Hip-Hop Vinyl New Releases - News

Digging into Trinidad and Tobago's '70s funk history, Jackie Johnson's Back Beaters is on everyone's list. The instrumental "Tobago Beat" is a futurist electro-funk number and is likely to become a favourite for DJs spinning at b-boy battles. The b-side is not for everyone, but those who are actually into lo-fi recorded funk (that's what everybody calls deep-funk these days) will surely enjoy it. All in all a monstrous 2-sider which safes you a lot of money and puts a smile on your face.

* Re-mastered from the original cassette

* Never before released on LP or Digital

* Includes download card

* Hand numbered Stoughton tip-on' jacket

* Liner notes by Memphis native Andria Lisle

Followers of our output might have a pang of recognition on reading the name Frierson. That was the surname of Wendy Rene, whose work was collected into the 2012 LITA anthology After Laughter Comes Tears, and indeed, Johnnie Frierson is Wendy's brother - a fellow member of her mid-'60s Stax four-piece The Drapels.

But Have You Been Good To Yourself will come as a surprise to anyone expecting more of the beat-driven R&B Johnnie and his sibling produced - including that compilation's much-sampled title track. A mix of spoken word and gospel songs laid down direct to cassette, these ultra-rare home recordings draw from Johnnie's religious upbringing and his history in the music business, which was interrupted in 1970 when he was sent to fight in Vietnam.

Crate digger Jameson Sweiger found Have You Been Good To Yourself and a companion album, Real Education, released under the name Khafele Ojore Ajanaku in a Memphis thrift store, but it was noticeably Frierson's work. They hadn't made it far - they would originally have been sold at corner stores and music festivals in the Memphis area, where Frierson continued to perform and host a gospel radio show, all the while working as a mechanic, laborer and teacher.

The seven songs on Have You Been Good To Yourself are overtly religious, some, such as Out Here On Your Word,' are strident and faithful, others, like the self-questioning Have You Been Good To Yourself,' are more meditative. They reflect the difficult situation that Frierson was in when recording, shell-shocked from his time in the military and grieving the untimely death of his son. "He was really trying to find his way," remembers Frierson's daughter Keesha in Andria Lisle's liner notes. "And writing and making music were a way out for him."

Remastered and released professionally for the first time, the message spread by Frierson - who passed away in 2010 - remains undimmed.

Two more sides of rare, sun-soaked Miami Soul dug from the vaults of the TK Disco, CAT Records family.

Willie "Little Beaver" Hale was on of CAT Records most enduring artists, releasing no less than 4 LP's and at least 12 45's for the label during the early to late 1970's as well as writing, performing and appearing on numerous other artists projects (including Betty Wright's super-hit "Clean up woman"). This particular 45 "One Of These Fools Have Got To Go / Concrete Jungle" features all the hallmarks of Hale's wondrous, soulful style. Laid back sweet Funk is the order of the day here, beautiful rare-groove leaning cuts that have somehow soaked up a good dose of that Hialeah sunshine. A tough record to track down, this 45 has long been the preserve of the rare record underground. Copies can change hands for collectors prices regularly often making the record hard to obtain. This fully legit re-issue makes the beautiful sounds of Little Beaver available again for all to enjoy. Re-released with all original label artwork intact, on dinked 45 as per the original 1977 release and with the full cooperation of TK Disco / CAT Records, Miami, Florida.

After a fruitful couple of years collaborating with Kevin Martin, Israeli MC Miss Red finally unveils her new Red Label with a killer double A side featuring production from Mark Pritchard and The Bug.
Her Murder mixtape last year garnered lots of attention and featured riddims provided not only by Kevin Martin but also the likes of Andy Stott, and she featured on Martin's Angels & Devils album as well as collabs with Bim One Production and, just recently, Ishan Sound for the deadly Hotline label..
On Murder she meets Mark Pritchard who heats up a killer twyst of bony '90s bashment drums and slippery acid lines zig-zagged by Miss Red's playful but stinging delivery; the kind of tune that can take a room from simmering wine to air horns and daggering stares in a flash.
No Guns is produced by The Bug and is much more spooked out and psychotic, with Miss Red filtered thru a salivating 16th note industrial bass arpeggio and feral, rasping drums for hand-to-hand, body-to-body combat in the dance, weighing up one of The Bug's baddest recent productions.

