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As with Directstep (recorded one week previously), this album was recorded, and originally only released, in Japan. It was one of Hancock's most successful albums in Japan, perhaps because it was entirely solo piano.

Hancock tackles jazz standards such as "My Funny Valentine", "On Green Dolphin Street" and "Some Day My Prince Will Come" while also performing four original compositions.

Neon Green Vinyl, limited to 500 copies. Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

PRESSING OF 500 COPIES WORLDWIDE. INCLUDES POSTER.
The sound of today. A very strong statement. Yet, fifty years later, it remains undisputed. Today’s sound is Piero Umiliani's manifesto, his will to demonstrate to the world that he always has his finger on the pulsating vein of the world, ready to embrace the heartbeat of the future.
In the summer of 1973, Piero Umiliani, in his futuristic recording studio in Rome, much like Miles Davis for his 'Bitches Brew,' gathered an extraordinary collective of musicians, both old and new guard to measure themselves against some of his compositions.
Besides strongly emphasizing the backbeat, what stands out the most is the timbre provided by his 'electronic instruments,' as he liked to call them. Minimoog, Arp 2600, Fender Rhodes, EMS VCS3, Clavinet, Lowrey organ, Space Echo, self-built envelope filters—machines impossible to see all together in an Italian recording studio at the time and made available to the musicians.
The line-up is stellar; under the name 'Sound Workshoppers,' the 'Wrecking Crew all'Amatriciana' is hidden an impossible mix where Marc 4, Gres and Perigeo are blended, along with a brass section of veterans and pioneers of Italian jazz, all members of the RAI Symphonic Rhythm Orchestra.
Comparing the recordings from the original scores, one can also understand the space left by Piero Umiliani for his musicians. They are free to move, to contribute solutions, to enrich the maestro's music.
The perfectly preserved original masters, once transferred at the maximum possible sampling frequency, allowed for the recovery of many lost frequencies, restoring brilliance and the remarkable low end expertly captured in recording by engineer Claudio Budassi.
Today’s sound was extremely difficult to control and fully render with the mastering technology of that time.
Paradoxically, Today's sound could not sound as I have managed to make it sound today: urgent, majestic, more alive than ever.

In the midst of the pandemic, Enjoy Jazz Festival has developed a musical project whose members will be recruited new every year and then debut at a concert on UNESCO International Jazz Day, April 30. The members come from the jazz scene of the German state of Baden-Württemberg. "We wanted," festival director Rainer Kern stresses, "not only to revitalize the fragile network of outstanding creative minds, but also to rethink it artistically as a rolling system." Two experienced and renowned band leaders, Alexandra Lehmler and Erwin Ditzner, now curate an annually changing ensemble of outstanding artists of the most diverse provenance. As part of a voluntary commitment, the ensemble is to be organized in a sustainable, diverse, and, in three years at the latest, completely gender-equal
and climate-fair manner. Thus, as a commitment to the goals of the "European/Local Green Deal" (and with reference to the jazz standard "On Green Dolphin Street"), the name Green Dolphin Orchestra was created. Another special feature: The renowned Oriental Music Academy Mannheim (OMM), a long-standing partner of the Enjoy Jazz Festival, receives a white card, so that musicians with a migration background or protagonists from other musical cultures are always part of this "orchestra of many" and constantly expand its sound language.

The project has a free improvisation approach with changing personnel. "We actually even thought of drawing lots for the different formats within the band pool," explains saxophonist Alexandra Lehmler. "We decided against it in the case of the first concert and instead put together curated formations." And drummer Erwin Ditzner adds, "In principle, however, this procedure remains an option." It was important to the two of them to also mix the genres represented by the individual musicians in such a way that free space for something truly new could emerge. "We wanted to challenge ourselves," Lehmler sums it up. The only restriction: a time code was assigned to each sub-project. "Each formation was given a time limit, although it was possible to virtually override this limit by spontaneous
reshuffling," says Ditzner, explaining one central of the few rules. "In concrete terms, this meant that after eight minutes, the improvisation in progress was either ended or new musicians simply joined in the ongoing creative process, while others took themselves out of the game."

