Hip-Hop Novedades

We've been struggling with the follow up on the HELP012 press release: This record is by DJ Sports, it's called Akrasia and has three mixes on it.
Costumer support: (plusfortyfive) 26 83 82 39. Sports- & Central-action. Saludos para toda mi gente.

Rasta music coming straight from the Swiss mountains! Winds of Matterhorn is an instrumental project led by Swiss-Italian trombonist Mattbrass and producer Jackayouth. Roots to the bone, this maxi 45 features four beautiful songs expertly played and arranged by a bunch of talented musicians. Ethereal melodies, heavy drum and bass, terrific solos… it brings us right back to the hills of Wareika. This record is a must have for all instrumental reggae lovers. Only 300 numbered copies worldwide!

Repress from the praised precious Black Roots BD

Harmonious Channel One production from 1978, reissued on red vinyl

There has always been a Reggae inuence in the music of El Michels Affair. From their cover of "Hung Up On My Baby" done in a Reggae style, to the general sound and approach that permeates Leon's production style. While recording Bailey's 2020 Ekundayo album, they did some straight forward reggae tunes inspired by different eras alongside some modern R&B tracks that would t more comfortably next to Frank Ocean than Jacob Miller. It is this same notion that old and new can live so comfortably together that birthed the idea of Ekundayo Inversions. Traditional dub came out of reggae in the late 60s and early 70s when pioneers like King Tubby and Lee Perry started taking the multi track recordings of songs and running them back through the board adding effects and additional instrumentation. These recordings are called "dubs" or "versions" and are typically instrumentals with ourishes of vocals from the original tracks. El Michels decided to use the blueprints left behind and make something using the inuences of today. He wound up straying so far from the traditional format that it didn't seem right to use the word `Dub', hence Ekundayo Inversions. All the songs are tied together by WhatsApp messages between Leon and Liam that perfectly narrate the story of this record and their working relationship. One of the highlights on Ekundayo Inversions is a guest appearance from the legendary Lee "Scratch" Perry on the "Ugly Truth" version. L$P switches between singing and talking, proclaiming his powers one minute and playing with the track's title the next. On "Awkward take. 2" Leon takes one of the most experimental songs from Ekundayo and actually straightens it out. A track that once seemed to be oating in space has now been anchored by the addition of drums and bass. "Faded", a version of "Paper Tiger", is given the full EMA treatment with the addition of emotive horns over an uncomfortably sparse rhythm track peppered with Liam's voice drenched in delay and echo. "Champions" features a verse from Black Thought of The Roots and halfway through, El Michels sends the rhythm section 50 years back. At the end of the day, Ekundayo Inversions is a testament to how strong the original songs are. Whether they're in a R&B style, reggae style, stripped down to their bare bones, or loaded with production, the songs will move you.

Red vinyl pressing of instrumental harmonica dub out of the Raspect Muzik production stable.

7" (on crystal clear vinyl)

Liam Bailey follows up his 'Ekundayo' album with this heavy hitting remix 7" featuring two absolute legends. The A side is a remix of Champion featuring Black Thought of The Roots. Black Thought kills the first verse finding the pocket over the Leon Michels produced reggae banger designed to bust up woofers and blow out dance floors. Liam and Thought combine to sing praises to a woman worthy of all the admiration they can muster, and in doing so, they take what was already a classic to another level. The B side is straight from the far flung corners of outer space. Producer Leon Michels strips down and revamps the album cut Ugly Truth, making room for the most special of guests, the one and only, Mr. Lee "Scratch" Perry. The Upsetter switches between singing and talking, one minute proclaiming his powers and the next playing with the title of the original tune. Some proper Lee Perry business alongside the already unstoppable chemistry of Liam Bailey and Leon Michels...An absolute Big Crown Surehot.

Into The Deep Treasury presents RIDDIM POETRY. Shining the light on the emergence of the reggae movement in France, through a selection of hidden gems from the 80's,
Carefully restored and remastered, Riddim Poetry is an off-beat journey composed of 7 masterpieces influenced by several styles (Pop, Library, Raï, Disco) which characterized the strength and diversity of the French culture in the 80's.

Killer reggae funk first time on a hand numbered dinked 45 edition.

