Hip-Hop Vinyl New Releases - News

Ganze zehn Jahre mussten die Fans des im Kongo geborenen und in Belgien lebenden Musikers warten, dass ein Nachfolger zum 2008er Debütalbum Hotel Impala erscheint. 14 Tracks präsentiert Baloji auf seinem neuen Album und perfektioniert dabei den musikalischen Brückenschlag zwischen traditionell-afrikanischen Klängen und afroamerikanischen Sounds aus dem Kosmos des Hip-Hops, Souls, Funks und Jazz. Wie - L'hiver indien , ein Track der Teil des aktuellen FIFA 18-Soundtracks ist, verfolgen alle Songs das gleiche Ziel: sie sollen den Hörer auf die Beine und zum Schwitzen bringen.

2LP- schwarzes Doppelvinyl im Gatefold Sleeve, inkl. Booklet & DL

African Scream Contest 2

A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear, gut-busting yelps, lethally well- drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure- trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks o Les Sympathics' pile-driving opener, it's clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you're trying to get o the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces' Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation.

The screaming does not stop there, in fact it's only just beginning. But the

strange thing about African Scream Contest II's celebration of unfettered Beninese creativity is that it would not have been possible without the assistance of a musician who had been trained by the Russian secret services to "search and destroy" enemies of the country's (then) Marxist-Leninist president Mathieu Kerekou.

Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills - his training with the KGB - highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the 60s and 70s. Happily, in this instance, Lokonon was tracking the artists down to oer them licensing deals, rather than to arrest them.

Where some purveyors of vintage African sounds seem to be strip-mining the

continent's musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends.

Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and eortlessly fashion-forward photography supplied by the artists themselves. Looming large - alongside Lokonon André - in the cast of biopic-worthy characters to emerge from this seductive tropical miasma is visionary space-nerd Bernard Dohounso, who laid the foundations for Benin's vinyl predominance by importing and assembling the turntables that would play the products of his Bond villain-acronymed pressing plant SATEL, a factory that would revolutionise the music industry in the whole region.

The scene documented here couldn't have been born anywhere else but in the Benin Republic , and the prime reason for that is Vodoun. It's one of the world's most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the African Scream Contest series and other compilations from that country were no less diverse than that army of dierent Gods. At once restless pioneers and masters of the art of modernising their own folklore, the mystic sound of Vodoun was their prime source of inspiration.

One especially irascible Vodoun-adept was Antoine Dougbe, who styled himself The devil's prime minister' while turning ancestral rhythms into satanically alluring modern beats. As Orchestre Poly-Rythmo songwriter Pynasco has observed sagely, Evil is not elsewhere, evil extends into the house'. And African Scream Contest II is a gloriously cinematic road-trip through an undiscovered realm of music lore whose familiarity is every bit as thrilling as its otherness.

Written by Ben Thomson, March 2018

The brilliant second album from the legendary Cymande.
180 gram vinyl, mastered from original tapes, replica original artwork, official Mr Bongo reissue.
Licensed from John Schroeder Enterprises.

Too Slow to Disco take a dive into an often overlooked side of Brazilian music: Brazilian soul, funk and AOR

We'd like to introduce you to the compiler of our new Too Slow to Disco release, a giant of musical endeavour, the young nephew of Brazil's legendary soul icon Tim Maia, the 'Colossus of Rio', as he's known: Ed Motta.

At the end of the 1980s Ed Motta burst upon the music scene as a major singer and one of the writers and producers in the band Conexão Japeri. He's now fifteen albums into a career that hops from genre to genre, perhaps one of the savviest music makers and curators out there. He is a refined practitioner of jazz, funk, soul, AOR and much else besides, having worked with everyone from Gilles Peterson to Roy Ayers, 4Hero, Seu Jorge, Patrice Rushen, Greg Phillinganes, Bo Diddley, Incognito, Ryuichi Sakamoto and many other insanely talented musos.

