Search:sound of soul

Osteoleuco is the unit of KEISUKE SAITO (MC/Producer) and Shimon Hoshino, whose sound mixes lo-fi hip hop with indie soul and dream pop.This 2nd album features popular Japanese artists RYO-Z (rapper, RIP SLYME) & Emi Okamoto (singer) and more.

Freestyle comes correct again with a killer slice of 1987 UK Street Soul from Purely Fizzycal, originally issued on the duo's own Pure Impact Productions label.

North Londoner Trish Langley met South Londoner Ash Kamat initially in the the mid 1980s on Tin Pan Alley, while Ash was working at Rod Argent's keyboard shop and running UK soul-focussed zine Soul Trade, and the quickly began working together. Handling the programming and production, Ash says his inspiration came from a mixture of London pirate radio sounds and the US-based sounds of Kashief, Jimmy Jam & Terry Lewis etc. While Trisha's vocals and melodies were influenced by growing up listening to her parents reggae records, plus her brother's taste for the likes of Brothers Johnson, Maze, Isley Brothers, and a little lovers rock such as Janet Kay - which, together with Ash's raw drum machine sounds, bears all the hallmarks for this uniquely UK take on soul.credits

“Though seeing they do not see, though hearing they do not hear or understand.”

NYC-based producer/visual artist Nathaniel Young returns with the sophomore 12” under their techno-focused alias, Guilt Attendant. “A Flower Wilts Under The Heat Of The Son” is cut from the same cloth as 2020’s “Suburban Scum” where Young delves into overtly religious motifs and ideological critique of their cult-like upbringing. Here, though, Young challenges themself and the listener to seek hope and resolve rather than hatred and contempt.

Considering its sometimes-monolithic sound palette, the timeless sub-genre of dub techno has long stood as a versatile vehicle for exploring and expressing a wide range of emotions. From mourning those we’ve lost, to somber reflection, to hope and celebration–all united by warmth, soul, and perhaps most importantly, groove. This versatility has underpinned Young’s affinity for the dub techno framework, and this collection of tracks is the culmination of material that they’ve long aspired to manifest. Atop this foundation, Young explores the place of acceptance and understanding that they’ve ultimately had to reach in relation to their religious upbringing and the inherent dualities that plague dogmatic religious circles and our beloved dance-floor communities alike.

“A Flower Wilts Under The Heat Of The Son” places a heavy emphasis on groove and swing while attempting to stretch the limits of classic dub techno tropes. Through creative melodic layering, swung low-end, and syncopation, these tracks hope to offer a fresh take on the sound while remaining solely devoted to the dancefloor.

Through their design work for Dais Records and Hospital Productions, Young had the pleasure of crossing paths with the recently departed Juan Mendez (Silent Servant), who graciously contributed a striking, cacophonous, and noise-laden remix. Given Mendez’s expansive and diverse body of work, as well as his own affinity for dub techno, Juan’s contribution could not be more harmonious. A singular talent and an extremely kind, generous soul, Juan will be dearly missed.

Rest in peace Juan Mendez, 1977-2024

With 'Why Don't You Go Home' Fingier produces a monster Rhythm & Blues tune that will take you straight to the King and Federal R&B sound, and for the B side, 'Cocktail De Medianoche' is the perfect mix of Boogaloo and Northern Soul. Percussion, flute and horns will make this a Fingier favourite for lovers of Latin grooves and Uptempo Soul.

Diane Ward is singer from USA, who grew up singing Gospel in her local church. Music was always a big part of her life, and she has always had a deep interest in Rhythm & Blues and Jazz. She lived in Argentina for a couple of years, and one night Kevin saw her perform and instantly her voice blew his mind. In his words:

“She’s a proper R&B singer, she reminded me to Ruth Brown, MaryAnn Fisher or Lula Reed. She has that potent and obscure soundthat took me to those lately 50s early 60s Popcorn tracks”

With two monster tracks, calling this a ‘Double Sider’ wouldn’t be enough, both with that '60s sound we've come to expect from Fingier Records.

Stunning outernational funk for the psych breaks dancefloor featuring the mesmerizing vocals of Ukrainian jazz singer Mona. Sung in her mother language, "Moya Vode" is about the "ancient ritual to put a spell on water and remove all negativity through its power".

Mona and MC Fame, a well-known Ukrainian hiphop producer and activist, both left their hometown Kyiv last year and found a new home in the Hammerbrook district of Hamburg, Germany, where they quickly connected with the lively funk scene of the city. Together with the Mocambo crew they set off to work out some magic by combining universal funk grooves and Ukrainian folklore.

Mona's mystical soulful vocals are backed by the "Hammerbrook Sound Machine", a group featuring members of Bacao Rhythm & Steel Band and the Mighty Mocambos, with instruments like the Tsymbaly or Drymba added on top. The "folk-funk" continues more electronically on the instrumental flip side when MC Fame takes over the lead on Moog synthesizer. Dive into this spell!

Montenegrin born in Istanbul, precocious pianist growing up in an embassy, brilliant musician. Prolific composer speaking eight languages, he arranged music for jazz, pop music, adopting multiple identities.
For one label, he is Andy Loore; for another, Emiliano Orti. For others, he is called Alan Blackwell or Johnny Montevideo, but behind all these aliases, there is only one man: Janko Nilovic.

Exploring the shelves of musical production, venturing into the less-illuminated corners of library music, Janko Nilovic's name lights up dozens of shelves on which his soundtracks, his records for Editions Neuilly or Sforzando, but above all his twenty albums for Editions Montparnasse, are stored. A considerable and imposing work, rich in orchestrations of keyboards, strings and brass instruments, themes, atmospheres and melodies. A repertoire in which the cinema, television and advertising have come to find their delight ...

Subjected to the sharp blades of samplers, reduced to a few effective seconds, joined with rhythmic beats, some of his tracks have infiltrated hip hop for a long time , leading the most curious to go back to the source to get the complete albums from which the precious loops had been taken.
Almost unknown to the general public, Janko Nilovic is a master for the initiated, whether they are at his side in the studio or comfortably seated in their armchair savouring the final result on their turntable. His discretion combined with his long years of silence on the record could lead one to believe that he had cleverly arranged his disappearance from the radar to make Janko Nilovic a mystery that has never been completely solved.

