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RP Boo's essential first album, 2013's ‘Legacy’ caused a storm of acclaim worldwide as people finally started to piece together his true place in Footwork and the powerful legacy of his work as an innovator. In parallel with productions, his always on-point DJ sets have lit up festivals and clubs worldwide and continue to do so to this day, notably leading to him being named one of the ‘100 World’s Best DJs’ in a recent book by DJ Mag. Now on its 10th anniversary ‘Legacy Vol.2’ continues his story. Featuring tracks created between 2002 and 2007, this is a wonderous selection of material, some known, some unknown. The album kicks off with the dark and epic ‘Eraser’ created in September 2007, during a time RP was going to underground Footwork club War Zone on the west side of Chicago. The track was inspired by, and created to fuel, the “taunting words of intimidation” between dancers.” And now it makes for one intense album opener. Some cuts are inspired by everyday life – take for example 2005's ‘Pop Machine’, which was inspired by the time he was working at Speedway Oil Change who had a temperamental soda/pop machine. One day, a customer put money in the machine and nothing came out, so he continued to press the button, and for some reason RP found this funny so he went over to the machine and started pressing the buttons himself and everyone he touched started saying “Work!.” Inspired once he was back home in his studio he made ‘Pop Machine’ in tribute to the defunct machinery. When he came back to work the next day and played the track for all this co-workers it blew their minds and they also laughed with at how creative RP could get using things from his everyday life as inspiration. ‘Pop Machine’ also illustrates how RP’s Footwork uses repetition and minimalism as fuel. Years later RP Boo is still inspired by Foot Work – the art of dancing and working for dancers. He continues to shake up clubs and isn’t afraid to get out from behind the decks and drop some Foot himself. We’ll let the man himself have the final word - “What inspires me to keep going is seeing the people having an awesome time moving on the dance floor, as well as playing music that is a recognizable part of my life. I’m one with it.”

First-ever reissue of the 1988 album. Gatefold LP includes new and restored artwork and a chapbook, featuring forty-eight pages of lyrics, essays, photographs, and Gordon's extraordinary drawings for each song. The Choctaw, Assiniboine, and Texan poet, journalist, visual artist, American Indian Movement activist, and musician Roxy Gordon (First Coyote Boy) (1945-2000) was above all a storyteller, known primarily as a writer of inimitable style and unvarnished candor, whose wide-ranging work encompassed poetry, short fiction, essays, memoirs, journalism, and criticism. Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo. Along the way he cultivated close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon's primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West-and within the context of his own life and braided identity. The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. "Songs" is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R's. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it-high, lonesome, flat, and cold-blooded as a bare rusty blade-instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. Although Gordon's music at times incorporated powwow style drumming, fiddling, or unaccompanied ballad singing, the majority of it hews to an idiosyncratic spoken word style, accompanied by atmospheric, sometimes synth-damaged country-rock that skirts ambient textures and postpunk deconstructions. His songs are essentially recitations over backing tracks of finger picked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian. My life has been Indian and/or white. Maybe there's not a lot of difference-maybe. I guess that's mostly according to which white person or which Indian you're talking about. That's probably what this album's about. Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries.

New album by Los Angeles MC Kid Abstrakt produced by Leo Low
Pass from Amsterdam inspired by the golden era greats like A Tribe
Called Quest, De La Soul or The Pharcyde!
Now here's a funky introduction of how nice Kid Abstrakt is!
The young MC from Los Angeles, CA represents the jazzy 90s rap sound like no one else in 2023. Not only on the Westcoast but internationally. Kid Abstrakt is keeping the legacy of A Tribe Called Quest, De La Soul & The Pharcyde alive and relevant by using it as a source of inspiration to tell his own story.

Kid Abstrakt started out as part of local trio Revolutionary Rhythm before releasing his first album “Daydreaming” in 2017, produced by The Deli from Austin, Texas. With a growing fanbase overseas Kid Abstrakt started working with producers and bands like Cap Kendricks (Germany), Emapea (Poland) and Jazzbois (Hungary).

