Pop & Rock Новости

The next instalment in the Dubplate series sees our very own Scrimshire step up to the plate for the fifth time!

Having gained huge amounts of radio play for his own productions, as well as the occasional cheeky re-edit, Scrimshire brings us two firing reworks of a couple of musical rarities covering latin, soul and disco angles.

His re-work of the 1975 Brazilian obscurity Tatarue by Giovana aims both barrels firmly at the dancefloor, while his extended edit of the Morris Wilson's version of Rappers Delight, entitled Bebopper's Delight, thankfully extends the original's 1'35" length with some typically Scrimshire twists and turns along the way.

Once again, we hope you enjoy!

Repress!

The two glorious 80s boogie tracks written and produced by Roy Ayers are released here on 7' single for the very first time.

The two songs were originally released back to back on 12' single for the Uno Melodic label, copies exchanging hands for over £400.

These are the only two known recordings by Ethel Beatty, It's Your Love' much sampled on the hip hop scene.

Big Crown is proud to present the debut single from 79.5 Terrorize My Heart'. Hard to categorize, easy to love, 79.5 has been making tons of noise around New York City for the past year. With three lead vocalists, Kate, Nya, and Piya and a band that pulls influence from every corner of a record store, it's no wonder they are already taking the scene by storm. They are an act that gets put on as an opener and shortly there after is asked by the venue to do a month long residency. That residency leads them to a full page write up in The New Yorker before they even have a single out. The long and short of it is that 79.5 wins over the listeners wherever they play with an infectious energy. Between the arrangements of bandleader Kate Mattison and the prowess of all the players, their sets run a gamut of energies and tempos, whether breaking it down to a capella, turning it up to disco, or mastering the middle, they run the groove, and the crowd follows suit. Take all of that and put it in the studio with Big Crown's own Leon Michels on production duties and you get a record we can't wait to put out in the world, a record on which every song was recorded live to tape in one take. Terrorize My Heart', a tune leaving no room for gray, finds the ladies of 79.5 walking the line between vulnerability and forthrightness. Setting out with admonishments of love and infatuation that are checked by the bluntness of women who've lived in the Big Apple for years, is it her or is it me, that's how it's gotta be'. A smashing rhythm section covered in punching rhodes chops, flute parts, and dubbed out reggae rhythm guitar sets the perfect vibe for the ladies to trade off leads and come back together in three part harmonies: All the while taking the whole tune from half time to double time. The B side, coined the Disco Dub mixed by Jens Jungkurth, finds Michels' production taking Terrorize My Heart' from the change where it goes to four on the floor and lacing it with drums and a clap track that absolutely pushes this tune over the edge into the realm of dancefloor banger. Tombstones fall over, the earth cracks open, and dead people get up and dance when this comes on... Another Big Crown Sureshot.

Whilst not the first UK dance scene - the mods had that covered - northern soul is the longest running. Those northern clubbers who eschewed late 60s psychedelic fripperies for obscure old soul records with the requisite beat, couldn't have known what they started. After using up all the UK released sides they began digging in the United States and after nearly 50 years the northern soul scene has probably unearthed more great music than any other.

Funk was the syncopated groove that emerged in the mid-sixties through hits from James Brown and Dyke and The Blazers. It was a natural development out of rhythm and blues. Thousands of local bands tried to emulate Brown's success, and in the process created a plethora of rare and sought after 45s and album cuts that have been mined by DJs and producers to fill floors or provide breakbeats. Whilst the 20 tracks on this compilation would cost you thousands of pounds to own on their original issue, that isn't really the point. Instead you get to listen to magnificent grooves such as Mickey & The Soul Generations explosive 'Iron Leg', Andrew Brown's blues tinged 'You Made Me Suffer' or the message music of 24 Carat Black.

There is a lot of confusion with regards to the modern soul scene. An off-shoot of northern soul, it initially mixed new release independent soul, with post late-60s soul that didn't fit with the northern scene. They championed a lot of great records, but this was the mid-80s and it now seems odd to describe nearly 50 year old records as modern soul - but somehow the name has stuck. Extra Added Soul luxuriates in this contradiction, as it allows us to mix up the boogie like 'Love Explosion' by Donnell Pittman, with two-step Chicago classics by Elvin Bishop or El Anthony, or the danceable sweet soul of Dyson's Faces with Gil Scott-Heron alike 'Patience' by Rokk. Amongst the twenty tracks there is also room for a touch of Prince on 94 East's exceptional 'If You See Me' and the cosmic soul of Karriem's super rarity 'I Love You'.On the 14th October 2016 J&D Records release three exceptional compilations that look at vintage African-American music through the prism of UK club culture.