Until this message from The Soul Surfers.
A few miles away, in their studio fired up by analog funk, the Muscovites had been put back on the Nilovic track by multi-instrumentalist Shawn Lee. A few passionate discussions later, and the desire for a joint album was already lighting up the amps, making the bass strings shiver and the drum skins tighten.
Initiated by the coming and going of scores, the collaboration finally continued in studio for a real exchange, instantly bouncing off proposals, developing ideas in a live group dynamic that distance would have made impossible.
To feel the vibrations accumulated for decades at the CBE studio (like Chatelain Bisson Estardy), a mythical place founded in 1966, in which many albums, especially library, were immortalized. A place where consoles, equipment and instruments were kept as they were, accumulating in their wiring, meters and speakers, endless hours of experimentation and recording.

A place that Janko knew well and where an old acquaintance was waiting for him. A Hammond organ with a Leslie booth whose keys he had already flattered in the past and behind which an improvisation and a single take were enough to complete the eponymous title.
Together, Janko Nilovic and The Soul Surfers have built Maze Of Sounds, a musical labyrinth paved by the master's keyboards where the soul-funk groove of the fiery Russians is the listener's thread, his point of reference in this maze of atmospheres and emotions, at once cinematic, nostalgic, dancing, dreamlike and contemplative.

An album where, however, nothing is compartmentalized. Where, blown by the whirlwind strung by a violin quintet, the barriers move preparing the entrance of a Slavic choir, letting a screaming guitar come and go alongside the crystalline liveliness of the Fender Rhodes, organize some rhythmic aerations at the disposal of the samplers.

A fusion between the cleverly blackened scores, between the science of precisely written arrangements and the soul-funk feel of The Soul Surfers. An album such as Janko Nilovic has been dreaming of making for years.

Blending sounds of early 70s Funk & Soul, Latin-Jazz, and Afrobeat, Mestizo Beat kicks the year off with a heavy dose of new material. First up is “She’s A Rose b/w Lotsapapa,” their next 45, offering two sides of masterful instrumental soul music written & produced by The Magaña Brothers out of their hillside studio, Spc 166 in Topanga, CA. Side A’s “She’s A Rose” takes us back to the golden years of the Blaxploitation film genre and the soundtracks we have grown to love. This song was inspired by the compositional and orchestral arrangements from the greats, such as Curtis Mayfield’s “Superbad,” Johnnie Pate’s “Shaft in Africa,” and Bobby Womack’s “Across 110 Street.” Featuring Tim Felten of Surefire Soul Ensemble on keys, with horns written and arranged by Jesse Audelo, Mestizo Beat takes the listener on an evolving journey, exploring the mood and cinematic elements of flute, saxophone, and wha’d-out guitar, topped off with a funky drum and percussion break. On the flip, “Lotsapapa” rounds out the B-Side, blending the musical styles of Latin and Nigerian disco-funk into a track that’s perfect for the dancefloor and those late nights out. Written about Bernard “Lotsapapa” Crowe, a notorious drug dealer who survived an attempted murder by Charles Manson, this side is sure to get the body moving with the afro-disco rhythms and chant vocals, dubbed out around a tightly arranged horn section written and arranged by Jesse Audelo and Jason Cressey. “Lotsapapa” features guests Steve Haney from Jungle Fire on Percussion and Cressey of the True Loves on trombone.

With each side highlighting the various talents of the ensemble, Mestizo Beat always stays true to their sound and recording techniques. Both tracks are mixed by Sergio Rios at Killion Sound and are featured on the forthcoming LP, Jaraguá, coming mid-2024.

STUDIO4℃×Osamu Tezuka

A story of the love and adventure of a woman who lived for 1300 years.

``Phoenix'' Nostalgia Arc has been made into two animated works with different endings!

Theatrical release of the movie “Firebird Eden no Hana” / Disney Plus “Firebird Eden no Sora” world exclusive distribution

Master Osamu Tezuka is hailed as the "God of Manga" and is still revered all over the world. Of the 12 stories in the timeless masterpiece "The Phoenix," which became his masterpiece and life's work, the "Nostalgia Chapter," which depicts the future of the earth and the universe in which we live, will finally be made into an animated film for the first time. STUDIO4°C, which continues to create artistic video works, was the one who completed the spectacular spectacle, which took seven years to create. The voice actors include Rie Miyazawa, who plays the main characters Romi, Yosuke Kubozuka, Issey Ogata, Honoka Yoshida, Shintaro Asanuma, and Ryohei Kimura. A gorgeous voice actor team gathers to make a timeless masterpiece into a movie. The person in charge of the music is Takatsugu Muramatsu, who is active in a wide range of areas including film music and providing music for numerous artists. The music, which has both a grand scale and a poetic feel, gently envelops the story.

Shay Hazan radiates with musical diversity on "Wusul", His second solo album on Batov Records. Acclaimed Tel Aviv bassist, band leader, composer and producer, Shay Hazan emerges into the limelight with his highly anticipated second solo album "Wusul". This groundbreaking musical odyssey artfully melds the enchanting sounds of Gnawa music, spiritual jazz, hip hop grooves, and electronic production, with a rich tapestry of Middle Eastern and African influences.

Tommy was born in 1945 in Homestead, Florida, and after his first foray into music in a church choir, he launched his secular recording career in Jackson, Mississippi, working mostly with Tim Whitsett and his Imperial Showband in the latter half of the 1960s. After a short stint with the Nightingales, he signed with KoKo in 1971 and had six impressive singles released, followed by records on Sundance, Juana and Urgent Records.

“I Can’t Do Enough for You Baby” is a mellow and melodic slow-to-mid-tempo song that sounds almost inspirational, while “Hold On” is a beautiful waltz-time ballad which James Carr released on Atlantic in 1971. Both of these songs were cut as demos probably in 1969 after Tommy and Carson Whitsett had signed a deal to become staff writers with Malaco Records.

Tommy was a magnificent singer and songwriter, who never got the credit he deserved mainly because of poor business choices and unfortunate incidents throughout his career. However, he was a beautiful person, gentle and humble.