“Still Dreaming” - his new album for Melting Pot Music - is entirely
produced by Leo Low Pass from Amsterdam. Leo's signature sound of jazzy boom-bap and Lofi beats provides the perfect backdrop for Abs positive and skillful rhymes. One could easily dismiss “Still Dreaming” as a throwback album with a sound that is somehow stuck in the past. Kid Abstrakt’s love for that jazzy boom-bap is all over the place. He even raps about it - with the same passion and humbleness that he raps about his life, his family and the world we are living in today.
That's why we rather call “Still Dreaming” feelgood music that doesn't suck. Feature artists include Vsteeze, Tab One, Kamau, Awon, Rain Bisou and Hvmble. Artwork by Gizem Winter.

Since the release of the Sentimental Fool, Lee Fields has been touring relentlessly, playing to capacity crowds all across the US & EY with the drive and determination of an artist a fraction of his age. The fruits of which have culmi-nated in his song "Forever" being featured in 2023's top rated Super Bowl commercial, further solidifying Lee as the king of soul. In keeping with the momentum it is our pleasure to announce the release of his brand new single "Waiting on the Sidelines". Written by Thomas 'TNT' Brenneck (MSB, Charles Bradley, Diamond West Records) this beat-ballad grooves low and slow, giving Lee ample room to unleash a heart-breakingly soulful display of vocal acrobatics - an absolute must-have for fans of the Penrose sound. On the flip you'll find "You Can Count On Me", an in demand, upbeat moover previously only available on a limited edition 12" EP. Now bow to the king!

Sampled Funk : all the pearls of the Groove, sampled by the greatest hip-hop and R&B DJs and producers. From the first block parties of the 1970s to the digital revolution, the organic rhythms of the funk, disco, and soul music craftsmen have provided the DNA for countless rap classics. The new volume of the Give Me The Funk series explores the groove treasures sampled by hip-hop and R&B"s greatest DJs, producers, and other " creative diggers ". Cramp your style, here come the hotsteppers! From Johnny Guitar Watson to Instant Funk to B.T. Express and Clarence Reid, Sampled Funk goes back to the source of must-have tracks from Eric B & Rakim, Kanye West, Beastie Boys, De La Soul, Cypress Hill, Dr. Dre, Snoop Dogg and many more.

"Westerman — the London-born, Athens-based pop maverick — has returned with his new album, ‘An Inbuilt Fault’.

The album's nine songs took shape throughout the depths of the pandemic and soundtrack Westerman’s reckoning with two years of intense isolation, loneliness, heartbreak, and dread. The phrase “an inbuilt fault” itself is an examination of the inherent and innate flaws that make us human – a visceral response to Westerman’s disillusionment with AI and social media during this time period.

Through it all, the album is visceral and live-sounding, full of the sound of breath and the idiosyncratic gestures of acoustic instruments. It creates a spatial feeling, sounding like musicians assembled in a room, passing evolving ideas back and forth. Co-produced with producer and percussionist James Krivchenia (Big Thief), and featuring an extended crew of Los Angeles associates, 'An Inbuilt Fault' exhibits music that is heavier and more sonically daring than Westerman’s previous releases, and it is the most adventurous and unselfconscious songwriting of Will Westerman’s career.

‘An Inbuilt Fault’ follows Westerman’s acclaimed 2020 debut ‘Your Hero Is Not Dead,’ a graceful and self-reflective project which earned him a spot as one of the most talked about new artists of the year thanks to profiles from Pitchfork (‘Rising’), Stereogum (‘Artist To Watch’), and Rolling Stone (‘Artist You Need To Know’)."

