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Taken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project. This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars. Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience. musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023. Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.

Sometime in 1984, San Diego native Anthony "Antone" Williams found himself sitting alone at Pure Sound Studios, tinkering around with a drum machine. Eventually he landed on a "sinister groove" which would lay the propulsive foundation for his hauntingly melodic tour de force, "Windows of My Mind." Released the following year as a seven-inch single on his own Unity Records label, the song features Antone's otherworldly production. Some have referred to the result as "post punk soul," but we'll let you be the judge.

Coming up in San Diego in the Seventies, part of an extensive musical family, Antone's creative fuse was lit by the sounds of Stevie Wonder, Earth Wind & Fire, and the Jackson 5.. At the age of 13, he was performing in area clubs, making a name for himself. By age 22, he had opened his own recording studio, Pure Sound. The influence of Sly and the Family Stone was decisive for Antone, who took to wearing a star-shaped gold necklace, not unlike the one famously worn by Stone on his epochal 1975 LP High on You.

"Windows of My Mind" was Antone & The Underworld's sole release. Limited to 500 copies and handed out as a promotional tool for a purported album of the same name, the single didn't get much traction. (A story as old as time.) Perhaps the music was ahead of its time and Antone's visionary message will finally sink in 2023. "I didn't want to make a song like Shake Your Booty", he says now. And yet we think that this long-lost record with its "sinister groove" is eminently danceable, almost 40 years later. We challenge you to take a listen to this home-grown 1985 7", remastered directly from the original tape, and make an assessment of your own.

Companion piece to O Morto's album »Dans la Gorge d'un Monstre«. The diaristic approach goes deeper where field recordings and fragments of memory take center stage , O Morto expands his LP masterpiece to a very direct and free-flowing tape. Also based on a number of field recordings taken during a life-changing trip to Morocco that felt like a fever dream, ‘Iffrits Habitent‘ is the perfect companion piece with a more impressionistic and unadulterated account of the same travel that could well be this side of the mirror. Then again, maybe he never made it from the other side. Who’s to know?

Am 4. November veröffentlicht PJ Harvey eine Sammlung von B-Seiten, Demos und Raritäten.

Die Sammlung beinhaltet 59 Tracks der letzten drei Jahre und wurde von Jason Mitchell zusammen mit dem langjährigen Produzenten von PJ Harvey neu gemastered. Zusätzlich enthält die Sammlung 14 zuvor unveröffentlichte Songs und gibt Fans die Möglichkeit, die bereits veröffentlichten Songs erneut zu genießen.

Zudem zeigt das Artwork bisher unveröffentlichte Archivfotos.

Diese Sammlung ist als 3CD und LP Box Set erhältlich.

Detroit's Rebecca Goldberg, aka 313 Acid Queen, releases 5 techno bangers incl. Mark Broom remix on Phoq U.

Phoq U Phonogrammen, the rebellious U-TRAX sublabel, returns after 26 years with its eight release, produced and manufactured in Detroit. Detroit native Rebecca Goldberg, who has previously released music and performed live under her 313 Acid Queen alias, will present her brand new People Mover EP at the Detroit Movement festival, on May 26, 2023.

The EP features 5 dancefloor fillers, including the Detroit-style remix by Mark Broom of the opening track Automated. The EP is inspired by transportation, industry and travel, as well as the city of Detroit of course, paying homage to the original minimal techno music and the evolution of technology and industry.

All tracks are live jams, recorded in one take on all hardware instruments. Rebecca tries to do as little post-work as possible, with just a little bit of final arrangement. Her work often incorporates field recorded sounds, and for this EP she used samples recorded while riding on the Detroit People Mover itself, the elevated automated light rail system in downtown Detroit. Goldberg started a sound walk group called Detroit Frequency and the recordings were taken on during the first event last summer.

The EP kicks off with the fast-paced Automated, that echoes the hypnotic minimal techno sound of Robert Hood. Mark Broom added an extra dose of 909 funk in his Mark Broom remix, which provides the track with even more pumping rhythms and making it sound even more 'classic Detroit'.

The B-side opens with Elevated, that features industrial-ish DPM sounds on a bed of pure acid, as if Goldberg wants us to remember why she is named the 313 Acid Queen.
Staying On meanwhile, puts a repeating DPM announcer's voice central stage, making it a fascinating piece of minimal techno. The closing track Linear Motion creates a dark atmosphere, with eerie, down-pitched DPM sounds that makes this a spooky techno trip that we believe many people will love.

Original release date: May 5, 1980

An album made by Kim Chang-wan in place of his two younger brothers who were serving in the military, together with the project ‘Broken Spaceship’ composed of session musicians such as Park Dong-ryul (bass), Yu Ji-yeon (acoustic guitar, harmonica), and Kim Yeong-guk (drums). It is the same work as the beginning of Kim Chang-wan's 'Sanullim Alone', and the energetic rock sound and lyrical folk coexist in harmony.

Including Red Balloon with an attractive psychedelic fuzz tone guitar and Please Wait A Little Longer funky, as well as Long Lost Memories Will Come To My Mind Vaguely Through The Window, Still Life with Sunflowers, and A Teacup, Sanullim's best works of the mid-year period It contains beautiful songs that are faint, cozy, and beautiful.

Malmo-based producer Sacred Grove takes care of the second release of French label Parodia.

Taking his name from an important feature of mythological landscapes, Sacred grove music is like a hole in our dimension, a moment of levitation where everything stops for a minute.
« Through the Mire » is a fantastic 4 track EP of untouchable, fascinating sounds of dance music, taking influences in early deep house and twisting it in a very unique way.

Enter the trip with the EP opener « Dusk » , a mysterious track full of hazy pads and stabs blending together to make you enter into an imaginary forest. Subtle and classy, « Dawn » is the second track of the record, 9 minutes of introspective sounds yet dancable, with an unstoppable groove. If you're not already tripping, your mind is a about to hallucinate with the third track Neusea (Delay mix), the most impactful track of the record, with a laidback peak time roller keeping the same cinematic atmosphere as the other tracks.

Last but not least, B2 track « Loverz » is like reaching the Sacred Grove that you were looking for when you entered this forest, and finally your mind is going in a total trance.

