Hip-Hop News

Rewind to 2014: Mr Bird and Greg Blackman released an immaculate LP on BBE. As well received as it was, however, it didn't get the vinyl justice it deserves. Until now... "Where Did The Party Go", one of the albums many highlights, gets a limited pressing with two beautiful updates from the don Beedle. Really relishing Greg's falsettos and the swooning horns, Ashley seduces us with his slow and low North Street remix then casually undresses us with raw organ and percussion on the stripped back remix. Smouldering.

With the release of his third album "Just Being Me" Myles Sanko has truly arrived. Following the worldwide release in autumn 2016 the Ghana born British soul singer and songwriter played sell out shows across Europe and gained extensive airplay on all major radio stations from Germany to France, from Spain to the UK.

"This Ain't Living" is a strong statement in troubled times and the second single from "Just Being Me".

Myles Sanko will embark on an extensive European tour from March 2017.

Birthed from deep within London's burgeoning Jazz resurgence, Native Dancer have been setting levels across the capital's live scene (and beyond) over the past two years. Five individual artists who together set out to create a music that speaks from the heart and denies none of their influences in a genre twisting mashup of styles with elements of pop, soul, electro-funk, jazz, rock and dance music. Submit Records release Native Dancer's EPs Vol. I & II on 12" vinyl with gatefold sleeve. Limited to 500 copies, the release features an Eric Lau remix of 'Big Blue' and a digital exclusive remix of 'In Clouds' by Slugabed. Already having received airplay from Gilles Peterson, Marcia Carr, support from Alexander Nut (Eglo Records) and Afropunk - Native Dancer are one of London's most promising musical prospects, and SUBMIT001 sees their remarkable duo of EPs pressed to wax for the very first time.

RSD 2017 - 500 pressing
180gram vinyl in reverse board sleeve with printed inner. 500 only pressing. First time on vinyl!

The album will contain a download code to a previously unreleased track " Twenty Pence Rd"

Originally released in 2007 but since then largely unavailable " Five In The Afternoon" brings together legendary soul singer and "First Lady of Immediate" PP Arnold and Dr Robert..better known as the leader of hit makers The Blow Monkeys. The album features ten original tracks all written and produced by Robert. It was recorded in deepest Andalucia , southern Spain after a chance meeting at a party. " "We started singing some old Curtis Mayfield songs together and a lightbulb went on in my head..I knew we had to do something together"

The additional musicians on the album include Marco Nelson on bass ( Young Disciples , Paul Weller ) and Crispin Taylor on drums (Galliano)

Eclectic, Futuristic, Soulful, Danceable..... Carl Hudson's follow-up album to the critically acclaimed 'Zoology For Martians' doesn't disappoint. 'Pixel Planet' oozes class from start to
finish. His wizardry on the keyboard and his willingness to experiment with sound and melody, combine to create an aural extravagance that propels the listener to another world
and compels their feet to dance. Pixel Planet - coming to a Galaxy near you soon!
Featuring nine tracks in all their sonic glory. Hear this album as it was intended to be heard.

"Gemma & the Travellers give a nod to the early deep Soul, R&B, Northern Soul and Funk of the Sixties but add a refreshing twist with their unique songwriting. With her powerful and distinctive voice, Gemma M. is a true Soul woman who left the south of Italy as a teenager with a small bag in her hand and a bit of cash in her back pocket. Travelling through Europe, she met Robert P., an Anglo-Swedish guitarist living in Germany at the time and formed a travelling duo, which ended up returning to Robert's hometown London. After many years getting sick and tired of the city's distractions, they looked for a more creative environment beside the sea and fell in love with Northern Brittany, where they formed the band Gemma & the Travellers with friends and musicians from down the road.Contrary to the ""Motown"" or ""manufactured"" model where the singer is rarely the songwriter, Gemma M. writes all of her songs with the help of Robert P. on the guitar. Her influences are Aretha Franklin and Julie Driscoll - genuine vibrations where life is your own creation! Recorded live at Lemoncake Studios in northern Brittany, producer Robert P. strived for an authentic and original Soul sound with a certain crunchiness and analogue distortion, like that of an old vinyl from the Sixties without falling under the overused retro banner.The title track of Gemma & The Travellers' upcoming debut album ""Too Many Rules & Games"" also is their first single, backed by a cover version of the Aretha Franklin classic ""Save Me"", available on 7inch vinyl and the digital version only."