Soundway Records are to release the only self-tiled LP released by Nigeria's number-one producer of the 1970s and early '80s, 'Sound President' Odion Iruoje. Originally produced on his own label Odion Ltd and released in 1983, this over-looked and obscure LP was originally only ever distributed in small numbers back in the early 1980s. Iruoje is credited as being the man who signed Fela Kuti to EMI Nigeria and produced all of Fela's revolutionary early material from 1970-73. His first job upon being taken on by EMI Nigeria in 1969 was to be sent to London on a work experience placement at their London studios in St. Johns Wood. When he arrived he was pitched straight in at the deep-end, finding The Beatles deep in the recording of their Abbey Road album. He also signed and produced most of the great body of Nigerian material on the EMI label including BLO, Mono-Mono, Tunji Oyelana (who adds vocals on this LP), Ofege, Geraldo Pino, Sonny Okosuns and many many more. Part disco, part Nigerian rap, Afro-funk & Juju it's a unique and at times eccentric blend of Nigerian music that certainly deserves another look after all these years. Featuring a handpicked squad of some of Iruoje's favourite musicians and session players and released on 180g vinyl in a tip-on sleeve it will be limited to 1000 copies only.

Dubwise anomalies Seekersinternational are a mysterious collective from British Columbia (via Manila). The've traced a singular path through the outer regions of dub with much lauded releases on Digitalis, Bristol's No Corner and Portland's Boomarm Nation. On the horizon, they have an unannounced remix project with 90s sound system legends the Bush Chemists (forthcoming Bokeh Versions, inc. Ossia remix) and a dub-jungle dancefloor 12" forthcoming on Disktopia (also unannounced).

Following up the IfUWantMe single, the debut 7" on Bokeh Versions, Seekersinternational provides a full length of warped lovers rock interpolations. Dam Funk meets Dennis Bovell on 13 tracks that take in heart-wrenching strings, sampledelic chops, boogie synths and dub ambience. The debut LP for Bokeh Versions follows 3 sold out tape releases and a mix for the esteemed Blowing Up the Workshop series. With the help of their monthly NTS slot, Bokeh Versions is exploring new directions in dub and beyond.

Airplay and DJ Support comes from: Throwing Shade, Debonair, Beatrice Dillon, Tasker, Charles Drakeford (Boiler Room), Steve Barker (On The Wire).

Much like the infamous weather phenomenon the song is named after, MAELSTROM swirls and surges, drenching the listener in psych feedback while pulling downward, ever downward, into a sonic abyss. The bass provides the current, a pulse that pushes through the waves of feedback before the crashing storm of horns furiously hammers the listener.


There is nothing pretty here, nothing safe, this is the Budos unhinged. They're pushing their audience into uncharted waters and plotted a course into the eye of an electric storm.


The guitar's hypnotic fuzz-laden intro builds to a peak before dropping the weight of the full Budos sound upon the listener. Horns slash and dive, the drums thunder downhill, the organ wails like winter wind while the combination of bass and guitar rumble and soar around you. This is the Avalanche of sound, the wrath of The Budos delivered through a combination of driving power and snarling menace. All before it Is crushed beneath the AVALANCHE.

Soul diva Madeline Bell was born in the US, but during the '60s she settled in the UK. As a session vocalist and with her band Blue Mink, her vocals have been heard on countless records ranging from the Rolling Stones to Joe Cocker to Elton John (eugh - she must have done that one for the money), and as an individual she has made several singles and LPs. Then in 1976 she found some spare moments to record for the Themes library label in London, the very label that gave us two of the most sought-after library LPs of all time, namely the two volumes of the Hanged Man 'Drama Suite'. Collaborating with veteran librarian Alan Parker, they came up with an irresistibly catchy & soulful samba but with an intriguing jazzy & punchy edge to it - and that's what we have here! Play it: hear the clear, vivid sound. One side is vocal, the other instrumental. First commercial release, and first time on 7" vinyl.



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Y-Bayani is Ghana's uprising Fanti-reggae artist. He was discovered by Philophon in Ebo Taylor's hometown Saltpond, where he survived as a clock doctor. With his song "Asembi Ara Amba" he was featured on the highly acclaimed debut "Invisible Joy" by the Polyversal Souls. The success of that song opened the door for his first release under his sonorous own name: Y-Bayani.