Holly Johnson is proud to present a 35th anniversary reissue of his 1989 number one debut solo album.

Blast will be available on limited edition red vinyl (Pressing of 1500 copies worldwide), and even more limited red cassette, the cassette will come packed in a signed card wallet.

Here’s what Holly calls "Blast in a Nutshell” - "My exploding red hot vinyl, from the fag end of the nineteen eighties. It's not purple, but it's mine all mine. Thirty five years in the same house, the vibes are still here. Still alive in 2023.”\

Prepare to blast off once more.

Repress!

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

All About Jazz 4star review

A younger version of London's Grand Union Orchestra, founded by world-jazz pioneer Tony Haynes in 1982, Lokkhi Terra was put together by keyboard player Kishon Khan in 2005. Both ensembles have made a specialism of jazz / South Asian fusion, with Lokkhi Terra also giving as much attention to music from Cuba, where Bangladeshi-born, London-based Khan lived for a while in the early 2000s.

Cubafrobeat, as the title foretells, is a blend of Cuban dance music and Nigerian / Yoruban Afrobeat—a fusion rendered seamless by the synergies existing between Afro-Cuban and Yoruban music, language and mythology. The album is Lokkhi Terra's third and partners the band with the keyboard player and vocalist Dele Sosimi .

A young-going-on-child-prodigy member of Fela Kuti's Egypt 80, Sosimi went on to become musical director of Femi Kuti's Positive Force, before relocating to London and setting up Dele Sosimi's Afrobeat Orchestra, the finest Afrobeat band outside Nigeria, bar none, now with a string of consistently engaging albums under its belt. Cubafrobeat features Sosimi as lead vocalist on all four tracks, and on Fender Rhodes on two of them. His singing plays a prominent role in the Afrobeat Orchestra, but, such is the whirlwind impact of the band in full instrumental flight, that Sosimi is often thought of first and foremost for his keyboard and arranging talents. That may change by the time 2018 is over. Cubafrobeat is the third album in as many months to feature Sosimi as guest vocalist, spotlighting the gravitas, air of mystery, intimacy and ferocity his voice can bring to an occasion.

The first of these albums was the genre-bending spiritual-jazz band Emanative's Earth (Jazzman). One of the stand-out tracks, "Ìyáàmi," features Sosimi making obeisance to the titular Mother Goddesses of the Yoruba spirit worlds. His raw and intense invocations carry the track for nine mesmerising minutes. Otherwordly is not the half of it. Next up was dub / reggae / jazz band Soothsayers' Tradition (Wah Wah 45s), which featured Sosimi as lead vocalist on the compelling "Sleepwalking (Black Man's Cry)." Earth and Tradition are both outstanding albums and have previously been reviewed here.

Cubafrobeat is a total stonking blinder, too. It is an effectively nuanced affair, opening with the fiery "Afro Sambroso" and closing with the relatively reflective "Rumbafro." Sosimi's vocals light up the music, as do the several solos from trumpeters Graeme Flowers and Yelfris Valdes Espinosa and trombonist Justin Thurgur (a member of both Lokkhi Terra and the Afrobeat Orchestra). Sosimi and Kishon Khan's intertwining Fender Rhodes solos on "Cubafro" are also a delight, as is the drum and percussion section throughout.

The sound of summer, for sure, Cubafrobeat has enough depth and variety to make it something for all seasons.

Songlines 4star review

Lokkhi Terra are one of London's most authentic groups. They are a Latin-flavoured collective whose keyboard player and bandleader Kishon Khan segues from percussive montunos to complex Bengali rhythms and back, with jazz chops sparking funky and outward-looking fusions. Their collaboration with Dele Sosimi, Britain's foremost Afrobeat ambassador, has been bubbling for a while; here four tracks at ten minutes see musical conversations that never lose their sense of flow. An extensive line-up of stellar players, including trumpeter Yelfris Valdés, conguero Oreste Noda and trombonist Justin Thurgur, highlights the genre-crossing potential of world traditions. Opener 'Afro Sambroso' showcases batá drums from Gerardo de Armas Sarria before the track links Cuban grooves with Afrobeat. 'Timbafro' crackles and sways via Khan's organ, Sosimi's vocals and Oscar Martinez's timbales. 'Cubafro' features dazzling interplay between Khan, Sosimi and Javier Camillo's Spanish-language vocals. 'Rumbafro' is all rumba choruses, Yoruba vocals and Afrobeat horns. Rooted in their sources, but with musical threads intertwining, separating and reconfiguring – with grooves at a premium – this is a fusion lover's dream

"Almost two years after the multi-charted and heavily played 'Player's Paradise' EP, Lex returns to B2 Recordings, marking the milestone 10th release for Bengoa's rising Athens - based imprint.

The Greek artist has had quite a joyride since then, with releases on Delusions Of Grandeur, Samosa Records and his debut LP on Leng, which brought worldwide attention. Here we see him deliver his latest work, 'Fast Jags' - an unmistakable piece of his trademark nu-disco-meets-house excellence. Popping organic percussion, shaking funk-infused bass lines and an amalgamation of wandering trippy synthesisers and cinematic strings.

For this anniversary release, B2 Recordings could have no other than the man of the moment, prolific DJ and producer Felipe Gordon on remix duties! The highly acclaimed Colombian musician delivers an outstanding ten-minute journey into deep, funk & heart warming house music, playing along with jazz-tinged bass lines and intricately intertwined keys, strings and synth licks.

Rounding things up, label-head Bengoa adds a bit of rawness to the original, effectively bringing up natural percussion and trippy synth stabs, creating a club-ready house roller that you never want to end.

A perfect package for the anniversary tenth release by B2 Recordings.

For the last twenty years, Sami Yenigun has DJed, thrown parties, released records and built community in Washington DC. He lived in and helped produce the underground event space Subterranean A. He's a co-founder of the DC mega party ROAM. He started the label 1432 R alongside Joyce Lim and Dawit Eklund. He's made music for Future Times, World Building, Rhythm Section, and Ghostly International. He’s produced for Dreamcastmoe and jammed with the Lifted crew.

