Pop & Rock Vinyl New Releases - News

The electrifying final album from Cameroon's legendary Los Camaroes, available on LP for the first

time since 1979.

"Meet Tino Baroza" is an Album in which the virtuose guitar Style of the Cameroun Guitar Player Tino Baroza is mixed with other musical influences. It's a Journey between Traditional African Music, like Soukouss, Coupé Décalé, or Ndombolo with more european and electronic Elements. The Singer Kongo K is from Kinshasa and sings in Lingala and French. The Track A3 Grande Sage is a very special "Bush Techno" Track played on the Thumb - Piano called Kalimba.

Kicking off the post-Summer release flurry on Polytechnic Youth is the magnificent second full length from Brooklyn-based FATEN KANAAN Pleiade Hex 6'.
Since releasing her debut last year, (the fabulously received and super quick-selling The Botanist & The Archaeologist'), Faten's star has shone brightly and earlier this year she collaborated on the killer The Darkest Wave' 45 w/ Pye Corner Audio (which sold through three pressings and is mooted as one of 2017's best singles).
The new album builds on this momentum, and comprises, in Faten's own words: Several -mostly instrumental- 'suites' that are narrative in nature. Cyclical patterns are central to the compositions: exploring harmony and counterpoint as they ebb & are reincarnated, and the perpetual return to the heart/core.
Through the circling patterns, the album honours the return to the youthful spirit: of embracing naive romanticism, gut feelings, and strength of vision. Loosely inspired by medieval canons/rounds and Baroque structures, the album hovers between ambient electronic experimentations and semi-classical traditions.

Relying mostly on a single analogue synthesizer, each section either sets a scene or plays a character - whether it's dancing across a stage, running through a forest, emerging from underwater, or languidly drifting through portals'.

A wonderful record, sure to sell out real quick. It is released this September on vinyl only by Polytechnic Youth.

Composed, produced, and mixed by Faten Kanaan.

Mastered by Heba Kadry

the third and final part of the jacob f. desvarieux anthology on endless flight brings two more hot productions of the fabled french zouk veteran with roots in guadeloupe.
the tune 'rifyx' is taken from desvarieux's 1985 album 'oh madiana' and delivers arresting jazz-funk and zouk-suspense enlarged with touching horns, synth-enthusiasm and longing female vocals.
the second song comes from the paris based, west cameroon born singer tala, produced by desvarieux for tala's album 'mother africa' in 1982. also here desvarieux tuned the synthesizers odd and edgy to let them dance with an afro styled rhythm.
above all tala sings sexy with a chorus of girls while percussions go crazy and the sounds of horns are longing for the sky.
on top of everything endless flight asked again the japanese producer kuniyuik to edit a desvarieux track. he chose 'rifyx' and tuned it into an epic soulful eight minutes long dream house
anthem that funks all dancers crazy. hotter than hot stuff here!

One of the last Bob Marley live performances committed to film before his untimely death in May 1981, 'The Legend Live' features the Tuff Gong in his full pomp, performing 21 of his most popular works at the Santa Barbara County Bowl on the 25th of November 1979.

Now widely considered an equal of the now legendary 'Live at the Rainbow' show from 1977, the concert includes superb versions of such major hits as 'I Shot The Sheriff', 'One Drop', 'Exodus', 'Jamming', 'Is This Love', 'Stir It Up' and the anthemic 'Get Up Stand Up'.

Previously released in 2016 on CD+DVD, this 3LP set comprises the very best of the band's performances from the night, which have never previously been released on vinyl.

Presented in a handsomely designed triple-gatefold, the release is to be exhaustively promoted via Trojan's website, facebook page, twitter, YouTube channel and mailing list, with reviews actively solicited from all the significant periodicals and sites.

