Fan-Box. Neben
Macht-Oberhaupt Jaysus sind Acts wie Rapsta, Toon, Boysindahood (GoodG & Dieng), Davud, Mosenu &
Kell mit von der Partie. Allstar-Tracks sind auf dem Album ebenso enthalten wie Kollaborationen zwischen
einzelnen Künstlern und auch Solo-Stücke. "M8" ist kein Lückenfüller, um die Wartezeit für ein nächstes
Album zu überbrücken, "M8" ist ein starkes Statement: Es steht für die Gang und den Zusammenhalt: eine
machtvolle neue Allstar-Kombo. Die limitierte Fanbox enthält neben Album und exklusiver EP einen "M8"-
Bag, drei Sticker mit exklusiven Designs, von allen beteiligten Rappern unterschriebene Autogrammkarten,
ein DIN-A1-Poster und eine weitere exklusive CD mit den Instrumentals der Tracks zum selber Rappen oder
Mixen.
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Third impressive chapter for Alex Puddu's "Golden Age of Danish Pornography", a cult series of soundtrack-like tracks inspired by the unmistakable sounds of the '60s and the '70s. As usual, Alex is doing (almost) everything by himself - writing, arranging, producing and performing with a little help from a few trusty friends. Disco funk, tribal and exotic percussions, smooth Memphis soul riffs, fuzzy guitars, interstellar synths, electric sitar, wild vocals, groovy saxophones and trumpets, all of this and much more can be found in this incredible record!
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Bajka and Max Weissenfeldt first met each other when they both attended the same school in Munich, Germany. Their first recordings - under the name Goldenes Zeitalter - took place in 1998 and have proven to be a homage to the nowadays beloved spiritual-jazz-vibe in the manner of Alice Coltrane and co. and were released in 2005 by Jazzman Records.
Now, Bajka has found her way back to her musical family and joined Philophon - the right environment for such a unique voice, joining a growing roster of talented artists including: The Polyversal Souls, Roy X, Guy One, Alogte Oho Jonas, Hailu Mergia, Idris Ackamoor and The Pyramids, Jimi Tenor and Y-Bayani.
"The World" is driven by the heavyweight drumming of Max, counterpointed by the iridescent voice of Bajka. She reflects the glory of our world by showing the listener through her talent that she in person is for sure part of that glory. On the flip side, "Invisible Joy", Bajka gives her own interpretation of Philophon's own label anthem, which was already the title track of The Polyversal Souls' celebrated debut album.
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No, there are no piano exercises on the new EP. Player Piano is a Vonnegutian reference to the old school way/beat of things. Borka sticks to his distinctive style - simple head nod beats without trendy production tricks, just the decades old technique of stealing, sampling, chopping and gluing. With one guest appearance, emcee N'toko.
It is hard to believe that Player Piano is only the sophomore EP by the label's head tastemaker. And it is even harder to understand that it has been more than four years since his still very popular What Sticks. Between the two EPs Borka has kept himself busy octopus style: playing records, promoting club nights, running a label, working on two radio stations, writing as a music journalist and having a band.
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ZamZam is very pleased to welcome Compa to the family! With his sparse, tight & driving signature dubwise sound, his first 7' for ZamZam is a serious scorcher, the latest in a growing catalog of crucial releases on labels including Boka Records, Lion Charge and Deep Medi Musik. Compa's increasingly intense touring schedule is winning over crowds from Australia to Asia, and support is steady from luminaries including Mary Anne Hobbs, Gilles Peterson, Toddla T, the legend David Rodigan, Joe Nice, and of course Deep Medi boss Mala amongst many others.
Shaka's Truth' is a lean beast of stop/start riddim dynamics and meditative synth melodics. A massive oscillating bassline pumps in unison with the pounding kick, while a disembodied voice of wisdom intones on the nature of truth, and the importance of trusting the inner voice. Atha Dub' is a missive from deep space, marrying a shimmering melody to laser volleys and distorted echo trails. A melodic 808 bass doubles the merciless, staccato kick drum, while distorted snares are overtaken by reverb, and tape delay spools out only to be reeled back from the intergalactic abyss. Two 140 stormers for the system and the headphones alike.