Sami's also an award-winning journalist and Executive Producer of the largest afternoon news broadcast in radio, All Things Considered. He's won a Peabody, a Murrow, A World Press Photo Award and a National Press Club Award for his work, which includes creating a show with the legendary DJs Stretch and Bobbito, serving as editor of NPR's podcast about race, Code Switch, and covering elections, epidemics, insurrections, and of course, music.

It’s a lot, but whether finding a flute that fits, an extra battery for his Marantz, or the energy to make beats after a week of telling stories, Sami's enthusiasm for life, and the people in it, make it work.

The latest record, Elevate, is a testament to that enthusiasm. Four tracks that crackle and pulse with the same electricity that runs through all of what he makes. Just as Sami's interests in his personal and professional life are ranging, so are his tastes for club fare, and you can hear it on this release.

Four views of mother nature: a forest and a mountain range; a wicked city and a well. Traced from house and techno, through a lens and back.

It's a body of work that continues to branch and build. Elevate is a step into Sami's next chapter: Where flutes, stories, queerness and truth curve together.

One unrealesed long tune on A-side, with a Sample taken out from Cavage records... (everything happens...) And, B-side 2 repressed (and remastered) tunes from FKY, coming from the Electro Lab Factory albumm W33dbass. Enjoy !

The sixth edition of Defected’s vinyl series continues to commit the labels’ biggest digital releases to wax, delivering upfront packages of house heat previously unavailable on vinyl. Kicking off the A-Side is Ferreck Dawn’s solo Defected debut ‘You Are The One’, a self-assured club track featuring a cut-up sample from Jocelyn Brown’s timeless classic ‘Somebody Else’s Guy’. Up next is Qubiko’s ‘U R’, a bumping, grooving dancefloor cut from the Italian DJ. On the B-Side Todd Edwards & Sinden storm in with their UKG influenced ‘Deeper’, featuring chopped-up vocal sampling, time shifts and kick drums. The release is rounded off with Alaia & Gallo’s ‘Trippin’’, with an irresistible deep and driving bassline, the gospel vocal trio Dames Brown lend their soulful tones to cover the Y2K classic ‘It’s Love’ by Jill Scott.

Dennis White, Charlie May, and Dave Gardner return with their second outing as Quiet Places on A Strangely Isolated Place, expanding upon their deep and suitably hypnotic long-form compositions across four continuous sides of wax.

Minimal in context and retaining the untitled track approach, the trio of producers, well versed in a variety of music styles between them, leave the music and the subliminal messages contained within as the descriptor.

Finding moments of melody amongst the wide landscape of abstract sounds and samples, is the only glimpse of reality you’ll find down here.

Lauren Lo Sung returns to LOCUS for her ‘Shroom’ EP, accompanied by a remix from Youandewan.

Heading up LOLiFE and e1even records while dropping music via PIV, Lazare Hoche, and Rutilance, Liverpool- based Lauren Lo Sung’s blend of stripped-back, groove-heavy house has meant early nods as an artist to watch has seen her flourish into a favourite name within the UK minimal-house realm and beyond. Returning to the label for the first time since her classy ‘Miss B’ EP in 2021, and fresh from a string of worldwide dates, including her latest US and Australian tours, the end of July welcomes a return to FUSE’s sister imprint LOCUS as she serves up a pair of quality cuts across her ‘Shroom’ EP - with The Brain and Pure Shores boss Youandewan making his label debut on remix duties.

Setting off via the title track, ‘Shroom’ is a slinking cut built on a rugged bassline and warping low-ends, accented by airy synths and warped vocal interjections for a lively trip. Next, second original ‘Tom & Jerry’ draws for acid stabs, hazy melodies and cosmic tones underneath the track’s alluring vox samples and video game electronics for a vibrant and playful production. Shaping up the package, the B-Side is home to Youandewan’s darker and chunky take on the lead cut, combining oddball electronics, snaking grooves, off-key interludes and neon synths for a trademark offering.

Running up another re-edit sensation, that soulful sampler Chaka Kenn hits with three more edits to flip the script on an assortment of classic De La Soul cuts. From hip hop leaning jazziness to club-ready euphoria and summertime house, here are three different flavours, to get those taste buds tingling.

Representing Seattle Funk. The Oscillators' debut album is deep, raw and energetic. Led by drummer oLLi kLoMp, the line up features members of the polyrhythmics, Rippin' Chicken, the Pulsations, Lucky Brown, the Trueloves, 45th Street Brass, The S.G.'s, and more...

REAL, DEEP FUNK WITH A PSYCHEDELIC NUDGE.

As of yet, as these words were written, the Oscillators is not a band. the Oscillators is an experimental recording collaboration that turned out swimmingly.

Our gauge was this: "Do we like it?" No agenda or goal. The main mode being simply; create what we like out of thin air. Yet the air was heavy therefore create what we like out of thick air. Magical, gravy-thick air. Molecules, olli'cules. Alchemically thick. Apparently, we needed to sample something out-of-the-ordinary… the process is called, "stackin- phat". Minimal gear, maximum vibe. In fact, this process and this gear would make most educated sound engineers cringe but the players know.

Pushing the tape…yes, tape! 4 track to be exact, pushing the tape to it's edge. First, stack two drum tracks. bounce them to one primal track. Sometimes one drummer, sometimes two; "a great drumbeat already contains melody." This is your first layer of phat. Generally, unless the muse says otherwise, you wanna bring in your bass player next, gently caress guidance and encouragement (maybe a beer or a hit a grass), then he or she can stack the next layer of phat. The next few layers are where things really take off. Maybe it's guitar then horns, maybe keys. Maybe just horns. Whatever the tune calls for. Whatever the muse "calls" for. Everyone stacking is simultaneously inspired, while hindered, by the previous layer; "constricted genius" works of magic from thin/thick air.

Most of the time the players weren't in the same room at the same time, and in some cases, haven't seen each other in years, but it sounds like a family and feels like a band. Create what we like.

The natural unfolding of this creation was affirming, in that the process of creation proved most relevant. An expression of faith and appreciation of the experiMENTAL process with no preparation for something else. Beyond fortunate for the allowance of time. "never underestimate the power of positive thought"

-Ned Blanski

Doris Duke's version of Marlena Shaw's seminal, powerful “Woman Of The Ghetto” originally appeared on her third album 'Woman' in 1975. It's a searing version, Duke's full-bodied and fierce voice adding even more urgency to the searing social commentary embedded in the lyrics.