Orange Vinyl

Die Berliner "Bülowstrasse" wirkt auf den ersten Blick unspektakulär. Ein typischer Schmelztiegel in der Großstadt, irgendwo zwischen Kreuzberg, Charlottenburg und Schöneberg. Doch spätestens mit dem gleichnamigen Album von LEA, welches am 05.05.2023 erscheinen wird, bekommt die Strasse ihren festen Platz in der an musikalischen Anekdoten und Erzählungen so reichen Hauptstadt. Gemeinsam mit ihrem Kreativteam erzählt LEA auf ihrem mittlerweile fünften Studioalbum die Heldenreise einer imaginären Protagonistin aus Westberlin.

All Quiet On The Western Front (Im Westen Nichts Neues) is a 2022
German epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque. All Quiet on the Western Front received positive reviews from critics, with praise directed towards its tone and faithfulness to the source material’s anti-war message.

Set during World War I, it follows the life of an idealistic young German soldier named Paul Bäumer. After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive. The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war.

All Quiet On The Western Front received a leading 14 nominations at the 76th British Academy Film Awards (winning seven, including Best Film and Best Original Score) and 9 at the 95th Academy Awards, including Best Picture, Best Adapted Screenplay, and Best International Feature, and Best Original Score.

The score of All Quiet On The Western Front is available as a limited edition of 2000 individually numbered copies on smoke coloured vinyl. The package includes a 4-page booklet with movie stills.

We at Real Gone Music
were so knocked out by The
Skipper and The Skipper
at Home, the two Black
Jazz-label releases we put
out from Henry Franklin,
that we hunted down the
rights to his next record,
Tribal Dance, recorded in
1977 for the little-known
Catalyst label. You will find
many of the same players
that made Franklin’s two Black Jazz albums so intense
and enjoyable, including saxophonist Charles Owens,
trombonist Al Hall, Jr., and guitarist Kenneth Climax,
along with West Coast jazz stalwarts like percussionist
Sonship and pianist Dwight Dickerson. As the title
indicates, Tribal Dance leans a little more spiritual, but
without losing the pulsing drive of its predecessors
(and how could it, with The Skipper
at the helm on bass!). Never before
reissued on vinyl, with original
gatefold artwork intact…and pressed
at Gotta Groove Records where we
made the Black Jazz records!

Ghost Producer aka Badawi (aka Raz Mesinai aka Bilal ibn Yakub al-Badawi) is a prolific producer and artist who has been on the forefront of underground experimental jazz and electronic music scenes around the world for over thirty years, with a catalog of albums on labels as ROIR, Asphodel and Tzadik under various monikers dating back to the late 1980s.

Ghost Producer released his first albums starting in the late 80’s under the monikers Psy Co. and Ruff Riddim Productions, selling his cassette tapes in NYC. He produced, on average, at least one album per week since 1988 until today. One of the twenty or so monikers was Badawi, later being signed to ROIR Records and releasing the seminal experimental dub, punk albums »Bedouin Sound Clash« and later »The Heretic of Ether« on Asphodel. Spending time as a child between Occupied Jerusalem, the West Bank (Balata) and New York City (Rock Steady Park) during the height of the B-Boy era in the 70s and 80s informed Ghost Producer’s singular sound of heavy driving Sufi rhythms, sonic experiments, percussion, piano playing and sound design which has connected him to a wide variety of artists ranging from Maryanne Amacher to John Zorn, to added elements of darkness to music by such artists as Hanz Zimmer (Black Hawk Down) and rappers Danny Brown (Pneumonia) and Skepta and Double D (Don) among many others.

At age 14, Ghost Producer was discovered by visionary jazz and rock musician, Juma Sultan (Jimi Hendrix) whom later trusted Ghost Producer with producing the archive of over 2000 hours from recordings from »Studio We« and the Free Jazz Loft Movement in NYC in the 60s and 70s. As a composer, he has worked with Kronos Quartet and has had premiers at Carnegie Hall (Cross Fader, The Echo of Decay) and Lincoln Center (String Quartet For Four Turntables). In addition, Ghost Producer has released several albums on John Zorn’s Tzadik label, where he explored producing to the books of Franz Kafka (Before The Law, Resurrections for Goat Skin, Cyborg Acoustics)

As a composer for film, he coined the term »score design» to describe his work in conceiving and producing scores for films with particularly demanding needs, working on such films as A Late Quartet (director Yaron Zilberman composer: Angelo Badalamenti), The Fountain, Black Swan and The Wrestler (Darren Aronofsky/Clint Mansel), Black Hawk Down (Ridley Scott/Hans Zimmer) and many more. In 2014, he was awarded as a fellow in the Sundance Composers Lab.