Some say that soul music is making a comeback, but for these two funk-soul brothers it really never went away. Here we have two great workouts of classic covers that show love & respect for the originals while steering them directly at the dance-floor. You'll know these tunes, but not like this!

Aldo Vanucci takes Bobby Taylor's reinterpretation of Marvin Gaye's "Heard it Through the Grapevine" and transforms it into a driving and increasingly urgent certified Soul stomper.
Meanwhile, Del Gazeebo transforms Billy Paul's jazzy take of Simon & Garfunkel's "Mrs Robinson", and lifts it up with fresh beats, brass & bass that is guaranteed to have heads nodding & feet tapping.

Another sure-fire Dubplate winner!

Debuting in 2014, DJ BEATATTACK has constantly been a highly-rated of rookie on the Japanese scene. Using his huge vinyl collection, he takes samples from his records then magically cooks them to build up a beat with MPC, a bit like making Sushi.

DJ BEATATTACK has released 3 sold-out 7-inch vinyls since he debuted, helping to build his reputation.

The 4th 7inch, side-A GET TOGETHER' and side-B NON DARK RAIN', was released on April 11th this year in Japan and stayed on top for two weeks in one of the Japanese distribution chart. Incorporating old-school Hip Hop production techniques, thick drums and lo-fi bass programmings underpin piano and horn loops to create a unique sound on the release.

You know that old song that O. V. Wright did so well in 1971 that no one can ever do that song again — A Nickel and a Nail' O. V. Wright has held tight to that song, and rightfully so.
But not no mo. Not to take anything from O.V.— but after nearly half a century, now you gotta step aside. Don Bryant is here.
Though it ain't like he just showed up. As Willie Mitchell carved out his place at Hi Records, Don was close by. Don cut songs at Hi under the Four Kings moniker ( That Driving Beat')
and as a solo artist ( Don't Turn Your Back On Me'). Around 1970, Willie put Don with the Hi label's newest act, Ann Peebles, who burst on the scene with Part Time Love.' Don looked at
this slight young lady and penned 99 Lbs' for her. The relationship warmed, they co-wrote the hit I Can't Stand the Rain' in 1973 and were married the following year.
And all the while, that voice was maturing, mellowing, until these recordings that find him, at age 74, in peak form and taking O. V.'s song. The band is a mix of lifelong cohorts and upstart stalwarts. They understand where he's been and where he wants to go, making his song How Do I Get There,' a rhetorical question, because they have clearly found the way.

RED VINYL

The third Yacht Trip brings the dancefloor even closer. - I Want Your Love perfectly fits to the first or last chapter of a partynight. D.S.E. stripped theoriginal 10 minutes track down to 5 minutes, compressing it to it's essential´message and moving mood. - Stay With Me and it's uptempo arrangement´sets you in motion from the first beat until the end. It invites everybody to come to or stay on the dancefloor having a good time.

Recently championed by Gilles Peterson on his BBC6 Music radio show, "Dilla" by Abstract Orchestra has been generating a buzz since it's inception in 2016 and subsequent u.k. tour, during which the album was presented to the public in its live form.

Led by Saxophonist Rob Mitchell, Abstract Orchestra seeks to reflect the diversity of music sampled by Hip-Hop producers by presenting music that has the complexity of jazz, framed within the simpler structures of Hip-Hop. Complex harmonies are framed within simple loops and complex bar structures and time signatures can pass by unnoticed. "I selected the tracks on the album with very much the live performance in mind" says band-leader and arranger Rob Mitchell "So the album is a reflection of the tour and the music we performed".

Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures.The band itself is based on the classic jazz big band instrumentation of saxes, trumpets and trombones and features the cream of the north of England's jazz scene who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

"Dilla" by Abstract Orchestra is a tribute to the work of the highly acclaimed and influential producer. Opener"Welcome to Detroit/The Diary"takes the the vocal sample from Isaac Hayes's "Man's Temptation" and places it against lush brass and driving beats while"Workinonit"Transplants the original 10cc guitar samples from the Dilla original onto biting trumpets and aggressive saxes, underpinned as always by Joost Hendrickx's on point drumming. On"Stop"vocalist Anna Uhuru handles the Dionne Warwick vocal with assurance while the band lay down an arrangement that is reminiscent of the work of David Axelrod and Don Sebeskey, both big sources of inspiration for Abstract Orchestra.