On the flip is another SAM Records classic. “Free” by Rhyze is a disco-monster. A sure-fire staple for some of the biggest DJs and diggers out there.

Remastered by Phil Kinrade and presented in a 12” official SAM labels and picture sleeve. Part of the Demon Records Singles Club.

Repress!

Repressed, note price increase. Remastered from the original masters and pressed extra loud for DJs. There are very few albums across any genre that stand the test of time better than 93 ‘Til Infinity, the classic debut record from the Hieroglyphics crew’s very own Souls of Mischief. In an era where Gangsta Rap and G-Funk dominated the West Coast Rap scene, Souls broke ground on a completely unique and thoroughly west coast sound. While the Dr. Dre’s and the Snoop Doggs were garnering much of the mainstream attention, Souls were quietly forging a charismatic, critically acclaimed, and cohesively shaped record that when categorized, sounded much closer to A Tribe Called Quest than N.W.A. The sound of their debut is characteristic of the distinct style explored by the collective, including a rhyme scheme based on internal rhyme and beats centered around a live bass and obscure jazz and funk samples. 93 ‘Til Infinity was propelled into success by its title track and lead single, which reached #32 on the Billboard Hot 100. It also featured singles “That’s When Ya Lost” and “Never No More” which also reached the Hot Rap Singles. In 1998, the album was selected as one of The Source’s 100 Best Rap Albums of All Time. Considered by many to be a textbook “slept-on” classic Rap record, 93 ‘Til Infinity has only grown better with age. The album simply defines the Hiero golden age with a sound that would later be fine tuned with strong releases from MCs Del The Funkee Homosapien, Casual and Pep Love. It takes some serious bravado to name your album 93 ‘Til Infinity, but certainly the goal of creating a Hip Hop “classic” must have been on the collective minds of group members A-Plus, Tajai, Opio, and Phesto when recording this landmark moment in Hip Hop history. It’s true, even seventeen years after the album’s initial release many people are still discovering it, and with this re-mastered reissue on double vinyl, fans all over the world will once again discover the brilliance that 93 ‘Til Infinity delivers and will continue to deliver beyond infinity. A1. Let ‘Em Know (Produced by Domino) A2. Live and Let Live (Produced by Domino) A3. That’s When Ya Lost (Produced by Del tha Funkee Homosapien) B1. A Name I Call Myself (Produced by Del tha Funkee Homosapien) B2. Disseshowedo (Produced by Domino and Jay Biz) B3. What a Way to Go Out (Produced by Domino) B4. Never No More (Produced by A-Plus) C1. 93 ‘til Infinity (Produced by A-Plus) C2. Limitations feat. Casual (Produced by Jay Biz) C3. Anything Can Happen (Produced by A-Plus) D1. Make Your Mind Up (Produced by Del tha Funkee Homosapien) D2. Batting Practice (Produced by Casual) D3. Tell Me Who Profits (Produced by Domino) D4. Outro (Produced by Domino)

Wisdom Teeth co-founder K-LONE returns with his second full length project, ‘Swells’: a kaleidoscopic and expansive record that looks to deep house, synthpop, leftfield R&B and beyond for a spellbinding masterwork of melodic electronica.

His debut LP ‘Cape Cira’ became the accidental soundtrack of the long strange summer of 2020 - its lush marimbas, hazy atmos and synthesised bird calls providing the ideal soundtrack for some much needed collective escapism. The record was widely deemed one of 2020’s standout electronic LPs, gaining glowing reviews in Pitchfork, DJ Mag, Mixmag and Resident Advisor, and ranking highly in end of year lists by Crack Magazine.

Approaching its follow up, the Brighton-based producer felt a fresh perspective was needed. Originally landing on the name ‘Swells’ as a secret pen-name to write the record under, the intention was to keep the project as separate as possible from ‘Cape Cira’ to avoid settling into familiar territories - but as the record took shape it became clear that it made perfect sense amongst his already diverse discography.

Like ‘Cape Cira’, there is a distinct and intentionally limited sound palette at play on ‘Swells’. Looping vocal cuts, rich cluster chords and undulating arpeggios sit front and centre here - as does the lo-fi plonk of of the CR78 drum machine. But while the record clearly takes influence from a range of vintage sound sources, its overall aesthetic is unmistakably contemporary. Sounds are not artificially degraded nor obscured under washes of sampled tape hiss. Rather, everything is processed with a gloss, hi-fidelity sheen. The record’s rhythms are bright, dry and snappy, and its melodies are processed with a neon poppy glow.

The producer’s unabashed love of contemporary pop music is most obviously exemplified by the appearance of British singer-songwriter Eliza Rose. The pair met for a session at a North London studio back in 2021, and the now Brit Award-nominated singer’s warm, emotive vocal takes became an immediate source of inspiration early in the record’s conception. As such, Rose’s voice is heard in various states of manipulation throughout its duration - initially as reduced and looped phrases, and then finally in full form on ‘With U’: a low-lit, dubbed-out slice of leftfield R&B that beckons comparisons with Tirzah, Little Dragon and even Erykah Badu.

Elsewhere, there are references to G-Funk (‘Oddball’), Autonomic drum and bass (‘Shimmer’), hip-house (‘Love Is’) and even Metronomy-era electro pop (‘Love Me A Little’).

As always, the true magic of K-LONE’s artistry is to present complex, subtle and original ideas in ways that feel familiar and immediate. Melodies are introduced as effortless earworms, only to be twisted out of shape into strange and unusual formulations. Looping rhythms unspool into washes of hazy, dubbed-out ambience before rebuilding themselves. Refined and endlessly creative, ‘Swells’ marks a captivating next step for a producer and record label that have both reliably positioned themselves at the very forefront of contemporary electronic music.

Don Glori, a.k.a multi-instrumentalist Gordon Li, returns with a remix EP that tears open five tunes from his groundbreaking debut, Welcome.