"Get Away" is a swinging up-tempo beat with a bouncy bass and a haunting vocal performance on top. "Obar No Ni" on the other hand brings you down with a slowly driving rub-a-dub beat. Both tunes have been produced by Max Weissenfeldt and Stibbo Spitzmüller at Berlin's Joy Sound Studios.

Yemi Alade is a BET Awards 2015 nominee for "Best International Act: Africa", a two time MOBO Awards nominee for "Best International Act Africa" 2014 & 2015, winner of the 2015 MTV Africa Music Awards (MAMAs) for Best Female Act, nominee for Best African Act at the 2015 MTV Europe Music Awards, and also winner and nominee of other top African Awards. "Mama Africa" released under Effyzzie Music Group is Yemi Alade's second studio album, after the massive success of her debut album titled "King Of Queens", led by the single "Johnny". The album is described as the "diary of an African woman" by the singer and focuses of the pains and joys, the strengths and weakness, the highs and lows of women in general and the African woman in particular.

The album features top guest artistes like P-Square, Sauti Sol, Flavour, Sarkodie, DJ Arafat and Selebobo, with productions from GospelOnDeBeatz, DJ Coublon, Selebobo, Philkeyz, BeatsByEmzo, Masterkraft, Rotimi Keys and Mr. Chidoo.


















[Q] 17. Mama Africa (Remix) [feat. AKA]

Great retrospective on this Brazilian artists work!

A fifteen track survey of Maia's 1970s recordings, completely remastered, commemorating what would have been the Brazilian musical legend's 70th birthday on September 28. The release is the fourth in the label's World Psychedelic Classics series, known for unearthing long neglected masterworks by Os Mutantes, Shuggie Otis, and one of the first compilations of African psychedelia and funk

After spending much of the '70s humping his congos around New York as a session musician, Nigerian Aleke Kanonu pulled in some favours to record an album of his own. The result was Aleke, a criminally obscure Afrobeat/Funk/Jazz masterpiece featuring Buddy Williams on drums, George Davis on guitar and a cameo from Wynton Marsalis on flugelhorn. There are only four tracks on the album but they are all killers. N'Gwode sounds like Fela Kuti and Manu Dibangu hanging out with Bobby Womack, probably somewhere across 110th Street. 'Keep New York Clean' struts like Shaft after a successful bust. And 'Mothers Day' keeps things sweet and soulful, before Wynton Marsalis brings back the groove with his flugelhorn on 'Home Sweet Home'. Until recently you would have had to take out a second mortgage to get hold of Akele. And sold a kidney for the Happiness/Nwanne, Nwanne, Nwanne 12'' Kanonu released a year later. Thankfully PMG has re-issued the LP and the EP, with the CD version containing both. - Peter Moore,

1. Wayne Gorbea y Su Conjunto - Salsa - Paranoia
2. Chino y Su Conjunto Melao featuring Everybody - Rogelio - Tiene La Salsa
3. Dax Pacem Orchestra - Bomba
4. Johnny Sedes and His Orchestra - Mama Calunga
5. LA Moderna of New York - Picadillo
6. The Orchestra Soledad - El Ritmo - Soledad
7. Joey Pastrana and His New - Orchestra - El Pulpo
8. Louie Colon and His Combo Tembleque
9. Mike Hernandez y Su Sonora - Casino - Asi-Asi Desarga
10. Joey Aponte and His Orchestra -- Vete De Aqui
11. Cortijo y Kako y Sus Tambores - Yo No Bailo Con Juana
12. Fito Foster Salsa Pt. 1
13. Fito Foster Salsa Pt. 2
14. Dax Pacem Orchestra - Oiga El
Comentario

Here's 1st cuts from DJ Mitsu the Beats's forthcoming 2nd album - A Word To Wise!!

And here's collaboration with Brownswood famous singer José James!!

We think no need more info about this special release.

Just listen!!Enjoy!!

this is quite limited pressing as 7inch series.