In this collector's compilation, you're coming on a kind of expert guided time travel mission - just picture yourself following Ed's fingers as they trace along the sleeves in that massive library-sized vinyl vault of his. So we dart back through over two decades of music making, dancing in one style then the next from soul to funk to AOR, you'll feel the air coming out of the horn section right the way through, and a mixologist's golden touch tying everything together.

The artists Ed has play-listed for you include über-obscure figures like Carlos Bivar or Gelson Oliveira & Luiz Ewerling - both of whose songs here derive from privately pressed albums - so rare they're not even listed on Discogs! He's also gathered together a real pantheon of Brazilian musical heroes like Rita Lee (who was part of the legendary Os Mutantes), Cassiano (one of the founders of Bossa Trio and Os Diagonais) and million sellers like Roupa Nova, lovingly referred to as 'the Brazilian Toto' (who would have thought that would become a compliment by 2018)! And as ever with the Too Slow to Disco series, the artists might be new to you, but they're always bringing a killer tune.

Before slipping this LP on, you need to nail the AOR modus opeara... That means: a Hawaiian shirt à la Magnum PI, loafers without socks as in Miami Vice, jump in your convertible and drive under the coconut trees. This is a sunset ride through Rio de Janeiro, Los Angeles, Miami, Hawaii. Aloha!" Ed Motta

Sightless

San Francisco in the late 1960. The hotbed of psychedelic and rock culture. The Dead, Joplin, Jefferson Airplane and a host of others all gaining mainstream acceptance for their acid tinged work. But the City and the surrounding Bay Area had so much more going for them. A liberal political outlook and a large African American and Latino population, meant that musical and cultural reference points were wider and more easily assimilated there than (Almost) anywhere else in the United States.

Two of the biggest groups to emerge from this scene were Santana and Sly and The Family Stone, with their melting pots of sound that took in jazz, soul, rock and latin influence. For a while they were two of the biggest acts in the United States and scores of local bands tried to follow in their footsteps. They were hard acts to follow and very few got to the stage of making a 45, never mind a whole LP.

One of the best to do just that were Leon's Creation, whose debut LP This Is The Beginning' Acid Jazz are reissuing here. A native of San Francisco Leon Patillo led the group, whose multi racial line-up echoed that of his heroes on the local scene. Self contained and gigging locally they made their debut album at the tiny Studio 10 who also custom pressed the album in extremely limited numbers

The music is a perfect blend of acid soul, mixed with hippie sentiments that will get you dancing on the uptempo numbers such as the title track, 'Back Roads' - with its glorious harmonies and the soaring 'Power'. More thoughtful numbers such as 'Until You Were Gone' or 'Love' will touch your soul.

So impressed was Carlos Santana that he eventually asked Leon to join his band.

Released on Acid Jazz licensed directly from Leon Patillo, the package comes with in depth sleeve notes and is beautifully illustrated in both LP and CD formats.

7"

For our second release we may introduce the Rotterdam-based beatmaker The Soul Pilot. He is known for his funky, soulful and beats heavy productions. For Les Cidres he created two summer tunes Lawless and Craving showing more of his repertoire.
Lifting off with Lawless. In this hot, sweet, bassy piece of sexyness, being true to his name he shows his passion for vocalizing himself - letting you blush and sweat with him in this heat.
The journey continues with Craving - with this funkiness blowing through your hair, body and soul.
A summer must have! <3

Arkansas native, Lee Moore moved to Memphis in 1975 with only one goal in mind: to make it big in the music industry and to release music that would be played in New York, L.A and everywhere in between.

As a singer and songwriter Lee Moore spent the 1980s collaborating in Memphis with the best of the best session musicians and vocalists from labels like Volt and Stax Records to record and release futuristic boogie, soul, and funk. Lee Moore unfortunately never got close to reach his goals of fame and fortune.

For the first time, Past Due Records is reissuing Lee's incredible 'Free & Easy' LP which was only released as a handful of test pressings in 1981 because Lee thought the record was too good to release on his Score Records label. It is a pure Memphis modern soul / boogie funk masterpiece that features countless artists from the Stax crew, Al Green's vocalists and even Herbie Hancock's keyboard player.
The 1981 test pressing has commanded huge sums of money on the used vinyl market and is one for the real Soul connoisseur.