Alexandra Lehmler summarizes the artistic impact of the ensemble as follows: "We really cross-fertilize each other. In order to push this process even further, we forced ourselves when putting together the ensemble not to fall back on our 'favorite playing partners', i.e. musicians with whom one feels particularly at home. In other words, we consciously wanted to step out of our comfort zone with this project." The present pieces were recorded live in Heidelberg during the ensemble's premiere concert on the occasion of International Jazz Day on April 30, 2022.

Immerse yourself in the musical universe of ONE PIECE MOVIES - BEST SELECTION! Enjoy over 70 minutes of music from the One Piece films for the first time on vinyl, taking you on a journey through the adventures of the famous Straw Hat crew.

Fully licensed.

Luffy, a mischievous boy, dreams of becoming the king of the pirates by finding the "One Piece", a fabulous and mysterious treasure. But, inadvertently, Luffy one day swallowed a "magical devil fruit" that turned him into a rubber man. Since then, he is able to contort his elastic body in all directions, but he has lost the ability to swim, the height for a pirate! Over the course of ever more incredible adventures and chance encounters, Luffy will gradually compose his crew and multiply friendships with the peoples he discovers, while facing formidable enemies.

Kohei Tanaka worked on the composition and arrangement of this album.

Delasi, the Koforidua-based producer, singer and rapper has released his new single ‘Amplifier’ featuring Nii Noi Nortey.

Prophetic, spiritual and frenetic, ‘Amplifier’ is Delasi’s testimony in musical form. A manifestation of Delasi emerging triumphant after many years in limbo as he searched for a long-awaited breakthrough in the music industry.

Produced by Delasi himself alongside Morgan Greenstreet, ‘Amplifier’ is underpinned by the texture of coastal rhythms indigenous to Accra and tightly ornamented with bustling drum breaks, electronic synth lines and jazz sensibilities.

Veteran Ghanaian multi-instrumentalist and sound designer Nii Noi Nortey appears on the track to deliver an explosive and rhythmically intense saxophone performance throughout as it tastefully builds to an emphatic crescendo.

Self-described as a prayer, the track’s maximalist and percussive instrumentation is cleverly juxtaposed with minimal lyrics where Delasi’s faint vocal repeats a series of repeated phrases like evoking the mood and semblance of a meditative chant and religious experience. Harkening to the work of afrofuturistic jazz musicians like Sun Ra and Pharaoh Sanders.

Speaking on the track’s meaning, Delasi said: “‘Amplifier’ is my prayer and like with other songs of mine it can scare me because I write things and then it’ll manifest in exact detail. The song is basically outlining how hard I’ve worked and how I need an amplifier to have my desires fulfilled. It's like a mantra and that’s why it's not so lyrical”.

‘Amplifier’ marks Delasi’s first release as a lead artist since his 2015 self-released project ‘#thoughtjourney’ which garnered support and praise from Rolling Stone, BBC6 Music, Worldwide FM, KCRW, Afropop Worldwide, Deutschlandfunk Kultur, NRK and legendary French DJ/Producer Laurent Garnier. Additionally parlaying into touring and festival gigs across Nairobi, Berlin, Morocco, Denmark and Sweden.

Delasi is an artist that has been quietly prolific for over a decade. Honing his musicianship exploring sonic possibilities with Ableton and Teenage Engineering. Eventually entrenching himself in the Ghanaian rap scene via collaborations with Hammer of The Last Two, Reggie Rockstone and Yaw P with whom he would release a joint project ‘Imperfections: The Break Up Vol 1’ in 2013.

He was musically raised on a diet heavily influenced by his father who exposed him to the sounds of Marvin Gaye, Bob Marley & The Wailers, Bobby McFerrin, Jim Reeves and Billy Ocean alongside the soundtracks for movies like Doctor Zhivago, The Sound of Music and La Bamba. Delasi’s own tastes would be heavily informed by linchpins of US Hip-Hop like Wu-Tang Clan, Nas, Onyx and M.O.P in addition to alternative R&B artists Frank Ocean and James Blake.

After many years of operating as a proudly independent and self-contained artist, Delasi has now partnered with Gilles Peterson’s Brownswood Recordings. One of the world’s leading indie labels, famed for their instrumental role in breaking the likes of KOKOROKO, Yussef Dayes, Swindle, Joe-Armon Jones, Shabaka And The Ancestors, Zara McFarlane and Ghostpoet.