When Geraldo Pino rolled into town from Sierra Leone with his Heartbeats, Nigeria had never seen anything quite like them. Slick, tight and playing the latest James Brown-style funk on the very expensive equipment, they soon had the country in their thrall. 'Made me fall right on my ass!' a chastened Fela Kuti remembered in 1982. Fans of Geraldo's disarmingly eloquent enunciation on early albums - re-issued soon by PMG - may shocked the gruff, rawer tones on Boogie Fever. The album starts with a jaunty reggae track extolling the virtues of ganja and, later, 'Dance Fever' sounds like it was recorded down in Trenchtown after Geraldo had taken a toke or two of his own advice. Even the more traditional funk tracks like 'African Hustle' have a darker, more threatening vibe. Not that that is a bad thing. Boogie Fever is the sound of consummate musician letting his hair down. Or in Geraldo's case, letting it grow into a tight afro and not bothering to watch his Ps and Qs anymore. - Peter Moore,

"Geraldo Pino came to Nigeria from Freetown in Sierra Leone in 1968 with his band THE HEARTBEATS and quickly changed the music scene completely. He was the first bandleader that brought sophistication into show business. He owned the best musical equipments, his costumes on stage was fantastic, his musicians were good looking guys with afro hair styles. His drummer then was Francis Foster who later played percussion with Paul Simon. Pino got the title of THE HARDEST WORKING MAN IN SHOW BUSINESS in Nigeria. Girls loved him. I later joined his band with new set of musicians in 1974 as a singer while he based in Kano in the north of Nigeria. To survive in Nigeria those days as a musician you have to be very good on stage and Pino was. His stagecraft was exhilarating, his costumes were dazzling, he command the band and his audience wherever he played with his dancesteps and he became an inspiration to many Musicians. He later moved to Port Harcourt where he lived and died many years ago. Though he is dead, his music lives on through his many songs and this vinyl in your hands. His memory also lived with those who watched him on stage. Ladies and gentle men, this is GERALDO PINO!"
Steve Black

Glen and Daves 'Wake up to reality' is an early plea for Jamaicans to get along and live together.
The song is underpinned by the thumping Nyabinghi drums of Count Ossie.
So many of the Gayfeet records seemed to feature Rasta infused drums around this time.
The flipside is JoJo Bennetts Musical Pressure. Limited to just 600 copies.

Limited edition pressing from Sonia Pottingers Gayfeet of just 600 copies.
Living Soul which was also know as the Loop. Soulful heartfelt and smooth on the A side.
The B side is a thunderous poly-rhythmic percussive assault. Both long available and limited to 600 copies.

Limited edition pressing from Sonia Pottingers Gayfeet of just 600 copies of the long out of press
'Miss Cushie' by Junior Soul aka Junior Murvin. The super laid back 'Pure Soul' with Lennie Hibbert on Vibes.
Killer. Pressed in the EU. Miaow.

Klyne reveal their new single Closer, a perfectly crafted and executed slice of electronic-pop. The partnership of producer Ferdous Dehzad and singer Nick Klein prove yet again why they're one of the most exciting acts to emerge this year. An infectious edge to the track's staccato synth lines are topped off with singer Nick Klein's measured soulful mastery.

The band expand on the Closer:

"Closer is about someone going to the extreme in order to reach their lifelong desire, and at the same time coping with the fear that their fate might already be decided. One of life's greater beauties is when a person breaks free of these psychological limitations. At first it looks like naive stubbornness, and the feelings of doubt never entirely go away. But then all of a sudden you're halfway there, and that's when you realize it is possible to actually achieve things that are beyond your 'fate". That's the simple story we wanted to convey with this song - that and a ridiculous topline."Earlier in the year Klyne introduced themselves right out the blocks with a confident and fully formed sound. Their debut single Paralyzed delivered a masterstroke between effortless and hook-laden production courtesy of Ferdous and a vocal pitched with such soulful warmth that it's bearer, Nick Klein came across with an undeniable quality that along with new single Closer, sets the duo apart as a hugely exciting prospect for 2016.