At last! This one took literally years to piece together. Does Dennis Bovell need an introduction I think not but in case you don't know, he is a musical polymath, top flight producer, dub legend and one of the finest artists the UK has ever produced.

Optimo Music has worked with Dennis before when he went into Green Door studios and dubbed out Golden Teacher to the max. This Disco Plate EP was already in the works before then but various circumstances caused it to take until now to see the light of day.

In 1981 Dennis released his solo album, "Brain Damage". A double album that fused afro beat, funk, dub, jazz, blues and styles that have still to be genre-fied, it went over most people's heads and is now a mainly forgotten masterpiece.

From that album we present on the A side, the magnificent "Heaven", a disco dub afro-sound dance floor bomb that somehow manages to sound more current today than it did 35 years ago. Also included is a slightly edited version that removes some of the vocals to focus on the groove a little more.

On the AA side is the legendary "Escape Goat Dub". Back in 1981, Dennis Bovell was perhaps thee hot producer of the day. Epic Records put Dennis in the studio with singer songwriter Garland Jeffreys to work on his new album. It turned out Mr. Jeffreys was a big dub fan so most of the studio time was spent doing wild dub tracks instead of the singer song writer type tracks the label was anticipating. The wildest of those was "Escape Goat Dub" which must be up there in the greatest dubs ever to shake the world. The label was patently at a loss as to what to do with it so stuck it out as a promo only 12" in France, and there it lay forgotten. After a long search Twitch picked up a copy in Rennes a few years back and got permission from Mr. Bovell and Mr. Jeffreys to put it out again. It's not an expensive record or a mega rare record, just little known and definitely deserving to be heard by new ears. Epic dub abounds.

The AA2 is "Smouche", another track from "Brain Damage"; 3 minutes of dub, funk inflected Moogy summery joy.

THE EARLY WORK OF A MUSICAL GENIUS WHICH BECAME A STAPLE OF THE MINNEAPOLIS SOUND FOR DECADES TO COME.

"What makes these recordings particularly special is that they reflect an important element in the development of the 'Minneapolis Sound' - a phenomenon bought to the world's attention by the emergence of Prince. And the outstanding contributions that Prince bought to these recordings are testimonial to his phenomenal, precocious abilities at such a young age." - PEPÉ WILLIE, founder 94 East.

This latest Charly re-issue holds the earliest known recordings of Prince, made with Pepé Willie's band - 94 East, recorded between December 1975 and February 1979. On the record, Prince contributes electric guitar, guitars, bass, keyboards, synths, organ, drums, harmony and backing vocals and is clearly heard on all of these historic recordings.

The release has received a new, pure analogue remastering from Pepé Willie's original tapes by Matt Colton at Alchemy Studios, and pressed on 180g heavyweight audiophile vinyl by Optimal Media, GmbH, Germany.

THE EARLY WORK OF A MUSICAL GENIUS WHICH BECAME A STAPLE OF THE MINNEAPOLIS SOUND FOR DECADES TO COME.What makes these recordings particularly special is that they reflect an important element in the development of the 'Minneapolis Sound' - a phenomenon bought to the world's attention by the emergence of Prince. And the outstanding contributions that Prince bought to these recordings are testimonial to his phenomenal, precocious abilities at such a young age." - PEPÉ WILLIE, founder 94 East.This latest Charly re-issue holds the earliest known recordings of Prince, made with Pepé Willie's band - 94 East, recorded between December 1975 and February 1979. On the record, Prince contributes electric guitar, guitars, bass, keyboards, synths, organ, drums, harmony and backing vocals and is clearly heard on all of these historic recordings.

The release has received a new, pure analogue remastering from Pepé Willie's original tapes by Matt Colton at Alchemy Studios, and pressed on 180g heavyweight audiophile vinyl by Optimal Media, GmbH, Germany.