With Delasi now being granted resources to give his music the grand and worthy footing, he is now on the cusp of the artistic breakthrough that was long out of reach. Speaking further on how the deal with Brownswood inspired the new single, Delasi said:

“The music I’ve created this go round is so strong that I can’t handle it all by myself. Though I had a lot of fun doing it all by myself with ‘#thoughtjourney’, this time around I needed it to be with a home who could properly amplify it.”

Jordan Munson ist ein Komponist, Performer und Multimedia-Künstler. In seinen Werken erforscht er die Erinnerung und unsere Beziehung zur Technologie, und es heißt, dass er "akustische Melodien und elektronische Rhythmen mit aufregender Absicht verschmilzt" (The New York Times). Seine Kompositionen beruhen auf einer Ausbildung in Perkussion, Improvisation, Pop und Sounddesign und stellen subtile Landschaften mit reichhaltigen Texturen und treibenden Melodien einander gegenüber. Munson setzt Technologie ein, um natürliche Klänge zu interpretieren und umgekehrt, wobei er sich auf die Übertragungsverluste konzentriert, die durch diese ständige Neusynthese entstehen. "Heartless Fools" wurde 2018 in den Greenhouse Studios in Reykjavík, Island, aufgenommen. Seit diesen ersten Aufnahmen ist die Musik durch weitreichende Zusammenarbeit mit Musikern aus Jazz, Klassik und Pop gewachsen. Zu den Künstlern gehören das experimentelle Pop-Trio Square Peg Round Hole, die Sänger*innen Isaiah Robinson und Hanna Benn sowie die isländische Cellistin Pórdís Gerdur Jónsdóttir. Während die Musik selbst nicht politisch sein soll, bezieht sich der Titel "Heartless Fools" auf die Reaktion von zwei Personen auf die aktuelle politische Landschaft. Die erste arbeitet sich durch Schock und Trauer, während sie die Realitäten dieser Welt wahrnimmt, und versucht, dem Ganzen einen Sinn zu geben. Die andere, angeheizt durch einen Verlust der kulturellen Identität, ist voller Wut, die sie antreibt, unmenschliche Dinge zu tun. Dies zeigt sich in der Musik als Kampf zwischen Ordnung und Chaos, Kontemplation und Ungeduld. Die Werke stehen in einem ständigen Spannungsfeld, sowohl intern und miteinander.

ARCHIVAL LIVE RECORDINGS OF THE LOUISIANA HAYRIDE BY ELVIS PRESLEY - ON LIMITED EDITION GREEN VINYL! Louisiana Hayride was a radio show broadcast from the Shreveport Municipal Memorial Auditorium in Shreveport, Louisiana. During its heyday from 1948 to 1960 'Hayride' helped to launch the careers of some of the greatest names in American country and western music. Then on October 16th of 1954, Elvis Presley made his debut. Presley's performance of his debut release, 'That's All Right', brought a weak response from the country-loving audience, but Presley was signed to a one-year contract for more appearances. Elvis worked the Hayride audience week by week until he finally won them over, but there was to be a catch... the demand for more of Presley's new kind of rockabilly music resulted in a sharp decline in the popularity of the Hayride, a strictly country music venue. Times were changing... These recordings capture the formative years of The King of Rock 'N' Roll and feature many of his soon-to-be classic numbers.