In 2015, Ghost Producer formed the Underground Producers Alliance, a unique program for developing producers, performers and composers, with co-founders Scotty Hard (Wu Tang Clan, Medeski Martin and Wood, De La Soul), HPrizm aka High Priest (Anti Pop Consortium), Honeychild Coleman (the 1865, The Slits) and Prince Paul (Jungle Brothers, De La Soul), where Ghost Producer produces entire albums with student participation in his master course.

This album, »The Book of Jinn«, is one of many productions done within the course, featuring players/mentors Juma Sultan (percussion), Chandenie (voice) and Shahzad Ismaily (electric bass), with additional student participation from Adam Culbert and Jonah Sollins (aka Goodnight 1500) on synths and percussion as well, then all remixed and rearranged by Badawi into what you hear here, The Book of Jinn.

Eine Entdeckung für Fans von klassischem World- und Folk-Pop a’la Paul Simon, Van Morrison u.a. „Come Back To Me“ ist nach langer Pause das Album-Comeback von Peter One, in den 1980er Jahren
Folk-Pop-Star in Westafrika. Er spielte er in großen Arenen und erreichte mit TV- und Radioshows ein riesiges Publikum. Anfang der 1990er Jahre entschied er sich, in die USA auszuwandern. Unter dem
Eindruck der damaligen Krise des Musikgeschäftes wechselte er in einen Job in der Krankenpflege, schrieb allerdings weiterhin Songs und spielte Gitarre.

Seine Berühmtheit holte ihn in den USA wieder ein, als dort ein Album von 1985 neu aufgelegt wurde und zur Wiederentdeckung seiner Musik führte. „Come Back To Me“ ist jetzt das offizielle Comeback von
Peter One, mit eingängigen neuen Songs in Englisch, Französisch und Peters afrikanischer Muttersprache.

AMG (whom The Source called “more foul mouthed than a late 70s Richard Pryor concert film”), was a part of Courtney Branch and Tracy Kendrick's Total Trak Production crew which developed DJ Quik, 2nd II None, Sylk Smoov, Hi-C and Boss. He made his first appearances on DJ Quik's debut album Quik is The Name. In December of 1991, AMG released his self-produced debut solo album Bitch Betta Have My Money with the platinum selling lead single of the same name. This reissue has this West Coast 90s classic on vinyl for the first time since its initial release and includes “I Wanna Be Yo Ho (Remix)” previously available only as a CD bonus track.

All Quiet On The Western Front (Im Westen Nichts Neues) is a 2022
German epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque. All Quiet on the Western Front received positive reviews from critics, with praise directed towards its tone and faithfulness to the source material’s anti-war message.

Set during World War I, it follows the life of an idealistic young German soldier named Paul Bäumer. After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive. The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war.

All Quiet On The Western Front received a leading 14 nominations at the 76th British Academy Film Awards (winning seven, including Best Film and Best Original Score) and 9 at the 95th Academy Awards, including Best Picture, Best Adapted Screenplay, and Best International Feature, and Best Original Score.

The score of All Quiet On The Western Front is available as a limited edition of 2000 individually numbered copies on smoke coloured vinyl. The package includes a 4-page booklet with movie stills.

Peter Culshaw was described by Malcolm Mclaren as “the Indiana Jones of World Music” and has tracked down music from the Amazon to Siberia and lived with Pygmies in Central Africa and dervishes in Istanbul. The result of decades of research is this, his first solo album.

The music is a mysterious mix of East and West, ancient and modern, led by minimal tantric piano, objective, meditative music for a chaotic age.