One of the most original and influential singer-songwriters of all time, Prince has been an integral part of many people's lives with his music and controversial behaviour.

Originally released in 1987, Sign 'O' The Times' was the ninth studio album to be released by Prince. The album was widely hailed by critics as a return to form - and, as time passed, as Prince's pinnacle. It yielded hit singles in the title track (peaking at #10 in the UK), the rocking Sheena Easton duet "U Got the Look" (#11), and the poppy "I Could Never Take the Place of Your Man" (#29).
This reissue will feature two 140g black 12' vinyl records.

Rare disco and boogie

Don't let the floppy hat and rolling English countryside on the cover fool you. Harry Mosco's Country Boy is a certified floor-filler, bursting with Studio 54 era disco-funk as well as a token reggae monster, complete with its own dub version. Harry Mosco always had swagger. A founding member of The Funkees, he'd stride out on stage in tight pants and dark sunglasses, commanding the attention of a population distracted by war. When The Funkees split in London, it was clear that his star would rise the fastest. Released in 1978 by fledgling Taretone label, Country Boy went on to become one of the best-selling Nigerian records of all time. The first few bars of 'It's Too Late' are guaranteed to get on the dance floor. Sam El'Salahi's slinky bassline on 'I Feel Funky' will keep you there. And 'Harry's Party' is a celebration you never want to end. The title track, and its dub doppleganger, are a reggae-tinged chance to catch your breath, before 'The Wanderer' drags you back on the dancefloor until the house lights come on. Grab this PMG re-issue and enjoy the sweat and the swagger of Harry Mosco in his pomp all over again.

CD Version

A limited new pressing of sought-after Strut LP from 2002, compiled by DJ Cliffy and celebrating the 'Black Rio' movement of the 1970s as Brazilian artists took the lead from James Brown and forged their own samba soul fusions. Artists include Jorge Ben, Uniao Black, Trio Mocoto and Banda Black Rio.This fresh reissue is fully remastered as a 2LP gatefold featuring original sleeve notes, rare photos and original flyer artwork. All
copies will feature the remastered CD version of the album within the package.

Fantastic all killer no filler compilation of sun-drenched gems from pop-soul legend Tina Turner. First up is the super cool mid-tempo house groove of Justin Strauss's 12' Dance Mix of 'Afterglow' from 1986 which hit big across the dancefloors of Ibiza. Also included are outstanding covers of Led Zepplin's 'Whole Lotta Love' and a great extended mix of Ann Peebles-penned 'I Can't Stand The Rain'. Rounding things off we get a brilliant dubbed out instrumental version of 'We Don't Need Another Hero' from the Mad Max soundtrack.

After a first edition acclaimed internationally, Favorite Recordings and Charles Maurice finally follows-up to their French Disco Boogie Sounds compilation with a second volume!!
Pursuing his fine work at digging rare music from around the world, DJ and collector Charles Maurice presents another brilliant selection of great music linked to France and French West-Indies: 12 hidden and forgotten titles, all produced between 1978 and 1985, whether in France, or by French artists abroad. This time again, he perfectly browse and defines the great energy and quality of this specific Disco/Funk scene at that time, both in the underground market, or through bigger labels.
On one hand, tracks by Crystal, Jackie Esam, Ideku Dynasty or Marc Ashy, were produced by small artists and labels from the French Caribbean and African community and also filled with a raw spirit and some Tropical influences. On the other hand, tracks by Claude Morgan, Greg Smaha, Roots, or Black Bells Group, were released by major labels such as Phonogram, RCA, Derby, or Carrere, thanks to confirmed independent producers, acting not only in France, but also in Canada and the US.
Today, Favorite Recordings and Charles Maurice are very proud to unearth these 12 gems, with amongst them some very hard to find and almost unknown titles.