New Heavy Sounds is super stoked to announce a very very special team up between our favourite punk sisters, Shooting Daggers and Death Pill. Both bands have recorded a brand new song, and what better way is there to present them (or any kind of punk) than a good old split single. So kicking off the Shooting Daggers/Death Pill split, is this never before recorded Death Pill track 'MONSTERS'. Ukrainian punk trio Death Pill certainly made a stir when they hit the UK as part of their first ever European tour. Articles in the likes of the Guardian and Sunday, featured in all the music mags, plus the band showed that they were a pretty ferocious musical outfit, as those who were witness to the full on live experience can testify. Whilst in London, the band also had time to cut 'MONSTERS'. Recorded live in the studio with Wayne Adams (Pet Brick, Big Lad and producer of Green Lung) at the helm, MONSTERS is a short, sharp shock. An angry, sardonic and skewed amalgam of riffs and full on blast beats … it growls and it rips. The band says .. “This track is about how our parents knowingly or unknowingly lose their children. As an example - here are the most painful things you could hear from your folks: "When will you finish your music games?” "You will never achieve anything!” "When are you finally going to do something useful?" Therefore, when there was an opportunity to record a one live song in London, the choice of a song became obvious. Just imagine the "surprise" on the faces of our mums... Many thanks for Ged and Paul from the NHS label for supporting this idea, and to Wayne from Bear Bites Horse for the sick and fat sound” What makes this release all the more exciting, is that Shooting Daggers are dropping their first new music since last year's EP 'Athames'. Sal, Bea and Raquel are most definitely on the way up, their exciting blend of hard as nails hardcore, punk attitude and a neat melodic sense have made them a much sought after outfit, for gigs and festivals here and across Europe. They are slowly but surely proving themselves to be one of THE bands to watch in 2024. If the EP left their growing legion of fans gagging for more, new track 'NOT MY RIVAL' will not disappoint. It's a catchy, pogo-tastic, queercore punk banger, full of feminist grit and a killer earworm chorus. The band says ... "Not My Rival, is a song about dismantling the male gaze, fighting against the internalised patriarchal messages that we all unconsciously absorb. It's about breaking the cycle of female rivalry. We want to encourage lifting each other up instead of tearing each other down" The Shooting Daggers debut album is due in the new year .... you have been warned, this is the shape of things to come. But there’s more ... a very special 7” single strictly limited to 250 copies. Classic black vinyl, with a reversible foldover sleeve with artwork from each band on each side so you can choose your own cover, full colour printed labels housed in a poly overbag

The first bunch of remixes for Kito Jempere's Green Monster. The album itself was a versatile journey thought all music styles and patterns you can imagine, remixes are keeping the same direction.

EP opens with a remix from multi-talented and prolific studio genius Ewan Pearson, the man behind hundreds of remixes, production and studio engineering duties for artists like Tracey Thorn, Pet Shop Boys, Depeche Mode, The Chemical Brothers and many many more. And Mr Pearson is taking Kabwato on a journey! Originally recorded as two and half minutes as some say mid-album filler, this boat (kabwato in chewa language) is going deep down the tropical river and through breezy morning rainforest valleys. A perfect trip for your midday staying home alone errands or for your early morning ray of light at the bar with a beautiful panorama.

Same track is getting treatment from the mighty Cable Toy! Unmistakable peak time euphoria manifest - going back to my roots-esque piano meets 90s cable tv dance show house party!

On the flip is the remix by The Dawless. The Dawless are Ramil' Goddeem from LAUD and Sergey Gol'd, producer and owner of GoldxFish Music studio. They recently released their debut album "Broken Aux" on System 108, got remixed by DMX Crew and became residents of LOUD BOYZ label. The project has simple ethics: computers not allowed, only real gear and vibes. The duo has created a true rage rave anthem for Kito Jempere now. Having already been played in a lot of DJ-sets blasting through packed warehouses, now it became available to everyone.

EP closing opus is by Kito's frequent collaborator - UK born and Japan based producer Max Essa. Every Kito's album was accompanied by Max's remixes and this time he's delivering pure beauty again. Creating some Golden-era "8 1/2 weeks" vibes, Max transforms the track into a post-summer voyage anthem.

Super Funky Forest Green and Blue Splatter Vinyl.

After the fall of the Deep City label, Rocketeers bandleader Frank Williams set up shop under the name of his twin daughters Saadia and Giwada and got to work reinventing the Miami Sound. Tracked between 1968-1970, this LP gathers 15 of Saadia's funkiest and deeply soulful moments, featuring Pearl Dowell, Joey Gilmore, Little Beaver, Frank Williams' Rocketeers, Robert Moore, Brother Williams, and Sam Baker. Your next sample, first dance, workout jam or closing credits is buried in here somewhere.

Ow yeah just after the great party last weekend now its time to officially release this vinyl!

Crouching Tiger, Hidden Dragon is a 2000 wuxia film directed by Ang Lee. Taking place in 18th-century Qing dynasty China, the story revolves around a warrior who gives his sword, Green Destiny, to his lover to deliver to safe keeping, but it is stolen, and the chase is on to retrieve it. The film was praised for its story, direction, and cinematography, and for its martial arts sequences. It won the Academy Award and Golden Globe Award for Best Foreign Language Film. The score was composed by Tan Dun, containing many solo passages for cello by Yo-Yo Ma. The track “A Love Before Time” features Coco Lee. This album is released as a limited edition of 750 copies on translucent red vinyl.