Mary Afi Usuah trained as an a opera singer at the prestigious St Cecilia Academy in Rome and spent 13 years touring Europe with artists like Duke Ellington and Deep Purple. She matched vocal chops with Robert Plant performing with Led Zeppelin and blew away the top names on the Lagos scene when she returned to Nigeria. She also broke a few hearts with her killer smile, if some accounts are to be believed. African Woman marshals these experiences into an exceptionally powerful and diverse album. From the Tina Turner stomp of 'What's A Woman To Do', to the Aretha-style musings of the title track, Mary takes everything she learned on the road to tell her story about her continent in a distinctly African manner. The boys from Akwassa were on hand to ensure that everything was kept extra tight and funky. Mary Afi Usuah only released two albums but she is undeniably one of the greatest female singers the African continent has produced. African Woman serves as her legacy, along with the remarkable number of Nigerian female singers she mentored and inspired. - Peter Moore


"I met MARY AFI USUAH in 1979 while I was the lead singer with TEE MAC COLLECTION. We were based at SURULERE NIGHT CLUB in Lagos, Nigeria. She came in from Calabar in the Cross river state. She was a beauty with her afro hair and had a very strong voice and very powerful on stage. Her performance was electrifying. She did a lot of shows with us and together we got the crowd rocking. A very dark complexioned lady, she was full of life and love. Her smiles would sweep any man off her feet instantly and I immediately recognized a talent that go all over the world. Her music is a blend of African rhythms, soul and funk with heavy bassline. I am glad to let you know that the vynil you have in your hands now contains music that will tickle all ears for a very long time. Happy listening."
Steve Black

Brazil is a country of great musical talent especially in the field of rhythm oriented music. The rich tradition of samba sounds among others will certainly prove that. By the 1970s of course other styles came into the music lover's perception. Funk and soul swashed down south from the bigger US metropolises and infected a whole generation of musicians including Miguel De Deus and his fellows. As a result the former OZ BRAZOES (Latin acid rock with fuzzed out guitar) rhythm guitarist and his crew delivered their now classic sole album "Black soul brothers" in 1977, a hot blooded, steaming masterpiece of raging ghetto funk spiced up with soul eruptions on and a Latin American flavor. A rather explosive cocktail in times of slick disco music. The Latin elements tend to be more like a support for the groovy soul and funk than a bearing pillar of the whole sound. They still give the songs exciting twists and turns. The non stop rhythm pulsations would certainly feel different without any Samba influence. And so the album presents a permanent steaming dance beat that will swallow you when you put this hottie on your turntable. A never ending swirl of rhythm patterns, bass notes, brass section harmonies and commanding vocals pushes you to your physical limits. A few more relaxed songs let you breathe some fresh air but the spell of this music lasts upon your soul. You want to go wild and crazy and have your lame high school party turn into a loose and lethal freak out Play some wicked Latin funk like "Flaca louca" with its beautiful interplay of utterly melodic female vocals and dirty, screaming male vocals, your desired result will be the case. An ingenious crown jewel of 70s funk that will appeal to each fan of early FUNKADELIC, BLACK MERDA, BETTY DAVIS.









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Two superb rock steady sides produced by Derrick Morgan.

Hop Special see's Roland Alphonso lead Saxaphone glide through Procul Harem's 'Whiter Shade of Pale'.

The flip side has The Inventors waxing lyrical on subjects beloved by daytime TV. Relationships and food.

The Inventors 'Food of Love' has not been re-pressed on 45 since its original release. Comes in a hand stamped sleeves.

The Black Brothers 'You've been saying things' is a lovely rocksteady harmony workout produced around

1968 by Derrick Morgan. Never before repressed and comes with The Brothers 'Everyday' on the flipside.

Derrick Morgan was most likely the lead singer on the Brothers track.

Comes in a hand stamped sleeve. 'Yeah yeah yeah'

The Four Owls' classic album 'Nature's Greatest Mystery' has gone down in history. As a thank you to the fans who have supported since day one High Focus Records has decided to drop 'Nature's Greatest Instrumentals' - all the classic gems laid bare so that the DJ's can cut and the MC's can rap and the fans can listen to Leaf Dog's immaculate production!

Comes with a full colour sleeve, shrink wrapped with a digital dropcard containing the album on digital format!

