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20 track Album from Various Artists released by Dub Store Records

One year has passed since the last release in this series and, as always, the Tramp Records crew have been working hard during the last 12 months to come up with an equally fine selection of tunes for this brand new volume. Our aim is to keep up with the quality of each release, a task which certainly does not get any easier as we step forward into the twenty first century.

There is no need to praise this selection of tracks. It is larger-than-life. And those who do not recognize the distinctiveness of it should better seek medical advice. The most astounding fact is certainly that 99% of the record buying public have never heard any of these tunes, most likely not even the artists. And we are not talking of people who solely listen to mainstream music. No. Even music lovers who believe that they have a good portion of knowledge when it comes to jazz and soul music will be left speechless.

You can skip to any song on this album and you won't be disappointed. The only premise is that you are a fan of raw, earthy soul and jazz music. If this is the case then you can't go wrong. Rene Bailey, Matilda Haywood, Lee Mitchell, Nu Art Quartet, to name a few. It is high time to introduce all these names to a broad audience and to prevent that they vanish into thin air. The Movements series was coined to introduce music lovers to so far unheard musical treasures. Tunes which only hardcore record collectors have had the privilege to enjoy it...until now.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Paul Weller meldet sich mit Find El Dorado zurück – einem neuen, sehr persönlichen Album voller Neuinterpretationen, das am 25. Juli erscheint. Inspiriert von einer lebenslangen Leidenschaft fürs Musikhören greift Weller auf Songs zurück, die ihn schon seit Jahren begleiten – nun gedacht, neu gehört, neu gefühlt. „Das sind Lieder, die ich schon lange mit mir herumtrage“, sagt er. „Im Laufe der Zeit haben sie sich verändert. Und jetzt schien mir die Zeit gekommen, sie mit anderen zu teilen.“
Die Veröffentlichung markiert gleichzeitig ein neues Kapitel in Wellers beeindruckender Karriere. Als prägende Figur der britischen Musik – mit rund 11 Millionen verkauften Alben allein in Großbritannien – kehrt Weller zu Parlophone Records zurück, dem Label, das seine von der Kritik gefeierten Alben zwischen 2015 und 2019 betreut hat.


Find El Dorado ist weit mehr als ein klassisches Coveralbum – es ist eine emotionale Landkarte seiner musikalischen DNA. Von der sanften Melancholie in Ray Davies’ „Nobody’s Fool“ bis zum flirrenden Schmerz von „El Dorado“: Diese Songs haben Wellers Innenleben geformt – und finden nun ihren Weg zurück nach außen. Mit intimen Arrangements und starken Kollaborationen – darunter Hannah Peel, Declan O’Rourke, Robert Plant, Seckou Keita, Amelia Coburn und Noel Gallagher – öffnet Weller die Tür zu seiner ganz persönlichen Songwelt.

Gospel melts into Soul in this dazzling collection of sides originally released by the Chess subsidiary.


Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel — thumping bass and pounding drums, bluesy guitar and horns — and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Not forgetting its sheer, startling, richly diverse soulfulness.

Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house… Morris Jennings, drummer on Curtis’ Superfly and Terry Callier’s What Color Is Love… Louis Satterfield from The Pharaohs and Earth Wind & Fire… Ramsey Lewis’ guitarist Byron Gregory… Phil Upchurch… Laura Lee…

Producer Monk Higgins joined Checker in 1967, bringing his experience of R&B and Gospel hit-making for the labels One-derful and Satellite, together with a loyal cohort of musicians. A protege of Willie Dixon, engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. ‘I’m using horns and an R&B sound in gospel recordings,’ said Bass. ‘We have no charts. All the musicians are given the chord changes. I want the cats to think when we’re cutting. I want spontaneity, and that’s what we’re getting.’ And: ‘There is more to gospel than just finding solace in the church. This follows the same message of Martin King, who was fighting for a new way of life. Kids are tired of hearing Jesus Give Us Help. They want a positive message.’