Foreigner's debut spawned massive FM hits "Feels Like the First Time," and "Cold as Ice"
180-gram 45 RPM double LP
Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Arena rock heroes Foreigner crushed with their 1977 self-titled album debut, spawning some of the biggest FM hits of that year, including the anthemic "Feels Like the First Time" and "Cold as Ice," both of which were anchored — like most of Foreigner's songs — by the muscular but traditional riffing of guitarist Mick Jones, the soaring vocals of Lou Gramm, and the state-of-the-art rock production values of the day, which AllMusic reviewer Andy Hinds says allowed the band to sound hard but polished.

The architect behind Foreigner's extraordinary catalog, Mick Jones has crafted some of rock music's most enduring songs. Grammy and Golden Globe-nominated songwriter, performer and producer and winner of the prestigious Ivor Novello songwriter award in 1998, Jones first began playing guitar in his early teens.

After starting his own rock band and opening for the Rolling Stones in pubs across South London, Mick's first big break came in 1964 when he moved to Paris and was hired to play with French singer Sylvie Vartan.

After a brief stint in England to reform the band Spooky Tooth, Jones moved to New York City and formed Foreigner with Ian McDonald and Dennis Elliott and Americans Lou Gram, Alan Greenwood and Ed Gagliardi.

Foreigner defined a generation of rock music to people across the globe. From its iconic debut album, the band moved on to record-breaking hits including "I Want To Know What Love Is," "Waiting for a Girl Like You," "Double Vision," "Hot Blooded," "Juke Box Hero" and many more.

Now on 180-gram 45 RPM double LP you'll hear Foreigner in all its phenomenal glory. Mastered from the original tape by Ryan K. Smith at Sterling Sound, this reissue rocks. Double LP cut at 45 RPM, pressed at Quality Record Pressings and RTI, and housed in a Stoughton Printing tip-on old style gatefold jacket. That's how you upgrade a classic.

Muireann Bradley is a young blues, ragtime, roots and folk guitarist and singer based in Ballybofey in County Donegal Ireland. “This is my first album. Most of these tunes were originally recorded by the great blues men and women who were making records from the 1920s and 1930s right up in some cases to the early 1970s. I have also found inspiration for the renditions recorded here in the playing of some of the musicians who began recording this music in the 1960s and later, and who in some cases learned at the feet of the greats. Many of these guitarists played pivotal roles in the 1960s blues revival and subsequent “rediscovery” of many of the greats of country blues. I grew up steeped in these old blues in the hills overlooking the valley of the River Finn just outside the town of Ballybofey in County Donegal. My father would play this music constantly at home and wherever we went in the car and talk about it endlessly whether anyone was listening or not, telling stories about the lives of these musicians as if they were legend, mythology or the evening news. My father could of course play all this stuff on guitar, I remember watching him when I was very young and thinking “I want to be able to do that”. When I was nine he agreed to teach me and bought me my first little travel guitar. I worked hard to learn how to play but as time wore on I seemed to have less and less time to practice as I became more and more invested in the combat sports I was regularly training and competing in. Then in March 2020 the first Covid lockdowns happened and all contact sports were shut down. I was lost for a while but soon found my way back to the guitar. I was now listening, playing and practicing with a new intensity and focus. In a very serious moment, I wrote out a list of tunes I was going to learn. The first tune on that list was Blind Blake’s “Police Dog Blues”. I’m not sure now how long it took to get that arrangement together but when it was ready we videoed me performing it and posted it on YouTube. It ended up getting a lot of attention, I remember my parents being quite shocked and soon after that Josh Rosenthal got in touch… and here we are! Each individual track on this album was recorded live in the studio and represents one entire take with me singing and backing myself up on guitar simultaneously. Most are either first or second takes. Nothing has been added or taken away, no overdubs or modern recording tricks of any kind have been used at all so at least in some respects this album has been recorded in the same way as those classics of the 1920s and 1930s