Los Propios Bateros began as a quest to discover a common Colombian rhythm pattern that could connect music from all over the Americas. Spearheading this experiment is prolific drummer and percussionist Pedro Ojeda (Romperayo, Los Pirañas, Ondatropica), who has spent years researching popular rhythmic styles preserved on the bounty of recorded Colombian treasures dating from the 1950s, '60s and '70s — treasures that have, outside of a burgeoning new generation of collectors, mostly been poorly preserved and ignored by the general public. Ojeda has documented this quest on a feature length film produced in tandem with Estudio Elgozo, shining light on many of the Colombian drum masters (the propios bateros) that are still alive, including Guillermo Navas, Plinio Córdoba, Germán Chavarriaga, Wilson Viveros and Juancho Cuao among many others. The production of the documentary serendipitously led to the most fabulous of recordings, presented on this single by Names You Can Trust, when the great Guillermo Navas and Germán Chavarriaga, as well as Ojeda himself and an all-star cast of younger generation musicians, assembled for a jam session in Bogotá. These two studio recordings are master classes in Colombian descarga and pompo, loose and improvised jams with a seductive, seasoned groove and flavor that is unmistakably Colombian, and inherently timeless.

Optimo Music presents "Miracle Steps (Music from the Fourth World 1983 - 2017)", a 2 x LP compilation of Fourth World music compiled by JD Twitch & Fergus Clark. Also available as a digital release.
This compilation had been on the label's to do list for ages but it was only when Twitch and Glasgow's Fergus Clark started crossing swords over what actually constituted Fourth World music that the project really got going. Twitch decided that co-compiling the release with someone who had a slightly different take on things might make for a more interesting finished product, and so it came to pass that a cohesively thrilling compilation quickly materialised as each of them drew from a wealth of different artists and eras.
For the uninitiated, here's an extract from Fergus Clark's sleeve notes honing in on how the term Fourth World (an idea conjured up by Jon Hassell in the early 80s) might be defined -
'What we have attempted to gather across this compilation is a body of work which we feel directly resonates with both the literal definition of 'Fourth World' music and indeed our own interpretation of this unique sonic vision; from the work of the late Jorge Reyes, a Mexican musician who combined pre-hispanic instruments with synthesisers and digital sampling, through to the work of organic ambient ensemble O Yuki Conjugate. There are tracks which utilise custom, home-made instruments and there are tracks built from scratch using the latest in digital technology, but the undercurrent tying each piece together is this deeply personal feeling of intrigue and mysterious elation. Strange and unparalleled, this feeling manages to eschew geographic borders and rigid genre movements in favour of something which manages to evoke an inner sanctum, a musical private place for both reflection and assessment. This is music grounded in nor the past nor the present, music which manages to sound futuristic yet remarkably nostalgic. '
JD Twitch is one half of Glasgow's Optimo (Espacio) and runs the Optimo Music and Optimo Trax labels.
Fergus Clark is a writer, occasional DJ and avid music fan. He is a founding member of the music and art collective 12th Isle.
The 2 x LP version will be housed in a gatefold sleeve designed by the redoubtable Glasgow based visual artists Al White & Jamie Johnson.

First recording of Yabby You - as Brother Joe - from 1972.
Deep Nyabinghi drum and chant business.

The passionate Cecilia Noël returns with the vinyl edition of her Havana Rocks album, a Latin-infused collection of American classics recorded in Havana Cuba, with special permission from the US Government, with an all Cuban cast of musicians and singers.

Together, Noel and crew combine elements of salsa, soul, jazz, funk, and afro-cuban music to deliver an infectious Latin takes on 80's classic rock 'n roll hits. The album includes covers of Devo's Whip It,' Gary Numan's Cars' and ACDC's You Shook Me,' all propelled by deep percussive grooves and Noël's rich and appealing alto vocals. Says Noël of her style, I call what I do 'hardcore salsa' because nowadays there is a lot of romantic salsa but I'm more of a punk salsa singer.'