Taking an opportunity to sink into some of the ideas explored on the original album, the five remixes featured here sees some of Europe and Australia’s finest throw open the shutters and shine a light on Li’s inventive compositions and remarkable instrumentation.

Rosie from the Block, a.k.a Belgian multi-instrumentalist, producer and DJ Roselien, leans right into the percussion and drum kit playing that made Welcome so infectious, layering this with cheeky bubblegum-beat bass lines that lend the whole affair an incredibly smooth, street-soul styling.

Other key players include Swedish duo Mount Liberation Unlimited, lending their take on things an introspectively dark, brooding atmosphere that evolves into one of their trademark acid-house extended journeys; Australian radio DJ and producer Ennio Styles working alongside Liam de Bruin, hip-hop/soul duo Man Made Mountain, led by MC Cazeaux O.S.L.O, and an insanely infectious organic house take on hit single Dlareme by one of Melbourne’s finest, Teymori.

A perfect companion to an album that broke open the Melbourne scene and laid out new parameters for the quality of jazz, samba and funk-inspired music emerging from that city, Welcome Remixes breathes fresh life into this incredible album and reminds us just how goddamn fun making, playing and performing music can be.

Steel City Dance Discs presents the ‘Wonder’ EP from fast-rising Italian artist Matisa. Fresh and filled with spirit, Matisa kicks off the EP with the transcendent, IDM-meets-Bingo Beats energy of ‘Brilliantine’, where twisted modulations fuse in harmony with angelic abstract vocals. Her original ‘Eyeliner’ is a euphoric breakbeat hardcore stomper, whilst Mall Grab’s take on the same track goes in harder with jacking drums, ecstatic rave stabs and menacing bass. Closing the EP is ‘Lip Plumper’ – a hypnotic stripped-back house cut which nods to UKG. This EP represents a significant moment in Matisa’s musical journey, as she evokes a combination of discovering yourself through creative expression with losing yourself on the dancefloor.

N-gel is back on Memento with his brand new 4-track “Wild” vinyl, plus an exclusive extra track for the digital release. Following up to his 2020 EP “No matter who I’m” that saw him debuting to much acclaim on Idriss D’s label, the talented producer returns to what he does best. “Control” is an energetic, stripped down groovy Chicago House-inspired number, with an infectious bassline and robotic vocal samples. “Dance” opens with a steady beat and flows with a crescendo of synth arpeggios that create a hypnotic mood. “Dreaming” speeds up the tempo with plenty of jacking snares and sounds from outer space. Title track “Wild” is upbeat and pumping, its swinging melody a catchy ear candy for the most discerning dance floor connoisseurs. “The night is my house” closes off the release as the digital bonus: loopy vocal snippets and an old school big room melody take it up a notch, ending the EP on a high note

Five years after the release of ‘Luyando’, Zimbabwe’s most celebrated music export returns with their long-awaited follow-up album ‘Tusona: Tracings in the Sand’. The six musicians from Victoria Falls are refining their unique sound: infectious Afro grooves deeply connected to Zimbabwe’s cultural DNA. ‘Tusana’ is their most danceable album to date, a DIY production recorded in Zimbabwe. It features horns by Ghanaian highlife outfit Santrofi.

Every Sunday, there is a gathering in the sweltering heat on grounds of an old local beer hall in the Chinotimba township in Mosi-o-Tunya (Victoria Falls). Entertainment is provided by various traditional groups including the Luvale Makisi masquerade. It is a day full of singing, drumming, dancing and storytelling. Mokoomba’s lead vocalist Mathias Muzaza can often be found here singing with a voice both soaring and vulnerable. In the course of the afternoon the other band members - guitarist Trustworth Samende, bass player Abundance Mutori, keyboard player Phathisani Moyo, percussionist Miti Mugande and drummer Ndaba Coster Moyo - often join in with singing. The drum driven song “Bakalubale” featured on their new album invites you to this gathering.

Mokoomba recorded ‘Tusona: Tracings in the Sand’, the follow-up album to ‘Luyando’ (2017, Outhere), in Zimbabwe during the pandemic. Instead of working with outside producers like Manou Gallo or Steve Dyer as they have in the past, this album was entirely recorded in a DIY fashion by Mokoomba. The collective from Zimbabwe put in all the experiences made over the previous years and have forged their music into a unique Zimbabwean sound. On popular demand from their fans in Zimbabwe they have even re-recorded three songs from their last more acoustic album ‘Luyando’ turning them into dancehall bangers (featured on the CD and digital versions of the album). In short, this album is more Mokoomba than any of the ones before.

On the album Mokoomba are singing about love, loss, courage in a changing society. The first single “Nzara Hapana” means “no money” in Shona. The song talks about a man who wants to ensure the future of his wife and family and is trying to protect them against the greed of his relatives. The danceable up-tempo song “Nyansola” praises the goddess of harvest and asks her for rain. “Makisi” is sung in Luvale. It celebrates the beauty of the initiation ceremony for which the whole community comes together. “Manina” is a song about losing a loved one. It was written during the pandemic and features the young singer Ulethu from Harare. Mokoomba sing in many different local languages. Their songs are in Tonga, Luvale, Shona, Nyanja and even Lingala used in “Makolo” when they team up with Congolese singer Desolo B. (The album also features horns by Nobert Wonkyi Arthur (trumpet), Bernard Gyamfi (trombone) and Emmanuel Arthur (sax) from Ghanaian highlife outfit Santrofi.)

The title of the album is a nod towards their immense respect for tradition. ‘Tusona’ refers to an ancient system of signs and symbols, drawn in the sand and used for instruction during initiation ceremonies by the Luvale in Southern Africa. Another important part of the Mukanda initiation ceremony is the incredible Makisi masquerade. Since 2008 the Makisi dances are on the UNESCO list of intangible heritage. The Makisi are masked characters, representing the spirit of deceased ancestors. During the yearly initiation ceremony the Makisi return to the living world to teach the young children to become responsible adults among the Lubale people of Southern Africa. In the last decade the interest - especially among the young people – has faded and the Makisi dances have nearly died out.

