Hip-Hop Vinyl New Releases - News

Z Records continues its commitment to unearthing the obscure and long forgotten tracks from the last 40 years
through the ever-popular Under The Influence series. Following on from Red Greg, Paul Phillips, James Glass
and Nick The Record it's now the turn of another of the worlds most respected record collectors to put
together their selection. This time it's long time Z Records album co-compiler Sean P.
Alongside Joey Negro, Sean P has been responsible for some killer selections for their Soul of Disco and
Supafunkanova series, all of which feature tracks from Sean's vast record collection. He has been collecting
records since his early years, producing and releasing his own edits way before they became the norm and is
widely recognized as one of the foremost fountains of musical knowledge so to say he is a stalwart of the
underground music scene is well deserved.
For his UTI album he goes even deeper and much more across the board with tracks taking in afro, soul, funk,
disco, Brit Funk, dub and jazz with many of the tracks costing hundreds if you were able to find the originals.

Reiner Witzel is a German Jazz musician born in Mannheim. He is said to be one of the best Jazz-sax-players nowadays and won several awards. Reiner Witzel worked with well-respected artists amongst others Defunkt @ New Yorker Knitting Factory, with Fela Kuti @ Shrine in Lagos, in Jazz Clubs of Tokyo and stadiums in Dubai. Moreover he played with the Bundesjazzorchester, Philipp van Endert (Urban Lyrical), the Gil Evans Orchestra, Marla Glen, Kristi Stassinopoulou, the hr-Bigband and Fury in the Slaughterhouse. Besides his work as a musician he is also busy as a photographer and portrayed Lionel Richie or Roger Cicero, a. o.. Linernotes by Reiner Witzel:
When I met Asterios Papastamatakis in Athen's trendy downtown district Keramikos in the fall of 2014 there was immediate sympathy. We talked about music and live and made plans to play together. Shortly later he invited me to join his trio "Datfunk" for some concerts in Greece, the following year I invited the group to Germany. Playing with "Datfunk", who had been playing frequently in clubs in and around Athens felt great, the sound of the trio was so soulful and funky ... and since I had the
idea in mind, to do a soul-jazz-record for quite a while I realized that now I had found the right team to record it:
Asterios Papastamatakis, a never-resting organ activist, a soulful virtuoso full of depth, Michael Kapilidis, one of Greek`s most wanted drummers, who is coming from a background with lots of musicians in the family-tree and whose style of playing is really unique and Adedeji Adetajo, originally from Lagos/Nigeria, who came to Athens in 2007 and mixed up the scene with his funky guitar-style. In December 2015 we went to the studio in Athens and recorded two late-night-sessions. The atmosphere was energetic, but still relaxed and friendly.
The result are these 10 songs, that we would now like to share with you.

Limited repress!

Based On A True Story is the biggest selling New Zealand artist album of all time. The debut studio album from Fat Freddy's Drop, has sold 8-times platinum in New Zealand alone, after debuting at #1 on the NZ Album Charts & holding that position for 11 weeks, and that as an independent release with virtually no promotion. Based On A True Story won a raft of awards, including Best Album at the NZ music award and Album of the Year from Gilles Peterson Worldwide at BBC.

Rumored to be an alias project of 1 of the most famous DJ/producers in Japan. 4 tracks include a tribal Latin jazz funk edit, a long edit of a breakbeat funk classic, a tropical boogie edit, & a folky, mellow downtempo edit. Very useful stuff.

The last couple of years have been huge for Pomo, going from a relatively obscure Canadian producer to releasing his debut EP on HW&W, remixing for the likes of Janet Jackson and Mark Ronson, and touring the globe with Disclosure as their hand-picked opening act.

Bastard Jazz has commissioned Pomo to be next in line for the fourth volume of their "Tempo Dreams" compilation albums, following on the heels of the hotly contested Soul Clap compiled Vol. 3. As with other Tempo Dreams records, we tease it out with a limited 7" release with tracks from the compiler made specifically for the Tempo Dreams album.

"Blue Soda" (Part 1) - Pomo's first original release since his EP in November of 2014 is a typical, rollicking Pomo new disco joint with stabbing synths, chopped vocal samples and an irresistible bassline. Part 2 on the flip-side delivers more of the same, with a little more of an introspective twist. Part 2 is exclusive to the 7" only and won't be on the album.

Celebrating the 50th anniversary of the creation of the Rocksteady music genre, 17 North Parade presents "First Class Rocksteady". The collection captures early work from some of the genre's defining artists, and here are further 24 hot tracks additionally to the tracks of the limited edition 7x7Inch box set of the same name. Available as double vinyl with deluxe printed inner sleeves featuring sleeve notes and images.

Tracklisting: Side One A1. Hold Them - Roy Shirley with Lynn Taitt & His Band A2. I Am Lonely - The Heptones with The Supersonics A3. Dance All Night - The Tartans A4. Rock Steady - Alton Ellis and The Flames A5. Ba Ba Boom - The Jamaicans with Tommy McCook & The Supersonics A6. Pata Pata Rock Steady - Patsy & The Count Ossie Band Side Two B1. You Don't Care - The Techniques with Tommy McCook & The Supersonics B2. Little Boy Blue - Pat Kelly and The Uniques with Bobby Aitken & The Carib Beats B3. I'm A Loving Pauper - Dobby Dobson with Tommy McCook & The Supersonics B4. Return Home - Alva Lewis with Lynn Taitt & His Band B5. Just Like A River - Stranger Cole & Gladdy B6. El Casino Royale - Lynn Taitt & The Jets feat. Count Sticky Side Three C1. The Beatitude - The Uniques C2. Revelation - Alva Lewis C3. A Change Is Gonna Come - Ken Parker with Bobby Aitken & The Carib Beats C4. The Big Takeover - The Overtakers C5. I Am The Upsetter - Lee Perry C6. Musically - Keith Blake with Lynn Taitt Band Side Four D1. Lonely Heartaches - The Clarendonians with The Aubrey Adams All Stars D2. Napoleon Solo - Lynn Taitt & The Jets D3. Intensified - Desmond Dekker and The Aces D4. Hold Me Tight - Johnny Nash D5. Seeing Is Knowing - Stranger Cole & Gladdy with Lynn Taitt & The Jets D6. Darling Jeboza Macoo - Stranger Cole