Once again, The French duet composed of Zdar & Boombass has managed to gather the crème de la crème on its project. Ibi' for Ibiza and fornia' for California, or the perfect cocktail between the fervor of the Spanish Island's dancefloors and the incredible freshness of the Californian mentality. Pharell Williams is present on the album, as well as a totally transformed Cat Power. The great Mike D (Beastie Boys), and the over-playful guitarist Matthieu Chedid, are also some of the prestigious names we can mention. The singles Ibifornia", Go Up", Action' and The Missing' are already available as well as the EP of remixes Action", that have given us many good reasons to wait for the upcoming opus. Once you'll have had the time to adopt those songs as your new summer anthems, Cassius will give you a taste of what your Indian summer can sound like - so rendez-vous the 26th August!

ears ago he started putting together some selections for a friend of his: Luca. The intention was to pick songs to be played during car rides, and like any other kind of ritual, this too would come with strict rules. You'd have to go throw the whole selection of 100 tracks without skipping, because every single one was important. Be it the sounds, the arrangement or its creativity, each track was there for a very specific reasons. It quickly became a monthly event which for several years evolved in a deep musical research without genre boundaries: Disco and psychedelic, soundtracks, library music, exotica, electronic and dance music, italo, new wave, pop or prog. Tracks of each and any historical period and provenance had been featured in this special compilations. But it wasn't always that easy to come up with the right piece and eventually Francesco started producing a few on his own to fill in the gaps. After six tracks, it was quite clear that there was a project developing, one in which he could finally experiment freely, leaving behind the rules that often come with dance tracks. Of course, no name could have been better than the one of his friend that had inspired everything And so L.u.c.a was born. Now, while preserving the same mind set, L.u.c.a is back with an album that embraces a new-hippie vibe, strongly pervaded by a mystical naturalism. This is a whole new universe in the making, where rumbling magmatic atmospheres evolve gradually in a journey through an idealist new world, celestial interludes revealing a full take over of nature, with a pervasive library feel that dates back to the great Italian masters, carrying on Edizioni Mondo's legacy.

Limited repress!

This album is another chapter in the ongoing "there's-muchmore-to-Brazil-than-bossa-nova" saga. It's filled with disco-era tracks produced for the Brazilian domestic marketplace, some of which were hits, others which were quite obscure. What binds them all together - besides their common origins, time period and overall musical approach - is the fact that their reputation has been steadily transcending Brazil's borders. This has allowed these tunes to find their place on set lists, want lists and in the crates of the world's most discerning DJs and tastemakers. Artists like Jorge Ben and Marcos Valle have been legendary and influential for decades, and the duo Robson Jorge & Lincoln Olivetti dominated the Rio studio scene in the '80s before creating huge buzz overseas in recent years. Banda Black Rio and Cassiano are also both household names amongst crate diggers and fans of rare groove. While this album is sure to highlight the work of the artists featured on it, its main aim is to shine a spotlight on a sound and a style that continues to hypnotize scores of music lovers. Most importantly, its goal is to get dance floors moving across the world.

Following an outing to Tokyo, our favourite old school pioneer jumps over the channel to knock out four edits to make the floors shake. This EP really cracks up the party vibe a notch, with edits of PRINCE (I Wanna Be Your Lover), THE VELVELETTES (He Was Really Saying Something) ARETHA FRANKLIN (Say A Little Prayer), and THEM (Gloria)
Cor Blimey!

Written and produced by El Perro Del Mar & Jacob Haage, the 10 original songs of 'KoKoro' are her most ambitious and musically adventurous to date, yet no less emotionally direct, covering themes that speak to both big and small matters of the heart.
With the state of the planet - musically, politically, environmentally - on her mind since the birth of her son, Assbring sees 'KoKoro' as not only an album but also as an aesthetic and political movement of sorts. She explains: 'KoKoro' is about the vulnerability and the strength of the heart. What the heart is exposed to, both internally and externally. The heart cannot be protected. Not from pain, not from happiness. Not from love, not from corruption. I've been thinking a lot about issues such as 'who am I if the social norms, expectations and pressures I carry were to be stripped away Hard Soft Or maybe both In a time that seems to go backwards humanistically and morally, seeking to put up walls rather than tearing them down, I realized I wanted to make a borderless album that belongs nowhere but has a universal voice and a universal heart.'