“Our inspiration comes from these gatherings”, Trustworth Samende explains, “from listening to and playing pure traditional music with everyone in the township. We then add influences from music that we listened to in our homes growing up and the sounds we experience travelling around the world.” It is the connection with the cultures around them that gives Mokoomba’s music its spiritual power. When you hear Mathias Muzaza singing and you watch closely, you will see the music carrying him away to a different sphere, a place where he is singing with the ancestors. Only a split second later though Trust Samende’s sparkling guitar riffs kick in, blending Congolese influences from neighbouring Kasai with Zamrock and Mbira inspired Chimurenga music, making you want to hit the dancefloor. It is this unique blend of local musical styles with contemporary dance music that is at the heart of Mokoomba’s music. The strong reference to tradition is also reflected in the cover illustration by young Zimbabwean visual artist Lomedy Mhako.

It has been nearly 10 years since this young energetic band from Zimbabwe has exploded onto the international music scene. Since then they have shared their music with fans all over the world: Mokoomba have performed in over 40 countries, rocking audiences in places like Roskilde festival (Denmark), WOMAD festival (UK), Sziget festival (Hungary), SXSW (USA), Apollo Theatre (New York) to name but a few.

Like anywhere in the world Africa’s musical output has become more and more producer based. Mokoomba are the living proof that Africa’s great guitar band heritage is well alive and ready to set any dancefloor on fire. Most important though is that deep below the surface of Mokoomba’s sound - flowing like the Zambezi River - you can still hear the heartbeat and the rhythm of a community connected by its music. Like ‘Tusona’, it is a source of rejuvenation, resilience and strength in these changing times. May the tracings in the sand not fade.

Fever hit Jamaica around 1966 when the jerky Ska rhythms slowed down to a more leisurely, sexy pace. Some say due to the extreme heat that hit the island that year, making frenzied dance routines of the earlier sounds seem like hard work in the all night Sound System Sessions. Others would say Reggae’s beat is always evolving and changing into something slightly different and moving with the times.

Whatever the reasons were, this two year period that ran until 1968, would see some of the power escape from then big three producers, Clemet ‘Coxone’ Dodd, Prince Buster and Duke Reid, who ruled the airwaves. They had to finally make room for the new wave of up and coming producers who had something to say.

Such names as Joel Gibson (Joe Gibbs), Sonia Pottiger, Derrick Harriot and the most prolific of them all, Mr Bunny Lee, would unleash some fine music in this fascinating, if short lived period in Reggae;s history. We have compiled some of the biggest hits from the Rocksteady era alongside some lesser known cuts we believe deserve to be re-evaluated.

Rocksteady was an inspirational time and some may say a little overlooked, but we hope you agree with us when we say that it brought us some outstanding music. So sit back and enjoy some Rocksteady straight from the dancefloors of Jamaica.

Hope you enjoy the set…..

GRAMMY NOMINATED AFRO-FUSION SINGER, SONGWRITER, AND PERFORMING ARTISTE The Nigerian singer-songwriter, Burna Boy, was born Damini Ogulu on the 2nd of July, 1991 in Port Harcourt city, Nigeria to Bosede and Samuel Ogulu and he is the only son and eldest of three children.

He started producing music when he was ten years old. After graduating from college, Burna relocated to London to attend university. After two years, he dropped out and moved back to Nigeria to pursue his passion. Coming from a family where music was loved but where a greater premium was placed on education, he spent most of his summer holidays in the UK and in language immersion summer camps in France, Togo and Cote d'Ivoire, before finally moving to the UK where he picked up the Brixton Patois accents which have become a signature in his music.

Young Damini attended Montessori International primary school in Port Harcourt (1993-2002) and Corona Secondary School, Lagos (2002-2008). It has always been music for Burna Boy as observed by his mum when he was still a teenager. She recounts that he was always hanging around his Grandfather, listening to classical music; little wonder his role model later became the man his grandfather managed, Fela Anikulapo Kuti.

His quest for knowledge took him outside the shores of Nigeria to the United Kingdom to study Media Technology at the University of Sussex (2008–2009) and Oxford Brookes University (2009–2010) to study Media Communications and Culture.

Thereafter, he did a one-year internship with Rhythm 93.7 FM Port Harcourt before officially launching his professional music career when he was signed on to Aristocrat records - prompting a permanent relocation to Lagos.

Burna Boy has released a series of EPs, singles, mixtapes, and albums including 2018’s extraordinary “Outside”. The award-winning collection led to Burna’s U.S breakthrough, debuting at #3 on Billboard’s “Reggae Albums” chart, which was partly fueled by the blockbuster single/video, “Ye”. His most recent album, “African Giant”, released in July 2019 has garnered praise from both Nigerian and international media.

Furthermore, the “African Giant” album got nominated for the 62nd Annual Grammy Award in the Best World Album category. Burna is among the contemporary African music’s brightest stars and also the pioneer of an enigmatic genre he simply dubs “Afro-fusion”. The gifted singer-songwriter got featured on American songstress Beyonce's curated Lion King soundtrack, “The Gift”. He also recently took home the 2019 BET Best International Act Award and 2019 MTV Europe Music Award for “Best African Act”.

After the release of 2001's 'Fuck Art', The Dirty Nil jammed in their practice space for weeks, not overthinking anything or taking any external input. They didn’t sweat the small details or fret over transitions and arrangements. Less second guessing, more reckless abandon. It’s the same approach to rock they’ve taken since they were kids. “We had the best time pulling these songs together. It made me feel like a teenager in my parents’ basement again,” Bentham says. What came out was the appropriately titled Free Rein to Passions. Their youthful rock-worship approach is immediately apparent on the album’s opener “Celebration,” which cuts in via a chugging metal riff, a subtle ode to one of the Nil’s influences, Power Trip’s late frontman Riley Gale. From there, the band indulges their loudest, gnarliest inclinations, making casual nods to their more chaotic favorites, including everything from the Jesus Lizard to the Blood Brothers. And on the album’s catchiest single, “Nicer Guy,” the Nil reminds listeners that they also still wield the power to stitch a perfect, infectious pop hook into their rock fabric. Free Rein to Passions keeps things simple lyrically as well, and doesn’t get bogged down with overly complicated messaging. Nothing overwrought, nothing didactic. Just songs about working soul-sucking jobs, shredding on guitar, and striving to be a kinder person. “The only real central theme of the album is an acknowledgment of the crazy circumstances that we all occupy at this point in time, and being nice,” Bentham stresses. “It’s about being nice to everyone around you, and enjoying your silly little life and not getting too smashed down by prevailing negativity in the air.”