Jah Lloyd, aka Jah Lion was a Jamaican reggae singer, who released his third album Colombia Colly in 1976. “Wisdom” from the album was featured in the soundtrack to the film Countryman, and “Soldier and Police War” (a deejay version of Junior Murvin’s “Police & Thieves”) topped the reggae chart. The album is produced by Lee Perry. It’s a great album with some great chattin’ and toastin’ overtop some of the genre’s most iconic tracks.

One classic riot song about politicans and shits... And a dub Stepper on the flip. Limited 500, numberd, printed sleeve,

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 750 NUMBERED COPIES ON
ORANGE VINYL

Fronted by ace drummer Sly Dunbar and his venerable sideman, bassist Robbie Shakespeare, The Revolutionaries were a conglomeration of many of reggae's finest studio musicians. At the time of recording Black Ash Dub, the group were in their prime, boasting a stellar line-up that included the fanes Riddim Twins
alongside such luminaries as Ansel Collins on organ, Bingy Bunny on guitar, Gladstone Anderson on piano.

The LP provides ample evidence of their talents, harnessed by leading producer Jah Thomas, with revered dub masters, Prince Jammy and Scientist, mixing the
killer selection.

Originally released in 1980 and featuring 2 major club hits in Marijuana' and Cocaine', Black Ash Dub is today widely heralded as one of the finest dub collections of the era and considered an essential addition to the collections of all serious fans of the genre.

Available in a limited first pressing on 'Trojan' orange vinyl!

*REPRESS*

Dub-Stuy Records welcomes a new artist to its ranks, California's Dubamine. The young producer has been active since 2009, with a string of digital-only releases, and String Up The Sound marks his vinyl debut with four tracks that trace direct links between roots, reggae, hip-hop, and bass music. The EP features the vocal talents of Jamaica's Blackout JA, London's Brother Culture, a long-standing voice in the sound system community, and DC-based Carlton Livingston, a Jamaican legend best known for his work with the Greensleeves and Jah Life labels. String Up The Sound is a meeting of styles and generations.

The EP's three vocal tracks -- 'Nicodemus', 'String Up The Sound', and 'Good Morning Jamaica' -- offer sureshot summertime anthems with memorable hooks over production that blends the best of DMZ's eyes-down philosophy with vocal-driven contemporary dub reggae in the vein of Mungo's Hi Fi. The release is completed by the instrumental 'Murda Style', a subtle and powerful forward riddim inspired by dub techno and a minimalist aesthetic reminiscent of Rhythm & Sound. This debut by Dubamine combines bass weight, legendary voices, and sound system aesthetics to please multiple generations of bass-loving fans.

"The second in the series of DJ Duckcomb affiliated reissues brings the Jamaica / London connection to light, with a reissue of the Brixton based band Red Cloud under the spotlight.

Double Talk was their debut release, coming on House / Freestyle / Reggae label Dancefloor Records, first explored by Emotional Rescue several years ago. After meeting with label head, Jeffrey Collins, in his then London base, the band went on release 2 albums, a 12" and 7" with him, as well as notably being Floyd Lloyd Seivright's backing band.

The original 1983 12"" - now a highly sought after digger's disco reggae bomb - Double Talk is a perfect summer Lovers jam. A tale of sweat talking, cross loving and loss, with redemption and strength, all backed by an uplifting drum and bass, with guitar, keys and piano highlighting the JA climbs instilled in dem sound.

Dubble Dub brings it all down, stripping away and lifting the interplay between keys and piano, allowing guitar to ride above warm bass grooves.

On the flip Duckcomb returns, with his now trademark riding the vocal'n'dub, gently teasing'n'pulling, looping'n'flipping, before letting the echoplex loose to just let the wonderful groove bump'n'grind.

Recorded at Randy’s Studio 17 and Lee Perry’s Black Ark, Max Romeo’s Revelation Time is rightfully regarded as one of thecornerstones of Jamaican music. Released in JA in 1975 on Black World, the album was picked by United Artist for US release and later by listed in TheRough Guide to Reggae as one of the essential reggae albums to own. Includes the classic Lee Perry production ‘Three Blind Mice” and one of the all-time high-grade ganja anthems “A Quarter Pound OfI’Cense”

Taking the tradition of Jamaican music to utilise the same rhythm tracks for infinitum, here, as an accompanying release to the boogie version of I've Been Waiting For You (ERC081), is a twist on that ideal, not using the riddim but an actual remake of the song, with a digital reggae cover of Glen Ricks' classic.