Meet the Supremes is, not surprisingly, the debut album of one of the greatest groups in soul music history, led by the inimitable Diana Ross, was originally released in 1962. Featuring the group's earliest singles "I Want a Guy", "Buttered Popcorn", "Your Heart Belongs to Me" and "Let Me Go the Right Way", none of which were chart smashes but have since become regarded as classics. Full of that early Motown sound the world knows and loves this is a perfect entry point into the illustrious career of Diana Ross & The Supremes.

Limited Green edition Here !!

Chuck Cissel, from Tulsa, Oklahoma, recoded just two albums in 1979 and 1982 respectively, both for Arista at the time and reissued together on CD by Expansion in 2014. He is best known in disco circles for 'Cisselin' Hot', but over the last two decades has become renonwned for Don't Tell Me You're Sorry' in northern and crossover soul circles. Today it is his most sought after record, orignal copies worth £150. The track is also written about in Richard Searling's new book Putting The Record Straight'.

2017 saw Colin Curtis celebrate his 50th anniversary as a DJ, a career that started out in his mid-teens at Newcastle-Under-Lyme's Crystal Ballroom, before making his all-nighter debut at Stoke's hallowed Golden Torch, one of Northern Soul's foundation venues, eventually becoming one of the scene's leading figures as a result of his legendary '70's partnership with Ian Levine at the Blackpool Mecca. This is Colin's own story: By 1979 the development of Jazz rooms at major Soul / Funk Alldayers was providing a much-needed outlet for the more discerning collectors and the fanatical Jazz dancers. The UK Jazz Funk scene began for me in earnest in 1978 when I moved from the Blackpool Mecca to Manchester's Rafters nightclub on Oxford Street. The clash of new imported Soul, Funk and Jazz music coming out in the USA and being shared with a fresh new audience in clubs like Rafters Manchester, Chaplains Birmingham, Locarno Birmingham, Rufus Manchester,
Cassinellis Standish Leeds Central and Nottingham Palais was creating a potpourri of music fashion and dance styles.

I had started to experiment with the jazzier side of dance tracks at Blackpool Mecca in around 1976 with artists like Patrice Rushen, Bill Summers, Azar Lawrence, Charles Earland, Johnny Hammond, Donald Byrd etc, all artists I had discovered using the inner sleeves of Blue Note, Fantasy, Prestige and Mercury labels. As a collector of all styles of black music including Soul, Funk and Jazz my interest was being drawn more to albums and particularly Jazz albums as my brain, as proven with 60's and 70's soul, had an unquenchable appetite for knowledge and unearthing new music. I was thriving on searching out more of this amalgamation of Jazz styles adding fusion, percussion, vocals and tempo to this burgeoning genre.

As the Jazz room identity increased within this environment for me Birmingham, Nottingham, Leeds, Manchester all became prominent in their enthusiasm for Jazz Dance. The fashion, passion and dance began to take on almost a religious aura combined with the unique camaraderie and respect. Out of this grew a passion amongst certain dj's in the midlands and the north of England to start digging a lot deeper for music in the Jazz Fusion / Dance category. Baz Fe Jazz, Chris Reed, Shaun Williams, Simon Mansell, Jonathan Woodliffe, Paul Murphy, Eric & Floyd, Hewan Clarke and many others were willing to push the barriers. This Jazz Dance explosion spread across the country with Dj's like Dr Bob Jones, Colin Parnell & Boo Sylvester adding to the London connection via clubs like The Electric Ballroom and The Horseshoe. This scene thrived for me featuring club nights devoted to Jazz Dance and an increase of Jazz rooms and Jazz breaks on the AllDayer circuits drawing in both interest in the music and the voyeurism of watching the dancers and their individual interpretations.

