Hip-Hop Vinyl New Releases - News

The first release, the record that kickstarted the Peng Sound Record label, originally released in 2012, arguably still the most in-demand of them all.

We met Bukkah in winter 2019 on a session with the Basskateers in Jena. Soon it was clear that we gonna work together on a record release for BCSM. Bukkah is well known for his lush bass music productions and soon came up with a heavy steppers riddim. Instantly we imagined some upfront vocals on this one so we called none other than microphone matador Longfingah to ride on the riddim. Longfingah loved the tune and brought some nice lyrics in his style and fashion to the production. Still Reppin' is made for soundsystem dances, shakin' up everything with his heavy bass and gives a big shoutout to all crews and veterans.

Stix Records, a sub-label of Favorite Recordings, proudly presents Push Push, the new album by acclaimed producer
Taggy Matcher aka Bruno "Patchworks" Hovart (Voilaaa, Mr President, The Dynamics, Uptown Funk Empire,
Metropolitan Jazz Affair, Da Break, …). After the success of his previous LP Singasong, Taggy Matcher returns with 8
tracks exploring his wide range of Reggae & Dub influences, each time magnified by a fine crew of vocal guests as LMK,
Birdy Nixon, Alexandra Charry, Hawa, John Milk & Elodie Rama. With a great sense of authenticity, they all bring their own
touch to Taggy Matcher's compositions and covers. Always faithful to its inspirations, brilliantly produced, Push Push is
your new invitation to follow the Lion to Zion.
The album starts with "Push Push", a title already released last year as a vinyl single 7", in collaboration with rising
singer LMK, who you may know from her successful previous reworks on Taggy's last album ("No Love Allowed", "My
Man"). Sharing the same love for the early 80's Digital Rub A Rub productions, lyrics are about street harassment of
women… with a pinch of humor!
On "Little Things", Taggy invites old mate Birdy Nixon for a cover of an early rocksteady classic by Hemsley Morris.
With the vintage bounce we love combined with modern sounds and productions, the song is all about tenderness and
simplicity.
"Volvere Mañana", the song has this very cumbia hip move with the participation of gifted singer Alexandra Charry
from Cali in Colombia, where they both composed the song. Then, Taggy invited Boris Pokora to play the "gaita" local flute
to give the song its proper Colombian Caribbean coast flavor.
The album continues with "Two Dimes" featuring longtime collaborator Hawa (from Mr President to Mr Day and other
numerous projects). This shaky disco reggae rockers is all about getting ready for the party… but with two dimes only!
"Q Fashion" is a song full of wittiness and self-mockery wrote during the first Covid-19 lockdown. Parisian Soul singer
John Milk was stuck in Paris while Bruno was in Lyon. On this minimalistic digital reggae tune, they give the ingredients to
perfect your next quarantine outfit.
Discoish reggae tune "Get Enough" featuring Birdy Nixon has a simple and successful recipe: just mix a big dose of
Lovers with the same amount of Rockers and you've got this 100% soulful song.
On "Suit and Tie", Taggy and John Milk go Pop with this version of Justin Timberlake, that fits perfectly with John's
tender and mellow style.
Finally, Elodie Rama with Taggy Matcher pay tribute to Erykah Badu and her legacy to the Soul music scene at the end
of the nineties. The mood is jazzy, mellow and warm, with a tiny Lee Scratch Perry early 70's vaporous vibes.

Alpine Sound is a new production unit based out of Withington S.Manchester. Heavily inspired by the rich lineage of militant steppas producers that have come from the UK and beyond, they put their own unique take on the genre - keeping things heavy, meditative and ready for any dance. Their first eponymous single starts with Withy Step, a bouncy, sub-loaded and locally-inspired weapon designed to shake up the dancefloor. On the flip is All Bases, which gets heads down and legs gliding with the submerged atmosphere it creates. Both clock in at 140 BPM - rude DJs better get 2 kno!

Heavy Roots 12" backed with a massive dub. Full colour jacket.
Ltd To 300 Copies

One of the most important harmony groups in the entirety of Jamaican music, the Paragons have a long and complicated history. First formed in the ska years by Bob Andy and Tyrone Evans as the duo of Andy and Ronnie, the group soon expanded to a quartet through the addition of Howard Barrett and John Holt, the latter naturally assuming lead duties, following the subsequent departure of Andy, Holt, Evans and Barrett made the Paragons the quintessential rock steady trio. They had an incredible run of hits for Duke Reid and Coxsone during the mid-to-late '60s, and also issued some self-produced work, before Holt's solo career skyrocketed, leaving the group on the back-burner. Then, in the mid-1970s, the Paragons reformed, cutting material for New York-based labels such as Clocktower and Clintones, which led to this intriguing album, which saw material recorded in Jamaica at Harry J for Bunny Lee mixed with work cut at Bullwackie's studio in the Bronx, along with re-workings of classics such as 'Left With A Broken Heart' and 'Memories By The Score' is a whole range of new material, dealing with contemporary themes.