Released some 8 years after the Seraff Rec
ords single in 1991, the re-titled I Have Been Waiting saw Ricks team up with dancehall legend Philip "Fatis" Burrell and his Xterminator label.

Starting with the Kings & Lions label to release the likes of Sugar Minot and Tenor Saw, Burrell soon launched the Vena (1985) and then Exterminator (1988) - later Xterminator - labels as vehicles to the rising dancehalls stars, to much acclaim.

This limited 10" release showcases perfect digital re-versions, using Ricks' soulful vocals across a simple bells and horns topped "casio" riddim. The transference comes in traditional vocal and version, so who better to craft a special extended "digimix" than returning to the 'cut'n'paste' skills of DJ Duckcomb. Again he steps up, mixing seamlessly between originals, adding desk dubbing when required and bringing a new flavour to Emotional Rescue.

Center of Gravity - Steppas Records is excited to present the new album from Korean-German producer JahYu. This heavyweight instrumental dub album breaks all convention taking the listener deeper into the world of mystical and etherial soundsystem music. Exploring and fusing the realms of Dub, World and Electronic Music. The enigmatic producer blends contemporary bass music with the sounds of his ancestral homeland, playing and recording traditional Korean instruments; Kayagum, Geomungo, Haegum, Daegum, Hun, Yanggum and Janggu via his own hand. Center of Gravity is another truly eclectic, profound and exciting album from Steppas Records not to be missed.

“A perfect fusion of meditative Eastern instrumentation with 21st century sound-system vibration.” Mixmag

In partnership with onetreeplanted.org we will plant a tree for every record sold.

A musical journey around the globe with music from OiVa Voi (London), Arthur Lee (Memphis), Manolis Hiotis(Athens), BaBa Zula (Istanbul), Manau (Paris), dunkelbunt (Vienna), Axel Krygier & Tremor (BuenosAires), Watcha Clan (Marseille) ... on a limited edition double vinyl (incl. CD album) - only 150 copies available for distribution! Many songs are available for the first
(and maybe last) time on vinyl!

* UK dub classic dating from 1993 from The Disciples that originally came out on the Boom Shacka Lacka label causing a massive stir at the time of release, not just within the sound system dub scene but cross-genre, in what was later to become known to as “bass music”.
* A prime example of instrumental UK dub, featuring the original three mixes plus two extra previously unreleased raw mixes.
* The Disciples, along with the likes of Sound Iration, Manasseh, Alpha and Omega and Conscious Sounds are the forerunners of what became known as the UK roots/dub scene.
* Highly regarded for their custom built dubplate cuts for Jah Shaka, The Disciples have a sizable following worldwide, particularly in the UK, France, Germany and Japan.

DNA Records are proud to present 'Bulang Beauty' by Puman, a Chinese Reggae release, mixed by UK reggae legend Nick Mannaseh, with a spaced-out Dub remix on the flip by DJ DSK. Experience a very unique sound infusion of Reggae and the ethnic tribes of Yunnan Province, China.

Scorching 80s tune previously only released on his scarce Crime Act album. Produced by Ossie Thomas with dub version on the flip by The Soul Syndicate

Green Marbled Vinyl

Lee 'Scratch' Perry's Black Ark Studio opened its doors in 1974. Situated in his backyard at 5 Washington Gardens, Kingston, Jamaica. Using only basic
equipment, a Teac Four-Track Recorder, a Sound craft mixing desk, an Echoplex delay unit and later adding a Phaser effects unit that he used in conjunction with his Roland RE201 Space Echo. He managed mixing down the tracks from Four track to Two track to make his distinctive whirling sound that sets apart the Black Ark Sound from the other Jamaican Studios.

Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxsone’ Dodd’s sound
system, rising quickly to the position of record scout and organising recording sessions during his 3-year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the latter of which would help him set up his ‘Upsetter’ label in 1968, which would see his first of many recordings telling the injustices done to him by previous employers. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected to Perry when he inherited it as a nick name alongside many others during the course of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perrys work in 1968 with producer Joe Gibbs was fruitful and resulted in many successful releases, but again feeling a lack of credit and itchy feet, it was time to move on. Still not having a studio of his own, Perry recorded at the various Kingston establishments at the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. His dream was always to build his own studio and not to have to work to the constraints of the other studios and producers.