Focussed on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires’ Groovin’ With Jesus, working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle’s title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks’ achingly timely choral call-to-arms, Stand Up America, Don’t Be Afraid; the East St Louis Gospelettes’ heart-stopping, fathoms-deep rendition of Bobby Bland’s I’ll Take Care Of You.
A beautiful gatefold sleeve; a full-colour booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill.

A shoo-in for soul compilation of the year.

Forest Green Vinyl

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

Megastar Bruno Mars has unveiled his new album 24K Magic (pronounced twenty-four karat magic), with lead single of the same title. Written and produced by Shampoo Press & Curl, with additional production by The Stereotypes.
The last time Mars dropped an album was December 2012 - four years ago, an eternity for a pop star. He's surfed the intervening years like a pro, with two Super Bowl halftime performances (headlining in 2014, and a cameo last February with Coldplay and Beyoncé), not to mention the biggest-selling song of the past few years, his collaboration with Mark Ronson, "Uptown Funk", spending 14 weeks at Number One - tying for the second-longest run in chart history - and winning the Grammy for Record of the Year. To date, it's sold more than 12 million copies, been streamed nearly 2 billion times and made several dragons want to retire.
This is Bruno Mars. Six Number One singles. Thirty combined weeks at the top of the chart (44 if you count "Uptown"). Two albums, 26 million in sales worldwide, four Grammys and counting.
Throughout 24K Magic , Bruno Mars re-creates the R&B he fell in love with as a child - the likes of Jimmy Jam, Terry Lewis, New Edition, Bobby Brown, Jodeci, Boyz II Men, Teddy Riley, and Babyface.

Step into the second chapter of the The Jazz Sinners saga dedicated to cool, groovy and sinful
Jazz. The Jazz In You goes deeper with richer grooves, glamorous moods, pure analog soul.
A cinemac journey through jazz’s most seducve decades, pressed and presented with
uncompromising audiophile standards. This is jazz that moves, seduces, and stays. Every cut is pure
jazz alchemy. Rare, prisne vintage first pressings and top-er sources only. No shortcuts, no
compromises. Mastered organically for a full 360° sound spectrum, where every nuance and every
breath feels as if the players were right there in the room. The mood is cinemac, midnight cool. Jazz with a;tude inspiring shadowed alleys, smoky clubs, late-night elegance.
Music that speaks equally to jazz lovers, lounge selectors, DJs, and serious collectors.
At the heart of the journey, instantly recognizable landmarks light the way:
Gloria Lynne’s “The Jazz In You”, Benny Golson’s “Tippin’ On Thru”,
Nina Simone’s “Central Park Blues”, Diane Maxwell’s “Love Charms”,
Sabu Marnez’s “Enchantment”, and Zoot Sims’ “Recado Bossa Nova – Pt.1”.
Timeless names, meless grooves, each cut is chosen for its power to move and to suggest feeling
and emoons. Behind the selecon stand true masters of mood, with over thirty years of digging,
taste, and style shaping every decision.
On this double vinyl, the experience is treated with the respect it deserves. Pressed under expert
supervision, housed in a premium 100% Italian-made cover on luxurious 350g cardstock, with polylined inner sleeves designed for long-term preservaon. Built for collectors. Made to last
generaons and here is the promise: Triumphant. Timeless. Deeply grooving.
Soulful vocals, hard-swinging combos, cinemac big bands, Afro-Lan heat, late-night Blues. Every
track is a winner. The Jazz In You is feeling. It’s a;tude. It’s moon and emoons.
Now, sit back, close your eyes and get ready to find something captured, once again, that escapes
explanaon … The Jazz Sinners’ way!

The Golden Age of southern soul lasted from about 1962 to 1975, when disco ripped the heart out of it. And although it may seem as though the blend of country, gospel and R & B that emerged from the great studios in Memphis and Muscle Shoals in that decade was entirely fresh and new, like any other genre classic, southern soul picked up musical cues and absorbed influences from a whole variety of sources: horn lines from Louisiana's swamp pop, lyrical themes from the blues, songs from country music, and of course so, so much from the black churches. Part of the 'History of Soul' series, this LP reveals the musical antecedents that gave southern soul its inspiration. The music here will tell you the real story - and it will knock your socks off too! Notes by John Ridley.