Tritt mit Tamás Kátais visionärem Projekt in das Reich des Avantgarde-Metal ein: Thy Catafalque. Seit mehr als zwei Jahrzehnten leistet Thy Catafalque meisterhaft Pionierarbeit im Bereich der extremen Metal-Musik.
Die Reise geht weiter mit Thy Catafalques zweitem Meisterwerk Microcosmos, einer Offenbarung, die die Dichotomie zwischen Black Metal und Avantgarde-Kunst fein ausbalanciert. Das ursprünglich 2001 erschienene Album erforscht strukturierte thematische Elemente, die vom Weltraum und dem weiten Kosmos inspiriert sind. Eine klangliche Entdeckungsreise, die die rastlose Abnutzung von Tremolo-gezupften Zweiklängen und subtil eingemischten Blastbeats beibehält, während die psychedelisch klingenden Gesänge, die den charakteristischen Sound von Thy Catafalque ausmachen, beibehalten werden.
Jetzt präsentiert Season of Mist stolz die offizielle Wiederveröffentlichung von Microcosmos und stellt damit sicher, dass dieses bahnbrechende Werk für die Nachwelt erhalten bleibt. Fans, sowohl erfahrene als auch neue, können in die Feinheiten von Kátais visionären Kompositionen eintauchen und die Verschmelzung von Aggression und Kunstfertigkeit erleben, die Thy Catafalque ausmacht.

Jesse James returns to the Soul Junction roster with a new 45 that features his own unique interpretation of a classic song that is backed with one of the more popular songs from his 1990 “Looking Back” album now brought to you for the first time as a 45 release.

Beginning with the A-side, “Everybody’s Talking At Me” which is Jesse’s unique cover of the folk rock singer Fred Neil’s penned song “Everybody’s Talkin’”. Which although recorded by Neil originally, was made internationally famous by Harry Nilsson when used as part of the theme score for the acclaimed United Artists 1969 film “Midnight Cowboy”. The song has been much covered in the style of a ballad but Jesse’s version recorded under the production skills of close friend Willie Hoskins (Wilhos Productions and Boola Boola Records) is a great up-tempo piano driven version of the song. “Everybody’s Talking At Me” is yet another find from the unissued tapes from the self- financed sessions that Jesse recorded at the Searra Sound Studios in Berkley C.A during 1971 that also has brought us SJ543 “(The Girl In) Clinton Park” and SJ544 “If A Man Ever Loved A Woman (Baby I Love You)”.

While the b-side, features the much, admired modern soul favourite “You’re More Than A Friend Of Mine” which first gained a release on the 1990 ‘Looking Back’ album (Gunsmoke Records). “You’re More Than A Friend Of Mine” was up to that point a previously unissued mid 70’s recording produced by the late song writer /producer Ron Carson. Carson the original owner of the San Francisco Soul Clock Records label remains highly respected for his work with the hit group, ‘The Whispers’ (both on Soul Clock and some of their later Janus recordings). Carson had produced and co-wrote Jesse’s 1975, 20th Century Records release “If You Want A Love Affair/I Never Meant To Love Her” now regarded worldwide as Jesse’s signature song. Carson had a follow up release in the can, which never came to fruition due to Jesse and 20th Century parting company for the second time. Carson by then had moved on and was heavily involved in the production of the Janus distributed blackploitation album “Black Fist” for Happy Fox records. “Black Fist” was a various artists compilation which also featured the Jesse James composition “The Same Thing Happens (Part1 & 2)”. The shelved, proposed 20th Century follow up release would have been “Your More Than A Friend of Mine/I Don’t Want It To End” recorded during 1976. Carson had pitched the idea of a song in a similar vein to the Jackson Sisters 1973 Prophesy Records release “(Why Can’t We Be) More Than Friends” to the songs original songwriting team William Peele Jr and Warren Sams. They duly obliged, coming up with the aforementioned “Your More Than A Friend Of Mine”. Warren Sams along with his half-sister Christine Adams Tripp and their friend Rachel Sanders were none other than the respected vocal trio “Water & Power” who recorded the acclaimed 1975 album of the same name for Fantasy Records and a solitary 45 “Mr Weatherman/If You Don’t Want Me”.

Record label boss, producer / DJ, and revered collector Marc Davis returns to his Chi-Talo series with the much-anticipated second volume. A concept of a split EP, taking one ultra-rare Chicago gem and the other a scarce Italian disco record and re-interpreting them for the modern dancefloor aesthetic.

With the first volume, released on Marc’s own Black Pegasus label, now trading hands for considerable amounts of money, round two sees him impart another double dose of digging sorcery for this Mr Bongo 12”.

Marc began his illustrious career in the Windy City in the ‘80s and was one of the first out of Chicago to be recognised for his eclectic approach to DJing. Presenting a global sound palette that took in choice cuts from Brazil, Africa, jazz fusion, house, soul and disco, whilst mixing it together Chicago style. Decades of knowledge and experience that is now distilled down into the Chi-Talo series.

The Italo selection came via a tip from Marc's Swedish friend, Julian Wareing. Hearing the track led Marc down the rabbit hole to secure a copy of this Italo-Disco, album cut oddity by the New Sound Quartet from 1979. The original of 'Bass Construction', measures in at four and a half minutes and is already a feverish funk groover. But Marc saw an opportunity to extend and re-edit the track, keeping in the vein of the original but giving it space to breathe. Tweaking out every last ounce of goodness, Marc locks you into a hypnotic groove for maximum dancefloor deliverance.

The Chicago side is as rare, as the rarest of hens-teeth, only ever existing as a one-off acetate by the band The Saucer Planes. One of the members of the group was the sadly passed-away older brother of Marc’s DJ mentor, Jahmal Anderson. From the very first listen, Marc knew he’d been hooked up with an undiscovered boogie gem. A long-lost track that the world needed to hear. But the project has remained dormant until now, not least due to the fact that the original recording of this low-fi vocal boogie groove is housed on an ever-deteriorating solo acetate. Rescued, restored and given a brand-new lease of life, Marc has turned the track into a low-slung, psychedelic instrumental boogie bounce. Raw, rough and mesmerising, it’s a refreshed relic that is a testament to Chicago’s club sound and swagger.

Whichever side you draw for, this is guaranteed to move bodies as much as it wins over hearts.

Acclaimed Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg / Seefeel) and Kiki Hitomi (ex-King Midas Sound) - return with feverishly joyous new album Hot Pot Totto, a bubbling hot pot of dance music that responds to ecological anxiety.

“Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!” Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride.



Thematically - despite its ostensibly celebratory impact - Hot Pot Totto addresses the world’s grave ecological state. “Now our earth is on the way to catastrophe, as global warming becomes a serious problem through humanity’s fault. We are on the edge,” Hitomi writes. “We need to get back on the right track.” The ottotto of the album title refers to this experience - the need to get back on track. However, this is not lamenting music: it is fiercely defiant, full of colour and rapture, maintaining an optimism that we can.



Opening single “Hakke Yoi” ties treated voice, a floor-shaking beat, and a dizzying, transforming colour palette to a heart-quickening BPM. The track is named after the traditional cry of a sumo wrestling match, shouted by the referee to maintain tempo, commonly translated as “put some spirit into it!” The lyrics refer to humanity’s sacrifice of our planet for our own material gains. Later, key track “Buri Buri” features Ugandan experimental dance producer Catu Diosis and centres around the lyric “Turn disaster to our advantage / good fortune and happiness will come to those who smile,” offering not regret but encouragement and empowerment with its neon alien sonics and relentless vibrancy.



Kiki Hitomi was formerly a member of Ninja Tune / Hyperdub’s King Midas Sound (along with The Bug and Roger Robinson), and co-founded iconic Japanese dubstep-noise duo Dokkebi Q. She is also a celebrated illustrator and designer, having created artwork for countless record sleeves (including this one) and brands. Shigeru Ishihara - aka DJ Scotch Egg - has been orbiting the dance music galaxy for over a decade, releasing radiantly unpredictable solo records through Lightning Bolt’s Load Records, as a member of Warp Records’ legendary Seefeel, and performing with both projects across the world. He recently undertook a residency at the Nyege Nyege Villa in Uganda, working with Phantom Limb alumnus MC Yallah. More recently, Ishihara has been releasing music under the guise of Scotch Rolex, collaborating with the likes of Shackleton, Swordman Kitala, Lord Spikeheart and more.



Hot Pot Totto is WaqWaq Kingdom’s third release for Phantom Limb, following the rapturously received album Essaka Hoisa in 2019 and follow-up EP Dokkoisho in 2020. The band recently performed at the label’s sold out 5th anniversary event in London, setting an ecstatic venue alight with energy.








f B1 Buri Buri feat. Catu Diosis

DJ and producer Gratts returns to his own imprint with the third instalment of the "Balearic but bumpin'" trilogy. Here, the Belgian puts forward a captivating piece of organic, Body & Soul NY inspired deep house, assisted by Cata Mansikka-aho on vocals. As always, an instrumental is provided for maximum nightclub daydreaming. On the flipside, British duo Faze Action up the energy levels with an equally musical disco version that hits in all the right spots. Artwork once again by Mads Cooke.

Glenn Underground:
"Bad Ass'd Project, The whole thing"

Laurent Garnier:
"Really cool tracks :) Looking forward to hearing more stuff in the future."

Colleen Cosmo Murphy:
"Great release! I like the original best! I will be supporting on the show once I’m back in February."

Groove Armada:
"Sounds great and Faze remix is great too!"

Severino (Horse Meat Disco):
"Great stuff and amazing remix!"

Kevin Reynolds (Transmat):
"I remember this voice! Both tracks are incredible, has this classic Dinosaur L vibe that is super dope!"

Gareth Sommerville (Athens Of The North):
"Love Gratts’ productions - this is no exception. Spiritual for optimists."

Shane Johnson (Fish Go Deep):
"Really enjoying the original mixes here... such a relaxed, musical groove that perfectly suits that lovely, drifting vocal. Looking forward to playing."

Soul Jazz Records’ 200% Dynamite! set the benchmark for reggae meets funk compilations that has never been bettered. Out of print for over 15 years this new 2023 edition with new tracks and is being released in a one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023.
Jam-packed with reggae tunes that crossed-over to become dancefloor hits such as Tenor Saw’s sound boy anthem ‘Ring the Alarm,’ K.C. White’s classic cut of the seminal ‘No, No, No’ and Augustus Pablo’s ‘Rockers Rock’, 200% Dynamite explores the links between reggae, jazz, funk and soul.
Carrying on perfectly from 100% Dynamite, this second compilation continues to trace the history of Jamaican reggae and the influence of American styles such as funk and jazz had on this music.
Featured here are serious funk and rocksteady tunes from the likes of The Skatalites and Johnny Osbourne through to Jamaican jazz from masters such as Tommy McCook and Byron Lee, as well as some serious dub from the likes of Augustus Pablo, King Tubby and Jackie Mittoo.
New bonus tracks on this new 2023 edition include seminal dancehall party cuts Sister Nancy’s ‘One Two’ and Chaka Demus and Pliers’ ‘Murder She Wrote’, alongside classic soul to reggae covers including cuts of Marlena Shaw’s ‘Women of the Ghetto’ and Odyssey’s ‘Don’t Tell Me Tell Her’.






‘Once again, Soul Jazz goes digging through the reggae vaults and produces another sterling compilation. If you’re looking for a primer on the music of the island, you could do worse than buying every one of the records in this superb compilation series.’ All Music
‘In Soul Jazz’s outstanding Dynamite! series 200% is the head-turner. The label has its finger on the pulse of the now just as surely as it does on that of the past.’ Pitchfork
‘Soul Jazz Records ‘Dynamite’ series has quickly become a
rewarding guide to reggae’s most infectious back pages. Every home
needs some Dynamite.’ Irish Times
‘Soul Jazz Records’ long-running series
of highly-regarded reggae albums.’
Rough Trade

Soul Jazz Records’ feature-length documentary/CD/Book ‘Studio One Story’ is being re-released on 1 August 2011, and is also available for the first time as a stand alone DVD. The DVD is being issued as a prelude to the forthcoming deluxe-hardback book ‘Original Cover Art of Studio One Records’ released this autumn by Soul Jazz Records as well as a new Studio One album compilation on Soul Jazz to coincide with the new book.