On opening the Black Ark studios, the hits seemed to come immediately. Firstly with Junior Byles' 'Curly Locks' and in 1975 the massive crossover hit Susan Cadogans' 'Hurt So Good' that reached No 4 in the UK charts.1976 saw Island Records releasing Perrys vast output, timeless material like the Heptones 'Party Time', Max Romeo's 'War Inna Babylon' Bob Marley and the Wailers 'Jah Live', 'Punky Reggae Party' and Junior Murvins 'Police and Thieves' to name but a few.But sometimes missing out on a few classics like Perrys own 'Roast Fish, Collie Weed & Corn Bread' and possibly one of the best reggae albums of all time The Congos 'Heart of the Congos'. Dub releases like 'Revolution Dub' (1975) showed a way forward for his production skills in this formidable arena. Having his own studio allowed him to build up a vast catalogue of tracks to work on. We have culled together some lost productions that Lee Perry carried out with singer Mike Brookes, a fine singer, arranger from that special time in the Black Arks history. Sounding like Junior Marvin in parts and Max Romeo in others but still carrying a distinctive Falsetto voice. Some classic tracks as you can see recorded with the cream of musicians at Lee Perrys disposal. Mr Perry works his magic that gives these songs that distinctive feel that his output.
carried around the mid 1970's.

So we hope you enjoy some more lost treasures from the Black Ark that we feel should be added to that mighty cannon of material that still sound so fresh and strong today.

Crucial 90s production by Ossie Thomas. One of the lesser-known tunes by Vivian Jones, but what a rough diamond this is, computer-programmed digital drums and horns guide Vivian's tremendously fetching vocals.

Lunar Tredd – Fimber Bravo’s first album on Moshi Moshi since the much acclaimed Con-Fusion – tells the tale. The highlife fusion of You Can’t Control Me resonates in the wake of the global Black Lives Matters protests. There is fire in these impactful clarion calls to resist oppression, recognise strength in resilience and fight against the corruption of power.

Bravo’s been a constant collaborative force - as his time as leader of 20th Century Steel Band, as musical director of Steel ‘n’ Skin, and appearances with everyone from Sun Ra Arkestra to Hot Chip, shows. Lunar Tredd reflects the influence of the music handed down to him by “ancestors” . Helped by an enviable cast of friends and collaborators, Fimber has shifted those touchstones to create something that sounds resolutely like the here and now.

Those friends that appear on Lunar Tredd, include Alexis Taylor of Hot Chip and The Horrors’ Tom Furse; The Invisible drummer Leo Taylor and Senegalese percussionist, Mamadou Sarr dropping in on rhythm duties, while there are also appearances from Susumu Mukai aka Zongamin, the brilliant Kora player Kadialy Kouyate, vocalist Cottie Williams, Vanishing Twin’s Catherine Lucas, and production from Lapo Frost and Ghostpoet producer Shuta Shinoda. Some, like Zongamin and Williams go way back with Fimber, other connections are newer, but all have quickly become part of the London-based musician’s musical family.

Indeed, Fimber never loses sight of where he’s come from on LUNAR TREDD - even as he looks to where he might go next. As a musician, he’s still finding new creative peaks nearly 50 years after he began.

Lunar Tredd – Fimber Bravo’s first album on Moshi Moshi since the much acclaimed Con-Fusion – tells the tale. The highlife fusion of You Can’t Control Me resonates in the wake of the global Black Lives Matters protests. There is fire in these impactful clarion calls to resist oppression, recognise strength in resilience and fight against the corruption of power.

Bravo’s been a constant collaborative force - as his time as leader of 20th Century Steel Band, as musical director of Steel ‘n’ Skin, and appearances with everyone from Sun Ra Arkestra to Hot Chip, shows. Lunar Tredd reflects the influence of the music handed down to him by “ancestors” . Helped by an enviable cast of friends and collaborators, Fimber has shifted those touchstones to create something that sounds resolutely like the here and now.

Those friends that appear on Lunar Tredd, include Alexis Taylor of Hot Chip and The Horrors’ Tom Furse; The Invisible drummer Leo Taylor and Senegalese percussionist, Mamadou Sarr dropping in on rhythm duties, while there are also appearances from Susumu Mukai aka Zongamin, the brilliant Kora player Kadialy Kouyate, vocalist Cottie Williams, Vanishing Twin’s Catherine Lucas, and production from Lapo Frost and Ghostpoet producer Shuta Shinoda. Some, like Zongamin and Williams go way back with Fimber, other connections are newer, but all have quickly become part of the London-based musician’s musical family.