David Tattersall, the Wave Pictures guitarist and frontman releases a solo album of interpretations of John Fahey tunes, recorded live in the studio. "I have been a fan of John Fahey's music since I was very young; it has always been with me and I can't remember a time when I wasn't affected by it. It is weird music, and very good. Of course, Fahey is an important cult figure in the history of music: as the first man to find a language for steel string guitar that can stand proudly alongside the established tradition of nylon string classical guitar; as one of many men who rediscovered obscure old blues musicians and recorded them for a new generation in the 1960s; as one uniquely able to reconcile 20th century avant-garde music with folk tradition; as an early indie-label DIY pioneer. For me personally, Fahey went beyond technique, and to some extent beyond historical or intellectual justifications for his work. He explored his emotions through his instrument of choice, and in so doing made the case for the guitar as the ultimate conduit for emotional expression. While there are many imitators who try to play ''like Fahey'', I avoided using his fingerpicking style or sense of rhythm, and tried instead to use his music to explore my own emotions, my own dreams and memories. I was more interested in the lyrical and expressive aspects of Fahey's music than in the techniques of it. I tried to find myself within his compositions and without composing anything I feel that I have managed to make a David Tattersall record that says as much about me as any of the many albums that I have written. John Fahey's beautiful discography shows that the guitar can carry as much mystery and soul as the human voice, and simply put, I wanted in on a little of this action. This is my second all-instrumental solo acoustic album, and where this differs from my first attempt, Little Martha, is that here I improvised freely. I used Fahey's originals only as guides. I'm not sure what I was looking for, perhaps something beyond explanation, but I tried to be as free as possible, and I am delighted by the spontaneous results. Hopefully, they will make the listener feel happy and dreamy, just like the effect that Fahey's many albums have on me. One of the most important things that Fahey ever said was his advice to guitarists to try to feel the emotions that each chord they play on a guitar brings forth. He is telling guitarists to not only play the guitar, but to let the guitar play them. I did my best to follow this advice. I hope you enjoy listening to the album, that it brings you some dreamy moments, and that it sends you back to happily explore the originals. I had a great time recording it. Naturally, I can't put the experience adequately into words but that's the whole point. I think Fahey was a genius of the kind that creates a whole genre single-handedly. There could be thousands, millions, of reinterpretations of his compositions. In fact, there probably already are. And long may this continue. All tracks were recorded live with no tampering."

Repress!

With a pioneering catalogue that boasts releases from artists such as Kenny Dope, Frankie Bones & Lennie Dee, Joey Negro and Joey Beltram, Nu Groove records was one of the key labels in establishing the NYC house sound. However, it was the Burrell Brothers who were by far the most prolific artists to release on Nu Groove, with Rhano and Rheji exploring the underground and avant-garde nature of their musical minds on the imprint. With the label now lovingly cared for by London imprint Defected Records, who acquired the catalogue in 2017, a new era of Nu Groove has meant new releases for the first time in almost three decades, the latest coming from the Burrell Brothers’ A.B.T. (A Burrell Thang) alias. ‘ABT2’ sees Rheji takes control of the A-Side, and Rhano the flip, as Rheji delivering the sparkling grooves of ‘24/7’ and glorious piano house on ‘Cut A Rug’ on the A-Side. Rhano goes ‘Back To Tha Underground’ with the headsy minimalism of his first cut, before closing out the package with a slice of soulful, evocative club heat on ‘2 Black, 2 Strong’ featuring Hakim Green.

Re-release Soul entwickelte sich gegen Ende der 1950er Jahre aus Rhythm"n"Blues, Gospel, Blues und Jazz. Im folgenden Jahrzehnt war Soul ein Synonym für schwarze Popmusik. Kennzeichnend dafür waren vor allem die Produktionen von Motown Records, zum Beispiel Diana Ross & The Supremes oder Sam Cooke. Seither sind herzergreifender Gesang und groovige Vibes die größten Stilmerkmale des Soul. Zu den weiteren Ikonen des Soul gehören Curtis Mayfield, James Brown, Aretha Franklin, Barry White, Sam Cooke, Al Green und viele mehr. Deren Erfolg ist eng mit dem Kampf der US-amerikanischen Bürgerrechtsbewegung gegen Rassentrennung und für Gleichberechtigung verbunden. 1969 benannte man die Rhythm"n"Blues- in Soul-Charts um. Der Soul-Orkan, der während der Sechziger in den Charts tobte, ebbte jedoch wieder ab, kam aber runderneuert in den 70ern als Phillysound wieder zu erneuten Hitparadenehren. 1982 änderte man die Chart-Bezeichnung von Soul in Black Music. Die vorliegende Kompilation vereint die legendären Stimmen des Soul mit ihren unvergesslichen Hits.