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About The Word Collected Works

The Word is one of the better-kept secrets of 1980s Austrian disco music. Yet once you put the needle on this record, you notice that it sounds oddly familiar. The awe-inspiring signature piece “Lobster” has the same analogue, slow-moving aesthetic as Zenit’s timeless “Waiting” that was featured on Edition Hawara’s first release. The same goes for the three other wonderfully unconventional, proto-electronic songs: “Easy”, “All my life” and the eponymous “the word”. And there are even more commonalities with Zenit’s LP: The vocals are Linda Sharrock’s, who here teamed up with Karl “Charly” Ratzer and Peter Ponger, the twin brother of legendary Falco producer Robert Ponger. The result of this collaboration is, well, also quite legendary. How this kind of sound emerged in Vienna in 1984 is still a bit of a mystery, but clearly all the stars were aligned when Sharrock, Ratzer and Ponger were jamming in the studio. We at Edition Hawara are very proud to share this secret with you. Just as there are very few lobsters in landlocked Vienna, there are very few records like this

out there.

Body Beat: Soca-Dub and Electronic Calypso (1979-98) comprises 17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. This compilation traces the soca genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s. TIP!!

Compiled by Soundway Records label founder Miles Cleret and DJ/collector Jeremy Spellacey, Body Beat, as with many compilations on the label, explores the fringes of this often maligned (by outsiders) genre. Boiled down to the bare bones of the matter though: soca is party music.

Soca was originally a re-invention of Calypso music; a genre that in the 1970s was fast becoming usurped around the Caribbean by Jamaican reggae and American soul, funk and later disco. The originator of soca (or sokah as he called it), the calypsonian Lord Shorty, began experimenting and modernising on the formulation of calypso in the early 1970s. His first album featured a strong emphasis on East African rhythms and a punchier recording style that emphasised the beat, and introduced arrangements that often owed as much to American funk and soul as to calypso.

So here you go - seventeen slabs of soca crossover, rapso, electronic calypso, and Caribbean ‘soca-soul’ for your enjoyment - and bound to fit well into modern, open-minded DJ sets alongside the resurgence of burger-highlife, digi-reggae, soukous and zouk.

From Far Out Recordings’ in-house producer, Daniel Maunick’s debut solo album Macumba Quebrada conjures scenes of collective hedonism from start to finish. Spanning Afro-Brazilian spiritual dance ceremonies, late-eighties Detroit techno parties and jungle and broken beat raves in nineties London, Maunick celebrates our instinctive, age-old desire to come together and lose our sense of self.

Daniel Maunick practically grew up behind the mixing desk. As the son of Brit-funk legend Jean-Paul ‘Bluey’ Maunick (of Incognito fame), he found himself immersed in music from an early age, and quickly became involved in London’s drum n’ bass, acid-jazz, house, broken beat and soul scenes, releasing his first production at the age of sixteen on Gilles Peterson and Norman Jay’s Talkin’ Loud label. Since then, he has produced albums by the likes of Azymuth, Marcos Valle, Terry Callier, Incognito, Ivan ‘Mamao’ Conti and Sabrina Malheiros.

Reflecting his dual residence between Rio de Janeiro and East London, Macumba Quebrada features deep house stompers and broken bangers littered with Brazilian rhythms - in the form of both dusty percussion and Maunick’s intricate drum programming. But the album sees Daniel draw inspiration from across the black music continuum, and the rich histories of communal celebration in Detroit techno, Chicago house, London D’n’B and New York disco. Bringing all this together in explosive peak-time club tracks, moments of eerie ambience, South American swing and tribal earthiness, Macumba Quebrada expands on Maunick’s recent vinyl-only EPs ‘A Vicious Circle’ and ‘Sombra Do Dragao’, with a 13-track double LP and 14-track CD and digital release.

Taking its title from a syncretism of South American spiritual practices, the cover art is photograph taken by acclaimed French photographer and self-taught ethnographer Pierre Verger, who travelled the world documenting civilizations that would soon be effaced by progress. Settling for good in Salvador, Brazil, Verger became initiated into the Candomblé religion, eventually officiating rituals and ceremonies within the community. Without having become an ordained priest, Daniel Maunick shares both Verger and Far Out Recordings’ love for Brazil: its people, its culture and its music.