In the Detmold area (Westphalia, Germany), there wasn‘t much going on for metal fans in the first half of the eighties. Fortunately, the members of two bands met in 1982 in a chip shop and recognized their common preference for hard music by their long hair, leather jackets and moustaches, which were good manners at that time. In this moment SACRAFICE were born, who subsequently became local heroes - of course influenced by the NWOBHM that was just spilling over into Germany, but also by the usual suspects like Black Sabbath, Deep Purple, Rainbow or Kiss, as well as Judas Priest and the early Accept.

Two unusual choices were made at once: In the spirit of Def Leppard or Led Zeppelin, the band name was deliberately changed - i.e. NOT Sacrifice, but Sacrafice. And they decided not to make the typical demo tape, but a 12“ EP on their own. This one is called „The First Experience WIth The Unknown“ and can be bought here and now on Discogs for 120 Euro and more used.... But already the book „Heavy Metal Made In Germany“, which was published in the nineties via Iron Pages, lists the record as „Top German Metal Rarity“.
No wonder, because the quite aggressive heavy rock and metal knows how to please even today - or maybe especially today - and reminds us of the upbeat mood of the German metal scene in the first
half of the eighties. This is also true for the three live tracks, which have been elaborately restored in days of work.

Another house number are the tracks of the follow-up band TranQuilL
(that‘s right, that‘s the correct spelling). The mostly overlong songs can be classified as heavy prog. Due to various circumstances these pearls remained (as good as) unreleased. Again, a lot of time and work was invested in restoring and mastering these private studio recordings (there are six long TranQuill songs on the CD version, while there was only room for two tracks on the LP, without losing sound quality).
As always, the printed inlay contains liner notes (actual interview with a former band member). Photos and other illustrations.
The CD version of the Golden Core re-release has already received very good reviews in Rock Hard and Good Times, among others!

For their second release of 2023, T4T LUV NRG present the “Temptation E.P.” by breakout L.A. based producer and DJ Introspekt. Between sets at West Coast renegades, Introspekt has caught the attention of DJs the world over with her heavy and beautifully crafted UKG productions on Gimme A Break and Shall Not Fade, including a forthcoming release on Interplanetary Criminal’s compilation for Locked On. T4T LUV NRG label heads Octo Octa and Eris Drew were introduced to Introspekt through Bored Lord and eagerly signed the Temptation e.p. on a first listen, already having been fans of her music. Their imaginations were immediately captured by this U.S. artist’s fresh take on UKG, which borrows certain motifs from Ballroom culture and classic house sounds. All of the tracks on “Temptation” utterly rip in a playful way but they also have a genuine emotion and narrative that Introspekt weaves through all the swingin’ beats and bass. We can’t wait to hear these juicy tunes work the bins over the coming months!

Every Aspect of the Production Personally Supervised by Barbra Streisand
Mixed by Jochem van der Saag from the Original Analogue Session Tapes & Mastered in 24 bit/96 kHz by Paul Blakemore
Lacquer Pressing Master Created by Bernie Grundman
Pressed at RTI
Tip-On Gatefold Jacket
Deluxe 12-Page Booklet Featuring Barbra's Recollections, the Recording's History & Production, and Performance Photos

The Premiere New York City Nightclub Event of 1962! The Most Anticipated Live Album of 2022!


In the fall of 1960, New York City wasn't the same urban mecca it is today. Neither was eighteen-year old Barbra Streisand, who emerged on the Greenwich Village club scene at a small, cozy venue on West 8th Street called the Bon Soir, where she received rave reviews and wooed the crowd with her incredible performances. Within two years Streisand, whose magnificent interpretations of both standards and quirky, obscure cabaret tunes was a nationwide sensation, was knocking audiences dead with her nightly performance as Miss Marmelstein in David Merrick's I Can Get It For You Wholesale on Broadway.