Reggae music in many ways reminds us of America’s Motown records. The music comes out of its stable fast and furious we tend to know the songs, the artists, the
studio but who? are the players. The unsung heroes that in many cases, cut most of our favourite tracks One such band this applies to in the Reggae field is the Soul Syndicate Band.

Each Jamaican record producer would have their favourite set of musicians they would use, availability permitting. Although several musicians crossed over into different named bands. For example, a set of players working with Producer Bunny 'Striker' Lee would go under the guise of The Aggrovators. The same group working with Producer Joe Gibbs would work under the name The Professionals. Soul Syndicate were the band of choice for Producer Niney the Observer, who used them for his own recordings and when you put that aside the other artists Niney produced, Dennis Brown, Max Romeo, Michael Rose, I Roy, The Ethiopians, Barry Brown, Gregory Issacs and Freddie McGregor.  To name a few and not necessary all, you begin to see the amount of material this set of musicians played on.

Built around the rhythm section of Calton 'Santa' Davis and George 'Fully' Fullwood, drums and bass respectfully. They were usually accompanied by Earl 'Chinna' Smith, Tony Chin on guitars, Keith Sterling, Gladstone 'Gladdy' Anderstone, Bernard 'Touter' Harvey, organ/keyboards and Noel 'Skully' Simms, percussion. Niney's tracks tended to be rhythm heavy and thus Sound System favourites.But when brass was needed/called for ,this was provided by the likes of Tommy McCook, Bobby Ellis, Felix ' Deadley Headley' Bennett. Niney not having a studio of his own at the time used most of Kingston's studios, again availability and money providing. But most of these cuts
selected for this release were cut at Channel 1 and a few exceptions at Randy's Studio 17 and at Joe Gibbs studio at Burns Avenue.

Niney also worked closely with King Tubby on his dub plates, so tracks after the recording sessions were taken to King Tubbys for reconstruction and sometimes
re-voicing over an existing rhythm. These were then used as version sides to the vocal cuts, but most importantly used to nice up the dances, being played out on King Tubbys Hometown Hi-Fi Sound System. We have pulled together a selection of such dub plate specials cut by the Soul Syndicate band for this release. Dub sides that emphasise how well the band worked together, and with Niney at the reigns and the added bonus of some Tubby magic sprinkled on top. Please see our Niney the Observer at King Tubbys 1973-1975 (JRO11) for further examples of this work.

We at Jamaican Recordings hope we are not alone in saluting the musicians, that played such a big part in producing many of our favourite Reggae Sounds. Having released titles by The Revolutionaries (JR003), The Aggrovators (JR005), Sly and Robbie (JR006), we are now pleased to release a selection of rare Dub cuts by another one of Jamaica's finest, the Soul Syndicate band to our catalogue...

Respect Jah Floyd.

This one already has created a nice little stir with the soul crowd, and rightly so.

The A side "Is It Still Good For You" is a wonderful Modern soul chugger that oozes that late night club feel. Simple in its melody and production but bounces along so soulfully. Great vocals but the late Johnny Kemp with the group on some killer backing harmonies.