King Earthquake 12" - Barry Isaac - Earthquake / Money

As we approach to the summer – it’s that time to deliver some fresh vibes in the most finest form as what we would present to be the tenth release from the Ashanti Selah Music label featuring a deep and heavy 12” alongside, Swedish reggae artist; Dan I Locks, as featured on other releases such as ‘Solid Foundation’, ‘Glorious Days’ and ‘Better Be Careful’ - is now stepping up to forefront once again; with some more powerful word sounds ‘Jah is Love’ – coming complete with trilogy of dub versions – This one is sure to bring that dancing feeling again to your mind, soul and body!

This release project incorporates the essence of which both Ashanti Selah & Dan I Locks are best known for individually bringing that ancient sound of Nyahbinghi transitioned into the power of the modern roots steppers style (most profound through the sound system); which you can clearly hear infused within the mix – comforting the sound of the Drum & Bass; emphasised by the Kette & Thunderdrum. There is also an array of bells and retro-influenced synth melodic elements accompanying around the vocal arrangement enforced with an addition of traditional spring reverb licks & strong feed-backed delays throughout the dubbed versions of the creational work!

Repress!

Reissue of Red Sea, Augustus Pablo's 1998 LP, containing material recorded between 1970 and 1973 produced by Herman Chin Loy. The music on the album is among the earliest instances of Pablo's revolutionary use of the melodica as a viable musical instrument.

Seminal 1979 roots LP from Barry Brown reissued here by Black Soldiarity, featuring classic production from Bunny Striker Lee.

* UK roots classic dating from 1993 and originally appearing on the Sound `n’ Pressure label.
* A massive highly sought-after sound system favourite from the 90’s with conscious vocals and solid bassline which is not for the faint-hearted. The vocal cut is complimented with two militant dub versions, one of which is previously unreleased on vinyl.

* Heavyweight dubplate pressure from veteran producer Jah Warrior with a crucial bass and drum-led work-out from1996, followed by a dubplate mix. Flip over for a later remix from 2001.
* All tracks make their first appearance on vinyl.
* 300 pressed.

Special Edition 7-inch & Version from New York Is For Lovers!

Harken back to a glorious period in reggae, when lush, big room sounds and smooth, soulful vocals ruled from Jamaica to New York, across the pond in London and everywhere dances were held. Known as Lover's Rock, the style filled early '80s dancehalls and radio airwaves alike, a grown up sound that cherished love, explored heartbreak, and most importantly, updated and paid respect to the indomitable rhythms of Jamaican music that had previously laid the foundation decades prior. That transcendent period is at the heart of The Far East's latest recording, a true school ode to the sounds and vibes of reggae music in New York, what once was, and will always be.

Under the guidance of producer Channel Tubes in the studio since their inception, The Far East has built a formidable reputation around this still thriving New York scene. They've embraced many of the essential studio methodologies of the past, not so much as facsimile, but as an enhancement to their unique take on the genre. It's evident outside of the studio as well, as the group has entrenched themselves in the diverse stages of New York's music scene, adored by an audience both young and old, from Bushwick to The Bronx.

Vivian Jones' debut album, released in 1983 and backed by Undivided Roots. Heavy slow sparse rhythms (in a Roots Radics style) and floating keyboards. Superb roots by this inspired UK singer, including the well-known tunes Flash It And Gwan and Third World Man.

Born in Jamaica but raised in the UK, Vivian Jones is an important voice in the UK Roots scene. Started in the 70’s as deejay on local sound systems but also as a member of several UK Roots bands. Disillusioned with the music industry he returned to Jamaica in 1982 and recorded some material there. He returned to London, began recording again in his spare time and released his debut album Bank Robbery on Ruff Cut. He went on to work with Jah Shaka, Bobby Digital, Junior Reid and many others. In the 90’s he started his own ‘Imperial House’ label. Nowadays a welcome guest on every reggae festival in Europe, Vivian still plays live shows and even with more than 130 single releases under his belt, he keeps on recording new and uplifting tunes.