Studio One Story is a documentary this is both a staggering slice of musical history and a definitive guide to Studio One, Jamaica’s greatest ever record company, and its legendary founder, Clement ‘Coxsone’ Dodd. ‘Studio One Story’ was filmed in 2002, two years before the death of the legendary Clement ‘Sir Coxsone’ Dodd, a man famously reticent of being interviewed - until the making of this film. Described by Chris Blackwell as the Motown of Jamaica, or ‘The University of Reggae’, Studio One is where the careers of literally hundreds of reggae artists began: Bob Marley and the Wailers, Alton Ellis, The Heptones, Ken Boothe, The Skatalites, Burning Spear and Sugar Minott, to name but a few! Studio One is the ‘foundation’ label of Jamaican Reggae and Clement ‘Sir Coxsone’ Dodd is seen by many as its father.

One and a half years in the making, Studio One Story is a truly unique documentary in which the late Clement Dodd gave unprecedented personal access to tell the previously untold story of how he and the many artists and musicians at Studio One literally shaped the rise of Reggae music from the 1950s onwards through to the late 1970s. This is the true story of reggae music and its Jamaican roots told from the inside: From the rise of Kington’s sound systems in the 1940s and 1950s, through to the evolution of a Jamaican music industry (and Studio One’s dominance) in the 1960s and the worldwide success of reggae in the 1970s.

The 4 hour documentary (including over an hour of extras) was filmed on location in Kingston, Jamaica and features interviews with Horace Andy, Alton Ellis, Ken Boothe, Sugar Minott, Denis Alcapone, The Ethiopians, Sylvan Morris, Johnny Moore, Lone Ranger, King Stitt and many others. The DVD also includes rare footage of The Skatalites, Jackie Mittoo, Count Ossie, Marcia Griffiths and others. As well as the stand-alone DVD, Soul Jazz Records are reissuing the original (DVD +CD+Book) original box set.

IF YOU ARE ORDERING THIS PLEASE CHECK IF YOU NEED NTSC (AMERICA, JAPAN, ETC) OR PAL (EUROPE, AUSTRALIA, ETC).
THE DVD HAS FRENCH AND ENGLISH SUBTITLES.

NB.MP3 Release is for the audio CD only.

REVIEWS ‘Studio One was Jamaica’s Motown. This documentary brings it brilliantly to life.’ The Telegraph ‘The history of Clement ‘Coxsone’ Dodd’s legendary Jamaica studio is fantastically told through interviews, copious amounts of music and historical footage and more.’ Uncut ‘Studio One Story is no mere historical document; it is a map that will lead you directly to a massive seam, endlessly mineable, of musical gold’ The Observer ‘A fascinating documentary’ The Telegraph ‘Compulsive viewing for anyone with an interest in Reggae’ The Wire

Yes Amigos!
The Debut Album "Latin Freaks" by Funkool Orchestra is finally out!
Get ready for another dose of Neapolitan Funky Disco Boogie madness with a Latin touch and a glorious featuring by the one and only Latin soul King : JOE BATAAN.
The Long Playing is a mixture of Rare Grooves, Napoli Sound, Disco Boogie, Latin Soul and Boogaloo, ideal for a trip to Nueva York and back to Naples just to say hello to your Puertorican uncle Manolito "Gennaro" Marròn.
A gozar!

Warehouse Find!

A true studio visionary and son of Incognito's Jean-Paul 'Bluey' Maunick, Daniel Maunick virtually grew up behind the mixing desk and worked his way through the scenes of drum n' bass, acid-jazz, disco, samba, deep house and beyond. As Far Out's in-house producer his work is a key component in the consistency and transience of the label's sound, with key albums include Azymuth's Fênix, Marcos Valle's Estatica, Sabrina Malheiros' Dreaming and Far Out Monster Disco Orchestra. His latest credit on the catalogue is the next chapter of his Dokta Venom alias, Moodswings.Each track brings you a visceral dancefloor experience both sonically and structurally. Opener 'See the Sun' evokes an elevated, cloudy ether, with each kick drum another step up to the sky. Title track 'Mood Swings' deploys components of broken beat, garage, house, IDM and boogie, but shrouds them into a hazy deepness, like a dream through Maunick's musical memories. Whilst keeping the same intensity, 'I Owe u Something' ups the tempo and swings the mood. Propulsive percussion blurs the acoustic with the electric, glowing synths and anguished vocals formulate this eruptive full-floor belter that lodges somewhere in between early Pepe Bradock and Azymuth.With a solo album from Azymuth drummer Ivan 'Mamao' Conti, a collaboration between Sean Khan and Hermeto Pascoal, along with a long awaited new record from Sabrina Malheiros, 2017 is set to be an exceptional year for Maunick and Mood Swings is an inspired prelude of things to come.

Soulful sounds from the South of Italy, coming courtesy of Soul Departure Recordings label head Kikko Esse.

Reggae and Jamaican music have long embraced a symbiotic relationship with the movies. Rooting back to the island's golden era, countless arrangements have either been direct covers, or inspired by, the musicality and mood found in both cinema and television. These reinterpretations would become part of the backbone of the instrumental sound that accompanied the Jamaican record industry's acceleration from the mid-60s and beyond. Talented young musicians, rising from Alpha Boys School and the early studios of Coxsone, Duke Reid and others, found a showcase for their unique playing style on hundreds of different recordings, while appealing to the country's own love affair with Westerns, James Bond canon, and other rebellious themes and motifs that were projected from Hollywood during this time.

In this same tradition, in a new interval, arrives the debut release of Anant Pradhan and Larry McDonald, the latter a master percussionist with direct participation in some of Jamaica's earliest recordings. McDonald, although often uncredited, was a legitimate influence in helping to bridge the Afro-Caribbean sound from calypso into ska and later reggae with his iconic style on hand drums and percussion. A kindred spirit of McDonald, despite 50 years separating them, Anant Pradhan is a bonafide member of the next generation. Although this is his first "solo" record, the talented saxophonist has already played on dozens of incredible sessions for the likes of Victor Axelrod, The Inversions, Andy Bassford, Channel Tubes, Ralph Weeks and Combo Lulo. As an official member of the current touring group of the legendary Skatalites, Pradhan has honed his musicianship under some of the greats of reggae music. His particular soulful, instrumental arrangements are an homage to that influential era of Jamaican music. Pradhan and his band's performance retain the skill and innovation of the old vanguard, and like the generations before, capture a magic that may only be possible when cinema goes reggae.