Kinky Foxx could be described as an ever changing funk machine with nuts and bolts that remained strong over time. This band planted its roots in the Bahamas where the name "Kinky" was given to Joseph Foxx and teaming up with his Brother Donny Foxx formed the musical group named, "DER KINKY FOXX"!!! The two Foxx Brothers added members Kevin Bassett-Guitar, Johnny Kemp-Vocals, and Burnis Stubbs-percussion performing clubs and concerts in the Bahamas. Moving to New York City Kinky Foxx changed members to compete with the major funk venue during the early 80s. Acquiring Dan Atherton Sr. AKA "The Slammin 'Drummer", Larry Robinson-Keyboardist, Timmy Allen-Bass, Kevin Robinson-Guitar these musicians combined forces with Johnny Kemp, Kevin Bassett, and Burnis Stubbs to form the New York City based "Original" Kinky Foxx from '79 to '81, burning up the famous Cellar Club in NYC, the mecca for Black Funk entertainment. With a front line of top musical talent some members moved on to follow solo recording and production careers and contracts. To fill lead gutiarist and Bass guitarist vacancies Jerry Powell was added on guitar,and Leslie Booker was added on bass. In 1982 Kinky Foxx added Vincent Lilly on lead vocals and Curtis Styles on Keyboards.The Foxx released the hit song "So Different" on Sound of New York records in '83 and embarked on a Canadian experiment leaving the US to play briefly in Montreal, Quebec at Club Checkers. The rest is history as the band became so popular in Quebec and Ontario they could have been called Canadian residents, usually working 6 nights a week and 11 months out of the year from '83-'91 . Dan Atherton moved on in '83 to pursue a career as The "Slammin Drummer" for hire, and was sought after by a barrage of major artists,touring with Bobby Brown,New Edition,Levert,Teddy Riley and Guy,Cameo,and Atlantic Starr. Tyrone Govan aka "King" moved in as the Foxx Drummer in '83 and remained with the group until the band went their separate ways in the mid 90's. The Foxx's last performance in the States was in North Carolina on tour and backing Prince's sister Tyka Nelson in the 90's. Currently the band has sparked interest once again writing and recording new material and is forming a reunion show which will eventually lead to additional performances with other recording acts and headline shows.

Hermon Mehari and Tony Tixier first met in 2010, in their early twenties, in a club on Paris's Rue des Lombards for a concert with saxophonist Rodolphe Lauretta. Over the next decade, the two musicians took opposite paths, while continuing to collaborate on two continents. The American trumpeter moved to France to discover European culture and the world cultures that coexist there, while the Parisian pianist of Martinican origin spent several years in the USA, immersing himself in the roots of jazz and Afro-American music.



In June 2024, the two musicians, who had been working for fifteen years on numerous albums and collaborations, and whose musical understanding had continued to be forged in clubs, festivals, and on recordings, met again for a duet at the TOC-TOC festival in the Puisaye region, where Antoine Rajon was a collaborator. Enthusiastic about the idea, the artistic director of the KOMOS label invited them back to his home in this corner of Burgundy to record this Fender Rhodes/trumpet formula. He called on sound engineer Christian Hierro, who traveled with his mobile studio for the album recording, then mixed and produced the master in his studio in Lyon, using the best analog equipment and his expert ear.



At dusk on November 12, 2024, the duo played eight tracks in a single, direct take on a 33-minute magnetic tape.



Four unusual cover versions were carefully chosen. "Maimoun" is a composition emblematic of pianist Stanley Cowell's style, also recorded by Marion Brown. George Duke's "The Black Messiah" was captured live by Cannonball Adderley's band on an album of the same name but has never been released as a studio version. "Hello To The Wind" was created by Bobby Hutcherson in 1969, sung by Eugene McDaniels. Finally, "Laini," dedicated by the great Martinican pianist Marius Cultier to one of his daughters, is a mazurka dear to Tony's heart.



Each of the musicians also contributed a composition: Hermon with "This Is Our Fantasy," written especially for the session, and Tony with "Poem For The Oppressed," a moving composition with an explicit title. Lastly, the duo improvised two tracks, without repetition, in mutual symbiosis and echo.

SOUL SONG captures a moment without enhancement, transformation, or additives, far removed from contemporary virtual technologies.

(10x12" box set, limited to 1000 copies, with premium finishing, uniquely numbered, incl. 10 records in individually printed sleeves, a booklet detailing the club's history & exclusive stickers) Boccaccio has secured its place among legendary venueslike Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond.



Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A Guy Called Gerald, the unmistakable influence of black American pioneers is clear-the originators of the firstanalog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection, offering a timeless snapshot of a unique era.