Mastered & cut by the one & only Lewis at Stardelta UK.
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ZamZam 40 is a milestone... as such we wanted to commemorate this chapter by coming full circle to where we began as a label - with another stunning Henry & Louis release from the vaults - this time featuring none other than reggae royalty Johnny Clarke.
Henry & Louis (AKA Jack Lundie and Andy Scholes) is a Bristol institution and UK sound system mainstay, birthed in 1988. The duo's 2Kings label, founded in 1990, is also a cornerstone of the 'Bristol sound', with releases including How Can A Man Be Happy' mixed at the legendary Smith & Mighty studio in St Paul's, Jah Jah NeverFail I' (first released on ZamZam's progenitor BSI Records), and many others, forming part of the city's musical iconography. Pinch, RSD, Prince Jammo, Sledgehead and other close friends round out the label's stable, and Andy Scholes DJs globally representing the 2Kings family.
A heavily edited version of Love and Understanding' was released on the seminal Time Will Tell LP (first on BSI, then 2Kings). This new ZamZam 7' is the first time the full vocal and full dub version have been heard in all their glory. The original lyric was penned by Andy Scholes and released on a 2Kings 12' - Johnny Clarke took hold of the words and laid down a magesterial version when Andy and Jack travelled to Jamaica in 1996. Recorded in a single take at 'Chunky's Studio,' Sherlock Crescent, Kingston 20 - what a moment that must have been.
The skeletal riddim and deeply melodic bassline form the perfect bedrock for his sublime performance. digi-percussion, clipped horns and subtle guitar plucks complete a truly revelatory tune. The dub version is a hallucinogenic ride that simply has to be heard to be believed. Stripped raw to the core of 4/4 kick, heavily reverbed snare and knocking percussion, the flavor borders on industrial - distorted and atmospheric, thick with tape hiss and impossibly long echoes - utterly unique and uncompromising. It is shocking
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Nas' I AM was his third studio album release and proved his reputation of one hip-hop's leading rappers. His strong lyrics are heard on tracks like "Small World" and "Favor for a Favor" featuring Scarface of the Ghetto Boys. The original material of the album was leaked onto the internet and this forced him to record completely new material.
The album debuted at #1 on the Billboard 200 and on the US Top R&B/Hip-Hop Albums, and was certified Double Platinum in the USA. In the US Nas had chart success with tracks "Nas Is Like", "Hate Me Now" and "You Won't See Me Tonight" featuring Aaliyah. The production on this album is solid and stands up, even to this day.
Rachel Modest made her debut for ATA Records last year with her a version of "I, Who Have Nothing" that was recorded for the label's free download series "Hard Work, No Pay", and received support and airplay from Craig Charles and Wah Wah 45's Dom Servini. Later in the year she co-wrote and guested on the debut 45 by The Magnificent Tape Band ("Patterns In My Mind") that received support and airplay from Gilles Peterson & Dom servini and was featured as mpfree of the week on Lauren Laverne's BBC6 Music show where it was described as "Al Green meets Portishead".
"I Try/Forbidden Love" is her solo debut for the label and both tracks were produced during the sessions for her upcoming solo LP. As with all the releases from ATA Records the tracks were co-written with the heads of the Label Neil Innes and Pete Williams, who were also behind the debut album by The Sorcerers as well as The Magnificent Tape Band and Joe Tatton Trio singles released earlier in the year. Inviting inevitable comparisons to the recent releases from Daptone Records, "I Try" is a soulful mid-tempo track that draws its influences from the likes of Dee Dee Warwick, Ann Peebles, Madeline Bell and Dusty Springfield. Creeping guitar & bass and the understated backing vocals of the verse make way for the uplifting chorus and Rachel's soaring vocal performance. "Forbidden Love" is a darker track that acts as the perfect foil for her powerful vocal performance and a suitable contrast to the A side.