"He's been producing Azymuth and all kinds of great musicians in Brazil, and finally his debut album is about to be released." Gilles Peterson (BBC 6 Music)
"This one is a good one. Thanks!" Derrick Carter
"Wow couple of killers on there so it sounds!! Thanks a lot" ?? San Soda
"He is always brilliant!" Voclov (Neroli)
"Energetic, summery and full of groove. "It's like Theo Parrish went to Brazil and never decided to come back." Errol (Touching Bass)
"Super dope release from Daniel! proper Venom / Viper Squad vibes!!" Pablo Valentino (MCDE/Faces Records)
"Organic and bumpy...healthy dance music!" Mad Mats (Local Talk)
"really diverse, great sound" Chris Todd (Crazy P)
"super dope" Nick Tyson (XOA)
"Keep em coming man! ... Nice one" Earl Jeffers
"Feeling this! As always with Mr Maunick." Opolopo
"Dirty Trix is real nice!" Jkriv (Razor N' Tape)
"This is great!" Danny MoodyManc
"He's right on the money with this one, isn't he? Deep, profoundly funky stuff that Larry Heard would be proud of. You can feel it!!!!" Mark Webster (BBC 5 LIVE)
"this is so dope" Alex Attias (Visions Recordings)
"Love these tracks" Serkan Cetin (SunSplash)
"Great release, I love It! I-Robots approved!" I-Robots
"This is excellent. Dirty Trix and Somra Do Dragao are the ones!" Dane (The Love Below)

2023 Backstock

MW present a repress of their thirteenth release, Linear Movement's ‘On The Screen’ LP (2008), a collection of songs originally slated for release in 1983. Linear Movement is Belgian mastermind Peter Bonne (A Split-Second, Twilight Ritual, Autumn) joined by Peter Koutstaal, and Lieve Van Steerteghem on vocals. Some tracks appear on the exquisite Pulse Music cassette (released by the Micrart Group) while the rest are previously unreleased.

Linear Movement was featured on The Lost Tapes LP compilation in 2006 with their highly acclaimed “The Game,” described as an “unstoppable pop song”. Due to so much interest in this song and this record as a whole, we decided a full LP needed to be released and so we present it to you: a hand-numbered, limited re-press on 180 gram vinyl, accompanied by a large glossy postcard collage of the band playing live.

In a world awash with negativity and fear, you are invited to climb aboard the Mocambo mothership where all colours and creeds are celebrated. The Mighty Mocambos have returned - stronger, tighter and hungrier than ever.
Carrying blistering funk lines in their fingers and worldly influences in their hearts, the unique and distinctive Mocambo sound is not one to be confused with retro bands trying to recapture an era. Eschewing traditional recording methods, this DIY crew are
committed to driving forwards, and 2066 sees them at the height of their powers, broadcasting a call for unity.
After reaching new audiences worldwide and earning critical praise for their two long players on Brooklyn's Big Crown Records in their tropical guise as Bacao Rhythm & Steel Band, the band have reassembled and refocused in their original form, the workhorses behind dozens of 45s on the Mocambo label and beyond. Crossing generations, this album introduces some of the world's youngest funk talent to step up and rub shoulders with soul and rap legends, soul sisters, an elder statesman composer/arranger and a brand new emerging artist out of New York.
___ As with all Mocambo releases, the two sides of the record have been meticulously sequenced by the
band. Side A welcomes us aboard with joyous instrumental stomper Preaching To The Choir, and a call to build bridges from Mocambo chanteuse and percussionist Nichola Richards, duetting with emerging raptalent,NewYorkMCJSwiss.B-girlsandb-boysarecalledtothedancefloorasS uperstradaand Concrete Stardust commence, all buzzing synth lines and relentless drums. New Jersey legend and Big Crown associate Mr Lee Fields is guest of honour for Where Do We Go From Here before a horn workout brings us to a close with Macumba. It's time for a breather.
The B side kicks off with the grand return of the Golden Girl of Funk, Gizelle Smith, a sister who's been busy taking on the world. Composer and presenter Peter Thomas narrates a Return To Space to mark the centenary of the debut of his score to sci-fi show Space Patrol, which first broadcast in 1966. We're back down to Earth and the mean streets for the furious drums and car chase workout of Golden Shadow. Today slows down the pace for a reflective ballad with Nichola front and centre - and here's the next generation: the Mocambo Kidz sing along to their parents' instrumentation for Here We Go, a new kids' block party anthem... with no sleep 'til bedtime. The album closer makes it clear that the Mocambos are nowhere near powering down as Ice T and Charlie F unk bring their A-game for an old school attack which, since you're up bouncing anyway, gives you no excuse not to flip the LP and drop the needle right back on to Side A. Onwards!
___ A summation of their journey so far and a celebration in anticipation of what's to come, the album is set
to take its place in a legacy of open minded, organically recorded music, showering listeners with the crew's maze of tantalising sounds pulled from funk, Afro, hip hop with cinematic composition and storytelling.
Agent J