Afterschool Special: The 123s of Kid Soul The formula was simple: marry bubblegum and soul to the absolute sincerity of an enthusiastic child, cross your fingers and pray for airplay. But while the youthful sums of that formula may have grown up and walked away from their illusions of stardom, their permanent records remain.

By 1973, Michael, Tito, Jermaine, Marlon and Jackie were as hip as kids could get—household names, with lunchboxes, colouring books, a Saturday morning cartoon, and an Alpha-Bits cereal commercial pushing the J5 brand onto any kid with television reception. Their impressive run of four consecutive #1 singles playing on both pop and R&B stations cemented their appeal to both whites and blacks, prompting MGM to launch the Osmonds as the safer (read: white) alternative. And parents Well Michael had that wrapped up with his impossible-not-to-love mini-James Brown thing. Even their song selection straddled both sides, with Zip A Dee Do Dah' and ABC' for kids, and contemporary standards Standing In The Shadows Of Love' and My Cherie Amour' for the older crowd.

This extreme marketing and merchandising juggernaut created the kid soul explosion. A decade removed from our acclaimed Home Schooled compilation comes a fresh batch of talent show titans. With enterprising parents, neighbours, and teachers turning play dates into recording dates, groups like Magical Connection, Little Man and the Inquires, and Five Ounces of Soul emulated the Jacksons, who'd made grade-school stardom appear easy as ABC. Afterschool Special: The 123s Of Kid Soul contains 19 tiny tunes ranging from bilingual D.A.R.E. anthem, to James Brown bio, to young love and life beyond the playground.

Afterschool Special: The 123s of Kid Soul The formula was simple: marry bubblegum and soul to the absolute sincerity of an enthusiastic child, cross your fingers and pray for airplay. But while the youthful sums of that formula may have grown up and walked away from their illusions of stardom, their permanent records remain.

By 1973, Michael, Tito, Jermaine, Marlon and Jackie were as hip as kids could get—household names, with lunchboxes, colouring books, a Saturday morning cartoon, and an Alpha-Bits cereal commercial pushing the J5 brand onto any kid with television reception. Their impressive run of four consecutive #1 singles playing on both pop and R&B stations cemented their appeal to both whites and blacks, prompting MGM to launch the Osmonds as the safer (read: white) alternative. And parents Well Michael had that wrapped up with his impossible-not-to-love mini-James Brown thing. Even their song selection straddled both sides, with Zip A Dee Do Dah' and ABC' for kids, and contemporary standards Standing In The Shadows Of Love' and My Cherie Amour' for the older crowd.

This extreme marketing and merchandising juggernaut created the kid soul explosion. A decade removed from our acclaimed Home Schooled compilation comes a fresh batch of talent show titans. With enterprising parents, neighbours, and teachers turning play dates into recording dates, groups like Magical Connection, Little Man and the Inquires, and Five Ounces of Soul emulated the Jacksons, who'd made grade-school stardom appear easy as ABC. Afterschool Special: The 123s Of Kid Soul contains 19 tiny tunes ranging from bilingual D.A.R.E. anthem, to James Brown bio, to young love and life beyond the playground.

LIMITED 300 COPIES Limited Edition, Reissue, Remastered Remastered reissue of one rare folk-disco project coming from Lebanon. The producer Ziad Rahbani (a great Lebanese composer) released only one disco project for the Zida label and was pressed in avery limited run in 1978 of about 500 copies only (due to some difficulties coming from the political situation that occurred in Lebanon), so today it's not easy to find original copies in nice conditions and you have to consider that the original pressing quality wasn't at the highest levels. We have now the opportunity to buy again this masterpiece remastered and repressed in Europe at high quality levels. Ziad Rahbani (born January 1st, 1956) is a Lebanese composer, pianist, performer, playwright, and political commentator. He is the eldest son of Fairuz and Assi Rahbani. His compositions are well known throughout the Arab world, especially because he is responsible for Fairuz's musical works from 1980s onwards. Many of his musicals satirize Lebanese politics both during and after the civil war, and are often strongly critical of the traditional political establishment.

Betty Harris' The Lost Queen of New Orleans Soul collects together the steady stream of amazing soul and funk singles issued by Betty Harris from 1964 to 1969, under the musical guidance of legendary composer, musician and producer extraordinaire Allen Toussaint, a collection which truly captures the heart and soul of the city of New Orleans during this era.
Betty Harris's powerful, fiery soulful vocals found a perfect accompaniment with the New Orleans' players that Toussaint put together to back her, which by the time of her funk classic 'There's A Break In The Road' were the legendary super-tight, super-funk New Orleans group The Meters.
With the extraordinary song-writing skills of Allen Toussaint alongside the powerful, soaring, confident and emotive singer and the groove of The Meters, you have an unbeatable combination. That Harris never in fact lived in New Orleans (she flew in from Florida for all her sessions with Toussaint's local in-house players) seems almost an irrelevance, a geographical aside to the defining New Orleans sound captured on the recordings featured here.
All of these singles featured here were released on Allen Toussaint and his business partner Marshal Sehorn's local New Orleans label Sansu, widely distributed in the southern city but in only limited quantities elsewhere. As a consequence, Betty Harris' music failed to achieve the commercial success of other New Orleans artists such as Lee Dorsey (who she recorded with) and The Meters (who backed her). And so at the end of the decade she stopped recording, retired from the music business to raise her family in Florida.
This is no reflection of the stunning musical quality of all these songs which encompass everything from southern soul, heavy funk, deep soul ballads and northern soul. Betty Harris has been a cornerstone of Soul Jazz Records' New Orleans Funk and New Orleans Soul compilations. Always soulful and always funky, Betty Harris' music contains the essence of New Orleans music. She is the Lost Soul Queen of New Orleans.
This collection is released on CD, heavyweight gatefold double LP vinyl (+ download code) and digital and comes complete with full biography, original label artwork.