Vivian on the creation of the album: At that time I never had a band to work with or anything so I spoke to Crucial Tony Phillips and he said I must come in. I went down to Ruff Cutt and they had some rhythms down there that they didn't know what to do with and I think they were even going to wipe some of them off the tape. They played me a few of them and I said, "What? You gwaan wipe off this?? A me tek this!" so they say "Alright, come voice it..." and the tune was Flash It And Gwaan. When I heard that rhythm I said, "Bwoy you mad???" and they said, "we cyaan get nobody to sing 'pon this riddim" so I said, "gimme the riddim". And, in fact, before I sang it, when I heard the rhythm I went to a sound party. I went there and they gave me the mic and I started singing Flash It And Gwaan right there and then. Then I went to the studio and sang it for Ruff Cutt.

After Flash It And Gwaan I sang about three more tunes that night and then they decided to make an album so they started giving me different rhythms and I kept voicing them until we had an album. That was the album Bank Robbery, because at the time the bank robbery was a real thing that happened on my birthday, 1st April, when they robbed some gold bullion or something like that. Whole heap of millions. And because it was on my birthday, I remembered that and then one day they gave me a rhythm and so I sang Bank Robbery on it for the album title track.

b 2. Can't Flop My Style Hip-Hop Mix
[Dancehall Mix]


[b] 2. Can't Flop My Style [Hip-Hop Mix]
[Dancehall Mix]

Psychedub power !!! Big ! LTD white label

Es gibt sie noch, die guten Nachrichten: Jan Delay meldet sich mit seinem neuen Album zurück. “Earth, Wind & Feiern” ist voll Bass, Bumms und positiven Vibes: eine Platte für den Club in unserem Herzen.
“Earth, Wind & Feiern” ist Jan Delays fünftes Soloalbum und sein erstes seit 2016. Wie immer bei Jan Delay schöpft “Earth, Wind & Feiern” aus fünf Jahrzehnten Popgeschichte. Vor allem aber spielt die Platte im Hier und Jetzt. In ihr stecken Burna Boy und Stefflon Don, Daft Punk und Drake, Sly & Robbie und Meek Mill. Es gibt Afrobeats, Disco, Trap und Ska, sogar Stadiontechno und LatinX-Riddims.
“Earth, Wind & Feiern” ist eine Platte für den Club in unserem Herzen. Sie ist voll Seele und Bounce und positiven Vibes. Denn so bedrückend und komplex die Welt manchmal auch scheinen mag: Ein paar simple Wahrheiten werden nie von ihrer Gültigkeit verlieren. Wenn Hass herrscht, hilft Liebe ganz bestimmt. Und das Wichtigste ist, dass das Feuer nicht aufhört zu brennen. Jan Delay ist zurück, um es am Lodern zu
halten.

To start off the year, Night Owls bring their next offering of Soul classics flip in their signature Jamaican stylings. This brand new 45 filled with the funky reggae grooves from Producer Dan Ubick on Guitar/ Percussion, Blake Colie on Drum Kit, Dave Wilder on Bass, and Roger Rivas on Organ, evoke tones and a feel that could be mistaken as a lost gem of the 1960’s. Side A features the Helene Smith original “You Got To Be A Man” featuring one of todays top leaders in underground soul music, Sy Smith on vocals. A staple and cultivator of L.A’s nu-soul scene, Smith throws it back to deliver a gritty performance that is an instant classic. Side-B features Chris Dowd (Fishbone) taking lead on the Brenton Woods hit “Gimme Little Sign.” A classic that’s been covered a few times over the years, Dowd’s take along with Night Owls’ unique twist featuring Roger Rivas laying some of the finest organ accompaniment we’ve heard, is surly a fresh approached and one to spin over and over again.

Summer Time: This unknown vocalist offers up a cool version of the standard, somewhat in the style of Lord Creator. with a nice tenor solo.

Hey Train: A version of Duke Ellington’ s “Take The A Train”, with solos by Roland Alphonso, Lester Sterling and Don Drummond.

Deep Nigerian late 80's Digi-Roots Reggae LP . Loaded with dope digital roots riddims filled with mad synths , deep conscious lyrics and a deep bassline, it's quite unique as the two main track comes with a raw Dub which isn't very common on any other African Reggae albums , the last track call “If I'm To Rule The World” is a very interesting blend of Reggae and Boogie.

The Lp never really saw a commerical issue and was probably pressed in very few promotional copies for Radios and Djs making the original nearly impossible to be found nowdays.

The cover has been fully restored and Audio remastered , the LP we'll comes with an insert with Lyrics , original pictures from back in the days (and a few new ones) , a newspaper article from 1990 and an extensive interview by Sharon Escco Wilson.