Airplay and dj support is expected from Craig Charles (BBC6 Music, Radio 2), Gilles Peterson (BBC6 Music), Lauren Laverne (BBC6 Music), Trevor Nelson (Radio 2), Jamie Cullum (Radio 2) with reviews forthcoming in Blues and Soul and Shindig magazines.
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Wah Wah 45s are proud to present the new single to be taken from the hugely anticipated third album from arguably the UK's finest dub and reggae outfit, Resonators.
After a four-year hiatus - mostly spent tirelessly performing headline shows and festivals across the UK and Europe, as well as recording a plethora of new music - this almost peerless Brighton-based collective are ready to unleash their new material to an eager public in the shape of their third album, "Imaginary People".
The title track from the album is a feel good, dance floor friendly slice of sweet soulful reggae that comes complete with a dubbed out "A Future Time Version" courtesy of Darren 'JamTone' Mathers.
With a plethora of new songs under their belt, as well as what's becoming a very healthy catalogue of crowd pleasers from their last two albums, Resonators will be touring the UK and Europe this Autumn. Make sure you catch them as they're one of the finest live acts in this country right now!
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Wah Wah 45s are proud to present the hugely anticipated new album from arguably the UK's finest dub and reggae outfit, Resonators.
After a four year hiatus - mostly spent tirelessly performing headline shows and festivals across the UK and Europe, as well as recording a plethora of new music - this almost peerless Brighton-based collective are ready to unleash their new material to an eager public in the shape of their third album, "Imaginary People".
Inspired by the meditative quality and universal appeal of Jamaican roots music the bandradiate a playful and unified stage presence. The two lead singers Kassia Zermon and FayeHouston wipe away the notion of the big-ego front man whilst Darren JamTone provides livedub effects, and the balance is set.
This fine balance is also apparent on the album where sonorous dub moments on tracks like "Come Through" and "Trees" are perfectly complemented by sweeter cuts like "Right Time" and "Swing Easy". As ever with Resonators though, it's the song writing that stands out, and album highlights "Papa Daddio" and the psychedelic "Healer" showcase this perfectly.
With a plethora of new songs under their belt, as well as what's becoming a very healthy catalogue of crowd pleasers from their last two albums, Resonators will be touring the UK and Europe this Autumn. Make sure you catch them as they're one of the finest live acts in this country right now!
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Wah Wah 45s are proud to present the hugely anticipated new album from arguably the UK's finest dub and reggae outfit, Resonators.
After a four year hiatus - mostly spent tirelessly performing headline shows and festivals across the UK and Europe, as well as recording a plethora of new music - this almost peerless Brighton-based collective are ready to unleash their new material to an eager public in the shape of their third album, "Imaginary People".
Inspired by the meditative quality and universal appeal of Jamaican roots music the bandradiate a playful and unified stage presence. The two lead singers Kassia Zermon and FayeHouston wipe away the notion of the big-ego front man whilst Darren JamTone provides livedub effects, and the balance is set.
This fine balance is also apparent on the album where sonorous dub moments on tracks like "Come Through" and "Trees" are perfectly complemented by sweeter cuts like "Right Time" and "Swing Easy". As ever with Resonators though, it's the song writing that stands out, and album highlights "Papa Daddio" and the psychedelic "Healer" showcase this perfectly.
With a plethora of new songs under their belt, as well as what's becoming a very healthy catalogue of crowd pleasers from their last two albums, Resonators will be touring the UK and Europe this Autumn. Make sure you catch them as they're one of the finest live acts in this country right now!
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Described as "Brighton's Lee Scratch Perry", reggae producer/DJ/remixer RICHIE PHOE drops his debut album on Canada's BALANCED RECORDS. Includes the out of print "BUMPY'S LAMENT", his cut from 2008 "EYES ON THE PRIZE" featuring TIPPA IRIE and "HATE TO LOVE" with EARL 16. Being repressed.