A cult favorite from A Nightmare Before Christmas, Danny Elfman's "Sally's Song" was immortalized in Tim Burton's 1993 classic stop-motion film. It's immediately recognizable in all its haunting charm, and now, Pradhan and McDonald have managed to transform it into an irrefutable reggae classic, reinvented with its melancholic lead sax and bombastic percussion. The prolific Henry Mancini is already entrenched in the Jamaican canon, yet nobody has knowingly attempted to recreate one of his most magical numbers, "Meglio Stasera" aka "It Had Better Be Tonight," that of the riveting one-take scene in 1963's The Pink Panther. The galloping percussion of the original is transposed through a cloud of smoke, slow and low in a roots style at the hands of McDonald. Pradhan's sax leads the way over the locked-in rhythm section, both deep and cheeky all at once. These first two productions of Anant Pradhan and Larry McDonald are a deserving entry into the canon of reggae covers, and are equally adept to be heard on the screen and or at the dance alike.

Dave Saved makes his debut release on studio 33 with Passing Images, an entrancing suite of hazy dance floor mementos, infused with a characteristic chopped and screwed soul.

As if heard through the dusty circuits of an android's dying memory drive, replaying songs picked up during its lifetime and mixing them into elegiac reveries in a final flashback of its existence, the sound is glowing with a patina hued warmth that feels uncannily familiar.

It's a considerably more dance oriented work than Dave's previous output but with a distinctly textural approach to the composition as well. The result is a densely vaporous sublimation of pure emotion. All refracted through an almost ghostly view of dance music's potentially hypnagogic effect, by way of repetitive progression and dreamy abstraction.

Back in 2020 The Whole Truth dropped a heap of gospel inspiration on Parkway in the shape of “Lord, Quench my Soul.” Three years later and they’re back stronger than ever.

The original Believe is an intense call for hope, featuring some amazing hooks and instrumentation that reference the sound of classics yet still bring new flavors.

Parkway boss Mark Seven has stretched the piece out into two further mixes, injecting time and space to create club friendly mixes that are high on hope!

Altogether it’s more timeless magic from the label you rely on

Seven Davis Jr. returns with a new album fresh after releasing the virtual reality infused clubby "Iss Good" EP on Classic Music Company. This album contains a fusion of R&B Hip Hop / Trip Hop / Deep & Soulful House songs. Inspired by the 90s sound and energy with appearances from John Cale, Luke Solomon, Ivan Dorn, Life On Planets, Jon Dixon and more.

The Cherry Boppers are back with six fiery artifacts of promiscuous funk recorded in collaboration with the vocalist, also from Bilbao, Patricia Reckless, in this mini-album in 10-inch vinyl format. Pure rhythm from head to toes. As is well known, funk fuses what has historically been labelled soul, rhythm and blues, jazz and rock, and The Cherry Boppers (TCB) have undoubtedly created their own promiscuous formula based on a fine selection of styles that predate hip-hop. Active since 2004 and convinced advocates of jazz-funk and instrumental funk, there are very few examples of vocal tracks in their discography. However, in 2014 they released the EP "TCB meet Dr. Baltz" (Brixton Records-Soul Series) in which they successfully covered three classic rhythm and blues standards with lyrics in Spanish. Now, after five years of publishing drought, they repeat the experience with the stellar collaboration of the vocalist, also from Bilbao, Patricia Reckless, musically formed in the band "Bohemian Soul". The powerful and educated voice of Patricia Reckless blends perfectly, as one more instrument, into the compact rhythmic machinery of TCB, giving the 6 tracks of this mini-album (the 6-track EP thing doesn't quite fit) a structure, perhaps, more familiar to a non-specialized audience. But let's not get carried away, the textures, the silences, the "on the one!" beat, the breaks, the stately Hammond organ, the brilliant brass, the forceful bass lines, the precise percussion, the wah wah... are all 100% Cherry Boppers. "The Cherry Boppers meet Patricia Reckless" remains faithful to that analogue funk sound that makes the band proud of a long and vocational career in the genre. And it is also an album full of details, of paths and instrumental lines to be discovered on multiple listens.

Introducing the anticipated 7" re-release of the Equasions single 'It's So Hard To Say "So Long"' & 'World Of Lonliness'. A timeless soul/funk single recorded in San Antonio in 1971, revered by sweet soul collectors internationally, has now become available for the first time in over 50 years through Symphonical Records, in partnership with band leader/songwriter, Robert Williams.

This limited repress is a testament to the sound of San Antonio. The Equasions were immersed in the city's defining impression, performing alongside other local acts Royal Jestors, Sunny & The Sunliners, The Primes, Joe Jama plus many more, all of whom worked to carve out the Alamo sound, one that resonates continues to inspire today.

The 5-piece vocal group, led by Robert Williams, consisted of Vernon Shannon, James Hartfield, Ricky Cotton, and Lamar Sumter. Brackenridge High School graduates, the group were formerly known as 'The Volumes', with their first single being released on Manny Guerra's imprint, 'Garu'. Two years later, the group switched members and formed their new name, recording their single at Joey Internationals studio.

Robert remarks that both songs were written as a universal message; for no one in particular but everyone can relate to. 'It's So Hard To Say "So Long"', is a poignant sentiment to lost love, yet hope created through beautiful harmonies, whereas 'World Of Lonliness' is a psychedelic reflection of society of the era, which Robert mentions remains true today.

1961, Port Richmond, Staten Island, NYC: Five kids stumble into a community center, sent by their parents to keep them off the streets and out of trouble. A lifelong friendship is formed over their shared love of doo-wop. The kids start learning harmony and the next thing they know they're cutting records. The group begins to gain steam as they take their act to the packed clubs around New York City. But history has other plans for the boys. First, The Beatles invade America, making doo-wop yesterday's news. Then, the United States invades Vietnam and two of the five boys are sent off to the jungle. Reintroducing: The Splendids. 61 years after their initial formation, the group has reconvened to cut two truly breathtaking records. With three of the five surviving original members weaving together heartfelt harmonies, the group has regenerated themselves and enlisted the help of multi-platinum soul singer Eamon to sing lead. Eamon is no stranger to doo-wop, as he got his start in the music business touring the Northeast as a young boy with a group his father Walter formed in the 90's. With this father and son reunion on these two tracks, the listener is taken back to a time when walking down the street you might come across a gang of youth singing their hearts out on a street corner, serenading the city with their souls. The Splendids hired Los Angeles based producer and multi-instrumentalist Dan Ubick to produce the records and conjure up the retro rhythm and blues sounds of the 1960's. Frequent Eamon collaborator the Oklahoman Benj Heard was then brought on to mix and produce the vocals. Both Ubick and Heard's sonic fingerprints add texture and groove to the groups legacy on 'Cry Baby Cry' and 'Blame My Heart'. Generations have come together from coast-to-coast to take back what history took from them. Enjoy the sweet, sweet sounds of true soul. Enjoy The Splendids.