4LP set containing 29 original / extended / full-length / 12” versions of Queer club classics – 1980-1989
‘More Sin’ features Pet Shop Boys, Sylvester, Divine, New Order, Eartha Kitt, Grace Jones, Hazell Dean, Desireless and many more.
Highlights include the hard-to-find 12” version of ‘Can’t Stop The Music’ by Village People and the rarely compiled underground club anthems ‘Pistol In My Pocket’ by Lana Pellay and ‘After The Rainbow’ by Joanne Daniëls.
All tracks fully annotated and with a foreword by Ian Wade – author ‘1984: The Year Pop Went Queer’. Following the success of the first ‘Box Of Sin’ in 2023, Demon / Edsel and Disco Discharge are proud to announce the sequel – ‘More Sin: Box of Sin 2’ will be released on 31st January 2025.

Over 4 LPs, ‘More Sin’ presents 29 choice selections from the music you might have heard on Queer dancefloors between 1980 and 1989 – a decade of dance in all its devilish delights. Meticulously researched from the published gay club charts at the time, the LP set encompasses full-length versions of Diva, High Energy, Alternative, Pop, Europop and House classics. Not only were the ‘80s Queer clubs where you were most likely to hear the latest groundbreaking developments in dance music, there was a lot of diversity on offer – on a given night you might hear a legendary soul singer’s new opus right next to some post-punks from Manchester and the latest European pop chart topper.

‘More Sin’ aims to reflect this. On ‘More Sin’, the space-age soulful club sound of Jean Carne rubs up against the widescreen Europop beauty of Desireless and cutting-edge house music from London courtesy of Wee Papa Girl Rappers… and along the way come some of the most important and era-defining artists of the decade – from Sylvester to Siouxsie & The Banshees, from Pet Shop Boys to Divine, from Hazell Dean to Grace Jones. Producing and mixing these classics is like a roll-call of the era’s studio giants – Trevor Horn, Larry Levan, Clivillés & Cole, Ian Levine, John Luongo, Bobby “O”, Martin Rushent and Stock, Aitken & Waterman to name a few. It’s time to give in to sin again.

Time for the second release in our series with the super OG, Mr. Bobby Aitken. Bobby and his band the Carib Beats produced a whole lot of stuff for release thru WIRL back in the late '60s. One of the best is this great rocksteady adaptation of Curtis’ classic “Keep On Pushing”, with Lloyd (Robinson) and Glen (Brown) on vocals. On the flip side of this is one of the rarest Carib Beats tunes, titled “Soul Special.” This is a cool instrumental with some charming flute playing (we love flute!), only ever released as the flip of “Crying Time” (still available), a brutally rare 45 that only exists in tiny numbers as a UK test pressing, never making it to full release.

Die Doppel-LP im Klappcover ist in limitierter Auflage für kurze Zeit wieder erhältlich!

"Music Is The Rod" kommt mit den 24 besten Tracks des Sängers, mit Fotos und ausführlichen Liner Notes von Bridgett Anderson, der ehemaligen Managerin von Garnett Silk, und Anthony Rochester (seinem Partner für das Songwriting), sowie Zitaten der verschiedenen Produzenten: Bobby "Digital" Dixon (Digital B), Donovan Germain (Penthouse), Chris Chin (VP), Courtney Cole (Roof International), Richard "Bello" Bell (Star Trail), Sly Dunbar (Taxi), Danny Browne (Main Street), Richie Stevens (Pot Of Gold) und Phillip Smart (Tanyah).

Frenchie King is a veteran artist and producer from the world of Reggae music. He was born in Jamaica and moved to the UK at the age of 12, where he began singing in a church choir. In the late 1960s he formed a church band with two friends called "The Ressurectors". Their music caught the attention of Reggae star Alton Ellis. After meeting Alton a new band formed called "Black Stallion" and their first song on Venture Records was released entitled - "Love Power". Alton was mentor and guiding light for Frenchie and crew; enabling them to jam with a host of Studio One artists.