The Stormmers were led by Renny Pearl, former bandleader and bass player with AKTION (The Aktions/Aktion 13), an Afro Funk band from Warri that burned brightly and briefly in the mid 70s. With the help of Jake Sollo, an ex-Funkee and recently reconstituted disco dandy, they created Lovers Song, an album of frantically musical bass lines, skittery high hats and an irresistible urge to get onto the dancefloor. 'Love and Money' has the swagger of John Travolta in Saturday Night Fever. 'Super DJ' has the sure-footedness of a well-selected playlist. 'Sexy Woman', with its refrain of 'I need you, I want you, you turn me on, you're beautiful' is sound of a clubber desperately trying to find someone, anyone, so they don't have to go home alone. The album was recorded in Nigeria and the UK and released in 1981, a time in Nigeria when oil prices were falling, beats-per-minute were rising and clubbers wanted to party like there was no tomorrow. The urgent, salacious sounds of The Stormmers suited the mood perfectly. - Peter Moore,

A smoky 80s nightclub, muffled background voices, dim red lights and whiskey drowning your soul... this is "So You Are" scenario, the perfect soundtrack to a lost love that takes comfort in a slow and dogged boogie-down vibe. Voice by Filippo Zenna (records collector and DJ, Periodica), drums Sandro Zampera (Collective Blends), keyboards Alessandro Mutto (Collective Blends).

- All tracks previously unreleased (except track B5/8)- Production by Miles Davis & Teo Macero with performances from Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John McLaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band of Gypsys), Larry Young, and members of The Jazz Crusaders- Remastered from the original analog master tapes- New interviews, rare photos, and unseen historical documents from the Teo Macero archive

One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song "Uptown" for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix—personally inspiring the classic album, Bitches Brew.

Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969.  The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks.  Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young.  Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time.  These historic sessions—never heard, never bootlegged—predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.The vibe is intrinsically unique, fresh, and futuristic—jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace.  The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles.  The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders—including trombonist Wayne Henderson and pianist Joe Sample.  Two of the three tracks included here from this session are previously unreleased.This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela—the entire project overseen with Betty's full blessing.

- All tracks previously unreleased (except track B5/8)- Production by Miles Davis & Teo Macero with performances from Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John McLaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band of Gypsys), Larry Young, and members of The Jazz Crusaders- Remastered from the original analog master tapes- New interviews, rare photos, and unseen historical documents from the Teo Macero archive

One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song "Uptown" for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix—personally inspiring the classic album, Bitches Brew.Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969.  The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks.  Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young.  Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time.  These historic sessions—never heard, never bootlegged—predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers.The vibe is intrinsically unique, fresh, and futuristic—jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace.  The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner.Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles.  The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders—including trombonist Wayne Henderson and pianist Joe Sample.  Two of the three tracks included here from this session are previously unreleased.This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela—the entire project overseen with Betty's full blessing.

Reid had a career spanning 50 years that saw him pen songs for Betty Wright, K.C. & The Sunshine Band and Bobby Byrd, among others. The new album is a return to the form of his classic releases including "The Weird World of Blowfly" that heavily parodied R&B hits. "77 Rusty Trombones" features the standout tracks "If You Don't Blow Me By Now" and "She's Got A Weiner" that harken back to Clarence's soul roots and are infused with his trademark humor. X-Rated Adults only!

Dellé ist wieder da. Eigentlich war er nie weg. Denn wenn man einer der drei Frontmänner von Seeed
ist, heißt das, irgendwo auf der Welt auf der Bühne zu stehen oder im Studio zu arbeiten. Sein Debüt
als Solokünstler mit - Before I Grow Old' war ein klassisches Roots-Album und Dellés Verneigung vor
dem Reggae. Der Nachfolger NEO ist ein vielfältiges und vielschichtiges Werk und zugleich
Momentaufnahme eines Künstlers, der in den letzten Jahren nicht nur musikalisch gewachsen ist. "Tic
Toc" ist erste Single und zugleich erste Zusammenarbeit zwischen dem Seeed Sänger Dellé und der
deutschen Reggae Ikone Gentleman. Volle Ladung Patwa von zweien, die es wirklich können.
Shazam Charts, iTunes Charts, Rotationen bei 1Live und TV Auftritte bei ZDF MoMa, SWR und co.
ließen da nicht lange auf sich warten. Seine zweite Single "Marry Me" erscheint Mitte Juni, bevor am
24. Juni dann sein Album "NEO" erscheint

Earth, Wind & Fire were one of the most musically accomplished, critically acclaimed, and commercially popular funk bands of the '70s. Their self-titled 1970 debut contains material that is starkly different to the sound the band later became famous for, yet the rich melodies, groovy beats and dedicated vocal performances make it stellar listening. It was awarded a credible 4.5 stars on AllMusic.