Dubquake Records presents a new addition to its modern roots singles: Jamaïcan poet & Dubquake veteran Nazamba meets Telly* (aka Biga*Ranx) the prince of Vapour dub on this sweet lo-fi summer hit “Do Me Right”. A severely chill 7” release to play on repeat

- limited edition 10" vinyl
- hand stamped
- no digital
- never to be re-pressed

Mukatsuku toe tipping into Colombian latin funk & Salsa continues with volume 3 of the series with 2 hard to find tracks lifted again from the Disco Fuentes back catalogue..... Witness fiery piano of Hugo Molinares with the monster guaguanco track 'Sabroso Bacalao' from Adolfo Echeverria Y Su Orquesta . Those key led breakdowns and Timbales flourishes offset by punchy brass are a dancefloor ammunition like no other ! On the flip Fruko (the third appearance on Mukatsuku ) kicks off with more of the same ... upfront piano notes,infectious vocals,funky percussion and brass stabs galore. If you can sit still to this then you are obviously tied to your chair.

Driller killer roots tune from the early 90s - a Jah Shaka sound regular - with a deep and deadly dub.

Reissued briefly in 2013, seeing a small re-press in a few weeks.

Black So Man. For Black Is Also Man. Tout Le Monde Et Personne. He blames ‘Everybody and No one’.
Clealry, Bingotoma Traore was not trying to get rich, or entertain: he wanted to change the world. And all it took to get there was four cassettes, all recorded between 1994 et 1998. In that time he went from extreme poverty, sellings eggs in the streets and killing pigs at the factory, to being the biggest pop star in his native country, Burkina Faso, and a legend all over Western Africa.
Corruption, ill governance, education, colonisation… All his songs were history and philosophical lessons for the ghetto youths, the unemployed, and the many people who could identify themselves with him.
He died 20 years ago, mortally wounded after going through a car crash. Today, his videos still ranks millions of views on social network. No one has forgotten him. And his fight is more relevant than ever.
Rest In Power Black So Man (1967-2002). Thank you to his son Ange Fela Traore and his ex-wife Adji Sanon (to whom he dedicated the song ‘Adji’ included here) for their trust in us leading this reissue project. Half of the profits from the record goes to them.

* In 1980 Gerald Moore - of G.T. Moore and the Reggae Guitars and Heron fame - was in Kingston, Jamaica working with Lee Perry on the `Return of Pipecock Jackxon’ LP. Gerald went into Harry J’s studio with James Lascelles (Global Village Trucking Company, The Breakfast Band) and Bud Beadle (Ginger Baker & Salt) alongside members of Zap Pow: Don Grant, Cornell Marshall and Dwight Pinkney.
* `Jerusalem’, a meditative and reflective track was one of four tunes recorded.
* Previously released on the `Harry J Sessions’ on Partial Records (PRTLLP001/CD001), this is the first time this cut of `Jerusalem’ appears on 45. Backed with a previously unreleased dub version, mixed by Dougie Wardrop direct from the master tapes.

Spaced out reggaetronic offering from lauded Cuban songstress Danay Suárez that cannot fail to get heads nodding and smile on the face.

The 'garage music' from Need For Speed 'Heat' brought you here!

Feel the tiptronic sway of the rhythm and bass.

Chosen to chill so you can upgrade your ride while reflecting on your latest cop-crazy drivetime pursuit. 'Every battle has its anthem' she says. 'Music can spell salvation or doom'.

FIRST EVER VINYL RELEASE - because some things just got to be done.


b b1 Viaje en Dub Instrumental

On 18th April, 1980, after decades of anti colonial struggle, the Zimbabweian flag was finally raised at midnight at the Rufaro Stadium in Harare. Not long after, the words "Ladies and Gentlemen, Bob Marley and The Wailers!" rang out, and Zimbabwe's independent future began.

In the years that followed, Africa was to produce it's own reggae superstars, as the likes of Alpha Blondy, Majek Fashek and Lucky Dube swept across the continent and beyond, and there's no doubting Bob Marley's explosive impact on this particular narrative.

Marley's unswerving commitment to liberation and unity ranged from the sweeping spiritual sentiments of iconic hits such One Love and Redemption Song to the galvanising, focused tone of 1979's 'Zimbabwe', and his status as global superstar ensured that his (self funded) part in the countries' epochal celebrations meant that the history of reggae in Africa would always be viewed through the prism of his influence ( Wiki/African Reggae : "In 1980, world-famous Jamaican reggae musician Bob Marley performed in Harare, Zimbabwe, and that concert is often credited as marking the beginning of reggae in Africa")

But in fact, the recorded history of reggae produced in Africa stretches back over a decade before Marley's arrival on the continent, and showcases broad pan - diasporic interflows between the Carribean and Africa, with the UK and the US communities playing influential supporting roles, all helping shape the evolution and development of the genre in Africa from late 60's inception to Marley's arrival in 1980, and then well beyond.