Originally from Lima, Perú, Noël was discovered by Stan Getz and moved to New York City, briefly performing as a dancer with Jo Jo's Dance Factory and Menudo. In 1989, she relocated to Los Angeles and became involved in the local music scene. She formed Cecilia Noël and The Wild Clams, a James Brown meets Pérez Prado type band, which received instant acclaim for their explosive live shows and frequent bookings at the House of Blues and the Playboy Jazz Festival. In 2009 Noël released A Gozár! (Compass Records), an infectious set of playful 'salsoul' grooves for which Noël is known and which earned Noël a spot on Putumayo's critically-acclaimed Latin Party release in 2010. In addition to her band, Noël also performs and records with husband and former Men At Work front man Colin Hay.

A new leading lady of salsa.' —Hispanic Magazine

Noël is a storyteller and an actress, and her powerful combination of lyrics and vocals will send you into spasms of pleasure.' —Latin Beat

Noel combines the joy and rich sound of Celia Cruz with the sass of La Lupe, the glamour of La India, the independence of Albita, and the soul of Aretha...' —Descarga

Tough obscure Freedom Sounds production by Bertram Brown.

A re-lick of Words, from the Black Ark, with extra horns.

Ever topical, from Rasheda.

Following last years acclaimed Curse of Soft Rocks album, we're invited to revisit said masterpiece from an alternative entry — a robust compilation of remixes. Every track is re-contextualized so wildly that we're left with a beautifully oblique yet complimentary rendering. The personnel employed vary in style and technique drastically, but such is the ethos of Soft Rocks, and furthermore the ESP Institute. At the end of the day, we implore you to shut up and listen.

On this 12" (the first of 4 surrounding The Revenge of Soft Rocks remix album) we're treated with a serious disco belted version of Talking Jungle as reworked by JUSTIN VANDERVOLGEN (TBD, Gold Channel, DFA, etc, etc) and an insanely serene take on Obo by ESP favorite TIAGO (Sea Power & Change, Gala Drop, DFA, etc, etc)... good lord this is quite a piece of wax!

Peckings do over of Carol Kalphat's Africa.

First time reissue, recorded in 1979, top UK steppers.

Kat Records reach the ripe ol' age of 30 with the 3rd instalment of reworks by all round super ace guy Jonny Miller.

Those of you out there of a certain vintage will not need any intro to Half A Minute - A guilty pleasure to some, with nowt to be feeling guilty about. If it's good then it's good is the KAT ethos and Mr Miller fully embraces this and takes this UK Latin stormer up a notch and then some. Matt Bianco, yes you know...

Get out of your lazy bed et all were a house hold name in 80's UK (a Saturday superstore appearance also, well worth a mention we think!) - but we're getting away from the point here...

The point is that Half A Minute is a tune, always has been and always will be with the JM edit bringing out the very best from the original with much added shine and aplomb !
On the flip we have 2 African tinged mid-tempo chuggers that tick the boxes of house, Balearic, soul, disco...well sort of !

Kalimba Tree is a track that sits perfectly between the aforementioned genres and Jonny Miller delivers a rework rather than straight up edit - The beats are incredible, very funky and infectious but laid back at the same time...Tabled with the beautiful fender rhodes and that vocal hook, it's time to head direct to your fave Adriatic festival and order a large one and pop a toast to the genius of Maurice White.

Last up we have Orere-Elejigbo which is mid-tempo afro-Balearic gem and again, a rework rather than your bog standard edit.

4/4 beats, afro vocal hooks, low slung bass line and a mighty arrangement top things off very nicely on this rather fine 3 track-er.

Here's to another 30 releases folks !

ALEM (worldin Amharic) is the 2nd release in a series of collaborations between The Hoodna Orchestra and artist and performers from Ethiopia. The song was written and sung by the singer and poet Demisu Belete, to a tune by Ilan Smilan. It is an intense love song describing one's love as a cure to all pains and woes.

Belete's singing style is heavily influenced by the great singers from the golden age of Ethiopian music, especially Mahmoud Ahmed and Tilahun Gesesse. Belete's deep voice, alongside the dynamic and groovy performance by the Hoodna orchestra, creates a powerful composition that sweeps the listeners away to a different time and place.

The B-side is an Ethio-dub version of the song that features members of ADYABO Ensemble, a group that specializes in traditional Ethiopian music and Folklore.