With soundscapes that echo of Thailand, Sumatra, India, Ethiopia, and China, the orchestration of 'KoKoro' is unlike any of El Perro Del Mar's previous releases, a direction only hinted briefly on the 'Pale Fire' LP highlight I Was A Boy.' It features the Chinese string instrument Guzheng, the Japanese Shakuhachi flute, various other Asian flutes, Arabic strings, Dulcimer, and rhythms influenced by Ethiopian music. Assbring explained, One of my absolute clearest aims was to distance myself from the kind of common Western sound of today' in an effort to find a new way to write relevant pop music with references and influences that feel fresh.' 'KoKoro' was inspired by legendary singers like Pakistan's great Sufi exponent Abida Parveen and Nahid Akhtar, India's Asha Bhosle, Ethiopia's Yeshimebet Dubale, Cambodia's Sinn Sisamouth, and South Korea's Kim Jung Mi, as well as Ethiopian musician Enimut Kindie, Javanese gamelan music, and Chinese guzheng music. The album was recorded with multi-instrumentalist Andreas Söderström, bassist Johan Berthling, drummer Mattias Bergqvist, who has collaborated with First Aid Kit, and wind multi-instrumentalist Per Ruskträsk' Johansson, who has collaborated with Robyn, José González, among many others.

The first single Breadandbutter' is about finding a means to communicate and find solidarity among people, while other songs on 'KoKoro' implore for self-reflection and self-improvement across friendships, relationships, and life at large in an effort to reach enlightenment. Capitalism's arguably toxic effect on the human spirit is addressed on Ding Sum,' where El Perro Del Mar sings, Pics of girls and ads of boys / Hit you, hit you as you go / There's a notice for your heart / To want a bit of what they got (Gimme it, gimme all!) / Listen, you got robbed / But it's not your fault.'

Last year, El Perro Del Mar reissued her self-titled, critically acclaimed debut album in celebration of its 10 year anniversary, earning praise from Pitchfork for the way it stripped girl-group pop songs down to their barest essentials and used them to express immense inner sadness.' HBO's 'Girls' featured its single God Only Knows (You Gotta Give To Get)' in the closing credits of an episode in Season 4. More recently, El Perro Del Mar released covers of the Red Hot Chili Peppers' Breaking The Girl,' which was recorded for her 2012 album 'Pale Fire' but not included, and Prince's I Would Die 4 U' in honor of what would have been the late legend's 58th birthday. For the former, she partnered with Fred Armisen to direct its music video, who praised her romantic and dreamy music' in an interview with Rolling Stone.

Written and produced by El Perro Del Mar & Jacob Haage, the 10 original songs of 'KoKoro' are her most ambitious and musically adventurous to date, yet no less emotionally direct, covering themes that speak to both big and small matters of the heart. With the state of the planet - musically, politically, environmentally - on her mind since the birth of her son, Assbring sees 'KoKoro' as not only an album but also as an aesthetic and political movement of sorts. She explains: ''KoKoro' is about the vulnerability and the strength of the heart. What the heart is exposed to, both internally and externally. The heart cannot be protected. Not from pain, not from happiness. Not from love, not from corruption. I've been thinking a lot about issues such as 'who am I if the social norms, expectations and pressures I carry were to be stripped away Hard Soft Or maybe both In a time that seems to go backwards humanistically and morally, seeking to put up walls rather than tearing them down, I realized I wanted to make a borderless album that belongs nowhere but has a universal voice and a universal heart.'

With soundscapes that echo of Thailand, Sumatra, India, Ethiopia, and China, the orchestration of 'KoKoro' is unlike any of El Perro Del Mar's previous releases, a direction only hinted briefly on the 'Pale Fire' LP highlight 'I Was A Boy.' It features the Chinese string instrument Guzheng, the Japanese Shakuhachi flute, various other Asian flutes, Arabic strings, Dulcimer, and rhythms influenced by Ethiopian music. Assbring explained, 'One of my absolute clearest aims was to distance myself from the kind of common Western sound of today' in an effort to 'find a new way to write relevant pop music with references and influences that feel fresh.' 'KoKoro' was inspired by legendary singers like Pakistan's great Sufi exponent Abida Parveen and Nahid Akhtar, India's Asha Bhosle, Ethiopia's Yeshimebet Dubale, Cambodia's Sinn Sisamouth, and South Korea's Kim Jung Mi, as well as Ethiopian musician Enimut Kindie, Javanese gamelan music, and Chinese guzheng music. The album was recorded with multi-instrumentalist Andreas Söderström, bassist Johan Berthling, drummer Mattias Bergqvist, who has collaborated with First Aid Kit, and wind multi-instrumentalist Per 'Ruskträsk' Johansson, who has collaborated with Robyn, José González, among many others.