Sixty years, multiple Grammy, Emmy, Oscar, Tony and Golden Globe awards and nearly two hundred million record sales later, Barbra has for the first time authorized the release of a major portion of her Bon Soir performances, as captured in 1962 by Columbia Records. IMPEX Records - in conjunction with Sony Music Entertainment - is proud to present the audiophile 180-gram vinyl LP and SACD editions of the most sought-after recordings in Barbra's legendary career: Live at the Bon Soir: Greenwich Village, NY - November 1962. This gorgeous album features twenty-four brilliant performances personally selected by Barbra Streisand from the original Bon Soir master tapes and expertly mixed and mastered by Paul Blakemore and Jochem van der Saag, under the supervision of producers Barbra Streisand, Martin Erlichman and Jay Landers.

IMPEX RECORDS has created two versions of this noteworthy release: a two-LP vinyl edition and a 24 bit / 96 kHz SACD. To achieve the best fidelity possible, engineer Paul Blakemore transferred the original three-track session tapes to high-resolution 96/24-bit digital files, which were then mixed by Jochem van der Saag. For mastering, Blakemore used an all-analog signal-processing chain in order to maintain the warmth of the original analogue recordings. To master the vinyl LP edition, IMPEX engaged Bernie Grundman, who has mastered many of Barbra's albums over the last sixty years, to create the lacquer pressing master.

Rich with the club's atmosphere, these historic, essential recordings present a warm, charming portrait of a truly important moment in New York City history and American pop culture. Several years removed from Manhattan's flourishing jazz nightclub scene, tiny clubs such as the Bon Soir began popping up, and served as both a forum and launching pad for some of the finest vocalists and musicians the east coast had to offer.

Because of Barbra's success there, Columbia Records A&R rep David Kapralik decided that the first album from his newly-signed artist would emanate from a setting in which she had become most comfortable: the small stage at the Bon Soir. Producer Mike Berniker and recording engineers Roy Halee and Adjutor "Pappy" Theroux set up the mics and recorders, and for three nights harnessed the electrifying show that Barbra had crafted.

"The recordings we did at the Bon Soir were so authentically 'Barbra.' I produced her first three albums at Columbia, and while they were wonderful accomplishments, I thought that what she did each night at the Bon Soir transcended anything we ever did in the studio." - Mike Berniker

Columbia ultimately decided to bring Barbra into the studio to record her first album, and except for the inclusion of several tracks on compilations through the years, the Bon Soir tapes laid dormant in the vault. Now, through this extraordinary release, everyone can at last enjoy the early sound and style of an icon in-the-making: the same brilliant artist whose performances at the Bon Soir were lauded by everyone from actress Helen Hayes to lyricists Alan and Marilyn Bergman. We invite you to join us for an evening at the fabled Bon Soir. Take a seat, order a drink and revel in the magic that is Barbra. You will not be disappointed!

Les Disques Bongo Joe return to the scorching Kabyle rock of Abranis, the pioneering Algerian band that blended traditional Berber music with western rock, folk, disco, and funk, all the while proudly celebrating their Kabyle heritage. Amazigh Freedom Rock is a comprehensive look into their discography, from the garage-rock experimentations of their early days to their lushly orchestrated North African fusion masterpieces of the 1980s.

The Abranis story begins in the mid-sixties, when Shamy El Baz and Karim Abdenou crossed paths in one of Paris' bohemian neighborhoods. Both were Kabyle, the Berber
people from Algeria’s northern regions, both loved rock music, and both were passionate about fostering a modern Algerian sound, as inspired by Kabyle rhythms and melodies as it was by western rock. The two musicians founded Les Abranis in 1967.
Together they experimented by mixing Kabyle vocals and melodies with garage and psych-rock but as the '70s progressed they increasingly moved away from the garage and psychedelia of their early days and began to interpret their Kabyle repertoire in more open and creative ways melting prog rock, jazz and some early electronic influences.

Over 11 electrifying tracks, Amazigh Freedom Rock 1973-1983 highlights their legacy as the underground kings of Kabyle rock.

BBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.

Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.

As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.

SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.

It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.

So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.