R&B, funk and soul icons Kool & The Gang are returning with a new album release – People Just Wanna Have Fun is out July 14, 2023 on Astana Music Inc. With six decades of hits, the internationally celebrated group continues to tour the world and recently performed on Good Morning America. The band is led by founding members Robert “Kool” Bell (bassist) and George “Funky” Brown (keyboardist, drummer & producer of this album), whose book Too Hot: Kool & the Gang & Me will be released on July 11, 2023. Continuing to release music that makes the good times better and the bad times more bearable, this collection will be the band’s 34th studio album, featuring some of the last studio work by founding horn players, Kool’s brother Ronald “Khalis” Bell and Dennis “D.T.” Thomas, who passed in 2020 and 2021. Lead vocals on the album also include Sha Sha Jones, Shawn McQuiller, Lavell Evans, Dominique Karan, Rick Marcel and Walt Anderson, plus rappers Ami Miller & Ole’. Both Bell and Brown view People Just Wanna Have Fun as a summation of their long career, during which they sold 70 million albums worldwide with hit singles like “Celebration,” “Ladies Night,” “Get Down on It,” “Hollywood Swinging” & beyond. Since their start in 1964, the group has amassed two Grammy Awards, seven American Music Awards, a BET Soul Train Lifetime Achievement Award and star on the Hollywood Walk of Fame. Kool’s bass guitar is even featured in the Smithsonian Museum of African American History and Culture in Washington, DC. From Newark to Nairobi, Kool & the Gang have performed continuously longer than any R&B group in history and are the most sampled R&B band of all time, including by Madonna, Jay-Z, Beastie Boys, Janet Jackson, Cypress Hill and P. Diddy.

‘Minsky Rock Megamix II’ takes its own fearless journey through the heart of the ‘Fear Fear’ album; on its way, it samples snatches from each of the album’s tracks and places them into glimmering new musical surroundings, all pinned to a constant metronomic beat that turns the whole thing inside out to create one streamlined, super-heavy whole.

"Live From Union Transfer" ist ein Live-Album in limitierter Auflage, dass es nur auf Vinyl gibt und das Live-Aufnahmen mit seiner langjährigen Tour-Band John Heywood (Bass/Gesang), Sam Acchione (Gitarre/Tasten/Gesang), Tom Kelly (Schlagzeug) und Molly Germer (Geige/Tasten/Gesang) enthält. Die Songs wurden auf drei ausverkauften Konzerten im Union Transfer in Philadelphia aufgenommen , die im November letzten Jahres den Abschluss seiner 2022er Herbst-Headliner-Tour bildeten; Die 14-Song-Trackliste enthält einen Großteil seines international gefeierten 2022er Albums God Save the Animals sowie eine Auswahl von Favoriten aus seinem bisherigen Katalog.

Rocksteady took Over Orange Street, Jamaica around 1966, the same time that an extreme heatwave hit the Jamaican island. Some say the previous jerky Ska Rhythms proved too strenuous of an activity to partake in, during the all night Sound System sessions .So it proved a winning formula to slow the beat down to a more leisurely pace.

Whatever the reasons were this two year period that ran until 1968, would see some of the power escape from the big three producers, Clement ‘Coxone’ Dodd, Prince Buster and Duke Reid, who up until this period had ruled the airwaves .It was time to make room for a new wave of up and coming producers that also had something to offer the people. Such names as Joel Gibson ( Joe Gibbs ), Sonia Pottinger, Derrick Harriott and most prolific of them all Mr Bunny Lee.

These new names would unleash some fine music in what would be a short lived chapter in the ever changing and moving beat that is reggae’s history. We have compiled some of the biggest hits from the Rocksteady period, alongside some lesser known cuts we believe deserve to be re-evaluated. Rocksteady was an inspirational and somewhat over looked sound that provided us with some outstanding music. So sit back and enjoy some Rocksteady straight from the dances of Jamaica.

Light Blue Vinyl

Traxx Underground finally returs with the volume 3 of his boss Samann. Some classic cuts featuring remix from the big TUCCILLO!
Pressed on blue vinyl

Erstmalige Nachpressung des Album-Klassikers von 1984! Produziert von Prince Jammy mit der Hi-Times Band und deren Bandleader Earl 'Chinna' Smith im Channel One Studio, am Mischpult saß als Toningenieur Soldgie Hamilton. Mit Half Pints größten Hits: "Mr Landlord", "Puchie Lou", "You Lick Me First", "One Big Ghetto". Half Pint (bürgerlich Lindon Roberts) wurde in 1983 schlagartig bekannt, als er den Song "Winsome" veröffentlichte, der von den Rolling Stones als "Too Rude" gecovert wurde. Riddim Info: A1 = Get A Lick, A2 = Letter From Zion, A4 = Every Tongue Shall Tell, B1 = Hypocrites, B4 = Dub Organizer. Gehört in jede Reggae Sammlung!

repressed !

Portuguese sci-fi maker Lewis Fautzi is here again with his very own recipe about how the music of the future should sound like.

His style has evolved to harsher territories lately, with distortion appearing as one of the main components here.

First cut "Induced Pulse" is a broken groove exercise, with pounding kicks and vocal samples providing the introduction while obscure components join the march as the minutes go.

"Undirected Differential" goes straight to the point from the beginning, with obsessive sequences running across a solid paced rhythm. The synth line evolves continuously, changing the filter frequency, mutating and constantly changing.

The B-side opens with "Intense Mechanism", in a galactic mood with one bar arpeggiated sounds, modulated wisely running over a blurred and distorted drum line.

Last slice is "Stimulated Desorption", again hypnosis and repetition as leitmotiv with similar sound components as the previous one but with a more shuffled drum approach.