So this compilation acts as an introduction to this electric, cool and uplifting music that was affecting so many enthusiastic dancers and Dj / collectors. All the tracks on here are taken from one of the most prolific and emerging labels for this genre Muse Records that offered the complete spectrum of styles to fit in with this emerging scene crossing over with Jazz Fusion, Be Bop, vocals, electric keyboards, and percussion.

Strut presents the new album from the modern day leader of Afrobeat, Seun Kuti. The youngest son of Afrobeat legend Fela Kuti is as incensed by injustice as his father ever was and, with his mighty new album Black Times including a feature from Carlos Santana, he honours the revolutionaries who have gone before and rallies the torch-bearers to come.Black Times is the fourth album by Seun & Egypt 80, the extraordinary dance orchestra created by Fela as a conduit for the common people. Inherited by the 14-year-old Seun in 1997, the younger Kuti has been building to this, his most accomplished and honest album yet. Black Times is a true reflection of my political and social beliefs,' says Seun, 34. It is an album for anybody who believes in change and understands the duty we have to rise up and come together. The elites always try to divide the poor people of the world. The same oppression felt by workers in Flint, Michigan is felt by workers in Lagos and Johannesburg.Here, then, are tracks designed to spark conversation and realign priorities. The elegant 'African Dreams' insists that commercial success counts for little. Pay no heed to examples set by accepted' African-American celebrities, says Kuti, and marvel instead at the philosophies of great thinkers like the late Pan-Africanist Doctor Amos Wilson. The message,' Kuti sings, is free.' 'Black Times', featuring Carlos Santana, gives us truth. Lyrics such as Understand your history / rise to be free' shine a forensics-style black light on that which is otherwise hidden. 'Bad Man Lighter' is a horn-heavy track calling out duplicity and defending the right to smoke the good weed, the politically charged 'Corporate Public Control Department (C.P.C.D)' is a roiling protest anthem directed at Muhammadu Bahari's Nigerian government and indeed, at deceitful politicians the world over. Co-written with veteran Egypt 80 saxophonist Abedimeji 'Showboy' Fagbemi, the frenetic, fingerpointing 'Kuku Kee Me' borrows from a Nigerian saying ( When someone is always on your case, you're like 'Save yourself the stress and kuku kill me now'') while 'Theory Of Goat And Yam' ridicules a homily invented by former Nigerian president Goodluck Jonathan, who justified corruption by likening politicians to goats tempted by yams: By taking money meant for a hospital or to build roads, they are actually costing human lives.' 'Last Revolutionary' is a paean to authentic leaders past, present and future, name-checking homegrown African revolutionaries and freedom fighters like Kwame Nkrumah and Thomas Sankara. I say the names of these men who died for us without any promise of resurrection,' says Seun Kuti. Maybe people will Google them, then set out on a journey whose destination is unknown.Black Times' is released on Strut on 2nd March 2018 with the title track released as a single on 7th December 2017, accompanied by a video directed by Jamie Delaney of Black Dog Films.

From her early days raised as a youth in Bombay, Asha Puthli initially trained in Indian classical music and opera, but over time gravitated towards contemporary western pop, upon discovering talents like Nat King Cole, Ella Fitzgerald, and Dusty Springfield. After making a name for herself in her native country, she found her way to New York, where she happened upon John Hammond of CBS Records. Hammond would introduce Puthli to the avant-garde legend Ornette Coleman, who utilized her unique vocal stylings on his 1971 record Science Fiction. Her work on the album earned widespread praise, and though it didn't lead to further work in the United States, it did bring her a record contract in Europe. In 1973, Puthli released her self-titled debut through CBS, which would not see release in the US, but was subject to widespread critical acclaim and fascination throughout Europe. Asha Puthli was produced by Del Newman, who had done arrangements and production for Elton John's famed album "Goodbye Yellow Brick Road", of which Puthli was a professed fan, and featured a cover image heavily inspired by the glam aesthetics of groups like T. Rex, David Bowie, and Queen. These aesthetics would also blend into the music itself, an 8-song collection featuring renditions of songs by George Harrison, J.J. Cale, Bill Withers, and others, plus one original by Puthli herself. Asha Puthli is a remarkable work of its time, for its daring amalgamation of pop sensibilities, jazz sultriness, and experimental eirdness. A sensuous work of jazz / disco fusion that pre-dated Donna Summer's slick, and eccentric works.