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs. “Werk Road (1997 MPC 60)” is the third volume of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

1997 is when the name Hi-Tek began to develop a global buzz, largely due to the combustible indie-rap scene. He’d moved on from the now-shuttered Beatbox Studios in his hometown of Cincinnati and began building his first proper home studio in his new apartment on Werk Road. With a borrowed Akai MPC 60 drum machine as the foundation, he began churning out beats at a more prolific rate than ever.

In addition to placements on debut LPs by Mood and Royal Flush, Tek would make his name in 1997 as one-half of the duo Reflection Eternal with Brooklyn MC Talib Kweli. Their Rawkus Records debut 12” “Fortified Live” was an instant smash, and it quickly placed him at the top of the class of up-and-coming beatmakers. His unique balance of bassline-driven grooves behind soulful samples would eventually lead him to be in high demand for artists across the spectrum of the genre, and in short time he was producing for Common, Snoop Dogg, Raphael Saadiq, Dr. Dre, 50 Cent, and others from all over the country.

The work featured on “Werk Road (1997 MPC 60)” reveals an artist who would not only become one of the most respected producers in rap, but one of the cultural ambassadors of his home city of Cincinnati for over 25 years. In 2022, Hi-Tek was inducted into the Cincinnati Black Music Walk of Fame alongside luminaries like The Isley Brothers, Bootsy Collins and Midnight Star, and remains the most successful hip hop artist that the city has ever produced.

Introducing Atoll: Unleashing the Unrelenting Power of extreme Metal... Prepare for an auditory assault like never before as extreme metal band Atoll is set to unleash their bone-shattering new double Album "Human Extract/Inhuman Implants." With brutal grooves, guttural vocals, and a relentless onslaught of sonic chaos, Atoll continues to redefine the boundaries of the death metal genre. "Human Extract/Inhuman Implants" is a merciless dive into the darkest depths of the human psyche. Drawing inspiration from the macabre and the unknown, Atoll's latest offering takes listeners on a spine- chilling journey. With hauntingly atmospheric lyrics, the band delves deep into the horrors of this otherworldly experience, creating a musical narrative that will leave fans on the edge of their seats. True to their signature style, Atoll unleashes a sonic tempest upon the listener, combining relentless blast beats, blistering guitars, and soul-crushing basslines. The guttural vocals pierce through the dense wall of sound, delivering a sinister intensity that adds a chilling layer of malevolence to the composition. "Human Extract" showcases the band's exceptional musicianship and their unwavering commitment to pushing the boundaries of extreme metal. Atoll has amassed a loyal following through their relentless live performances and uncompromising dedication to their craft. Their ability to conjure an electrifying atmosphere that grips audiences, coupled with their unmatched stage presence, has earned them a reputation as one of the most formidable forces in the metal scene. With "Human Extract," Atoll proves once again why they are at the forefront of the Extreme metal movement. "We wanted to create a sonic experience that would engulf listeners in an eerie atmosphere, where the boundaries between reality and the unknown blur," says Wade Taylor the band's vocalist. "With 'Human Extract,/Inhuman Implants' we aimed to capture the essence of fear and vulnerability, delivering a musical journey that mirrors the horrors of alien abduction and the horrors of earth and man. It's an intense, cathartic exploration of the human condition." -Atollbone-shattering new Album "Human Extract." With brutal grooves, guttural vocals, and a relentless
onslaught of sonic chaos, Atoll continues to redefine the boundaries of the death metal genre. Beautiful
bloodwork petri dish colored vinyl in gatefold sleeve.

Division of Laura Lee emerged in the late '90s and quickly gained recognition for their unique sound, blending elements of post-punk and alternative indie rock. In a landmark celebration of their musical history, Division of Laura Lee proudly announces the 25th-anniversary re-release of their seminal 1999 album, "At the Royal Club." This re-issue features a compilation of tracks from the their first two years, allowing both long-time fans and a new generation of listeners to experience the album's intensity and the band's pioneering spirit. Previously released only on CD, the re-issue of "At the Royal Club" has been meticulously remastered for vinyl to bring a new life to the original recording.

At the Royal Club by Division Of Laura Lee includes the following tracks: "44", "Royal Club", "Chart Music", "Stop! Go!" and more.

DOG BEACH is Merryn Jeann’s first full length album, produced by Rob Ellis, comparing her directely with his previous collaborators.

Rob Ellis is a record producer, composer, arranger and musician who has been acting for about 40 years and during which he's had the honor to work with such notable artists as PJ Harvey, Marianne Faithfull, Scott Walker, Nick Cave, Warren Ellis, Brian Eno, Thom Yorke, Anna Calvi, ...

About working with Merryn : "In every instrumental phrase that she arrived at and each line of her vocal delivery Merryn's enthusiasm and very individual creativity comes across brilliantly I think... whilst still managing to retain an expression of deeply felt heart and soul... a rare combination in my experience, and a match for any of my aforementionel, much admired collaborators."

"The days in the studio were endlessly creative and playful... and subsequently very exhilarating... by the end it felt like we had really gone through something extremely special, and I believe the resulting LP strongly reflects that." Rob Ellis

Album was recorded over 5 weeks in England, including musicians such as Jim Barr (Portishead), Ben Christophers (Bat For Lashes) or Patrick J. Pearson (Daughter, LYR) but also Christelle Canot aka Confuse, half of IN CASE OF FIRE recently signed to Steve Budd’s prestigious record producer agency.

Merryn Jeann is a Naarm/Melbourne and Bundjalung Country/Byron Bay Shire based singer-songwriter and multi-instrumentalist. She has crafted a genre-bending, dreamy world of soundscapes that bear an enticing musical wisdom.