Northern soul boy, crate digger and tastemaker, Keb Darge is a name which needs no introduction to lovers of rare music the world over. His 'Legendary Deep Funk' night at Soho's seminal strip club turned music venue Madame Jojo's introduced obscure dance-floor soul music to an eager London club crowd, sparking a global appetite for raw, visceral funk.

Keb's search for rare '45s took him across the globe, obsessively searching dollar bins, private collections and in some cases, artists homes to discover hidden gems recorded by local bands on regional record labels and pressed in tiny quantities. The rarity of the music combined with Keb's exquisite ear and DJ ability meant that these records quickly became highly collectible (not to mention expensive) and even made 'deep funk' a recognized genre all its own. Keb's passion paved the way for the modern funk revival, spearheaded by bands like The New Mastersounds & Quantic, even hitting the pop charts with the likes of Mark Ronson.

In 1997 BBE released the first of three compilation albums of 'Legendary Deep Funk ', among the first LPs issued by the label. Equally loved by fans and loathed by vinyl price-gougers, the music contained on these albums took the world by storm, offering a refreshing change from the same old well-loved funk tunes endlessly re-issued on cut-price comps. The music felt fresh, exciting, full of energy and more authentic than anything all but the most dedicated collectors had heard before.

Fittingly enough, to celebrate BBE's 20th year, we've asked Keb to select his greatest hits from the 'Deep Funk' series, presented on heavyweight vinyl, CD and digital formats. The compilation contains edits by Keb's deep funk contemporaries Ian Wright & Kenny Dope, as well as standout tracks from over 20 years of 'Legendary Deep Funk'.

- Full press , radio & social media campaign
- Tracks taken from the long out of print Legendary Deep Funk series featuring exclusive edits from Kenny Dope & Ian Wright
- Part of an ongoing series of vinyl celebrating 20 years of BBE

Lavashark's debut offering comes with their reinvisioning of two Rock classics, Bruce Springsteen's "State Trooper" and "Susie Q" made famous by Creedence Clearwater Revival. Anchored by their use of vintage analogue synths, and drum machines the pulsating electronic soundscape they create is tempered by Theo De Gunzburg's moody haunting vocals. Brighton UK producer Antenna Happy lends his hand to a more driving and dance-floor friendly remix and dub version of "State Trooper".

Channeling a live analogue sound that borrows from the Illinois blues of Muddy Waters, as much as it does to the maverick electronica of Aphex Twin. At the heart of the group lies their live performance, a place where raw synth lines and brooding vocals form a safe haven away from the digital age. An LA based trio comprised of Theo De Gunzburg, Matthew O'Malley and John Barnes, the group were drawn together by a shared affection for David Attenborough. Working out of a converted garage in Venice, Lavashark craft a nomadic sound that when played live, forcefully raises you to your feet and questions whether this is old or very new.

The Los-Angeles-based band's reputation amongst the funk and soul fraternity is backed-up by an impressive and quickly growing resume that is expanding their reach. This includes landing a spot in an Adidas campaign, touring with major-label crew Little Brother, and going out as backing band for The Pharcyde, Plantlife (including a BBC performance for Jools Holland), Tone Loc, and New Orleans funk legend Eddie Bo at the Hurricane Katrina benefit. Members of Orgone also feature in the make-up of Ubiquity acts Connie Price and Breakestra and perform regularly at the Root Down in LA.

The Los-Angeles-based band's reputation amongst the funk and soul fraternity is backed-up by an impressive and quickly growing resume that is expanding their reach. This includes landing a spot in an Adidas campaign, touring with major-label crew Little Brother, and going out as backing band for The Pharcyde, Plantlife (including a BBC performance for Jools Holland), Tone Loc, and New Orleans funk legend Eddie Bo at the Hurricane Katrina benefit. Members of Orgone also feature in the make-up of Ubiquity acts Connie Price and Breakestra and perform regularly at the Root Down in LA.

Praise Poems Vol.1: Gilles Peterson (Worldwide / Brownswood Rec.): One of my fave comps of 2015.

Praise Poems Vol.2: Oliver Korthals (Mojo / Out of Spectrum on Byte FM): Extremely well put together track listing of artists which I have never heard before. Left me with my mouth open... - highly recommend!

Praise Poems Vol.3: Dom Servini (Wah Wah 45s): This is incredible.

Praise Poems Vol.4: ...

O F1 | Dan Satch And His Atomic 8 Dance Of Aba - Je Nr'okan

Soul Has No Tempo and 4101 Records are proud to present CLOAK - the debut album from Jordan Rakei.

Delving deeper into his creative well, Jordan has delivered a record that continues to push personal and societal boundaries, a visionary journey through groove based soul, jazz and hip-hop with hints of psychedelia and afro percussive rhythms. Written and recorded in his new adopted home of London, Cloak is a scintillating and timeless debut drawing influence and inspiration from the discovery of meditation, the separation from ego and a personal conversation with self.

