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Ebo Taylor is a legendary guitarist, composer, arranger and producer from Accra, Ghana. A leading light of Ghanaian music since the 1960's, Taylor is still touring and recording, and at the age of 80 will be releasing a brand new studio album on Mr Bongo in 2018.
For this album, Ebo joined forces with 12-piece band 'The Pelikans' — from the Cape Coast region of Ghana — led by Bessa Simmona, with rhythm guitarist Fifi Orleans Lindsay. A genuine 'holy-grail' of Ghanaian music and one of Ebo's most saught-after.
The album was released on the small Abookyi label. Named after a nightclub they played in called PELIKANS, and sung in English and Fante, this was the first album where Ebo sang on tracks, such as the classic 'Come Along', on which he also plays keyboard. This song clearly defined a new direction in highlife and has become a Ghanaian funk anthem. 'Come Along' formed the basis of Sadat X's 'Remember That' hip hop jam from 2011.
This official Mr Bongo re-issue is packaged in our new & improved heavyweight 'tip-on' sleeves, printed in Japan, pressed on high quality vinyl, with label designs and artwork as per the original release. Ebo's forthcoming new studio album, 'MIND YOUR OWN BUSINESS' is set for release in spring 2018, on Mr Bongo.

In 2017, the musical term electronic' is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn't be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith's music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track An Intention,' which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith's watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith's ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of In The World But Not Of The World' which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one's own identity to begin giving back to the formative forces of one's upbringing, which is arguably the duty that all great artists
aim to fulfill. This side ends with the exploratory album cut Who I Am & Why I Am Where I Am' recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble
piece of sound design serves as a contrast to side four's verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a
return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best' this concept is voiced in the bittersweet refrain one day I'll wake up
and you won't be there' which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the
listener, and both interpretations are equally moving.
Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners,
and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar
gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.

Alan Watts, another logical inspiration of Smith's, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. You're not there unless you're recorded,' Watts muses, if you shout, and it doesn't come back and echo, it didn't happen.' The Kid speaks to this idea directly. As Kaitlyn Aurelia
Smith explores her existence through music, she guides us in gleefully contemplating our own.

Released in March of 1962, Bob Dylan's debut album announced the arrival of a singer-songwriter who would change the face of 20th century music and popular culture. Though it was Freewheelin' the following year that would make him an international star and the voice of a generation, this debut is a crucial piece of folk music history and a stunning example of his early song-craft. Back in print with a beautifully redesigned cover on Wax Love.

For the label's 50th release, Emotional Rescue returns to the music of Woo to close a trilogy of reissue collaboration albums, in A La Luna. Following Whichever Way You Are Going (1982) and Into The Heart Of Love (1990), their opus A La Luna (1991) was the last of the bands song based albums and represents a wonderful way to close this association.

Reworked, re-ordered and remastered especially for this first time vinyl release, brothers Mark and Clive Ives again present their unique, ground-breaking and at the time, heart-wrenchingly overlooked music, that seems to fit the folk-new age-electronics of today as well, if not better, than when first released.

Across 20 plus songs Mark's guitar, clarinet and vocals are as ever drenched in Clive's mixing desk mastery. Echo and reverb shimmer as the short pieces rise and fall like the wind blowing across nighttime trees. With no song going much beyond three minutes, A La Luna flows as one piece. The unmistaken sound of Woo wraps itself around you in an essence, warmth and glow that is addictive, meditative and uplifting.

Featuring the original vocal performance of Mark's love ode, Magic In The Dark stands as a centerpiece where, as with all their albums, vocals appear at a minimum, as part of the musical journey.

The underlying somber nature of the album comes as the band ended more than a decade of recording with little critical or commercial success. The fact they did not release a full album again and moved towards a more meditation outlook was a loss, however, their recent rediscovery and the excellent releases by Drag City and Palto Flats included, has finally given the Ive's brothers not just a place in appreciation, but has shown that there really is no one like Woo. Enjoy the magic.

Limited edition 200 Copies

Between the end of the 70's and the early 80's, a new sound appeared in London and its surroundings, a unique mix of Funk, Jazz-Funk and Disco labelled as Britfunk. Characterized by its raw energy that can put the needle In The Red, this up-tempo sound was a match for the UK's dancers and Jazz-Funk clubs.

This first release by French label Chuwanaga features some of the most exciting, rare and powerful tracks from that era compiled by the Parisian DJ and activist Saint-James, with bands such as Equa, Potion, Inch by Inch, Congress, Index and Spookey. It features also an insert with an in-depth focus on this musical era.