Sitting somewhere between Caroline Polachek, Cat Power, Weyes Blood, Feist, and Kelsey Lu, Merryn Jeann’s sound is fueled by authenticity. Her raw and honest self packaged into intricate and reflective morsels, many of which are yet to be revealed.

She played Glastonburry at the beginning of her career with the band TORA.

UK and international promo by Whiteboard PR.

A second LP will be recorded in 2025 again with Rob Ellis at the production.

Side projects : OSOO with Kyson & Chris Hill, IN CASE OF FIRE

Alanna Royale, for fans of Amy Winehouse, Lady Wray, and The Monophonics. Introducing "Trouble Is," an album that is years in the making. Produced by Kelly Finnigan of The Monophonics, this LP showcases Alanna's powerhouse voice and emotional lyrics. This is an album that you need to deep listen to. Get swept away from the lush string arrangements and feel the beat from an A-list rhythm section. This album is steeped in the sounds of the incredible R&B artists that have came before her. Come experience Alanna's vision through the incredible sounds on "Trouble Is." You might discover something new about yourself.

Burning Bug Records presents the new 7-inch reggae single, Universal Love, a collaboration between the established English producer Lewis Bennett and the iconic Jamaican vocal group, The Viceroys.

Universal Love is a captivating fusion of old-school Roots Reggae and modern Dub music, and is a testament to the enduring power of Reggae music to unite people through its positive message.

Bennett brings a wealth of experience to the single, infusing the track with his signature Spanish Flamenco guitar techniques, adding a unique and vibrant flavour to the traditional Reggae sound.

The Viceroys, who are from the heart of Jamaica and regarded as veterans in the Reggae scene, lend their authentic and soulful vocals to the collaboration, adding an extra layer of authenticity and nostalgia to the single.

Universal Love is a song which transcends boundaries, celebrating the roots of Reggae while embracing the evolution of the genre in the modern age.

A repress of this long out of print album. 300 only LPs some on Yellow vinyl and some on Green vinyl randomly picked. Gatefold sleeves with 180gm vinyl. Discovered by friends of Martin Hannett and with input from one of his relatives,these recordings give a rare insight into his production ideas for Joy Division and his relationship with the band.,the strange things/ sound effects they recorded in the studio together etc etc. The studio chit chat and interplay between Hannett, Gretton and Joy Division members is all here as Martin left his own tape machine running throughout studio sessions. On this album we have rare alternative mixes of Joy Division that were Martin's personal favourites and he had the forethought to get the band members to give him control of these recordings. A must for all Joy Division fans.

Disastroid's latest outing, Garden Creatures, is a record about the darkness in the hidden corners of suburban landscapes - sinister overgrown gardens, secret collections kept in basements, the crime just beneath the surface, the pervasive loneliness under a veneer of normalcy. Accordingly, it's a dark and atmospheric record, trading the stripped-down approach of 2020's Mortal Fools for a thicker, heavier, and more layered sound. Legendary producer Billy Anderson (Sleep, Melvins, Neurosis) builds mixes that range from dark and dreamy to a thick, sludgy crunch, slowly puling the listener through a range of sounds and textures, making sure things stay interesting. Singer/guitarist Enver Koneya's vocals are soulful and sometimes haunting, drifting above Disastroid's characteristically off-kilter, grunge-influenced riffs.

Disastroid's latest outing, Garden Creatures, is a record about the darkness in the hidden corners of suburban landscapes - sinister overgrown gardens, secret collections kept in basements, the crime just beneath the surface, the pervasive loneliness under a veneer of normalcy. Accordingly, it's a dark and atmospheric record, trading the stripped-down approach of 2020's Mortal Fools for a thicker, heavier, and more layered sound. Legendary producer Billy Anderson (Sleep, Melvins, Neurosis) builds mixes that range from dark and dreamy to a thick, sludgy crunch, slowly puling the listener through a range of sounds and textures, making sure things stay interesting. Singer/guitarist Enver Koneya's vocals are soulful and sometimes haunting, drifting above Disastroid's characteristically off-kilter, grunge-influenced riffs.

This 1960 album’s inventive Richard Weiss arrangements combine with Carter’s uniquely masterful – and modern - vocals for fresh takes on standards. Highlights include a lively run through ‘What A Little Moonlight Can Do’, inspired scatting on ‘On The Alamo’ and a beautifully tender take on ‘There’s No You’.

This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Ploho offers up their most exciting and best-produced album to date: ????? ???? ???? (When the soul sleeps). Out on Artoffact, the new album promises to be one of this year's high-lights and is sure to stand out on many end of year lists. Ploho's music combines early post-punk, new wave and Russian rock, drawing inspiration from the aesthetic and sounds of the late 1980s and early 1990s. The current album from dark Russian post-punk trio Ploho, pressed on vinyl.

Danish imprint Inherent Futurism returns with its second release in 2024, entitled 'Merger' and made up of a selection of cuts from the Copenhagen Electro Alliance. Inherent Futurism is the new label launched by Morten Kamper, an intrinsic member of the Copenhagen electronic music scene and the man behind the city's 313vinyl_collective record store. He launched the label with a reissue of the Autobot-1000 '3 Dimensions Of Space', a hidden gem from 2001 and the golden era of Electro. Here though, he brings things closer to home and revisits an array of select compositions from the Copenhagen Electro Alliance, compiled together to make up the aptly titled 'Merger'. The package is made up of twelve tracks across two twelve-inch vinyl from artists in the alliance, Nixxon, Brain Enterprise, Deimos Defender and Kruzh'em. As the name of the Copenhagen Electro Alliance collective would suggest, the aesthetic leans heavily towards experimental sounds and draws influence from the soul of Detroit electro, which paved the way for the future of the genre. The twelve-track collection explores all of the classic Electro tropes from punchy and crunch 808s, intricately intertwined synthesizer melodies, murky bass lines and dynamically unfolding, heavily modulated constructions, some leaning towards dance floor friendly while others lay more in the realm of sonic exploration of futuristic music.

Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom's record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes "When Will They Learn" and "I'm Gonna Miss You" which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo- recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through - all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener "Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. "Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance oor with him. "Disorder Starts At Home" is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.