The song titled ALEM-DUB is an attempt at fusing old and new, tradition and Modernity. The result is a hypnotically groovy track, heavily painted in Bright psychedelic colors.

The single will be released in a 7" vinyl format and will be launched at the Red Sea Jazz Festival Aug. 30th 2017 and in a series of special shows featuring DEMISU BELETE which will come to Israel especially for this occasion.

This superbly crafted recording features the versatile Japanese jazz/fusion keyboardist Jun Fukamachi as a veritable one-man band in a lively album that captures the essence of the original Beatles' tunes throughout. The innovative arramngements of the artist, tailored to get the maximum benefit from a surrounding instrument array, produce one of the best technical efforts. Synthesizer effects provide special flavor,' particularly at the close of Lucy In The Sky With Diamonds' on side one, and in the evocative opening of She's Leaving Home' on side two. Fukamachi blends a concert grand electric piano, Arp synthesizer, glockenspiel, bass drum, tambourine and other electronic instruments with results that indicate a group, not a solo, with ample display of each. Recorded ten years after the original, in 1977, this recording still sounds exciting, and an eye-catching cover with a mirror image of the famous photo shoot remains one of the most creative reworks of this 50 years old masterpiece' (Billboard)

Death Is Not The End follow up their recent flamenco focus for NTS with 14 early recordings from Dolores Jiménez Alcántara aka Niña de la Puebla.

In 1973, EMI Records Nigeria released the 45 rpm disc Fuel for Love' b/w Soundway,' credited to a mysterious band called Wrinkar Experience. The record was a finely-crafted gem of pop-rock and funky soul as had never before been heard coming out of the country's nascent rock scene, and it ended up being the biggest selling Nigerian single up until that point. The success of Wrinkar Experience effectively demonstrated that was a market for homegrown pop and rock, and sent record labels scrambling to sign similar bands, kicking off the Nigerian rock revolution that is still being celebrated and discovered by new generations today. But while Wrinkar Experience launched the movement, the group itself would be short-lived: after another hit single in 1973, the band's frontman Danie Ian split for a solo career. The remaining principal players in the group—Cameroonian musicians Ginger Forcha and Edjo'o Jacques Racine—tried to keep the Wrinkar name going before giving it up and rebranding themselves as Rock Town Express. Rock Town Express's debut LP Funky Makossa was recorded in 1974 for ARC Records, the cutting-edge studio and label established in Lagos by English drum legend Ginger Baker. The album showcased in long format the qualities that had only been hinted at on the Wrinkar Experience singles: bright, confident pop melodies, articulate lyrics, and darkly potent funk-rock. Comb & Razor Sound is proud to present a new, fully-authorized reissue of Funky Makossa, featuring the seven tracks from the original release, plus I Am A Natural Man' and I Don't Want To Know,' from Wrinkar Experience's seldom-heard third and final single.

Stefan Schwander aka Harmonious Thelonious is definitely not a newcomer. He has been around for a long time and has already released lots of amazingly varied music on labels such as Emotional Response, Italic, Meakusma and Diskant. He's also an integral part of the infamous Duesseldorf / Salon Des Amateurs axis that is an obvious hotbed of talent. He describes his style as "American minimalism vs. African drumming vs. European sequencing", a heady mixture which is clearly evident on this EP though with a definite Middle Eastern twist. Here at Versatile HQ we were introduced to this clutch of tracks by one of the members of Acid Arab and we were totally blown away. Stefan has a very unique production style, fusing all of the above elements with a hint of Gamelan, a dash of tweaked FM synthesis type sounds with a dose of warm ambience and finally his own singular touch on the mix. We are very happy to present you these 4 tracks to you, an essential EP from one of European music's true originals.

The EP features 7 short tracks that take cues from Akira's own japanese descendance contextualized in an urban Sa o Paulo whilst also making nods to pop culture relevant to Brazil at the time. Tracks jump from genre to genre while leaving a thread that binds them together - the fact that every single one of these tracks sound like the background music to all those TV shows that were birthed around the peak MIDI era.