The first single 'Breadandbutter' is about finding a means to communicate and find solidarity among people, while other songs on 'KoKoro' implore for self-reflection and self-improvement across friendships, relationships, and life at large in an effort to reach enlightenment. Capitalism's arguably toxic effect on the human spirit is addressed on 'Ding Sum,' where El Perro Del Mar sings, 'Pics of girls and ads of boys / Hit you, hit you as you go / There's a notice for your heart / To want a bit of what they got (Gimme it, gimme all!) / Listen, you got robbed / But it's not your fault.'

Last year, El Perro Del Mar reissued her self-titled, critically acclaimed debut album in celebration of its 10 year anniversary, earning praise from Pitchfork for 'the way it stripped girl-group pop songs down to their barest essentials and used them to express immense inner sadness.' HBO's 'Girls' featured its single 'God Only Knows (You Gotta Give To Get)' in the closing credits of an episode in Season 4. More recently, El Perro Del Mar released covers of the Red Hot Chili Peppers' 'Breaking The Girl,' which was recorded for her 2012 album 'Pale Fire' but not included, and Prince's 'I Would Die 4 U' in honor of what would have been the late legend's 58th birthday. For the former, she partnered with Fred Armisen to direct its music video, who praised her 'romantic and dreamy music' in an interview with Rolling Stone.

Written and produced by El Perro Del Mar & Jacob Haage, the 10 original songs of 'KoKoro' are her most ambitious and musically adventurous to date, yet no less emotionally direct, covering themes that speak to both big and small matters of the heart. With the state of the planet - musically, politically, environmentally - on her mind since the birth of her son, Assbring sees 'KoKoro' as not only an album but also as an aesthetic and political movement of sorts. She explains: 'KoKoro' is about the vulnerability and the strength of the heart. What the heart is exposed to, both internally and externally. The heart cannot be protected. Not from pain, not from happiness. Not from love, not from corruption. I've been thinking a lot about issues such as 'who am I if the social norms, expectations and pressures I carry were to be stripped away Hard Soft Or maybe both In a time that seems to go backwards humanistically and morally, seeking to put up walls rather than tearing them down, I realized I wanted to make a borderless album that belongs nowhere but has a universal voice and a universal heart.'

With soundscapes that echo of Thailand, Sumatra, India, Ethiopia, and China, the orchestration of 'KoKoro' is unlike any of El Perro Del Mar's previous releases, a direction only hinted briefly on the 'Pale Fire' LP highlight I Was A Boy.' It features the Chinese string instrument Guzheng, the Japanese Shakuhachi flute, various other Asian flutes, Arabic strings, Dulcimer, and rhythms influenced by Ethiopian music. Assbring explained, One of my absolute clearest aims was to distance myself from the kind of common Western sound of today' in an effort to find a new way to write relevant pop music with references and influences that feel fresh.' 'KoKoro' was inspired by legendary singers like Pakistan's great Sufi exponent Abida Parveen and Nahid Akhtar, India's Asha Bhosle, Ethiopia's Yeshimebet Dubale, Cambodia's Sinn Sisamouth, and South Korea's Kim Jung Mi, as well as Ethiopian musician Enimut Kindie, Javanese gamelan music, and Chinese guzheng music. The album was recorded with multi-instrumentalist Andreas Söderström, bassist Johan Berthling, drummer Mattias Bergqvist, who has collaborated with First Aid Kit, and wind multi-instrumentalist Per Ruskträsk' Johansson, who has collaborated with Robyn, José González, among many others.

The first single Breadandbutter' is about finding a means to communicate and find solidarity among people, while other songs on 'KoKoro' implore for self-reflection and self-improvement across friendships, relationships, and life at large in an effort to reach enlightenment. Capitalism's arguably toxic effect on the human spirit is addressed on Ding Sum,' where El Perro Del Mar sings, Pics of girls and ads of boys / Hit you, hit you as you go / There's a notice for your heart / To want a bit of what they got (Gimme it, gimme all!) / Listen, you got robbed / But it's not your fault.'