With guest appearances from fellow Australian's Remi. and Ngaiire - and a feature cameo by the sublime Richard Spaven on Toko - Cloak will take you down the rabbit hole as Rakei expertly navigates explosive new boundaries, where colour and sound collide.

A raw and rare talent, Jordan Rakei today releases his debut album 'Cloak' via Soul Has No Tempo and 4101 Records . Recently completing UK tours with Hiatus Kaiyote and Jamie Woon - including a sold-out show at London's O2 Arena with the latter - the Brisbane native, London-based musician, producer, singer and songwriter, with a Disclosure credit to his name is making waves at home and abroad, his refreshing, modern take on jazz and hip-hop influenced soul resonating globally.

After a successful run of shows across Australia and New Zealand in February, Rakei has set his sights on the release of his debut album. 'Cloak' is a thirteen-track LP, featuring special guests, REMI, Ngaiireand Richard Spaven. Previous album previews, Talk To Me' and "Blame It On The Youth" are blissful journeys into the rhythmic elements of Afro-Beat and Jazz, exploring new boundaries that will delight new and old fans.

On the making and meaning of 'Cloak', Rakei says:

"It was close to midnight. I found myself silently standing on a beach in Piha, staring at the stars. I'd never seen the stars like that before. There was a stillness and oneness that resonated with me. I finally came to terms with the insignificance of "us" and set myself on a quest of self-discovery through music and meditation. It was a war against my pre-conditioned mind, but one I was willing to fight.
I, like many others, was enslaved by reactionary thought and emotional cause. I lived life through the projection of my ego. My ego would feed off negative emotions, public perception, expectation and a need to be somewhere I wasn't. It was through a conversation I had with myself, where I realised I had an ability to control it. This opened my mind to the concept of duality and my second self.

There is a deep space within us, usually cloaked by our emotions. A stillness. The more we delve, the faster we can re-wire our mind and un-learn all that we have been force fed. Shed your Cloak."

After the release of his critically acclaimed 2014 sophomore EP, Groove Curse, Rakei left Brisbane for the UK. He soon caught the attention of perennial UK electronic chart-toppers, Disclosure and Sam Smith, further growing his fan base and reputation as a talent on the rise. His co-written track Masterpiece' went on to close Disclosure's Grammy-Nominated sophomore album, Caracal, alongside featured artists NAO, Gregory Porter, Miguel, The Weeknd and Lorde.

Rakei's since performed solo across Russia, Italy, Belgium, Germany and Dubai - as well as selling out four London shows and receiving a personal invite to play Gilles Peterson's Worldwide stage at 2015'sOnBlackheath Festival. With UK supports for Caracal-comrade NAO, fellow soul-man Jamie Woon and Fat Freddy's Drop under his belt - not to mention headlining Annie Mac Presents live series - 2016 is set to be a huge year for Rakei.

Sought after boogie tune from Japan now reissued in limited 7inch format. Only 800 copies of these will be pressed.

Third impressive chapter for Alex Puddu's "Golden Age of Danish Pornography", a cult series of soundtrack-like tracks inspired by the unmistakable sounds of the '60s and the '70s. As usual, Alex is doing (almost) everything by himself - writing, arranging, producing and performing with a little help from a few trusty friends. Disco funk, tribal and exotic percussions, smooth Memphis soul riffs, fuzzy guitars, interstellar synths, electric sitar, wild vocals, groovy saxophones and trumpets, all of this and much more can be found in this incredible record!

Bonus 7' (Only W/ First 1000 Copies). A legendary, ultra-rare afrobeat killer, restored and presented for the first time in wide release! LP Includes bonus 7' disc featuring the rare 1972 single SON OF THUNDER' b/w ALUPANDU-GBE' limited to 1000 copies. It's 1968 and Fela is in tears. Fela Kuti, the genius of afrobeat. The champion of the people. Fabled for unflinchingly staring down the barrels of state tyranny, enduring beatings within an inch of his life from government stormtroopers and then getting on stage to mock his tormenters in song. Fela the fearless, Fela the invincible. Fela who they call Anikulapo— he who carries death in his pocket.' What insurmountable catastrophe could have reduced this formidable titan of African music to tears Ojo Okeji leaving his band, that's what. From the liner notes, by renowned Nigerian music historian Uchenna Ikonne. In the early years of Fela Kuti's career, well before he would define the genre of afrobeat, and leave an indelible mark on the musical landscape, he was a struggling trumpet player, seeking to redefine the sound of his current group, the art-jazz ensemble Fela Ransome-Kuti Quintet. As he moved his group towards the then-popular genre of highlife in 1963, he lost his bassist in the move towards commercial success, but gained the company of Ojo Okeji, who had a sterling reputation both as a bassist and percussionist in groups like Lagos Cool Cats, Rex Williams' Nigerian Artistes, and Western Toppers Highlife Band, a favorite of Kuti's. Okeji impressed Kuti with his deft jazziness on the bass, so he was in on the spot, and the Fela Ransome-Kuti Quintet became Koola Lobitos. It was Okeji that introduced Kuti to the famed percussionist Tony Allen, (Who would subsequently join Kuti into his greatest years as an artist) as well as conguero Abayomi "Easy" Adio. During his time in Koola Lobitos, Okeji not only contributed deeply melodic, and adeptly rhythmic baselines, but brought his own influence from emerging US soul artists like James Brown & The Famous Flames and Wilson Pickett, heavily pushing Koola Lobitos towards a more soulful direction. This push was often resisted by Kuti, who frequently clashed with Okeji. 1968 proved to be a turning point for the group, as the Nigerian Civil War broke out, and many starving musicians turned to the military for work. Okeji and Adio would leave for the army, while Kuti and Allen kept Koola Lobitos going, where it evolved through different names and iterations and grew into the worldwide afrobeat force that made Kuti an icon during the 70s and 80s. But as Kuti and Allen rose to global recognition, Okeji and Adio would form a new band within the ranks of the 6th Infantry Brigade of the Nigerian Army. Their emblazoned blue jackets earned them the nickname "The Blues', but Okeji preferred the name Shango' after the Yoruba thunder god. Shango took the fundamentals of Kuti's famous afrobeat and brought new layers of guitar and horn arrangements, while often invoking supernatural aesthetics, and maintaining a love for the US soul artists that influenced Okeji so much. Because Shango was an army band however, their records were not readily available to anyone outside of the military so their music, including their eponymous 1974 LP, remained relatively unknown even amongst the people of Nigeria. Decades later Comb & Razor is thrilled to present this long-lost Nigerian gem for the first time to a world-wide audience.