This new label from Toronto is a thrilling prospect. Its first release — a five-track EP — is a warmly personal, yet cosmically-minded blend of jazz, funk, disco and Fett-style ambience, candidly pitched at the dancefloor. Lovely stuff.

Classic Jim Sharp remixes of Classic Tribe joints. Limited to 300 copies.

he LP has been picked up by many
in recent months as the demand for
Nigerian disco originals has grown
with the track 'Delectation' receiving an
unofficial edit and DJs like Motor City
Ensemble dropping the album into their
sets. This first ever reissue of the LP
remains faithful to the original issue,
remastered and pressed on blue vinyl.
It features full original artwork along with
new interviews with Livy Ekemezie and
contributing musician Jules Elong by
Odion Livingstone's Temi Kogbe.
Tracklisting:

The A-Side, Flamboyant Move' is a fitting nod to one of the best rappers ever, a classic sample (James Gilstrap's Move Me') cut up with boom gap drums. If L were still alive, he'd be dropping daps. The B-side is a reworking of I Don't Understand' is a massive flip of The Sister Sledge's Easier To Love', moved up to a nice dance tempo, with, of course the patented Dusty Donuts production treatment. You'll be dropping the needle over and over on this updated and supercharged edit. So get on the subway and take a trip from Uptown to BK with this new joint from the Dusty Donuts crew. Marc Hype & Naughty NMX reflip these classics in such a tasteful and dope way, your audience will love it.

First ever reissue of this impossible to find artefact from the Swiss underground avant-garde scene of Geneva, originally released as a private boxset limited to 150 copies in 1973, only sold at art galleries.

A unique, instrumental mix of free-jazz, classical, psych-rock, folk, improv, kraut, funk and musique concrete with tape effects...

In the late 60s, musician / guitar player Christian Oestreicher, a savage in the era of twist and free jazz', met artist and painter Richard Reimann - famous for his optical art -, at the Aurora art gallery in Geneva. Fuelled by the artistic creativity from this underground scene, where jazz and rock musicians rubbed shoulders with artists, poets and painters, Christian ideated the Mouvements project, enrolling his friend Richard to create the artwork.

Christian was a trained guitar player with diverse influences: Ornette Coleman, Chuck Berry, Zappa, Soft Machine...He envisioned Mouvements as a concept album and he asked some of his musician friends from the jazz / rock scene to join in for the recordings: among them, Jean-François Boillat (of Boillat-Thérace), Blaise Català, Jerry Chardonnens...

The album sessions took place at an occupied mansion during 1972, using three Revox machines. The musicians played standing in a circle and there was lot of room for improvisation. Tape effects and a small portable synth were also used.

The result was released in 1973 as a hand-numbered, deluxe boxset limited to 150 copies, including a series of Richard Reimann's lithographies and inserts. For this, the first ever reissue, we've created a new, more affordable edition with new artwork, including an insert with liner notes and previously unreleased photos.

LP edition comes housed in a silver-mirrored sleeve.

LP version come with a digital download coupon including all the tracks from the LP/CD plus another four bonus tracks taken from the album sessions.

Highly recommended if you're into avant-garde psychedelia, free-jazz, free-rock, psych-funk, kraut...

Think Staff Carpenborg, Zappa, Soft Machine, Bo Hansson, The Feed-Back, Mahogany Brain, Semool, Pierre Schaeffer, the BYG and Futura labels...