The middle of the album revolves around 2 Dilla medleys featuring versions and sections of"Airworks", "ULove", "Last Donut"and"Welcome To The Show"."Raw Shit"sees Farfisa organ underpinning the insistent brass figures with the bass taking on an almost bassoon-like quality while "Official/Fall In Love"sees Anna & Akin provide a stunning vocal performance, trading lines over the delicate horn arrangement. "Fantastic"features theRhodes intro of the original which is then taken up by the flutes and baritone sax. Inspired by the work of 20th century classical composers like Barber and Copeland the 2nd half of the arrangement takes on an almost orchestral feel with shades of Gil Evans.

"Love","So Far To Go","A.N.G.E.L.", and"Sun In My Face"provide interesting takes on these well known Dilla originals while album closer"Two Can Win"(recently championed by Gilles Peterson on his BBC6 Music show) acts as a showcase for the variety of Anna Uhuru's vocals, blending the style of the original Sylvers track with Minnie Ripperton style harmonies, 70's funk and Lalo Schiffrin/JJ Johnson film score vibes.

Closing track "Two can win" was played twice in two consecutive weeks by Gilles Peterson on his BBC6 Music show, where he declared it to be "A Winner".

Recently championed by Gilles Peterson on his BBC6 Music radio show, "Dilla" by Abstract Orchestra has been generating a buzz since it's inception in 2016 and subsequent u.k. tour, during which the album was presented to the public in its live form.

Led by Saxophonist Rob Mitchell, Abstract Orchestra seeks to reflect the diversity of music sampled by Hip-Hop producers by presenting music that has the complexity of jazz, framed within the simpler structures of Hip-Hop. Complex harmonies are framed within simple loops and complex bar structures and time signatures can pass by unnoticed. "I selected the tracks on the album with very much the live performance in mind" says band-leader and arranger Rob Mitchell "So the album is a reflection of the tour and the music we performed".

Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures.The band itself is based on the classic jazz big band instrumentation of saxes, trumpets and trombones and features the cream of the north of England's jazz scene who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

"Dilla" by Abstract Orchestra is a tribute to the work of the highly acclaimed and influential producer. Opener"Welcome to Detroit/The Diary"takes the the vocal sample from Isaac Hayes's "Man's Temptation" and places it against lush brass and driving beats while"Workinonit"Transplants the original 10cc guitar samples from the Dilla original onto biting trumpets and aggressive saxes, underpinned as always by Joost Hendrickx's on point drumming. On"Stop"vocalist Anna Uhuru handles the Dionne Warwick vocal with assurance while the band lay down an arrangement that is reminiscent of the work of David Axelrod and Don Sebeskey, both big sources of inspiration for Abstract Orchestra.

The middle of the album revolves around 2 Dilla medleys featuring versions and sections of"Airworks", "ULove", "Last Donut"and"Welcome To The Show"."Raw Shit"sees Farfisa organ underpinning the insistent brass figures with the bass taking on an almost bassoon-like quality while "Official/Fall In Love"sees Anna & Akin provide a stunning vocal performance, trading lines over the delicate horn arrangement. "Fantastic"features theRhodes intro of the original which is then taken up by the flutes and baritone sax. Inspired by the work of 20th century classical composers like Barber and Copeland the 2nd half of the arrangement takes on an almost orchestral feel with shades of Gil Evans.

"Love","So Far To Go","A.N.G.E.L.", and"Sun In My Face"provide interesting takes on these well known Dilla originals while album closer"Two Can Win"(recently championed by Gilles Peterson on his BBC6 Music show) acts as a showcase for the variety of Anna Uhuru's vocals, blending the style of the original Sylvers track with Minnie Ripperton style harmonies, 70's funk and Lalo Schiffrin/JJ Johnson film score vibes.

Closing track "Two can win" was played twice in two consecutive weeks by Gilles Peterson on his BBC6 Music show, where he declared it to be "A Winner".