Dinked Records returns with another Random Rap banger, this time a debut vinyl release for these 4 dope tracks taken from last year's digital release, Yesterday's Now Sound, produced by one of Australia's finest, FDEL and featuring Lyrics Born, Lightheaded & Natalie Pa'apa'a (Blue King Brown) - don't sleep - hand numbered limited edition of 500.

Gentleman & Ky-Mani Marley veröffentlichen zusammen ein Album und gehen diesen Sommer
gemeinsam auf Europa-Tour!
Die beiden Künstler arbeiteten zum ersten Mal beim MTV Unplugged-Konzert von Gentleman
zusammen und haben danach beschlossen, ein gemeinsames Albumprojekt zu starten. Auch Marcia
Griffiths, die früher bei Ky-Mani's Vater und Reggaelegende Bob Marley im Background gesungen hat,
ist als Feature vertreten. Zu dritt haben sie Bob's Klassiker "Simmer Down" neu interpretiert. Ebenfalls
auf der Singleliste befindet sich - Mama', bezeichnenderweise eine Hommage an alle Mütter,
produziert von Supadups, der sich aktuell für einige Drake- und Rihanna-Produktionen verantwortlich
zeichnet.

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for the 'Take A Look At Me Now' concept is to examine how his songs have evolved over time, with the majority of the additional content throughout the series focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Collins returned to #1 in 2010 with 'Going Back' which represented his first studio album since 2002's 'Testify'. 'Going Back' was a personal labour of love project that found him faithfully recreating the soul gems that played such an influential role in his musical life.

The concept, he said at the time, 'Was not to bring anything 'new' to these already great records, but to try to recreate the sounds and feelings that I had when I first heard them.' That objective was achieved with the help of special guests including three surviving members of The Funk Brothers: Eddie Willis (guitar), Bob Babbitt (bass) and Ray Monette (guitar). 

'I decided to call this version of 'Going Back' 'The Essential Going Back',' he explains. 'In retrospect, I included too much music on the original version, and I believe that too much is not always a good thing. Hence this trimmed down selection of my favourite Motown songs.'

Sie schrieb Rihannas Überhit "Diamonds" (in 14 Minuten!), sang und schrieb die David Guetta-Hits "Titanium" und "She Wolf" sowie Flo Ridas Millionseller "Wild One" und komponierte zahllose Songs für Katy Perry, Beyoncé, Britney Spears, Birdy, Christina Aguilera, Kylie Minogue und Eminem. Im vergangenen Jahr gab sie mit dem Song "Elastic Heart" (auf dem "The Hunger GamesSoundtrack" und auch auf ihrem kommenden Album) ihr internationales Chart-Comeback unter eigenem Namen. 2014 veröffentlicht die australische Sängerin und Songwriterin SIA nun endlich ein neues, eigenes Album "1000 Forms Of Fear". Die 1. Vorabsingle ist die in jedweder Hinsicht atemberaubende Pop-Hyme "Chandelier", die mit Jesse Shatkin entstanden war und von ihrem langjährigen Studiopartner Greg Kurstin (P!NK, Lily Allen etc.) produziert wurde. In ihrer Karriere veröffentlichte Sia bislang 5 Solo-Alben, zuletzt 2010 die LP "We Are Born", die Platz 2 der australischen Charts erreichte und ihr auch in Deutschland die erste Album-Chartplatzierung bescherte. Das Billboard Magazin widmete ihr eine Titelgeschichte mit der Headline: "This artist is responsible for 12 million track sales... and doesn't want to be famous".

Do not complain. The legion of Excitements fans DOES exist in places near and far in this world-gone-insane so if you are ready to be recruited you're in luck. Miraculously, these workaholics of rhythm, who conquered and claimed more than fifteen countries just for the sheer thrill of it during their last tour, found a break and the action of their troubled agenda. It seemed only logical to throw their road sharpened revue into the studio to commit to wax their finest album to date entitled "Breaking The Rule".