*Master tape sound
*Insert with liner notes and rare photos
*Digital Download Coupon including nine previously unreleased bonus tracks

Digital-Only Bonus Tracks: Largo Pour Trompettes - Mouvement Pour Guitare B1 - Mouvement Pour Guitare B2 - Hard-Rock Ouverture (Take 2)

Big Crown Records is proud to present this tough as nails split 7' The A side is Paul Ramos version of the Mandrill classic Fence Walk'. Originally released on the Harlem label, and later licensed to Falcon only to oddly appear on their Kris Bravo LP. Ramos stays close to the original, but adds enough to the tune to make it a must have for funk collectors. The B side Funky Resurgence' comes by way of vibes player/bandleader Ulysses Crockett who was a stalwart on the Bay Area scene of the 1960's first with his Latin Jazz group Afro Blue Persuasion and later Ulysses Crockett Magic. He also played in The Skins w/ the legendary Bill Graham. "Funky Resurgence" was one of several compositions he wrote for the 1971 play "Resurgence." During this period, Ulysses was also going through law school and he remains a legal voice, writer and activist in the Bay Area.

One of the great names of 1980s electro-funk is Hamilton, Ohio's own Roger Troutman. In addition to

scoring numerous funk and R&B hits throughout the decade, Troutman was a pioneer of the use of a talk box to layer effects over his vocals, and a highly influential figure to the world of West Coast Gangsta Rap, famously providing the vocal hook for 2Pac and Dr. Dre's hit single "California Love". He arrived on the music scene as an auxiliary member of Parliament-Funkadelic, featuring on the group's final album for Warner Brothers, before immediately splintering off to form a new, subsidiary group,

featuring a lineup including his brothers Larry, Lester, and Terry Troutman, a Bootsy Collins-produced hit, and the George Clinton-dubbed band name Zapp. The group's self-titled debut album was released in 1980, and charted at #20 on the Billboard 200 charts. Roger would not sit idly by after Zapp's debut. A year later Troutman would cut his first solo album, titled The Many Facets Of Roger. (Troutman would credit his solo works to the mononym of his first name.) The album rendered Billboard hits out of the single "So Ruff, So Tuff", and a synth-funk version of Marvin Gaye's "I Heard It Through The Grapevine", and featured contributions from various members of Zapp. Though the album was largely forgotten over the years, it remains an unheralded gem of the time period, noteworthy for its quirky and eccentric arrangements, and its far-reaching influence on hip-hop producers like Dr. Dre, J Dilla, and DJ Quik.

Various Lurkers includes 4 mega tracks beamed down from Brighton, Leeds & Sweden featuring Kalidasa, Zmatsutsi, Tony Pineman & Tross.

Support for recent album release - Push On

Observer Magzine Feature Dec 2017

Radio:

BBC 6 Music Craig Charles Album of The Year

BBC 6 Music Album of the Day

'That's a great song for the summer' - Alan Carr

"I challenge you not to get down to this!" - Zoe Ball (Entitled to That quote)

'Entitled to That' - Radio 2 (Zoe Ball, Alan Carr & Mel Sykes, Craig Charles) 6Music (Craig Charles, Steve Lamacq, BBC introducing Bristol)

'Main Event (feat. Andy Cooper)' 'Since You've Been Gone' - 6Music (Nemone)

Love That I'm In (Craig Charles, Nemone)

WW International and specialist radio: Jazz FM, WNCW, Solar Radio, Radio One Italy, Radio Krimi, WNCW, Radio Nova Portugal, Kane FM, Radio Pepper Greece, Radio Fg, Radio Z Nurenburg, WUTK FM 90.3, 100.3 Thessaloniki, 1BrightonFM, FM4 Vienna, Radio Z Nuremburg,

Online press: We Plug Good Music, Stereofox, 45Live, Monkeyboxing, The Dutch Guy, Life Support Machine, KBPS magazine, Flea Market Funk, Sphere Of Hip Hop, 45's Corner, AAA badboy,

DJ support: JFB, DJ Food, Renegades Of Jazz, Basement Freaks, Utah Saints, Qdup, Nutritious, Kid Kenobi, Doc Scott, Featurecast, Mat The Alien, Marc Hype, DJ Love, DJ Format

Summary for previous album 'As We Do Our Thing'

Album of The day on BBC 6 music with additional support from Shaun Keaveny, Lauren Laverne, Nemone, Craig Charles, Don Letts, and Radcliffe and Maconie

Andy Cooper (Ugly Duckling) and the Allergies also performed a Dermot O' Leary BBC Radio 2 session and a Loose Ends session on BBC Radio 4.