'3.33 am' is the debut EP from NYC songwriter and vocalist Amber Mark. The lead single taken from the seven-track EP, 'Lose My Cool', is a breezy, uptempo blend of future R&B and introspective lyricism. Spending her formative years travelling the world and imbibing music, art and culture alongside her mother, Amber Mark's artistry is a kaleidoscopic mix of influences. From the jazz, soul and Indian classical music she listened to at home to the hip-hop and downtempo electronica she soaked up along her travels, these influences are reflected on '3.33 am', a collection of songs that tell the story of the loss of her mother in 2015, as well as her resulting experiences of grief, acceptance and overcoming. Each track on the EP is formed around a stage of her grieving process, Isolation, questioning, sadness, overcoming, anger and regret... Those were my stages.' Despite the themes at the core of this EP, the music is fresh and filled with optimistic melody. I didn't want it to be this sad, depressing EP' said Amber, I wanted it to uplift people who had gone through it.' '3.33am' is entirely written and produced by Amber herself. At the top of 2016, Amber uploaded her debut song 'S P A C E', a track that Noisey called simultaneously insistent, fresh and classic'. Instantly storming Spotify's viral chart after a cosign from Zane Lowe, Amber signed with trend-making London label PMR Records (Jessie Ware, Disclosure, Jamie Woon) and is setting out to prove that her success was no fluke.

Messalina keeps up the pressure with another fantastic assortment of Balearic gems including a heavy steel drum version of the classic 'Papa Was A Rolling Stone', plus 'Peace & War', a throbbing Afro disco groover with phat bass, funky synths, killer piano hook and a great positive message. It's over to Brazil on the flip with the brilliant 'Katarina', a slo-mo chugger full of Rio flavour edited to perfection by Balearic maestro Andy Kidd with the promo already receiving a lot of attention in Ibiza. Lastly we have 'Crioula', Lucci Capri's floor friendly version of a lost Jose Roberto samba funk classic. Top quality all the way.

One of those songs that seems tailor made for the popcorn genre, '16 Tons' gets a bold, big-band treatment from the legendary blues-man BB King - one of the best renditions out there. Flip it over for a contrasting but just as cool twist on '16 Tons', this one an uptempo, jazzy workout that will surely turn heads.

Archetypal swinging, jazzy popcorn from croon cat Dav Kipp with a finger snapping ditty named 'Yea! My Baby Loves Me'. On the flip, Jeanie Allen shows that the girls can swing just as much as the boys, with an added injection of feminine sass and desperate romance in the form of 'I Really Love You'

Henry Thomas low key 45 on Raptown records has until now been a featured in the record boxes of Deep Boogie and Two Step Dj's who know the deal, it's now time for it to spread its FM synth wings to bigger dancefloors. What more do you want, a SOLID two sider that only slipped through eBay a few times on the cheap as people did not know it, managed to bag one of those myself and with some help from a good friend track Henry down, alive, well and looking forward to his music getting a revival.

McKinley Mitchell's 'No Love Like Your Love' is an evergreen popcorn R&B winner, a dancefloor sureshot that somehow has evaded reissue until now. Byrdie Green's 'Tremblin'' is somewhat more understated by comparison but no lesser for that, a slinky piece of lusty blues that will set the right tone at any party.

Jazzy Hip Hop masterpiece is the Condor... The flip offers 2 grooves of RNB, one is breakbeat and the other funky house.

sweet as hell album from DJ CAM's singer, friend and protegee : IN LOVE. Following up on her ''FOR MINNIE...'' single release.

Trip Hop Remixes by DJ Cam of some RnBand Rap sounds:)

Anibus only managed to released this single exremely collable deep Spirutal funk 45 Bobby Hammiltons band and as the story always goes, the single didnt gain the movement they hopes and the bands went their seperate ways leaving this one amazing 7 inch repriduced here. Bobby is still alive and well so lets put things right and get things right and get this record on the turntable, a truly classy, deep and mindfull 45.

Dutch producer skews away from his hardered edge to makes some moody low-end R&B, injecting some soul back into the genre. Gloomy and gritty... haunted... played entirely by hand.