These young British musicians were equally inspired by the American Jazz-Funk productions and by Dub music and Reggae pushed by the Afro-Caribbean community who were at the heart of Britfunk's development. They gave Funk a unique British flavor. However, more than just a music genre or an enclosed expression of black Britishness, it was part of a genuine musical and social movement with its own dedicated labels, fashion sense and most importantly its own set of values that fueled the whole scene. Britfunk built itself within a multicultural evolution: black people, white people, straight and queer, all dancing in the same room to the same loud sound.

VERY strong track listing with some of the biggest Motown hits ever - should do very nicely going into Christmas gifting area and beyond as a strong catalogue seller.


[B] A2 | Dancing In The Street - Martha Reeves & The Vandellas

What A decade deep into its ongoing investigations, documenting and pushing the sonic frisson and fusion between science and technology, SCI+TEC remain at the very forefront of electronic music. Its feet firmly on the dancefloor, its spirit deep inside the machines, its sights set on the future: Dubfire's label has continuously forged its own deep furrow and has been doing so from day one. With breakthrough Dubfire releases such as 'Roadkill' and 'I Feel Speed' SCI+TEC has managed to create a whole new framework for 21st century techno. All the while SCI+TEC has consistently championed and encouraged new and unsung talent from around the world, amplifying legions of rising names; Davide Squillace, Paul Ritch, SHADED, Simi, Delete, Harvard Bass, Joop Junior and countless more include SCI+TEC releases in their rich histories. This precision balance of stark sonic signature, technical ideology and nurturing new ideas and talent has led to SCI+TEC's perpetual momentum into every house and techno DJ's playlists and sets for the last 10 years. Be it the label's penchant for deep, undulating subby grooves or its passion for warehouse-razing thunder-powered techno, the SCI+TEC sound covers every corner of the floor and every chapter of the night; as proved by the label's many world tours. And proved once again by this fittingly stacked anniversary album. 10 tracks to celebrate 10 years from 10 of the label's most exciting artists, every track brings home the SCI+TEC message: The breath-taking atmospheres of Alex Mine's album scene-setter

After their first baby steps with two digital releases, the Leipzig based label Old New Records is finally making it's leap to the stairs made of vinyl. Each artist is involved by heart, willing to contribute something for the higher goal, called good music.

In the end they forged a record of different styles, like House, Deephouse, NuFunk or Beatz. So welcome to the musical soap opera about a circle of friends and their reflection of musical taste - welcome to Old New Records.

Bei allen, die den Tiefgang bei Eminems Können oder seine Fähigkeit, drastische, aber faszinierend offene Ehrlichkeit zu liefern, angezweifelt haben, bei denen werden diese Zweifel schon bei dem ersten Track von The Eminem Show in alle Winde zerstreut. "White America" lebt von seinem flotten Flow und einem krachenden Rhythmus-Track (für die Produktion der Platte war schließlich der langjährige Mentor und Partner Dr. Dre verantwortlich), und wir erleben, wie Eminem wild auf all die Hände einschlägt, die ihn doch eigentlich ernähren, wie er auf seine Kritiker einprügelt, ebenso auf die Industrie und auf den Rassismus, der in mancherlei Hinsicht Marshall Mathers mehr auf die Beine geholfen hat als sonst irgendeinem Rapper. Nach dem spektakulären Auftritt bei The Marshall Mathers LP und Eminems gezieltem Einsatz von sexuellen Ausdrücken klingt diese Art von Material noch mehr nach Kontroversen, denn es erscheint tatsächlich als die Wahrheit. Angefangen von einer brutalen Antwort an seine ihm längst fremd gewordene und verwirrte Mutter ("Cleaning Out My Closets") bis hin zu einer überraschend zarten Ode an sein Kind ("Hailie's Song") nimmt Eminem alles kritisch unter die Lupe: sein Leben, seine Liebschaften, seine Festnahmen, seine Sucht, sein Versagen und seine Erfolge, und das mit einer verblüffenden, selbstkritischen Einsicht.

Punk restless action !

Expansion's most successful and longest running compilation series returns with a 2017 edition. The concept remains the same, fifteen must-have modern soul room gems taken from the year's biggest dance floor spins on the soul scene. While tracks here have topped UK soul charts, many have not been available in all formats. Once again, attention is paid to the 'flow' of the 15 gems chosen here from shuffling beats to boogie to more soulful house as played at modern soul events. Participants this year include Omar with Los Charly's Orchestra, Tawatha Agree (voice of Mtume's Juicy Fruit') with Aeroplane, Kenny Thomas with Thames River Soul produced by and featuring Incognito, and both Wez and The Groove Association formerly members of Brit Funk group Second Image. Leela James is here after her stint in a US realty TV show R&B Divas: Los Angeles', other guests including Amp Fiddler, Faith Evans, Trina Broussard and Lifford.

YELLOW VINYL

A blaster... defenitly harder than the Metal Plus metal 01, with a solid old school connection to the newskool... Hard, very hard. Beautiful. Very beatiful. Undeground hardcore !