A legendary, ultra-rare afrobeat killer, restored and presented for the first time in wide release! LP Includes bonus 7' disc featuring the rare 1972 single SON OF THUNDER' b/w ALUPANDU-GBE' limited to 1000 copies. It's 1968 and Fela is in tears. Fela Kuti, the genius of afrobeat. The champion of the people. Fabled for unflinchingly staring down the barrels of state tyranny, enduring beatings within an inch of his life from government stormtroopers and then getting on stage to mock his tormenters in song. Fela the fearless, Fela the invincible. Fela who they call Anikulapo— he who carries death in his pocket.' What insurmountable catastrophe could have reduced this formidable titan of African music to tears Ojo Okeji leaving his band, that's what. From the liner notes, by renowned Nigerian music historian Uchenna Ikonne. In the early years of Fela Kuti's career, well before he would define the genre of afrobeat, and leave an indelible mark on the musical landscape, he was a struggling trumpet player, seeking to redefine the sound of his current group, the art-jazz ensemble Fela Ransome-Kuti Quintet. As he moved his group towards the then-popular genre of highlife in 1963, he lost his bassist in the move towards commercial success, but gained the company of Ojo Okeji, who had a sterling reputation both as a bassist and percussionist in groups like Lagos Cool Cats, Rex Williams' Nigerian Artistes, and Western Toppers Highlife Band, a favorite of Kuti's. Okeji impressed Kuti with his deft jazziness on the bass, so he was in on the spot, and the Fela Ransome-Kuti Quintet became Koola Lobitos. It was Okeji that introduced Kuti to the famed percussionist Tony Allen, (Who would subsequently join Kuti into his greatest years as an artist) as well as conguero Abayomi "Easy" Adio. During his time in Koola Lobitos, Okeji not only contributed deeply melodic, and adeptly rhythmic baselines, but brought his own influence from emerging US soul artists like James Brown & The Famous Flames and Wilson Pickett, heavily pushing Koola Lobitos towards a more soulful direction. This push was often resisted by Kuti, who frequently clashed with Okeji. 1968 proved to be a turning point for the group, as the Nigerian Civil War broke out, and many starving musicians turned to the military for work. Okeji and Adio would leave for the army, while Kuti and Allen kept Koola Lobitos going, where it evolved through different names and iterations and grew into the worldwide afrobeat force that made Kuti an icon during the 70s and 80s. But as Kuti and Allen rose to global recognition, Okeji and Adio would form a new band within the ranks of the 6th Infantry Brigade of the Nigerian Army. Their emblazoned blue jackets earned them the nickname "The Blues', but Okeji preferred the name Shango' after the Yoruba thunder god. Shango took the fundamentals of Kuti's famous afrobeat and brought new layers of guitar and horn arrangements, while often invoking supernatural aesthetics, and maintaining a love for the US soul artists that influenced Okeji so much. Because Shango was an army band however, their records were not readily available to anyone outside of the military so their music, including their eponymous 1974 LP, remained relatively unknown even amongst the people of Nigeria. Decades later Comb & Razor is thrilled to present this long-lost Nigerian gem for the first time to a world-wide audience.

Soul Jazz Records' are releasing Tee Mac's 'Night Illusion', a lost classic Nigerian Afro soul meets disco boogie funk album originally released in Nigeria in 1980 as a private-press release of 1000 copies on the enigmatic artists' own label. Impossibly hard to find, the record remains practically unknown outside of Nigeria.
Tee Mac Omatshola Iseli is a multi-instrumentalist, composer and arranger and features on Soul Jazz Records' recent collection Nigeria Soul Fever - Afro Funk Disco and Boogie alongside Joni Haastrup, Christy Essien and others, as well as on a recent compilation 'Nepa Oh Nepa' (released on Hot Casa earlier this year). The timelessness of this soulful, ground-breaking funk jazz lost masterpiece 'Night Illusion' leads to comparisons with James Mason's legendary lost classic album Rhythm of Life, with his unique individualism and intensity hinting at the boogie funk of groups such as Mass Production and Slave so loved by artists such as Moodyman and Theo Parrish. While Fela Kuti is now a cultural icon of Nigerian music throughout the world, the recent crossover success of William Onyeabor shows just how much undiscovered Nigerian music remains waiting to be explored outside of the country.
Tee Mac was born in Lagos, the son of a Nigerian princess and a Swiss diplomat. He picked up the flute at age 7 and ten years later was studying classical musical in Switzerland under his uncle the composer J.J. Direndirger. Returning to Lagos, Nigeria in 1970 he formed the heavyweight afro rock group Tee Mac and Afro Collection (which included Johnny Haastrup on keyboards and The Lijadu Sisters on vocals). This band was famously joined by the legendary Cream drummer Ginger Baker who came to Nigeria to play with them in 1971 (captured in the film Ginger Baker in Africa).
At age 24, Tee Mac moved to Germany where he co-wrote and recorded the European disco group Silver Convention (whose 'Fly Robin Fly' became number one in the USA charts). This enabled him to return to Nigeria where he formed his own label SKJ Records to release his self-financed album Night Illusion, as well as buying two nightclubs and also investing in a number of mineral mining companies!
Tee Mac continues to live in Lagos today and travels the world as a composer - one of whose pieces is The City of Mer Kailash (2009), a two-hour ballet featuring over 60 dancers and a 100+ piece orchestra.
Soul Jazz Records are releasing this lost classic Nigerian album as a strictly limited-edition 1000 copies worldwide exact-replica artwork reproduction LP (+ sleevenotes + free download), CD and digital album.