Last year, El Perro Del Mar reissued her self-titled, critically acclaimed debut album in celebration of its 10 year anniversary, earning praise from Pitchfork for the way it stripped girl-group pop songs down to their barest essentials and used them to express immense inner sadness.' HBO's 'Girls' featured its single God Only Knows (You Gotta Give To Get)' in the closing credits of an episode in Season 4. More recently, El Perro Del Mar released covers of the Red Hot Chili Peppers' Breaking The Girl,' which was recorded for her 2012 album 'Pale Fire' but not included, and Prince's I Would Die 4 U' in honor of what would have been the late legend's 58th birthday. For the former, she partnered with Fred Armisen to direct its music video, who praised her romantic and dreamy music' in an interview with Rolling Stone.

Remastered reissue featuring three fantastic hard-to-find classic rump shakers from Hamilton Bohannon. Bohannon was one of the key forces in disco in the seventies and this is him at his best - his instantly recognisable sound is pure uncut boogie mixing riffing guitars, bad-ass funky bass and pounding drum tracks. First up is the super-rare long 12' version of 'Me & The Gang' a superbly funky track popular with everyone from Tony Humphries to Carl Craig with its great chunky beats & a killer piano groove later sampled by Paul Johnson for his hit 'Get Get Down', followed by 'The Groove I Feel' - a monstrously good floor-filling gem unearthed from his '76 album 'Dance Your Ass Off'. On the flip you get the awesome full 12.45 minute version of 'Maybe You Can Dance' another slamming disco-funk stomper only ever available as an elusive 1977 12' promo. Quality stuff!

A classic bit of space vocal disco from the 70s -- four long tracks that are all pretty darn moogy, and pretty darn great!

In the constant search for new, disco-inspired music, File Under Disco go all the way to Kawasaki City, Japan for their latest release by Max Essa's Jardin Studio Orchestra.

Max has been an Englishman living in Japan for many years now and has deeply emersed himself in the Tokyo underground music scene as a popular DJ.
His wide musical knowledge and skill as a multi-instrumentalist make him a perfect addition to the File Under Disco camp.
And for an Englishman living in Tokyo his music is strongly stamped with that authentic New York disco meets new wave flavour.

Arthur Russell meets Chaz Jankel at a Konk party you could say.

On the remix front, current new school favourite JKriv drops an epic dance floor take on Love Beyond with its Chic inspired guitar hooks and big rhythms.
While old school disco don Ray Mang delivers a joyous, dubbed out version of Runnin' Out Of Night, which captures perfectly the essence of all those New York disco flavours. Definitely the ideal soundtrack to many summer days of bliss ahead on Adriatic boat cruises and Ibizan beaches.

Sofrito returns with more heat for your Tropical Discotheque, this time dipping into the mysterious sounds of Nigerian Acid Boogie !