The reggae rocker, Courtney John unleashes his new album,
Ecosystem, born from a collaboration with the French label Soul
Man Records which also produced the successful album Reggae
Loves Soul!
With this new LP, recorded and mixed between Kingston and Paris, Courtney John has created a lyrical painting of our world, hosted by a classic early reggae sound that will appeal to reggae aficionados and a wider audience of music lovers...

A 12inch single from the incredible French Afro Funk band including remixes by the one and only Osunlade under the collective name of Yoruba Soul!

Since their first acclaimed album Apiafo and its irresistible single Pas contente', these Lyon (France) natives never turned down the heat over 160 stages across Europe, Africa, Canada, Japan... Peter Solo has displayed his amulets, voodoo chants and charisma around the globe. When it came time for them to harness their Afro Soul sound for the second time, they turned their attention once again to their analog strengths. On the road
Peter Solo and Osunlade met and could share their musical visions. It was obvious that this two will share their spiritual music experiences.

Kidayu is the name of the second opus which means sharing': it's exactly what those versions of On se pousse' are about: a true futuristic Hi-life, a great meeting of two ardent defenders of the Afro Soul sounds ! Limited press, mastered by Carvery.

Cross out the all seeing eye and ears will open onto questions tracing the lithic grooves of an anachronic industrial. Why the Eye's paleo-futurism suggests a mode of Rock in Opposition displaced into alternative timelines. It is as if the Leg End of Henry Cow has escaped its retro-avant 'chamber music' fetters, toward the hypnotic patterns of dance floor exuberance. These rituals exhume unidentified audio relics from a future yet to be within a deep past that will have been. Each track on Why the Eye's debut leads into an exploration of an entranced dreamscape that would be mislabeled as an 'interlude'. Instead, Why the Eye weave numerological significance into their myth: the energetic, odd-numbered tracks are counterbalanced by the mesmeric reveries of the even-numbered tracks. Using for their titles, these unpronounceable names express the unconscious catacombs of their invisible sonic worlds. Why the Eye uses an array of handmade instruments, each featured on the album's insert: hurgy, papillon, radiocaphone, castabignettes, drumkit, and the various sizes of lamellos. These hybrid tools give an elemental presence to their lithic grooves and a uniqueness to their spectral techno. The album's opener, 'Dombo', could equally be heard as the audio parallel to the 'pataphysical Museum of Jurassic Technology as much as the reopening of the Bay-area's Sleepytime Gorilla Museum. The heavy hypnosis of 'Plastique' sets the machine churning, with its breakbeat skit closing side A. The nouveau post-rock of 'Free Gluten' continues the meditation to side B, as 'Papillon' Afro-punk invites us back to dance. 'Bragitto' lightens up the energetic weight and its dream closes the album with murmurs suitable for any ambience. If music will have been made to announce the retrieval of lost futures, the initiation of Why the Eye might be said to have incepted some of its timbres. LP + insert + download voucher.

Rough-hewn, tribal sonics from the Rwandan borderlands. One-string violins/ 11-string harps/ haunted solo & duo singing/ battery operated loop machines. The Abatwa ("Pygmy") are one of Africa's most endangered peoples.

Our hero, Jo Tongo (born Joseph Ekambi Tongo Mpondo) was born and raised in Douala Cameroon. In 1964 he headed off to Paris to begin Pharmaceutical studies. Somewhere along the way the music in his soul eventually won out and he embarked on a life of music. In the latest of our series of "Funk Experimentals" LPs we dig for the funk. Not necessarily the artists greatest hits but most definitely the funkiest ear benders. We proudly compile together tracks from 1968 to 3 new brand new exclusive tracks from present day 2017. And yes, they all have the funk. In spades.