LOA Records is very proud to present the first album in 7 years by Brighton-based beatsmith Flevans (or Nigel Evans to his doctor). A music industry veteran, there's not much that this man hasn't done - sold a stackload of records (on renowned indie Tru Thoughts), DJ'd across the globe (3 US tours, 1 each in Japan & Australia & countless trips to Europe), had his music used in TV shows & adverts far & wide (Nokia, BSkyB, DFS & ESPN to name but a few), even releasing a side-project album of garage electronica for Jalapeno Records (under the name Aotoa). Despite the temporary hiatus, he is best known & much loved for his Flevans material, and it has to be said that new album 'A Distant View' is right up there with his best.

Starting off strong with 'The Comeback Kid' - a piano-led, heavy-on-the-drums opener, 'I Don't Know Why' then eases you in gently but keeps the funk with its' infectious guitar & sublime keywork by regular Lack of Afro collaborator George Cooper. Slinky bass & big horns then dominate on the uber-groovy 'Wise Men Say', before Flevans proves that what sets him apart from other producers is his ability to switch tempos at the drop of a hat (& make it sound easy - trust us, it's not). Beautiful soundcapes that have the ability to take you elsewhere are rare enough these days, but both 'Stripped' and the title track 'A Distant View' are stunning examples - dreamy hooks and ethereal vocal samples come together to produce little journeys of downtempo loveliness. Punctuating the two is 'Higher Places' - reminiscent of the Flevans of old - chopped up vocals & cheeky samples interpolate to superb effect. "But where's the Afrobeat!" I hear you cry Well, it's right here in 'The Sound That Man Made' - horns, drums, guitar, done! New single 'Reach Out' is a blistering funk-filled return to form - a killer bass line, fatback drums & catchy horns combine to create an uptemo ear-worm & guaranteed dancefloor kudos! The tempo is dropped once more for the quite brilliant dub of 'Trials', before 'For Olli, For Eliisa'. Flevans here showing producers everywhere how to perfectly blend the electronic and the organic (the track also being a beautiful ode to his two children). Its business as usual on the neck-snapper 'Be There', before 'One For The Road' wraps things up brilliantly, Blaxploitation-style! Taking no prisoners from the outset, it's a huge slice of rough & ready dancefloor funk with huge drums, relentless wah-wah guitar & massive horns. What more do you need

So credit where it's due - 7 years since the last album & Flevans still sounds unmistakeably like himself, and no-one else. With 'A Distant View', he's back and back to his best!

"Musica per commenti sonori", also known as "Lipstick" and released by Costanza, came out in 1979 and is one of Roelen's latest examples of library music before his death, which occurred in 1985. The tracks are often characterized by a typical late-seventies funky mood, but they also feature some laid down moments that would sound great in some erotic films soundtracks. 'Music for all hours' says the back cover, and that's perfectly true!

Here we have another monster double-sider which not many people might be are aware of. Carmelita is best known for her Northern Soul bomp Rosebud, but what you find on this release is completely different. Mitchie Mitchie Mo-Jo can be filed under latin-funk while the flip side is an easy grooving latin-soul number. This one's superrare and supergood too, well worth to pick up this official re-release.

The Revised Brotherhood recorded their one and only 45rpm single Tragedy b/w Those Things in 1971. The band was founded by organist John Hurd who was taught music many days a week by Roger Troutman. The band released a full length album shortly after the 45 but it did not take long and they split up. Thanks to John Hurd all of you get the chance to enjoy these songs on 45rpm single, more than 40 years after its initial release.

Sources is a brand new series which will examine the output of a number of extremely influential
independent U.S. labels throughout the 1970s, 1980s and 1990s.
In an age where corporate anonymity reigns supreme and music is being treated like aural wallpaper,
the Sources series will go back to a time when record labels really meant something via their A&R
policies, their ground-breaking releases, their everyday modus-operandi and their general
philosophies. What made these operations unique How did they manage to compete with the
major companies How did they protect their artist rosters What sort of people ran these operations
and how did they manage to survive in the cut-throat music business

Bill Brewster, co-founder of the influential DJ History website and forum and author of the acclaimed
'Last Night A D.J. Saved My Life' will be compiling and writing the sleeve notes for the series. The first six releases will concentrate on 6 New York
independent labels which have each been massively influential in the evolvement of Dance Music over the last 30+ years - Easy Street, Fresh, Sleeping
Bag, Sam, Streetwise and P&P

Each 3 x CD package will be full of lovingly re-mastered original 12' mixes as selected by Bill. These will include many tracks which have never made it
to CD before and you can be sure that a variety of 'secret weapons' will emerge from each of these packages! All notes and scans will be included in a
16 page colour booklet which fits beautifully within the 3CD superior digipack. The usual Harmless PR and Radio operation will support all Sources
releases.