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Bonus 7' (Only W/ First 1000 Copies). A legendary, ultra-rare afrobeat killer, restored and presented for the first time in wide release! LP Includes bonus 7' disc featuring the rare 1972 single SON OF THUNDER' b/w ALUPANDU-GBE' limited to 1000 copies. It's 1968 and Fela is in tears. Fela Kuti, the genius of afrobeat. The champion of the people. Fabled for unflinchingly staring down the barrels of state tyranny, enduring beatings within an inch of his life from government stormtroopers and then getting on stage to mock his tormenters in song. Fela the fearless, Fela the invincible. Fela who they call Anikulapo— he who carries death in his pocket.' What insurmountable catastrophe could have reduced this formidable titan of African music to tears Ojo Okeji leaving his band, that's what. From the liner notes, by renowned Nigerian music historian Uchenna Ikonne. In the early years of Fela Kuti's career, well before he would define the genre of afrobeat, and leave an indelible mark on the musical landscape, he was a struggling trumpet player, seeking to redefine the sound of his current group, the art-jazz ensemble Fela Ransome-Kuti Quintet. As he moved his group towards the then-popular genre of highlife in 1963, he lost his bassist in the move towards commercial success, but gained the company of Ojo Okeji, who had a sterling reputation both as a bassist and percussionist in groups like Lagos Cool Cats, Rex Williams' Nigerian Artistes, and Western Toppers Highlife Band, a favorite of Kuti's. Okeji impressed Kuti with his deft jazziness on the bass, so he was in on the spot, and the Fela Ransome-Kuti Quintet became Koola Lobitos. It was Okeji that introduced Kuti to the famed percussionist Tony Allen, (Who would subsequently join Kuti into his greatest years as an artist) as well as conguero Abayomi "Easy" Adio. During his time in Koola Lobitos, Okeji not only contributed deeply melodic, and adeptly rhythmic baselines, but brought his own influence from emerging US soul artists like James Brown & The Famous Flames and Wilson Pickett, heavily pushing Koola Lobitos towards a more soulful direction. This push was often resisted by Kuti, who frequently clashed with Okeji. 1968 proved to be a turning point for the group, as the Nigerian Civil War broke out, and many starving musicians turned to the military for work. Okeji and Adio would leave for the army, while Kuti and Allen kept Koola Lobitos going, where it evolved through different names and iterations and grew into the worldwide afrobeat force that made Kuti an icon during the 70s and 80s. But as Kuti and Allen rose to global recognition, Okeji and Adio would form a new band within the ranks of the 6th Infantry Brigade of the Nigerian Army. Their emblazoned blue jackets earned them the nickname "The Blues', but Okeji preferred the name Shango' after the Yoruba thunder god. Shango took the fundamentals of Kuti's famous afrobeat and brought new layers of guitar and horn arrangements, while often invoking supernatural aesthetics, and maintaining a love for the US soul artists that influenced Okeji so much. Because Shango was an army band however, their records were not readily available to anyone outside of the military so their music, including their eponymous 1974 LP, remained relatively unknown even amongst the people of Nigeria. Decades later Comb & Razor is thrilled to present this long-lost Nigerian gem for the first time to a world-wide audience.