The album opens up with stunningly catchy Jangolo. Jo's awesomely funky bass and percussive "jangly" guitar. The track is underpinned by African drums, funky stabs and 70s nascent synthesiser string machines. Next up we take a trip to 1979 and "Funky Feeling" from Jo's "Those Flowers" album. Here the beats are big, the strings are sweet and the clavi is into overdrive. We then jump back to 1976 for the evergreen, horn-puncher, funk stomper "Piani". Before the sweet smooth funk of "Those Flowers".

Next up is "American Lady" with the bright strings, jangly guitars and driving keys. All locked on to maximize the groove. We then take a trip back to 1968 for Jo's second single the ever so funky and ever so ahead of its time, "Dig It Babe". Soul, horns, groove and punch all in two perfect packages. Part 1 and Part 2. Next up it is the funk boogie afro swingers "Ewande".

Bringing things up date we jump forward to 2017, present day. Jo has been making music more or less non-stop and here we are lucky to premier three brand new tracks. The drums are punchy, the guitars ooze the funk and the locked on keys tie the tracks together in one tight-as package. Jo is on the production and at the controls for the mix. "Lion Roar" is first with its driving clavinet and all-out-assault funky drums. The brass is big and this song is Bold with a capital "B". "It's The D Day" is next with swinging soul style groove before "Mystic Power" features a ballsy brass-laden beat and jazz funk overtones.

Many thanks Jo for choosing the music. Nearly 50 years at the top of the game.

Following on from the success of their first EP on Wah Wah 45s, released earlier this year, South London Afro-dub warriors Soothayers return with a myriad of remixes from some of the UK's finest producers, and some of their most talented friends and family.

Lead track from their previous EP, Blinded Souls, gets a foursome of very different re-works. South coast dance floor destroyer Titeknots follows up his energetic remix for Dele Sosimi with more bass worrying tropical house mayhem, hugely influential producer from the Worldwide Family, SMBD AKA Simbad, provides both a classic disco-house mix and a subversive rolling future Warrior Dub interpretation, and very much part of the family, Miles Wu-Lu (son of Soothsayers front man Robin Hopcraft) comes through with a throbbing Afro-electronica gem of a remix.

Elsewhere, magnificent club-jazz workout Eagle Song is transformed into a meditative 115bpm electronic beauty for the more discerning dance floor by Albert's Favourite Deoke, AKA Dave Koor, and the righteous Refugee is served with a suitably sultry dub from Resonators producer Darren Jamtone.

Add to that an instrumental, percapella, radio edit and dub of the Titeknots mix and a bonus dub of Roll River Roll and you've got one rather hefty package!

Previous radio support comes from Gilles Peterson, Jamie Cullum, David Rodigan, Don Letts, Robert Elms and many more worldwide.

Soothsayers will be celebrating this release with a full live show as part of a Wah Wah 45s special at The Bussey Building on September 29thwith guests Dele Sosimi, Hector Plimmer and Wah Wah 45s DJs, as well as a live set from new signings, Honeyfeet.

1500 copy LTD release ! Bro. Valentino, Anthony Emrold Phillip, began his illustrious career in 1961 at The Big Bamboo, a minor calypso tent in Port of Spain, Trinidad, before breaking into the professional scene in 1966 at the Lord Kitchener's Caravan calypso tent. After the Black Power revolution of 1970 he transformed into a calypsonian with a conscience and a consciousness who sang on behalf of the poor and downtrodden and was dubbed "The People's Calypsonian". His commitment to lyrics of education, elevation and African consciousness has been his identifying badge and signature.
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At the end of the heady decade of the tumultuous 1970's, with the echoes of the Black Power revolution of Trinidad still strongly reverberating, Valentino penned his two most commercially successful calypsoes, 1979's "Stay up Zimbabwe" and 1980's "Ah Wo (Brand New Revolution) both reflections of the revolutionary spirit which had engulfed the Caribbean in the 1970's. 1979 marked the historic date of the Maurice Bishop led Grenadian Revolution and as if to herald this auspicious event Valentino would make it all the way to the coveted national calypso monarch finals with this anti-apartheid anthem.

But there was another rhythmic element, the Shango / Orisha blend, which on many an occasion at Valentino's pubic performances, would make audiences, as Trinidadians say locally, "catch the power".