After more than two years on the road and 200 sweat soaked performances since the release of their second LP "Sometimes Too Much Is Not Enough", this third LP certifies that the big combo from Barcelona can do whatever they please: either caress you or kick you in the stomach-or both. The steamroller rhythm section is one powerful structure pounding under searing guitars, roaring horns and all reigned over by the voice of Koko that claws at their hypnotic gyrations with wild abandon. This new Excitements bag, as expected, is THE satisfier with high voltage rhythm and soul floor shakers and lease breakers-"Everything is Better Since You're Gone", "Fire", "Hold On Together"-ripping spear-hurling R & B - "Chicken Picking" "I'd Rather Feel The Pain", "Did I Let You Down", heartbreaking ballads and mid-tempos - "Breaking The Rule", and "Take It Back" and a pair of rhythmical postcards- a tribute to what once were the noisy streets of New Orleans ("Mojo Train") and restless nights in a Havana boarding house ("Four Loves").
And do not, do not fear, inside this explosive cocktail of sonic chaos, a strange sweet harmony prevails through all and each of the grooves of the record. And as always, all wrapped up, signed, sealed and delivered with the elegantly filthy production of Mike Mariconda.

Do not complain. The legion of Excitements fans DOES exist in places near and far in this world-gone-insane so if you are ready to be recruited you're in luck. Miraculously, these workaholics of rhythm, who conquered and claimed more than fifteen countries just for the sheer thrill of it during their last tour, found a break and the action of their troubled agenda. It seemed only logical to throw their road sharpened revue into the studio to commit to wax their finest album to date entitled "Breaking The Rule".

After more than two years on the road and 200 sweat soaked performances since the release of their second LP "Sometimes Too Much Is Not Enough", this third LP certifies that the big combo from Barcelona can do whatever they please: either caress you or kick you in the stomach-or both. The steamroller rhythm section is one powerful structure pounding under searing guitars, roaring horns and all reigned over by the voice of Koko that claws at their hypnotic gyrations with wild abandon. This new Excitements bag, as expected, is THE satisfier with high voltage rhythm and soul floor shakers and lease breakers-"Everything is Better Since You're Gone", "Fire", "Hold On Together"-ripping spear-hurling R & B - "Chicken Picking" "I'd Rather Feel The Pain", "Did I Let You Down", heartbreaking ballads and mid-tempos - "Breaking The Rule", and "Take It Back" and a pair of rhythmical postcards- a tribute to what once were the noisy streets of New Orleans ("Mojo Train") and restless nights in a Havana boarding house ("Four Loves").
And do not, do not fear, inside this explosive cocktail of sonic chaos, a strange sweet harmony prevails through all and each of the grooves of the record. And as always, all wrapped up, signed, sealed and delivered with the elegantly filthy production of Mike Mariconda.

Vancouver duo 'WICKED LESTER' consists of Vancouver's OG Party rocker 'Scott Arkwell' aka 'Vinyl Ritchie' and 
Emmy Nominated Producer 'Bryan Carson'. Their productions tie together a mass of influences from funk, latin, 
samba, and breakbeat. 'That side' kicks off on a nice laidback latin tip ­ '  Amigos featuring Dos Gringos  '. Horny 
stabs and solos, a rolling piano, and a tight latin breakbeat that glues it together for today's eclectic dancefloors. Flip 
it and 'This Side' opens up with an urgent spy thriller theme. 'BBOY Trombone  ' keeps you on your toes.  
'Halloween Samba' is an erie surf­rock theme that travels you down the late night route back to the secret campo.   
 

180g vinyl re-issue of the classic sought after 1976 album from Wood Brass & Steel, including the huge Funkanova, as sampled by Black Science Orchestra on New Jersey Deep

From the original master tapes, beautifully remastered and pressed on heavy weight vinyl is this sought after 70s soul/funk album, the first of two being reissued on Soul Brother. Wood Brass & Steel' features the much sampled tracks Funkanova' (Black Science Orchestra, DJ Sneak, The Bucketheads etc), My Lady' (Pete Rock), and My Darling Baby' (Erykah Badu). In its own right the album is a musical masterpiece from a golden era, particularly well-known for the rendition of the Ronnie Laws classic Always There' alongside the aforementioned tracks. Members of Wood, Brass & Steel include Doug Winbush who would later play with the Sugarhill Gang, Grandmaster Flash, Dayton and George Clinton alongside recording his own solo albums. He and some other members of the group would also later record as Brand New Funk.