l 12 Bounce That Ass (RMX) feat. Ice-T & Charlie Funk

The Pendletons take a bold step with their first full length album, 2 Steps Away, releasing this spring on the Bastard Jazz imprint.

Recorded in San Francisco with a rock-solid band consisting of some of the best musicians in the Bay Area, including guitarist Carl Locket (Shalamar, Rick James) and Star Creature recording artist Elive, the duo taps into a classic soul/boogie sound that rides a wave of '70s and early '80s funk with ease but somehow remains true to the excitement of those classic recordings without being overly nostalgic. The music shines, as does the songwriting, which is honest, undiluted and spiritually inspired. Disco horns, heavy percussion and slap bass punctuate dance floor burners, which give way to sweet soul steppers, making for a blissful balance on the 9 song album.

The Pendletons is a long-standing boogie-funk and modern soul project of E da Boss (one half of Myron & E) and Trailer Limon. The group emerged with their very first release in 2010, a 7" inch of "Coming Down/Waiting On You" on the Slept On record label, which set the tone for the group to emerge... It instantly became a cult classic receiving constant play at nights like Sweater Funk and Funkmosphere, and fetching for serious sums among collectors.

In 2013, they followed up with another 7" featuring K-Maxx, Jacqueline Mari and Songbird Remos and later a very limited flexi-disc release title "Winning Ova You". In 2016, they released the EP "Gotta Get Out". The title track caught the ear of renowned global tastemaker Gilles Peterson, who liked it enough to release it on his Brownswood Bubblers' compilation. In 2018 the group released the Funk Forever EP on the Bastard Jazz label to critical acclaim.

Now armed with a live band with a full horn section, a vast array of accomplished jazz and funk contributors, and a knack for quality song-writing, the Pendletons' sound has shaped into something fresh and unique. The duo release their debut full length album, 2 Steps Away, on Bastard Jazz this spring.

Two dope Island Boogie tracks by Experience, an Afro Reggae group hailing from Germany. - Very nice steeldrumming in these tunes..

Experience’s “Share It With You” and “Happiness” can both be found on the private LP release “Oh! What A Feeling” from 1982. The group consisted of Anthony Flaverney from Trinidad, Curvin Murchant from Jamaica, Daniel Kofi Jefferson from Ghana and John Innies from Trinidad and was founded in Hamburg.

Anythony Flaverney, the lead singer on both songs, was active as songwriter and musician in Germany since the mid-1970s, most notably appearing on the Peter Herbolzheimer arranged “Caribbean Rock“ album by Malcolm's Locks (be sure to check their funk version of Bob Marley’s “Get Up Stand Up”!). Curvin Merchant, a highly respected drummer from Jamaica, settled in Germany around the same time. Before forming Experience, he was a member in several groups, including highly successful pop acts like Boney M. Later he became known as "Germany’s Grandfather of Roots Rock Reggae", among other things buildung up the "Reggae Center" in Hamburg. Flaverney and Merchant are joined by Daniel Jefferson on bass and John Innies on steel pan. The band existed for about 2 years, touring in Germany and Europe, unfortunately recording only one album which features a unique mix of Reggae and Funk.