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A legendary, ultra-rare afrobeat killer, restored and presented for the first time in wide release! LP Includes bonus 7' disc featuring the rare 1972 single SON OF THUNDER' b/w ALUPANDU-GBE' limited to 1000 copies. It's 1968 and Fela is in tears. Fela Kuti, the genius of afrobeat. The champion of the people. Fabled for unflinchingly staring down the barrels of state tyranny, enduring beatings within an inch of his life from government stormtroopers and then getting on stage to mock his tormenters in song. Fela the fearless, Fela the invincible. Fela who they call Anikulapo— he who carries death in his pocket.' What insurmountable catastrophe could have reduced this formidable titan of African music to tears Ojo Okeji leaving his band, that's what. From the liner notes, by renowned Nigerian music historian Uchenna Ikonne. In the early years of Fela Kuti's career, well before he would define the genre of afrobeat, and leave an indelible mark on the musical landscape, he was a struggling trumpet player, seeking to redefine the sound of his current group, the art-jazz ensemble Fela Ransome-Kuti Quintet. As he moved his group towards the then-popular genre of highlife in 1963, he lost his bassist in the move towards commercial success, but gained the company of Ojo Okeji, who had a sterling reputation both as a bassist and percussionist in groups like Lagos Cool Cats, Rex Williams' Nigerian Artistes, and Western Toppers Highlife Band, a favorite of Kuti's. Okeji impressed Kuti with his deft jazziness on the bass, so he was in on the spot, and the Fela Ransome-Kuti Quintet became Koola Lobitos. It was Okeji that introduced Kuti to the famed percussionist Tony Allen, (Who would subsequently join Kuti into his greatest years as an artist) as well as conguero Abayomi "Easy" Adio. During his time in Koola Lobitos, Okeji not only contributed deeply melodic, and adeptly rhythmic baselines, but brought his own influence from emerging US soul artists like James Brown & The Famous Flames and Wilson Pickett, heavily pushing Koola Lobitos towards a more soulful direction. This push was often resisted by Kuti, who frequently clashed with Okeji. 1968 proved to be a turning point for the group, as the Nigerian Civil War broke out, and many starving musicians turned to the military for work. Okeji and Adio would leave for the army, while Kuti and Allen kept Koola Lobitos going, where it evolved through different names and iterations and grew into the worldwide afrobeat force that made Kuti an icon during the 70s and 80s. But as Kuti and Allen rose to global recognition, Okeji and Adio would form a new band within the ranks of the 6th Infantry Brigade of the Nigerian Army. Their emblazoned blue jackets earned them the nickname "The Blues', but Okeji preferred the name Shango' after the Yoruba thunder god. Shango took the fundamentals of Kuti's famous afrobeat and brought new layers of guitar and horn arrangements, while often invoking supernatural aesthetics, and maintaining a love for the US soul artists that influenced Okeji so much. Because Shango was an army band however, their records were not readily available to anyone outside of the military so their music, including their eponymous 1974 LP, remained relatively unknown even amongst the people of Nigeria. Decades later Comb & Razor is thrilled to present this long-lost Nigerian gem for the first time to a world-wide audience.
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Irish duo St Francis Hotel met in London afer emigratng from Dublin during the recession. They have
been making music ever since. This is their debut single.
'Mondello' is Powerfully hauntng yet subtle. It hints of the great things to come from this mysterious
pairing.
Gently plucked guitars combine with a smooth falseto and washed out harmonies to create a blissful
but deeply personal and melancholic track.
It is an excitng frst ofering that inspires nostalgia and longing. It will win over fans of Broken Bells, TV
On The Radio and Midlake.
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Soul Jazz Records' are releasing Tee Mac's 'Night Illusion', a lost classic Nigerian Afro soul meets disco boogie funk album originally released in Nigeria in 1980 as a private-press release of 1000 copies on the enigmatic artists' own label. Impossibly hard to find, the record remains practically unknown outside of Nigeria.
Tee Mac Omatshola Iseli is a multi-instrumentalist, composer and arranger and features on Soul Jazz Records' recent collection Nigeria Soul Fever - Afro Funk Disco and Boogie alongside Joni Haastrup, Christy Essien and others, as well as on a recent compilation 'Nepa Oh Nepa' (released on Hot Casa earlier this year). The timelessness of this soulful, ground-breaking funk jazz lost masterpiece 'Night Illusion' leads to comparisons with James Mason's legendary lost classic album Rhythm of Life, with his unique individualism and intensity hinting at the boogie funk of groups such as Mass Production and Slave so loved by artists such as Moodyman and Theo Parrish. While Fela Kuti is now a cultural icon of Nigerian music throughout the world, the recent crossover success of William Onyeabor shows just how much undiscovered Nigerian music remains waiting to be explored outside of the country.