Bonus 7' (Only W/ First 1000 Copies). A legendary, ultra-rare afrobeat killer, restored and presented for the first time in wide release! LP Includes bonus 7' disc featuring the rare 1972 single SON OF THUNDER' b/w ALUPANDU-GBE' limited to 1000 copies. It's 1968 and Fela is in tears. Fela Kuti, the genius of afrobeat. The champion of the people. Fabled for unflinchingly staring down the barrels of state tyranny, enduring beatings within an inch of his life from government stormtroopers and then getting on stage to mock his tormenters in song. Fela the fearless, Fela the invincible. Fela who they call Anikulapo— he who carries death in his pocket.' What insurmountable catastrophe could have reduced this formidable titan of African music to tears Ojo Okeji leaving his band, that's what. From the liner notes, by renowned Nigerian music historian Uchenna Ikonne. In the early years of Fela Kuti's career, well before he would define the genre of afrobeat, and leave an indelible mark on the musical landscape, he was a struggling trumpet player, seeking to redefine the sound of his current group, the art-jazz ensemble Fela Ransome-Kuti Quintet. As he moved his group towards the then-popular genre of highlife in 1963, he lost his bassist in the move towards commercial success, but gained the company of Ojo Okeji, who had a sterling reputation both as a bassist and percussionist in groups like Lagos Cool Cats, Rex Williams' Nigerian Artistes, and Western Toppers Highlife Band, a favorite of Kuti's. Okeji impressed Kuti with his deft jazziness on the bass, so he was in on the spot, and the Fela Ransome-Kuti Quintet became Koola Lobitos. It was Okeji that introduced Kuti to the famed percussionist Tony Allen, (Who would subsequently join Kuti into his greatest years as an artist) as well as conguero Abayomi "Easy" Adio. During his time in Koola Lobitos, Okeji not only contributed deeply melodic, and adeptly rhythmic baselines, but brought his own influence from emerging US soul artists like James Brown & The Famous Flames and Wilson Pickett, heavily pushing Koola Lobitos towards a more soulful direction. This push was often resisted by Kuti, who frequently clashed with Okeji. 1968 proved to be a turning point for the group, as the Nigerian Civil War broke out, and many starving musicians turned to the military for work. Okeji and Adio would leave for the army, while Kuti and Allen kept Koola Lobitos going, where it evolved through different names and iterations and grew into the worldwide afrobeat force that made Kuti an icon during the 70s and 80s. But as Kuti and Allen rose to global recognition, Okeji and Adio would form a new band within the ranks of the 6th Infantry Brigade of the Nigerian Army. Their emblazoned blue jackets earned them the nickname "The Blues', but Okeji preferred the name Shango' after the Yoruba thunder god. Shango took the fundamentals of Kuti's famous afrobeat and brought new layers of guitar and horn arrangements, while often invoking supernatural aesthetics, and maintaining a love for the US soul artists that influenced Okeji so much. Because Shango was an army band however, their records were not readily available to anyone outside of the military so their music, including their eponymous 1974 LP, remained relatively unknown even amongst the people of Nigeria. Decades later Comb & Razor is thrilled to present this long-lost Nigerian gem for the first time to a world-wide audience.

Soul Jazz Records' are releasing Tee Mac's 'Night Illusion', a lost classic Nigerian Afro soul meets disco boogie funk album originally released in Nigeria in 1980 as a private-press release of 1000 copies on the enigmatic artists' own label. Impossibly hard to find, the record remains practically unknown outside of Nigeria.
Tee Mac Omatshola Iseli is a multi-instrumentalist, composer and arranger and features on Soul Jazz Records' recent collection Nigeria Soul Fever - Afro Funk Disco and Boogie alongside Joni Haastrup, Christy Essien and others, as well as on a recent compilation 'Nepa Oh Nepa' (released on Hot Casa earlier this year). The timelessness of this soulful, ground-breaking funk jazz lost masterpiece 'Night Illusion' leads to comparisons with James Mason's legendary lost classic album Rhythm of Life, with his unique individualism and intensity hinting at the boogie funk of groups such as Mass Production and Slave so loved by artists such as Moodyman and Theo Parrish. While Fela Kuti is now a cultural icon of Nigerian music throughout the world, the recent crossover success of William Onyeabor shows just how much undiscovered Nigerian music remains waiting to be explored outside of the country.
Tee Mac was born in Lagos, the son of a Nigerian princess and a Swiss diplomat. He picked up the flute at age 7 and ten years later was studying classical musical in Switzerland under his uncle the composer J.J. Direndirger. Returning to Lagos, Nigeria in 1970 he formed the heavyweight afro rock group Tee Mac and Afro Collection (which included Johnny Haastrup on keyboards and The Lijadu Sisters on vocals). This band was famously joined by the legendary Cream drummer Ginger Baker who came to Nigeria to play with them in 1971 (captured in the film Ginger Baker in Africa).
At age 24, Tee Mac moved to Germany where he co-wrote and recorded the European disco group Silver Convention (whose 'Fly Robin Fly' became number one in the USA charts). This enabled him to return to Nigeria where he formed his own label SKJ Records to release his self-financed album Night Illusion, as well as buying two nightclubs and also investing in a number of mineral mining companies!
Tee Mac continues to live in Lagos today and travels the world as a composer - one of whose pieces is The City of Mer Kailash (2009), a two-hour ballet featuring over 60 dancers and a 100+ piece orchestra.
Soul Jazz Records are releasing this lost classic Nigerian album as a strictly limited-edition 1000 copies worldwide exact-replica artwork reproduction LP (+ sleevenotes + free download), CD and digital album.