Reggae Africa : Roots and Culture, 1972 - 1981 tries to capture a sense of that evolution, starting in 1972 as Mebussa's ultra rare 'Good Bye Friends' effortlessly captures triangular, transatlantic cultural interflows, with the short lived Nigerian group's bitter sweet chords echoing classic US soul, but laid over a gritty, skanking Jimmy Cliff - esque proto reggae rhythm.

Trying to work out the precise provenance of Black Reggae's 'Darling I'm So Proud of You' (1975) isn't easy, but involves Paris based / African focused label Fiesta, some proper OG co-branding exercise with Bols Brandy ( "Bols Brandy presents Black Reggae") - and deeply infectious, lilting Rocksteady.

By 1976, glorious Nigerian sister duo Lijadu Sisters are echoing the chunky roots of a Dennis Brown or U Roy on 'Bobby', and in 1977, bespoke Nigerian drummer Georges Happi is introing 'Hello Friends' with the soon to be universal signature reggae tom roll intro, before veering leftfield with snatches of spoken Afro - English vocal in between the hooky choruses.

Nigerian giant Chrissy Essien's 'I'll Be You Man' (1979) combines floaty Lovers vibes with catchy ska shuffle, and in the same year, Cameroonian afro-funk/disco heavyweight Pasteur Lappe' drifts seamlessly into skanking, Lovers infected reggae on 'Babbette D.O. ( Rastawoman )' (before a sprawling electric guitar solo reminds us how unselfconsiously eclectic so much African music of the era was.)

And finally bookending the compilation, in chronological terms, fellow Cameroonian Tala AM also swaps his funk and soul for the rootsy and infectious 'Hop Sy Trong' (1981), again highlighting the diverse and eclectic approach to this timeless Carribean musical genre taken by African musicians in the years before that Bob Marley year zero event in Zimbabwe.

Limited to 300 copies!

"The 11th single on Riddim Chango imprint features Kingston Dub Poet, Nazamba, who dropped his debut single on The Bug's Pressure label and an LP on Dubquake Records (O.B.F.). The riddim track on this one produced by Element, co-founder
of Riddim Chango records.

-sideA, Nazamba's earth-shattering vexed poetry tells a true story of oppressed black people's
history and the minimal tech-stepper riddim accelerates the power of the dub-poet.

On the flip side, “Xpander” is instrumental stepper track influenced by 90s UK militant digital dub. It is
build by layered Oberheim's classic synth sounds with solid drums and bass. low-end focused part2
has lesser elements with greater energy in a classic dubwise manner.

The 3 tracks on the 12” has been soundsystem approved for promised bass weight and balance."

Two standout versions from the Lewin sisters, now available back-to-back on 45 for the first time. Classic soul turned reggae grooves produced by guitarist John Kpiaye and Adrian Joseph aka DJ Smokey Joe.Recorded in the mid-80s, a decade after the first advent of UK lovers rock and tailor-made for bass-heavy sound system playback, Christine Lewin’s cover of Tyrone Davis’s ‘In The Mood’ transformed his sensual after-hours classic into a female-led hit, that became a staple on Lovers playlists both then and now. Similarly, Tricia Dean’s sought-after cover of Jean Carn’s soul favourite ‘Don’t Let It Go To Your Head’ follows the same formula from Kpiaye and Smokey, synth-led rhythms reflecting the times rooted firmly in a local London scene.

A clubland favourite amongst boogie and soul fans, Circle City Band’s ’Magic’ is made available on 45, coupled for the first time with the band’s follow-up single ‘My Place’. Originally released in 1983 on Tyscot sub-label Circle City Records, ’Magic’ was a best-selling single in the band’s Indianapolis hometown. Whilst making waves across the Midwest US R&B charts, it became a popular import in the UK and a staple for DJs, often being described by fans as one of the best Slave soundalikes with its classic bass groove and appeal. In the early 80s, Thomas was introduced to multi-track recording by producer and multi-instrumentalist Reggie Griffin. A fellow Indianapolis native, Griffin was working for Sylvia Robinson in New Jersey at the time as an in-house musician at Sugar Hill Records. “He taught me a bunch of stuff and showed me how to use reel-to-reel,” explained Thomas. “Reggie came home from Sugar Hill Records. He’d done Grandmaster Flash and all that stuff and he bought a drum machine, vocoder and a keyboard with him. I said ‘hey man I got some studio time, come and hang out.’ So he helped me put this one track together and I built this song ‘Magic’. Frankie Crocker broke the record on WBLS and then BET ending up using the instrumental for a theme song”