The first track “Share It With You”, should give any serious music lover goose bumps. It was written by Flaverney and features a deep groove, steel drum solos and fantastic soulful vocals. It’s that type of tune you will play in a DJ set and people will come up to you and ask what it is. The single version is slightly edited.
Side B continues with Happiness, an equally great track with positive vibe and attitude, written by Flaverney and Jefferson. Again, the steel pan sounds give it that special compelling “Island” vibe from Trinidad.

The single is limited to 300 copies and comes in a beautiful picture sleeve showing part of the original artwork from the “Oh! What A Feeling” album.

After a string of succesful singles, “Deixa Musica A Tocar”, “So Vejo Voce”, “E A Felicidade” and the Dj Harvey supported “ Te Faz Bem” and “Serei Seu”, The Danish / Brazilian quartet constellation Copenema (Copenhagen / Ipanema = Copenema) are ready to release their debut album “Deixa Musica a Tocar”.
The album mixes European electronica influences with Brazilian songwriting style. The sound becomes unique and some would say Balearic.The albums leading single “Te Faz Bem” a funky downtempo track with live saxophone, flute and rhythm guitars and a baseline to die for has become somewhat a national Ibiza balearic anthem over the past years and spread worldwide especially due to the massive support from Djs incl from Harvey to Dj Pippi to Pete Tong. “Serei Seu” the second single another Ibiza fave is a funky party track that sounds like a modern Jorge Ben. The single “So Vejo Voce” is Stan Getz meets the beach vibes, “Festa De Relaxamento” an Alfredo fave is jazzy Brazilian funk vibes with heavy live drums and a bass line that wants you to move.
“Lullaby For Impanema” is sunset material. The bands first recording the 12 min beautiful jazzy cosmic downtempo Pat Metheny influenced and Leo Mas supported “Some Di Some Day” is pure bliss and a sunset fave amongst the Balearic community.
The album has three added bonus tracks (Vinyl Only) - Can’t Sleep and Nada Mais both recorded in a Music For Dreams writers camp recently and the 12 minute journey of Serei Seu by Danilo Braca

It seems KPM have long been fans of Smith and Mudd and, after being introduced to each other by mutual friend Andy Allday, the peerless Balearic maestros were invited to contribute to the library label’s digital-only “Album Shorts” project. The results are predictably wonderful.

With past projects under our belt working with everyone involved so far it made perfect sense for Be With to take on the vinyl release of this instant library classic. But why is it called “Tea With Holger”?

“Holger” is of course Holger Czukay and the whole LP is dedicated to Smith and Mudd’s time spent with him and Ursa Major at Can’s famous Inner Space Studio in Weilerswist, near Cologne.

When not recording it seems they spent a great deal of time sat around being entertained by Holger’s stories and drinking many cups of different sorts of tea from all over the world. These moments provide some their fondest memories of their visits:

“Looking back, it was pretty incredible that we spent part of our lives with Holger in one of the most magical places we’ve ever known, Inner Space Studio. We have our memories and, of course, the Bison album we made with him. But to honour the time we spent with him, we wanted to dedicate an album to him called ‘Tea With Holger’. The names of the tracks are about that time.”

The album was recorded over several years in London, Margate and Gorthleck, a small hamlet in the Scottish Highlands. Mike Piggott, who played with Bert Jansch, handled the strings and played violin whilst Sam Creer lent his virtuoso cello work to the proceedings. The sessions employed a key recording technique from their time with Holger: hit record and play. They wanted to capture magical improvisational moments live and not do the work later on in editing.

In their own words (and in classic library record sleeve style) these tracks are collectively described as “Balearic themes including breezy soul, sun-dappled melodies, warm pianos and sweeping strings”. You want to hear this, right?

The album is vintage Smith and Mudd. The gentle piano ushering in opening track “The Gardener” is soon joined by low, bubbling drums. When the time is just right, lush guitars glisten above a Welsh language vocal that floats like silk. Easy as a sea breeze. “Innerspace” is of course a nod to Can’s aforementioned studio. Dark, heavy piano meets rolling drums before warm chords and luscious strings take over, gliding over moody grooves to drive you home. Closing out side A, “Weilerswist” delivers more beautifully rolling piano and guitars over thumping cellos and building drums.