Modernism goes vinyl! After two successful CD volumes, Kent's look at the sort of R&B and club soul that could have been danced to by the original mods - if only they had known about it - arrives with a special vinyl edition.

Gathering up favourite discoveries from the CDs, this 14-track LP is augmented by other tracks culled from the mod jazz series together with a couple of exclusives.

This compilation is a selection of high spots, with something for every mod fan whatever the style. Classic club soul from Bob & Earl, Bessie Banks and Jeb Stuart jostles with jazzy R&B from Floyd White and Clarence Daniels plus some almost-funk from Chuck Higgins and Chet Ivey.

Three tracks are released on vinyl for the first time whilst many others are seeing their first reissue on the format. One of these is the super rare 'Go' by Little Johnny Hamilton and the Creators, a band that would go on to become 1970s chart-toppers War.    

Storming northern soul/ R'n'B crossover monster issued with original B side and on the original looking labels.

Massive on the northern scene and issued here with original B side

Vinyl only label based in Berlin - London - Hamburg. Spreading the good stuff with unique Hip Hop & Funk infused Edits. Exclusive

Killer two sided R'n'B rockers from the legendary Groove label

Boss rockin' boppin' dancefloor filler and reproduced on original looking labels for the first time.

Two hard-edged dancefloor R&B killers back to back from one of the true blues greats, Elmore James, with his unique, uptempo rendition of the delta standard 'Rollin' And Tumblin' backed up with the equally frenetic 'Stranger Blues'.

Jazz siren Frances Faye delivers a pair of interesting and unusual takes on two well worn standards, with her version of Summertime employing a build and release arrangement laden with rolling congas and 'Night and Day' employing a similarly latin-edged, smokey and jazzy feel.

22-year-old Vienna-resident Wandl developed into one of the most progressive and interesting european producers in recent years. His longplay-debut "It's All Good Tho" brings his take on melodic vocals and experimental, bass driven instrumentals to the fore. His EPs "Milk", "Soon" and his Affine-debut "Far Way Home" stretch out his personal vision of brainfeeder-nerdism and state of the art bedroom-soul. On "It's All Good Tho" he plays almost all the instruments, channels his vocals through machines, alienates and exposes them - and he's not shy of monumental hooks.

After recording "Geld Leben" with Crack Ignaz - an album that Juice Magazine, All Good and Intro called one of the best Deutschrap-records of the decade - Wandl isolated himself and retreated to his den. Being alone in his Wandl-crib or at the studio of his labelmate, mentor, and guest on the album, Dorian Concept, he wrote songs on guitar, rhodes, violin and synth and sang cranky-beautiful sketches into his phone, that turn into post-R'n'B-gems. During the production the St.-Pölten-born multi instrumentalist temporarily moved to Hamburg to write the orchestration for the play "Der gestohlene Gott". By day he worked on the theater staging, at night he recorded vocals at the grand piano in the massive and inspiring lobby. Throughout the three performances during which he partly improvised some of the sound design, Wandl further developed his intuition.

You can hear some of that dramatic composition on "It's All Good Tho". "Fever" is an intimate Laptop-slow-jam, revealing a lot of Wandl's inner life and expresses rage, self-doubt and transcience. On the enchanting bipolar-blues "Window Color" he also touches upon death, but favors life in the end. Then on "Gay" it gets really brutal, as he sings: "I cut myself up, 'til I need some help, I bleed myself out, then I clean the floor" - before heading off to the bright sun. "Hell" with Cid Rim is as close a near-death experience can be experienced sonically. A vivid descent into hell.

Despite these (subbass-)depths and its Lo-Fi-appeal, "It's All Good Tho" is a single peak. Hopeful and pacifying. Connecting the dots between Affine-aesthetic and Hanuschplatzflow- humor, songwriter-skills and Stones-Throw-socialisation. With the trippy "0800-333-Talk" and the space battle "Drones" Wandl keeps up with futuristic beat-gods like FlyLo and HudMo. "Cola", the first single, is a straight summer-tune that fit seamlessly into mainstream-radio and shows that the timid musician must surely be Austria's next top export. And when the hypnotic loop of "Häuser" fades out, all the worries are blown away. Wandl makes sure: "It's All Good Tho"