Frenchie went on to work with noteworthy Reggae arists like: Alton Ellis, Dennis Brown, Dennis Alcapone, Ken Parker, Tito Simon, Dave Barker, Bobby Davis (The Sensations), Ruff Cutt, Owen Gray and Akabu.We didn't tour with Dennis or John Holt but Alton would always call them to the stage to jam, but we did a few shows with Alton sister Hortense Ellis and few other too much to mention...

Moving into the 1980s, Frenchie started a solo career and switched to the label "M1" where he released projects like "Your Entitled" and "Poor Me Natty Dread". During this time he also worked with renowned producer Sid Buckner (Studio One), before taking a brief hiatus; returning to help produce artist Owen Gray. He also wrote the song "Blackbird" for the band Akabu which was released in 1995 on U-Sound. M1 recording produce yours truly under name countryman linkup with the man Ezekiel in Luton hence M1

Moving forward into the 2000s, along with other musical adventures the iconic album "People Had Enough" was released in 2017, along with singles, "Let Us Do Something" and "Dance Cork". On let us do something and dance (kark) is produce by Michael McNeil aka the original jah son , a good musical sou-jah.

Which brings us up to date. In 2023 Frenchie hooked up with The Blackstones. Through this came the opportunity to work with Iron Sound Records and producer Alien Dread. This is the first single on ISR, with a solid Roots vocal track backed by studio band: Alvin Davis, Asha B and Steven Wright. More to follow!

First time 7” reissue of this mega-rare Bobby Marin produced Latin funk gem.

‘Together People (Pamoja Watu)’ sounds like a cross between James Brown’s ‘It’s A New Day’ and Manu Dibango’s ‘Soul Makossa’, while 'It's Your Thing' is a heavy Latin funk instrumental version of the Isley Brothers classic, featuring screaming Hammond organ. Both are DJ favorites and the original 45 fetches large sums, if you can find a copy.


DESCRIPTION
Generally, when discussing the first wave of Latin soul and boogaloo, it’s the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers?

One of the top old-school New York Latin music producers, Bobby Marin, was behind the scenes for some of the best independently produced boogaloo and salsa of the ‘60s and ‘70s. One of his best and most obscure productions was credited to Los Africanos, a studio project featuring Chico Mendoza and New Jersey-based band Ocho.

‘Together People (Pamoja Watu)’ sounds like a cross between James Brown’s ‘It’s A New Day’ and Manu Dibango’s ‘Soul Makossa’ and was originally released in 1974 on Tito Rodriguez’s label TR Records. On the B side, 'It's Your Thing' is a heavy Latin funk instrumental version of the Isley Brothers classic, featuring screaming Hammond organ.

Both are DJ favorites and the original 45 fetches large sums, if you can find a copy. First time 7” reissue.

PRESENTED FOR THE FIRST TIME EVER ON VINYL AS A DOUBLE LP IN A GOLD VINYL PRESSING WITH A FOLD-OUT INSERT

As music fans know, James Brown wasn't just the greatest funk and soul singer the world has ever seen - he was also a musical visionary and businessman, who surrounded himself with geniuses who made him better and pushed him further. From horn masters Maceo Parker and Pee Wee Ellis to vocalists Lyn Collins and Bobby Byrd, Brown was a musical A & R master, restless and always looking for the next big thing. Most times, that would manifest in the latest James Brown smash under his own name. But not always. His stable of talent was overflowing in the 60s and 70s, and, thankfully, the tape machine in his studio was always rolling. Originally released in 1988, during the era of hip-hop's golden age of sampling, it's no surprise that just about every note heard in this incredible collection has been used on not one, but multiple rap classics. Which, at the time, was proof of Brown's (and his crew's) staying power. But we are over three decades beyond those days now, and it has lost none of its musical potency. Diving deeper into the vaults than the also-incredible Part 1 of the Funky People series, there is not a weak track in the bunch. Moving beyond well-known JBs cuts, things get interesting from the get-go with Bobby Byrd's monumental groove "I Know You Got Soul". Hank Ballard and Marva Whitney also enter the fray, leading the way to Myra Barnes's emotional and powerful "Message From The Soul Sisters (Parts 1 & 2)" and Lyn Collins's slow, smoldering cover of Isaac Haye's "Do Your Thing." Politics even get the funky soul treatment, with Fred Wesley & The JBs "You Can Have Watergate But Gimme Some Bucks And I'll Be Straight" and "I'm Paying Taxes, But What Am I Buying?" And it should not be overlooked that Maceo & The Macks instrumental workout "Soul Power ‘74" even features a proto-sampling snippet from MLK’s I’ve Been To The Mountaintop speech from 1968. This is another amazing collection of James Brown's funky friends, without one second of filler, brought to you as a glorious 2-LP gatefold by your friends at Get On Down.