Side B opens with the full, string-enhanced version of “Away From Me”. This is Smith and Mudd’s prefered version and it’s only available here on this vinyl issue. For us it’s the standout on this all-highlight album. Tribal tones, piano and cello set a melodic staccato for violin to soar over while rolling piano lines and gospel organ chords descend into a drum drop that leads to a glorious vocal lead finale.

Distant synths introduce sun-drenched guitars and uplifting strings in “Kölner Street”, before a spacey Moog solo leads to a spellbinding, sci-fi drop. The sunshine returns before the track ends. The album closes with “Tea With Holger”. Airy vocal swells are punctuated by plucked cellos and picked guitars, all wonderfully warmed by a soulful piano.

Cut by Pete Norman and pressed in the Netherlands by Record Industry, “Tea With Holger” comes in a classic KPM green sleeve complete with track descriptions from Smith and Mudd themselves. The finishing visual touches come courtesy of Richard Robinson. We’ve given this record the same care and attention as we give to each our KPM re-issues, and it’s just as essential.

‘Flight Of The Eisenberg’ is a soaring horn-led rework of a treasured cut laced with sparse yet dynamic synthwork. ‘Heads’ and the ‘Jubes’ back it up with some sultry laidback disco grooves.
DJ Support:
Gilles Peterson played ‘Flight Of The Eisenberg’ on his 6 Music show

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

Factory Benelux presents a limited edition vinyl album by Tunnelvision, the youthful Blackpool band who released cult single Watching the Hydroplanes on Factory Records in 1981. Just 500 copies of have been pressed on clear vinyl, matching the original Factory release.
Formed in 1980, the sombre post-punk quartet were mentored by Section 25 before impressing Rob Gretton and Tony Wilson at an early New Order gig in Blackpool in September 1980. Two songs from their first demo were mixed by Martin Hannett at Britannia Row and released as a 7-inch single (Fac 39) in June 1981, sleeved by Martyn Atkins in an opulent sleeve referencing dictionaries and leather-bound books. After several more gigs with New Order and other Factory artists Tunnelvision taped a second strong demo, mixed for release by Peter Hook. However the turbulent teenage band disintegrated before a second single emerged. 
Newly remastered from the original analogue reels, Watching the Hydroplanes features includes all 8 tracks from their two Cargo demos, including the Hannett mixes of the title track and Morbid Fear. The set also features Emotionless, recorded live at Bristol Trinity Hall in March 1981.
The outer sleeve is printed using silver PMS with a matt varnish. The printed inner bag features new liner notes and an attractive facsimile flyer for a gig with New Order at the Forum, London, in May 1981.

Secretsundaze welcomes Eliphino to the gala relaunch of their imprint for a thoroughly satisfying mini album of contemplative jacking and dulcet breakbeats.

Eliphino's most recent 'Realistic Sex EP' on the hotly tipped Meda Fury label boasts thunderous breaks, 303s and serious sub-bass pressure which has gained praise from tastemakers such as Jon K, Carista, Josey Rebelle, Moxie and Gilles Peterson.Having flexed with this darker edged EP after a long lay-off from releasing, while sharpening his skills and reconnecting with his musical inspiration, Eliphino is now ready to really cut loose with 'Breaking Up Is Hard' - a statement longplayer that dreamily investigates the dusty spaces between house, breakbeat, ambient, hardcore and acid. Tom This album came about as way of focussing my energy in the wake of a significant break up. I tried to experiment with melody and texture to convey some of the range of emotions that come with such a testing time. That being said, the B-side bangers are more dedicated to abandon and forgetting your worries.

Hailing originally from the Leeds, but with time spent in both London and Berlin, 'Breaking Up Is Hard' lands somewhere between the Hessle Audio crew, Joy O and Selected Ambient Works era Aphex.

Having previously released heaters for Brownswood and Hoya Hoya over the years, Eliphino stepping up for the debut artist LP on the reactivated Secretsundaze label feels like a natural fit as James Priestley explains:

""We've collectively had a connection and friendship with Tom that goes back several years and in fact it was receiving this work as demos that really spurred and inspired us into getting the label rolling again. It feels totally right to be working with him on this and for this mini-LP to herald the relaunch of the label as it moves towards a more artist led as opposed to EP driven approach.