Indeed, Fimber never loses sight of where he’s come from on LUNAR TREDD - even as he looks to where he might go next. As a musician, he’s still finding new creative peaks nearly 50 years after he began.

Classiou, jazzy groove Hip Hop. Soulfool ... oup Full. And so funky !! Yes !

Got to Live is a vintage-style, roots reality song, featuring veteran reggae vocalist Earl 16. Earl started his recording career in 1975 as lead vocalist for the Flaming Phonics, a group he formed while still a schoolboy in Kingston, Jamaica.

Earl went on to record for Lee Perry, Augustus Pablo, Derrick Harriott, Joe Gibbs and Roy Cousins, before moving to the London in 1985. Here he worked with Mad Professor amongst others, but also stepped outside of reggae to work with Leftfield, who he still tours with. Soul Revivers' Nick Manasseh has recorded with Earl for thirty years now, while David Hill has known him for fifteen years – Sixteen being a regular crowd-pleasing guest at his long-running Rootikal dance in London.

Got to Live features Adrian McKenzie on the drum kit, with Jonah Dan on repeater drum and Spry on percussion. Add a three-part horns section and Manasseh's artful live-desk-mixdown, and this majestic tune is guaranteed to drop heavy. The flip holds Living Version, a instrumental track that is less about the dubwise, but is built for MCs. Entering 2021, it’s a good time to be reminded that we’ve all got to live.

‘top gear new British reggae from Soul Revivers’ - David Rodigan, BBC Radio 1xtra

Dub, raggae, dubstep, dancehall... MC Taiwan under all influences ! Another groovy Chinese Man !

Everything is Possible.

Naked feet in warm sand, a gentle breeze, a sweet taste of chocolate on the tip of your tongue - this is the moment before you jump into clear waters. JPattersson brings up eight shimmering pearls from the dubby depths of his repertoire and adds them to this chain of associations. Mood gives expression to an unquenched thirst for musical innovation and growing maturity. While the soul of JPattersson still reverberates through the frequencies of his trumpet and his voice, his third album sounds all new and different again. There are songs with clever lyrics and all the ensuing catchiness. In-between these tunes from tropical tipsiness to hypnotic depth you can hear one thing above all: musical love of detail. In consequence, it’s a wonderful album to listen to from beginning to end - and at the same time made for the dancefloor.

Nackte Füße im warmen Sand, eine leichte Brise im Haar, der Geschmack von Schokolade auf der Zunge - der Moment vor dem heiß ersehnten Sprung ins klare Wasser. JPattersson holt aus den dubbigen Tiefen seines Repertoirs acht schillernde Perlen herauf und fädelt sie auf genau diese Assoziationskette. Mood bringt musikalisches Reisefieber und Reife zum Ausdruck. Obwohl die unverwechselbare Seele der Titel weiterhin zwischen den Frequenzen seiner Trompete und seiner Stimme schwebt, klingt das dritte JPattersson Album dabei erfrischend anders. Neben Songs mit cleveren Texten ist auf der Bandbreite von tropischer Beschwipstheit bis hin zu hypnotischem Tiefgang vor allem musikalische Liebe zum Detail zu hören. Ein wunderbares Durchhör-Erlebnis und gehaltvolles Dancefloor-Futter gleichermaßen.

classic skinhead reggae from 1972 - never reissued ever since. Import from Holland on the Blue Elephant label.

Eine neu überarbeitete ”Island Years”-Auflage des klassischen Bob-Marley-Boxsets, zum ersten Mal auch auf Vinyl. Mit Marleys vielen Klassikern von ”Concrete Jungle” über ”Redemption Song” bis hin zu seltenen 12”-Mixen, B-Seiten, jamaikanischen Singles und Alternates. ”Songs Of Freedom: The Island Years” erscheint als 6LP-Set.

Das 6LP-Set auf schwarzem Standard-Vinyl (180 g) enthält ein 20-seitiges Booklet mit seltenen Fotos,
mehreren Essays und Titelinformationen.

For the first time on 7-inch vinyl, Acid Jazz present short versions of both Get The Music Now & Africa, taken from the super rare self-titled album by Ipa-Boogie.