Jubiläums Werkschau des Münchener Indie Labels Echokammer. Wie kein anderes Label repräsentiert Albert Pöschls Echokammer den Sound of Munich Underground. Am Außenposten von Popmusik ist Echokammer ein Labor, in dem Schablonen renoviert oder weiterentwickelt werden. Disko wird (in Kenntnis des Sound of Munich selbstverständlich) neu zusammengebaut, von Punk werden die weiterhin verblüffend beliebten Klischees abgeschraubt, Electro wird mit scheinbar unpassenden Elementen versetzt usw. Das alles klingt nach einer sehr ernsten Angelegenheit. Tatsächlich aber könnte man auch einen langen Essay "Über die Komik in der Musik am Beispiel von Echokammer-Platten" schreiben. Wobei die Komik immer karl-valentinesk bizarr-grotesk ist und nie comedy-witzig. In etwa vergleichbar mit der Taktik, Autoritäten nicht mit Gebrüll, sondern mit Verarschung anzurempeln.

You may not have heard of Long Beach O.G. Greg Royal aka Pür Royale, but you're definitely familiar with his work. With a resume of remix, production, engineering, and editing work ranging from Dr Dre's "The Chronic" to Bobby Brown's "My Prerogative", to the dub version of Patrice Rushen's "Feels So Real", Greg left an indelible mark on contemporary black music from the mid-80's to mid-90s.

In 1993 however, a one off 100 copy house 12" self titled as "Royal Phenomena" on the surface didn't seem to quite fit with the more traditional hip-hop and r&b output of his extensive discography. I only found out it existed through connecting with another unsung west coast pioneer, Aaron Paar, for Must Have's 2016 Teflon Dons compilation. Greg is credited as a mixing and recording engineer on practically every release on Aaron's own consistently excellent label Worldship. After listening to Aaron tell his story, it was clear Greg's studio experience and mentorship were key elements in the development of Aaron's signature tough SP-1200 house sound. "Royal Phenomena" remains an elusive connecting point for LA hip-hop and underground deep house, and Greg and Aaron remain friends and frequent collaborators.

Aaron put me in touch with Greg, who miraculously kept his original DAT tape recordings of these unique house excursions and was happy to finally share them with a wider audience. Blending hip-hop production techniques, west coast Latin sleaze, midwestern minimalism, and a dash of UK bleep, the LA underground house sound remains singular.

This is the first reissue of the “Piece Of The Action” LP since 1973, and the CD has bonus tracks with everything Bobby Hutton recorded between 1969 and 1974. Everything taken from the original master stapes and restored.

Bobby Hutton is from Detroit, Michigan and began his career after winning a talent show at the 20 Grand nightclub. In 1971 he performed on the very first nationally aired Soul Train TV programme. He cites Jackie Wilson as his biggest influence. He began writing under his real name Harold Hutton, then Billy Davis at Chess Records persuaded the change to Bobby Hutton. He had decided not to pursue a career at Motown, and after one single for Checker, then another at Blue Rock (a subsidiary of Mercury) he moved to the Philips label for the huge Northern Soul favourite, “Come See What's Left Of Me" which was first played at the Stafford All-Nighters back in1985, covered up as Casanova Brown. Talents that produced and arranged for Bobby during those Blue Rock/Philips sessions include Donny Hathaway and Joshie Jo Armstead, and in fact it was with Jo that Bobby co-wrote that Northern Soul classic.