Hold Up ft Kendra Foster is the breakout first single on Lonely C’s (aka Charles Levine of Soul Clap) debut album, Charles & Tribulations. Foster, known as a multitalented force of singer/songwriter who's toured the world for over a decade with Parliament-Funkadelic, won a Grammy for her co-writing on D’Angelo & The Vanguard’s Black Messiah, most recently set forth as a solo act with her 2016 eponymous sophomore album.

This may be Kendra’s first foray into house music, but she’s no stranger to the groove. This is a dance-floor classic in the making, already receiving powerful response from crowds at Soul Clap’s DJ sets.

Lonely C’s original mix features vocal/songwriting super talent Kendra Foster’s cathartic tale of a love gone away. Mike Dunn’s remix is a guaranteed dance floor activity, Javonntte dub for the dancers.

Then last but no means least FSQ’s Funkadelic Touch mix of “True” featuring Billy Bass Nelson, GKoop, O-Man, & Kim Manning”

Upfront DJ Support:

Dixon, Seth Troxler, Gilles Peterson, Moxie, Francois K, Osunlade, Josh Wink, Jovonn, Kraak & Smaak, Tensnake, Horse Meat Disco, Crazy P, Leo Mas, Luke Solomun, Hot Chip, Nightmares on Wax, Honey Soundsystem, Danny Tenaglia, Red Rack’em, Soul Clap.

Chillum Trio started out as a collective of like-minded musicians in 2002, however, after releasing an album together (which was supported by the likes of Laurent Garnier) the project slowly become the solo act of founding recording producer, Geza Szekeres.
At that time he discovered West-African music, latin jazz and the universe of soul and funk, these new directions have been shaping his musical evolution ever since.

In 2014 he turned out as one of the winners of Gilles Peterson's Havana Cultura remix contest that gave him the opportunity to travel to Havana and record music with the creme of the Cuban jazz scene.
One of his songs recorded in this session got released on Brownswood Recordings compilations Havana Cultura Mix and Havana Cultura Anthology.

Budabeats Records is more than proud to release Chillum Trio's first ever 12" single called Cosmotropica with two dancefloor friendly tracks mixing broken afro-house with tropical and cosmic influences.



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Double vinyl LP pressing housed in gatefold sleeve. Includes digital download. Supernatural is the eighteenth studio album by Latin rock band Santana, released on June 15, 1999 on Arista Records. After the group found themselves without a label in the mid-1990s, founding member and guitarist Carlos Santana began talks with Arista president Clive Davis, who first signed the group in 1969, which led to a new record deal. The pair collaborated with A&R man Pete Ganbarg on the production of Supernatural as Santana wanted to focus his musical direction towards pop and radio friendly material and proceeded to do so by collaborating with various contemporary guest artists, including Eric Clapton, Rob Thomas, Eagle-Eye Cherry, Lauryn Hill, Dave Matthews, Maná, KC Porter and Cee-Lo Green. Supernatural became a significant commercial success worldwide. It reached # 1 in eleven countries, including the US for 12 non-consecutive weeks where it is certified 15× Platinum. The first of six singles from the album, "Smooth" featuring Matchbox Twenty singer Rob Thomas, was a number one success worldwide and topped the Billboard Hot 100 chart for 12 weeks.

2019 marks the 20th anniversary of ‘Low Birth Weight,’ the second album by Piano Magic, then a loose collective of musicians centred around founder songwriter, Glen Johnson. Though a year later, the collective would take shape as a bona fide internationally touring group, in 1999, Johnson had one foot in his native Nottingham and the other in his new home of London where, finding himself label manager at Rough Trade Records, also became highly prolific, releasing his own records across a myriad of micro-labels (Che, Wurtlitzer Jukebox, Darla, Rocket Girl, etc).