The tenth and final release in the Sources series deals with one of the great House Music labels of all-time (along with DJ International and Underground),
Trax records from Chicago. Originally founded by Larry Sherman, Trax had the advantage of being one of the local Chicago independent pressing plants,
so when this new phenomenon called House music arrived and people started turning up at Trax with tapes that they wanted to press onto vinyl, then
Larry smelt a market and thus Trax records was born.

The label was renowned for its almost punk ethic of simply getting the releases out fast and furiously without much in the way of obvious design values
or quality control. Their releases were generally pressed on recycled vinyl and housed in recycled card sleeves - in fact, it was not unusual to open the
record and see bits of paper pressed into the vinyl and old printing on the inside of the sleeves! However, the operation perfectly suited the ethos of the
music, the majority of which was often made on 4 track machines in numerous bedrooms before being tested at Chicago's two main House clubs -
Music Box via Ron Hardy and the Warehouse, where the legendary Frankie Knuckles ruled the decks. If the bedroom tape got the thumbs up from Ron
and Frankie, then usually the aspiring producers would turn up at Trax the next morning and beg to get their productions on vinyl. The deals were probably
not great but the lure of holding your own record seemed to override all other considerations. And thus dozens of new careers were hatched.

Sources: The Trax Records anthology has been expertly compiled by Bill Brewster to feature the particular mixes that he favours and every track has
been comprehensively re-mastered to the usual Harmless levels. The Trax volume will work nicely with the Sources DJ International and Underground
volumes which, together, give a comprehensive overview of the birth of the House music scene in Chicago.

Few would challenge the claim that the 1960s and 70s have been the most fertile two decades in the history of popular music ever - a period which, regardless of genre, laid the foundations for everything that has followed. What is more, this period was so fertile that the speed with which tastes changed left a colossal amount of incredible music to gather dust - perhaps most famously a profusion of funk, soul and jazz. It was a musical legacy that lay mouldering until the rise of sampling in late 80s hip-hop precipitated a mad scramble for lost crates and suddenly, the music that became known as 'rare groove' - for obvious reasons (it was rare and very groovy) - experienced a phoenix-like rebirth.

A quarter of a century on and a million funk, soul, jazz-funk and 'rare groove' compilations, re-presses and re-releases later, you'd think that cupboard was bare and yet, even now, there are gems to be found. PT is re-releasing the rarest of cuts that often were originally only limited runs or private pressings and new compilation Down & Wired is just such a collection.

Always soulful, this features everything from mod groovers and northern stompers, to funky bumps and latin heaters. Yet while the quality of all cuts is immediately apparent, only one of the seventeen has ever been previously been compiled because when PT 'do' rare, they don't mess around. In fact, if these tracks were steaks - they'd still be walking around eating grass.

Few would challenge the claim that the 1960s and 70s have been the most fertile two decades in the history of popular music ever - a period which, regardless of genre, laid the foundations for everything that has followed. What is more, this period was so fertile that the speed with which tastes changed left a colossal amount of incredible music to gather dust - perhaps most famously a profusion of funk, soul and jazz. It was a musical legacy that lay mouldering until the rise of sampling in late 80s hip-hop precipitated a mad scramble for lost crates and suddenly, the music that became known as 'rare groove' - for obvious reasons (it was rare and very groovy) - experienced a phoenix-like rebirth.

A quarter of a century on and a million funk, soul, jazz-funk and 'rare groove' compilations, re-presses and re-releases later, you'd think that cupboard was bare and yet, even now, there are gems to be found. PT is re-releasing the rarest of cuts that often were originally only limited runs or private pressings and new compilation Down & Wired is just such a collection.

Always soulful, this features everything from mod groovers and northern stompers, to funky bumps and latin heaters. Yet while the quality of all cuts is immediately apparent, only one of the eleven has ever been previously been compiled because when PT 'do' rare, they don't mess around. In fact, if these tracks were steaks - they'd still be walking around eating grass.

This the Second album by Big Funk Factory D-Funkt! the soundtrack to the story "TRANSACTION DECLINED" traces the final adventure of Dweeb Droid and introduces aged rocker AWM, whose perfidious character we will suffer a good deal more in the final chapter of the Big Funk epic "Bucky Ball".

Anyway back to D-Funkt! the band's usual cast features amongst others Mat Johnson (Jamiroquai, Laura Doggit, Julian Perretta, Duffy) as The Nerdmeister General on keyboards. Wayne Nunes and Perry Melius (Tricky, Aswad, Billy Ocean) as That Tall Bloke and The Metrognome on bass and drums.

Michael Brown (George Michael, Chaka Khan, Leona Lewis) on guitar in the guise of The Widdler, Jodie Linscott (Just ... Everybody look her up on google) as The Lin Machine on percussion and Vanessa Haynes (Incognito, The Gorillaz, Van Morrison) and Janet Ramus (Shapeshifters, David Bowie; The Eurythmics) who are cast in the roles of Siren One and Two and feature on the track "She wants what wants."

Some notable guest appearances include Ernie Mckone (Galliano, Push, Candi Statton) as The Slightly Shorter Bloke whose bass features on "Independent Street", Rob Hughs (ABC, Heather Small, "Eddie the Eagle film soundtrack) in the role of Bobby Pop Sax and Tim Cansfield (The Bee Gees, Steve Winwood, Annie Lennox) who for the benefit of this album goes under the title Acoustico Fantastica. His fabulous Spanish guitar playing features on "Only The Silent Survive".