The Philips tracks are all on the CD as bonus tracks to the Piece Of The Action” album for ABC Records in 1973.

Produced by Dee Ervin, there are several fine tracks to enjoy but surely none better than the Gary Wright-penned “Lend A Hand” which became one of the biggest 'modern' Northern Soul tracks of all-time after spins at venues like the Highland Room at the Blackpool Mecca and Wigan Casino. The track was first championed by DJ Colin Curtis in 1974.

The album is beautifully produced with vocal accompaniments from artists including Patti Hamilton of The Lovelites, Jean Plum, Mikki Farrow and Frankie Karl. It received great reviews at the time and that persuaded ABC to release a non-album follow-up 45 produced by the brilliant McKinley Jackson and Reginald Dozier credited “Loving You, Wanting You, Needing You, Wanting You”/'Watch Where You’re Going” which is an elusive, highly sought-after single by soul collectors worldwide (now an Expansion 7” reissue).

In 2007, Bobby was honoured as he was voted the best singer in Chicago, quite an achievement and something that Bobby is quite rightly very proud of

“On the Move” is a tune originally released on a very rare 7” in the mid 70ts and became the title track of the BOBBY BYRD album in the year 1993 when the Godfather’s Godfather, at least Soulbrother # 1, as Fred Wesley calls him, probably the most warm-hearted and soulful gentleman on Planet Funk, was sitting in the living room/office of his back then, brand new label Soulciety Records in Hamburg, Germany, listening to some of his old 7” singles. When Soulciety released the studio album “On the Move (I Can’t Get Enough)” in 1994, the album became a somewhat hoped for, but still unexpected success. Rare Groove-enthusiasts the world over, who knew about Bobby’s songs as well as the ones he wrote with James Brown (e.g.: “Sex Machine”), plus all the Hip Hop-fans who dug him from the countless times his songs had been sampled (Eric B. & Rakim used almost all of Bobby’s version for their hit “I Know You Got Soul”), loved these fresh but original sounding recordings. For the first time ever, this classic is now available on a SEDSOULCIETY RECORDINGS 7” vinyl, including the never released instrumental version on the flip side.

For The Alternate Blues, producer Norman Granz set aside his rule against issuing what are variously called in the recording business outtakes, breakdowns, or alternate takes.
The reason was that despite missed cues and procedural problems in the rhythm section, Dizzy Gillespie, Freddie Hubbard, and Clark Terry played the blues at a level of passion and expressiveness the equal of the versions originally released on The Trumpet Summit Meets the Oscar Peterson Big 4. In addition, there are four standards not heard in the original album. With Joe Pass, Bobby Durham and Ray Brown.

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

A nice boxset with 3 LP and a poster. Including all the greatest blues artists: LIGHTNIN" HOPKINS, JOHN LEE HOOKER, SCREAMIN" JAY HAWKINS, BO DIDDLEY, MUDDY WATERS, HOWLIN" WOLF, T-BONE WALKER, B.B KING...

Come get it! Dynamic Dallas soul singer Bobby Patterson cut some seriously sizzling sides in the mid '60s, including the James Brown rebuttal Mama's Got A New Bag Too " the pugnacious original "Knock Out Power Of Love " and the rambunctious funk of "T.C.B. Or T.Y.A."! Gems from the Jetstar label and originally unissued treasures collected on LP!

"My Thing Is Your Thing: Jetstar Strut From Bobby Patterson" by Bobby Patterson includes the following tracks: "I’m Leroy - I’ll Take Her", "Broadway Ain’t Funky No More", "I’m In Love With You", "The Knock Out Power Of Love" and more.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.1[2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.1[2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

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.”

Discover our new Men Collection : a fine selection of the greatest male artists in Soul & in Jazz on two nice vinyls !

Rediscover all the legendary hits that shaped the sound of Funk Music on a nice double vinyl. Including such great songs as "And The Beat Goes On" by The Whispers, "A Night To Remember" by Shalamar or "Midas Touch" by Midnight Star...