By his own admission, ‘Low Birth Weight,’ owes much to the East London experimental group, Disco Inferno who, embracing sampling technology, attempted to turn pop music inside out. By 1995, the Inferno had burnt out but Johnson remained inspired by their playful, subversive manifesto and thus, the album here, partly produced by “Nottingham’s own Martin Hannett,” Martin Cooper, is difficult to pigeonhole either at the end of the millennium or even now. Drum kit signals are fed through a tiny amp literally inside a cardboard box; breathing is employed for rhythms; kick drums are replaced with broken glass; there’s a ragbag of tablas, huge slap back delay and phase, theremin, shortwave radio, and more.

Aside from the DI benchmarks, ‘Low Birth Weight’ bears the marks of an infatuation with the dreampop of the time – the guitar saturated in delay and overdrive – inspired by the likes of AR Kane and Kitchens Of Distinction and not the more languid “shoegaze,” which has oft been levelled at LBW.
There’s a revolving door of guests on the album, including Pete Astor (The Loft/The Weather Prophets) on a cover of Disco Inferno’s ‘Waking Up’; Simon Rivers of The Bitter Springs supplies lyrics and voice to ‘Crown Estate’ and ‘Dark Secrets Look For Light’; Jen Adam, then an American art student on a year’s placement in London, writes and sings ‘The Fun Of The Century,’ a personal account of being pushed off a roof at a party by someone she thought a close friend.

‘Low Birth Weight’ is undoubtedly of its time, though undoubtedly more playful and literary than much of the music made during the late 90’s and a fascinating bridge between dream pop and experimental electronic music.

TThe melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl on September 13th. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017. Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey.

Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

“Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.

Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

“Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

“Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

“Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.

Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.

Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

Leon always said “they will get it when I'm gone.”

He also said that “the spirit never dies”…

LIMITED GREEN AND RED VINYL WITH DIGITAL DOWNLOAD INCLUDED.

All-conquering Dutch heroes Kraak & Smaak have taken the electronic music scene by storm in recent years with a slew of killer collaborations with the like of Mayer Hawthorne, Romanthony (RIP), Eric Biddines (Golden Rules), Parcels, and many more. Their live show has seen them play every festival and club worth the mention from Glastonbury to Detroit Movement, Coachella to Space Ibiza.

After their debut album 'Boogie Angst' established them in the spotlight with heavy Radio 1 support from Pete Tong and Annie Nightingale, the band followed up with breakthrough albums – 'Plastic People' and 'Electric Hustle'. Launching them to another level, these albums featured the standout singles - 'Squeeze Me (feat. Ben Westbeech)', and 'Let's Go Back (feat. Romanthony)' which have both become ubiquitous through TV ads, funky dancefloors and tens of millions of streams.

Riding high they then released a seminal piece of work in the shape of their fourth studio album - 'Chrome Waves'. An album that is a joyous fusion of disco, funk, indie, electronica and pop all smooshed together with Kraaak & Smaak's unique sonic signature throughout. Teaming up with a crew of ultra-talented vocalists: Sam Duckworth (Get Cape. Wear Cape. Fly), John Turrell (Smoove & Turrell), Stee Downes, Capitol A, Joi Cardwell, Janne Schra and their very own live band singer - Berenice Van Leer , they created an album packed full of dancefloor-ready jams for all occasions…

It was received well by both fans and critics alike, picking up a coveted Mixmag tune of the month award, topping European club charts, becoming a staple on radio playlists everywhere, and of course selling out on the original vinyl pressing runs.

Well after much demand we are now reissuing this masterpiece on a 2xLP limited edition green and red vinyl and once again you can own it on wax. A present for both the fans of old who missed it the first time around, and those who have discovered Kraak & Smaak in more recent times.

Welcome to our 2nd EP of Original tracks from 12tree's new label, Hot Piroski. The label is a boisterous mix of Space Disco, Deep Funk edits and Balearic Beats. The Previous EPs saw support from Radio 1 Essential Mix, Pete Herbert, Ursula 1000, Phil Mison, Justin Rushmore, Dan McKie, DNS beats, Primavera sound and more ...

A side: 'In the Sun' - featuring soulful vocals from Katty Heath over a Deep disco re-edit that morphs into a deep house-tinged groover.
On the flip: 'Magic Dust' - poolside blissed out beats on a vapour wave tip. 'Guitar Solaar' - soul-tinged groover with a wiff of Marvin Gaye.
All tracks Produced and recorded by 12Tree at his studio in Barcelona.