Andy Wood Mitchell (The AM Band, Andy & The BigFunk, Andy & the Other One) the organizer of this musical menagerie revises his past role from Big Funk Factory's first epic "D-roid Portrait of a Serial Singer" as D-roid's nemesis Dweeb Droid in addition to the newly created character of obnoxiousness AWM.

Slightly darker in tone the concept of the album sees the land of D-roid and Dweeb,
Middle England plunged into civil chaos that develops into a full blown civil war and yet more discoveries about these creatures origins and for the first time some of the lyrics actually feature direct references to what's actually going on in the plot.
The Music begins with a more electro funk vibe than the previous release but the introduction of live instrumentation later on brings the sound right back to the Funk base that was established in the first album "Factory Sample".

It's the season of the juiciest, sweetest fruit, of shorts, tank tops and thongs, the time of year when you look at life through a dark pair of sunglasses. Summer is also the time of year when lovers of soul, disco, funk, bossa, jazz and other similar grooves get together to enjoy the sunny vibrations sampled by Guts and Mambo from the world over.
Since 2013, this duo has trademarked and branded its acoustic discoveries with the appellation Beach Diggin', a label that certifies the quality and rarity of its products and guarantees a maximum dose of sunshine for every groove. Braving the hordes of sugar-hungry bees swarming around boxes of Caribbean records, the humidity in the holds of boats, or jostling to save 45's lying on the ground from being trampled underfoot, Guts and Mambo, at the risk of their own lives, have explored the most far-flung corners of the earth, all for a single purpose:
To discover and to share.
Because in the end, the geographic origin matters little. Even if the golden triangle of Brazil, Jamaica and Trinidad & Tobago remains the largest supplier, Beach Diggin' is above all a way of being, a way of living the moment and life in general to the fullest. Permanent coolitude on the BPM, fast or slow, an epicureanism that is equally at ease whether its produced with a sense of Amazonian luxuriousness or the sparse comfort of a deserted beach, a reserve of a few degrees of heat to put on the turntable when it gets cold outside.
So, it's not surprising that tracks from Eastern Europe, North Africa, or the US have quickly received their stamp of approval. In this third compilation, just as in the previous two, the rule remains: Beach Diggin' is a state of mind...

Another 4 slices of a Hot-Boogie 10inch Pizza EP, right out from the Boogie Butt
Records' oven and cooked with love by DJ Lord Funk!
Back in the day of G&P Funk style, Your Body Next To Mine', with his high bass
synth, got the way to make you dance body to body.... Global Warming' is the track
which gonna bring you in higher degrees, your music forecast today: Hot, Hot,
Hot!!!!!
On the B-Side, Let Me Be The One' is a mid-track with a raw bass synth, which will
move your feet to the beat. For closing this package is another downtempo track
with killer synth waves, get lay next to your doll and do it All Nite'!!

Australian vocalist extraordinaire Kylie Auldist will be no stranger to soul & funk fans, her searing soul singing having featured on her own albums 'Made Of Stone' ,'Still Life' (Tru Thoughts) also in The Bamboos, as well as Freestyle Records own Cookin' On 3 Burners.

Her unmistakable voice is currently topping the pop charts across Europe, as the Kungs remix of Cookin' On 3 Burners 'This Girl' has proven a sure fire hit with club audiences as well as pop fans. It has been playlisted on BBC Radio 1 and Capital FM, and is now a Top 10 hit in the Official UK Chart.

For her first solo album on Freestyle, Kylie, assisted by long time friends & collaborators Lance Ferguson (The Bamboos/Lanu/CO3B/Black Feeling) and Graeme Pogson (of Aussie electronic duo GL) have honed and perfected a collection of amazing new boogie, disco & electro-funk inspired tracks that evoke the feel and sound of late 70's & early 80's club classics. Think of classic acts like D Train, Sinnamon, and singers like Chaka Khan, Maxine Singelton, Sharon Redd and you will already start to understand where this new project is rooted.

Kicking off this authentically disco style 5 track, 12 inch single and download single is Waste Of Time, a shimmering, soulful and devilishly catchy mid tempo groover. Graeme Pogsons' synthesizer bass lines are so evocative of that era , they act like a musical time machine! This is perfect summer time soul.

Sensational (which has a sensational video to accompany it) hits a little harder, the beats, bass line and Kylie's vocals will drive you onto the dance-floor and stay there until the very last note and begging for more. Good Time Girl doesn't let the pressure drop for a second and also features a fantastic proto-rap contribution from King Merc - whilst Family Tree (the title track from the forthcoming album) is pure Saturday night, feel good disco aimed at the ears and dancing feet.

The last track Rewards is yet another supremely insistent and catchy song that provides a tantalising hint of the goodies to come when Family Tree finally sees release later this year...can you wait

Has there ever been a band as aptly named as The Funkees Formed after the Biafran War to raise spirits in the east, they quickly conquered the dance floors of Lagos and in 1973 headed to London, playing at Ronnie Scott's and tearing up the local scene. Now I'm A Man captures the band at the height of their London-era pomp. Africans were making soca, West Indians were playing afro-funk and discolypso blasted from boom boxes across West London. The Funkees soaked it all up and delivered back, funkier, tighter and louder. Bookended by two Santana-esque jams, 'I'm A Man' and '303', The Funkees second album delivers slow burning Afrobeat ('Mimbo'), urgent jungle bongo chants ('Salam') and straight-ahead floor-fillers (Dance With Me.) Little wonder that legendary BBC Radio 1 DJ, John Peel, recorded not one, but two sessions with them. A year later, The Funkees were no more. Jake Sollo joined Osibisa. Sonny Akpabio and Harry Mosco pursued successful solo careers. (A PMG reissue of Country Boy is coming soon.) But on Now I'm A Man they burned brightly as Nigeria's most talented, inventive and funky band.