Tee Mac was born in Lagos, the son of a Nigerian princess and a Swiss diplomat. He picked up the flute at age 7 and ten years later was studying classical musical in Switzerland under his uncle the composer J.J. Direndirger. Returning to Lagos, Nigeria in 1970 he formed the heavyweight afro rock group Tee Mac and Afro Collection (which included Johnny Haastrup on keyboards and The Lijadu Sisters on vocals). This band was famously joined by the legendary Cream drummer Ginger Baker who came to Nigeria to play with them in 1971 (captured in the film Ginger Baker in Africa).
At age 24, Tee Mac moved to Germany where he co-wrote and recorded the European disco group Silver Convention (whose 'Fly Robin Fly' became number one in the USA charts). This enabled him to return to Nigeria where he formed his own label SKJ Records to release his self-financed album Night Illusion, as well as buying two nightclubs and also investing in a number of mineral mining companies!
Tee Mac continues to live in Lagos today and travels the world as a composer - one of whose pieces is The City of Mer Kailash (2009), a two-hour ballet featuring over 60 dancers and a 100+ piece orchestra.
Soul Jazz Records are releasing this lost classic Nigerian album as a strictly limited-edition 1000 copies worldwide exact-replica artwork reproduction LP (+ sleevenotes + free download), CD and digital album.
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When will all this stupidness end And live in togetherness' pleads the mighty Big Youth. Stop killing the innocent ones.' We are proud to present this incredibly timely tune from the legend Twilight Circus, just the musical medicine the world needs in these days of division and strife.
"Why Can't We Be Friends" is a rockstone riddim with a driving heartbeat pulse and deep atmosphere reminiscent of Rhythm & Sound's classic Burial Mix releases. Fully organic in its sonics and construction, it nevertheless manages to recall the golden age of dub techno and late-night warehouse sessions. The dub version dives even deeper, bringing the hi-hats into crystal focus, letting the toms and rimshots rock, the skanks dub and invert, with occasional test-tones bubbling up as the riddim drives forward, ever forward...
Twilight Circus is the dub & reggae project of multi-instrumentalist Ryan Moore, former bassist and drummer of the Legendary Pink Dots. Originally focused completely on instrumental dub albums and singles, Twilight Circus moved increasingly into working with voices - in addition to Big Youth, Moore has worked with a roll call of seminal roots vocalists including Michael Rose, Ranking Joe, Cornell Campbell, Fred Locks and Luciano. The Twilight Circus discography is truly massive, spanning dozens of LPs and singles, and remixes galore. This new single is a crucial addition to an already stellar career in sound system music.
Moore recalls the extraordinary events around the session with Big Youth:
...the vocals with Big Youth we did at Steven Stanley Studio in Kingston JA, during sessions which later got derailed due to the arrival of hurricane Dennis in 2005! I will never forget talking with Bongo Herman in the studio parking lot & the wind went still, then started from the opposite direction - that was the point the storm announced itself.
The eye miraculously veered off at the last moment so JA was spared destruction, but it was a crazy time as people realized what was on the way & started boarding up, panic-buying supplies... I too got provisions, water, candles etc to survive on my own in the hotel... as it turned out torrential rains & floods hit, but no devastating winds..."
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16 early vocal & jazzy tunes from the Golden Age of Jive & Kwela in South Africa. Released originally on fragile shellac discs only. Shellac is a very delicate material but the music survived thanks to the archives of ILAM. A truly great source of South African music is being preserved here for new generations, to inspire young and hopeful musicians and singers from all over the world. 180gram vinyl.These pearls of musical genius were recorded in the glory years of jive and kwela, the years 1940-1965 . On side A it is not difficult to recognise the similarities to American popular music like R&B and small combo close harmony singing.
But most of all notice that typical South African swing, that jive, that incredible smooth form of African jazz on side B; Kwela!
The rarest and most treasured finds are collected here, some with the original spoken intro's, 'sketches' as these were called. Characteristic conversations between the musicians, often in a humoristic slang, always extremely funny.
Now available as the fourth issue in the series 'Township Jive & Kwela Jazz'.