We are delighted to announce that July 2023 is the month in which you will finally be able to know the new Apparel Wax product: Apparel Wax Mini. The Mini catalogue (dedicated to 7-inch vinyl) fits into the narrative of our masked hero as a sort of prequel, as the 'Mini' vinyl represents the 'childhood' of Apparel Wax, his life before its music started to be heard around the world. Another novelty is that the first release is double. In fact, APLWAXMINI001 and 002 will drop on the same day, both containing two tracks, one on each side. With a physical product of different size, we have also adapted the graphic design of the project, as you'll notice looking at the record. A new adventure begins in the world of the masked artist who, this time, will tell another musical story created by the now famous anonymous collective of phenomenal artists behind the project. APLWAX002's A side features a dynamic Disco/Dance touch and a vibrant funky feel while B side has a more Lo-Fi taste and a powerful rhythm section, both combining to create a burst of rhythm.

Keni Burke's seminal Changes yielded the eternal club classic "Risin' To The Top". You need this record for this iconic steppers anthem alone. However, it's crucial to acknowledge that the whole of Changes, first released in 1982 on RCA but now a tricky one to find, is something truly special. It's a masterpiece of sophisticated 80s groove, containing first class funky soul that sounds as fresh as ever. This is multi-tempo soul music conceived in heaven.

Ace bass player, songwriter, arranger and producer, Keni Burke was discovered by Curtis Mayfield and a childhood member of the Five Stairsteps. Emanating from that magical 81-83 era and pristinely recorded at Philadelphia's legendary Sigma Sound Studios, his third solo album Changes really perfected Keni's groove. It incorporated tight, snappy rhythm arrangements which, despite the era, featured *real drums* courtesy of Steve Ferrone (from Average White Band) to compliment Keni's meaty bass lines. With Dean "Sir" Gant on synths and keyboards and Ed Walsh handling the Vocoder-OBX and Prophet 5, wonderful lines from Earth, Wind & Fire's legendary horn section and hooky rhythm and lead guitar riffs courtesy of Ed "Tree" Walsh, Keni was truly spoiled for excellence. With Doc Gibbs on percussion and Vince Montana on vibes elevating the sensational writing and arrangements, Keni couldn't really go wrong.

“Risin’ To The Top” is undoubtedly the defining crown and lasting legacy of this album. Wth its instantly captivating bassline, slowly creepin' groove and uplifting lyrics, it was a favourite among both the 80s soul steppers and hip-hop crowd and remains canonical to this day. Written by Burke, Allan Felder, and former Chic member Norma Jean Wright, it incredibly failed to garner much American radio play or really trouble the soul charts. Whilst it was an instant classic in the U.K., in the States it took the hip-hop generation and later R&B and hip-hop samples of the tune to finally make it popular, many years later. Of note, Big Daddy Kane sampled it for "Smooth Operator", LL Cool J for "Around The Way Girl", Pete Rock & CL Smooth for "Take You There" and O.C. with "Born 2 Live".

But the highlights are not restricted to this one behemoth. For example, the track which precedes "Risin'" on Side B is another steppers favourite. "One Minute More" is a perfect mid-tempo ballad and the epitome of deep modern soul. A truly timeless work of genius. We, for one, struggle to think of a better song segue than the moment you're still reeling from the intense beauty of "One Minute More" and "Risin'" elegantly stirs into action. Frisson in excelsis. The propulsive, bass-heavy opener "Shakin" is an indisputable cracker and its followed by the timeless mid-tempo class of "Hang Tight". Just gorgeous. Next up, "Can't Get Enough" is another emotional, horn heavy chugger. The side closes with the sparse, tender, floating sl-o-o-w jam "Who Do You Love"; a truly divine ballad. The B-side beings with the title-track, "Changes", a squelchy, melodic boogie banger with fantastic keys, incredible vocals, ace shuffling percussion and spacey synths. It's followed by the ultimate one-two in "One Minute More" and "Risin'" before this sensational set closes with the glorious easy glide "All Night".

An absolutely essential record for fans of deeply soulful modern-funk, Changes was mastered for vinyl by Simon Francis and cut by Cicely Balston for Alchemy at AIR Studios. The artwork was restored at Be With HQ over many painstaking months so, hopefully, this fresh new edition ensures this long-lusted after album is no longer so awkward to find.

JEROME BRAILEY funk drummer and former member of George Clinton’s PARLIAMENT FUNKADELIC is most famous for co-writing PARLIAMENT’s 1976 gold hit single “Give Up The Funk (Tear The Roof Of The Sucker)". But thanks to poor management, in 1978 he and several other members mutinied and left the group.

That same year Jerome gathered his own crew, dubbed them MUTINY, and issued two classic funk albums on Columbia Records: “Mutiny On The Mamaship” (1979) and “Funk Plus The One” (1980). A third album entitled “Black Hat Daddy & The Silver Comb Gang” was scheduled for release on Jerome’s own label J.Romeo in 1981 but, due to unforeseen circumstances never saw an official release, although a handful of tracks were included on MUTINY’s 1983 album “A Night Out With The Boys”.

So now, Jerome Brailey & Regrooved Records proudly presents the original mixes and line-up for the true 3rd and unreleased MUTINY album “Black Hat Daddy & The Silver Comb Gang”.

Bonus 7' - Black Hat Daddy & The Silver Comb Gang by Child Support Instrumental

JEROME BRAILEY funk drummer and former member of George Clinton’s PARLIAMENT FUNKADELIC is most famous for co-writing PARLIAMENT’s 1976 gold hit single “Give Up The Funk (Tear The Roof Of The Sucker)". But thanks to poor management, in 1978 he and several other members mutinied and left the group.

That same year Jerome gathered his own crew, dubbed them MUTINY, and issued two classic funk albums on Columbia Records: “Mutiny On The Mamaship” (1979) and “Funk Plus The One” (1980). A third album entitled “Black Hat Daddy & The Silver Comb Gang” was scheduled for release on Jerome’s own label J.Romeo in 1981 but, due to unforeseen circumstances never saw an official release, although a handful of tracks were included on MUTINY’s 1983 album “A Night Out With The Boys”.

So now, Jerome Brailey & Regrooved Records proudly presents the original mixes and line-up for the true 3rd and unreleased MUTINY album “Black Hat Daddy & The Silver Comb Gang”.