Hit top 3 in the iTunes UK Hip Hop chart (47 main overall)

#1 on Juno Download

The previous single Rock Rock featuring Andy Cooper was featured on TV Channel 4's Sunday Brunch and

Rock Rock used to soundtrack Euro football qualifiers on ITV (both National television station)

Rock Rock was Tune of the Month in Mixmag

Rock Rock also went to # 1 on Juno Download Hip hop chart on release.

DJ Support: DJ Yoda, Renegades of Jazz, Featurecast, A Skillz, Dom Servini , The Next Men, Aldo Vanucci, All Good Funk Alliance, Mr Benn, Marc Hype, Smoove, Dr Rubberfunk, Fab Samperi, Slynk

From her early days raised as a youth in Bombay, Asha Puthli initially trained in Indian classical music and opera, but over time gravitated towards contemporary western pop, upon discovering talents like Nat King Cole, Ella Fitzgerald, and Dusty Springfield. After making a name for herself in her native country, she found her way to New York, where she happened upon John Hammond of CBS Records. Hammond would introduce Puthli to the avant-garde legend Ornette Coleman, who utilized her unique vocal stylings on his 1971 record Science Fiction. Her work on the album earned widespread praise, and though It didn't lead to further work in the United States, it did bring her a record contract in Europe. After her self-titled debut in 1973, Puthli wasted little time in recording her next album, heading back into the studio, and re-emerging with 1975's She Loves To Hear The Music. Building on the eccentric amalgamation of pop, avant-garde, jazz, and proto-disco that her debut contained, her sophomore release once again featured production from constant collaborator Del Newman, as well as a new array of covers ranging from Cole Porter to Van McCoy to Neil Sedaka.

The debut album from Seattle's Delvon Lamarr Organ Trio. The group channels old-school organ combos like The Meters and Booker T & The MGs, but are making it fresh and feel new again!

Big Crown is proud to present this reissue 7 inch from Texas's own Kool & Together. The A side, Sittin' On a Red Hot Stove' is an infectious, medium-paced funk movement that chugs along with the help of some sharp drums from Joe and a rolling bass line that never quits. Originally edited by Texas record mogul Huey Meaux, the 45 version clocks in at just under two and a half minutes, and gave the band its strongest single. It's an anecdotal tale of a woman who is lusted after but so mean-spirited, she could melt the romance away. Side B is an unreleased demo version from Kool & Together working up the monster Funky Nassau'. Clearly something they never finished, the raw recording and lo fidelity of it is what give what they call Nassau Beat' it's charm.

Dynamite Cuts is releasing these two soul gems, limited edition 500 only pressing. Soul club classic 7' only now very rare and hard to find.

- 180 GRAM AUDIOPHILE VINYL

The Headhunters' Straight From The Gate was their 2nd album and was released in 1977. Originally started as a jazz-fusion band fronted by Herbie Hancock, members Paul Jackson, Bennie Maupin, Michael Clark, Paul Potyen, Derrick Youman and Obsidion Blackbiyrd delved further into jazz-rock and fusion sounds and recorded the album at The Automatt studios in San Francisco.

The Headhunters use a wide range of instruments. From the electric piano, to tenor and soprano saxophone, flute, sitar, electric and acoustic guitar as well as adopting an early ARP synthesizer.

Their music is certainly a blend of many styles and genres, including R&B, funk and African rhythms and it is widely accepted that The Headhunters made their mark on the serious' jazz scene.

Tuxedo is back with a new single, Shy,' the follow up to their critically acclaimed II' album. In collaboration with the iconic funk band, Zapp. Tuxedo delivers a highly addictive new funk single for the dance floor.