Sadly, thus mega hit, did not translate into financial gains for Valentino. He laments "to know your biggest song internationally you never get the immediate returns. The most I get from 'Zimbabwe' was mileage".

One year later Valentino again stunned the world with a song which revelled in the new-found fame of the Caribbean, no doubt spurned on by the very Grenadian revolution of one year earlier. "Awo" championed the new mood of the Islands.

Both songs, calypsoes flavoured with the newly introduced Soca melody of the mid 1970's, are now given a new lease of life on this record.

Ramrock Records are proud to present the new album from musical visionary, Ghetto Priest.

Already known to many as the frontman of Asian Dub Foundation and vocalist on their globally acclaimed single 'Fortress Europe', Ghetto Priest has been captivating audiences with his powerful vocals and magnetic stage presence over the past three decades.

With a raw energy and spirit un-matched by many artists of his generation, he constantly pushes at the boundaries of roots music, his style strongly maintaining the essence of his Jamaican heritage. Produced by On-U Sound supremo Adrian Sherwood..

His latest sermon is a blend of righteous incitements and damning indictments that reflect the paranoia of daily life. Title track 'Every Man For Every Man' asks us to reach out to our fellow neighbour while he delivers a sobering message towards the environment and defending if from the evils of a money-motivated government on 'Sacred Ground'.

On the mystical 'Good Lord', Ghetto Priest seeks spiritual guidance and his raw primal energies and forces come to light in a passionate re-working of the Robert Burns poem, 'I Murder Hate', before the trials and triumphs of black women are voiced in the Judy Mowatt song, 'Black Woman'. On the little-known Peter Tosh song, 'Babylon Queendom', he passionately announces Babylon's fall, demanding back the riches she's plundered.

A long-time member of the On-U Sound family, Ghetto Priest was a former rudeboy and Arsenal football hooligan who was incarcerated briefly after stepping on to the wrong side of the tracks. Turning to Rastafarianism, he began writing lyrics, and he honed his vocal skills and artistic persona around the sound system culture of the early 80s, before becoming part of Sherwood's African Head Charge collective and started MC-ing on the producer's live/DJ sets.

As one of the more flamboyant and creative performers to emerge from the scene, he was invited by Asian Dub Foundation to take on the vocals for the opening track of their 'Enemy of the Enemy' album released in 2003 along with lead vocals on the follow-up album, 'Tank'. His On-U Sound debut came a year later, the critically acclaimed album 'Vulture Culture', produced by Adrian Sherwood.

He went on to record under his own name for a number of other labels including Reggae On Top and Conscious Sounds. More or lesser known artists to have flavoured his guest vocals include The Underwolves, Sinead O'Connor, Groove Armada, James Hardway (aka David Harrow) and Little Axe.

In 2011, Ghetto Priest joined forces with Lucid Mover in a project called Screaming Soul. This resulted in the album 'Ghost Inna Shell' and in 2012, an Adrian Sherwood and Nick Coplowe (aka Mutant Hi-Fi)-remixed companion, 'Ghost Inna Dub'.

In 2016, he released the single 'Life Ain't Easy' based on Dennis Brown's 'Easy, Take It Easy', via Ramrock Records, and has two more projects in the Ramrock pipeline set for future release.

David Rodigan, Premiered in 'Clash', reviewed in 'Reggae Vibes', Soundsphere Magazine, God is in the TV. To be reviewd in MOJO etc. I'll update as and when I get the reviews

Reissue from this 45, originally out on 71 Records in 1986!

Reissue from this 45, originally out on Ridim Force in 1986!

INKLUSIVE:
180g Vinyl
2 Artwork Poster
Album CD

The Knife, the Swedish electro-pop duo composed of siblings Karin Dreijer Andersson and Olof Dreijer, will release its fourth studio full-length, "Shaking The Habitual," on Apr. 8, "Shaking The Habitual" is the long-awaited follow-up to 2006's "Silent Shout"