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Das Innenumschlag-Artwork enthält die vollständigen Liedtexte des Albums. Die erste Auflage der Schallplatte enthält ein limitiertes A3-Poster mit einem besonderen Risographen-Druck. "BITTER SWEET LOVE" zeigt James von seiner besten Seite und bietet dreizehn atemberaubende Songs voller Emotion. Nachdem er wieder auf der Bühne stand, wurde ihm klar, wie sein fünftes Album klingen sollte. Die Menge sang zu seinen Hits mit und tauchte in die Emotionen ein, die James in seiner eigenen Stimme hören konnte. Der aus Middlesbrough stammende und vor kurzem Brit Billion-Award zertifizierte Künstler, kann auf eine Jahrzehnte lang umfassende Karriere zurückblicken. Darunter 4 Studioalben, 16 Milliarden verkaufte Tonträger und unzählige ausverkaufte Konzerte an einigen der legendärsten Veranstaltungsorten weltweit

Who exactly is Sauce Walka? He is DAT BOY DEN. Often considered one of rap’s biggest enigmas for his larger than life personality yet equally sharp and grandiose pen game, the Houston based rapper aims to put a stamp on his name with his newest studio album, DAT BOY DEN. The 18 track album features appearances from popular artists such as Peezy, BIG30 & Freeway, as well as fellow Houston-based artist Money Man & The Sauce Factory labelmates Peso Peso, Sauce WoodWinnin, Sauce Gohan & 44 Mike Deezy. Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion. pPressed on Red & White Split Vinyl, housed in a widespine jacket.

Key Marketing/Selling:
Sauce Walka is an incredibly versatile rapper and while his image may be more street leaning, he is an incredibly gifted lyricist with an unmatched pen game and can outrap some of the more lyrical rappers
Founder of the popular Houston based label, The Sauce Factory
Popularized the term “Drip”
Made headlines in 2015 for releasing a diss track aimed at Drake called, “Wack 2 Wack,” over appropriating Houston culture
Sauce Walka has over 1.3M monthly listeners on Spotify
Supporting Conway the Machine on the WON’T HE DO IT tour from September-October 2023 and recently collaborated on the standout single, “Dangerous Daringer”
Sauce Walka is an extremely viral personality and very active on social media, and willing to put in the work to support his products
Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion

Gruff Rhys is pleased to announce his new album "Sadness Sets Me Free" which will be released by Rough Trade Records on 26.01.2024. This incredibly will be the 25th album he has released in his 35 year career individually, collaboratively and as a member of various bands. "Sadness Sets Me Free" is also the follow up to 2021"s "Seeking new Gods", his first solo top ten record. The album will be available in a range of formats including a unique Dinked edition on "honeycomb neo-neapolitan" vinyl, an LP sleeve with "container doors" and a bonus 7" with exclusive audio for the first 1500 copies. A gatefold soft pack CD also includes a pull out poster. Lead-off single "Celestial Candyfloss" is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale. "Celestial Candyfloss" is, Gruff says, "an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that"s lost in space. For what is apparently the 25th album I"ve had a hand in writing I"ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness." And so it was that Gruff and his band - Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager "Dr" Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked "Sadness Sets Me Free" in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff"s most accomplished and beautiful record to date. In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain"s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. "At this point I quite like working with serendipity," he says. "Not in a cosmic way, but I try and leave things open to chance encounters and chance geography. As I"m around 25 albums in I"m always looking for ways to make a different-sounding record".

Gruff Rhys is pleased to announce his new album "Sadness Sets Me Free" which will be released by Rough Trade Records on 26.01.2024. This incredibly will be the 25th album he has released in his 35 year career individually, collaboratively and as a member of various bands. "Sadness Sets Me Free" is also the follow up to 2021"s "Seeking new Gods", his first solo top ten record. The album will be available in a range of formats including a unique Dinked edition on "honeycomb neo-neapolitan" vinyl, an LP sleeve with "container doors" and a bonus 7" with exclusive audio for the first 1500 copies. A gatefold soft pack CD also includes a pull out poster. Lead-off single "Celestial Candyfloss" is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale. "Celestial Candyfloss" is, Gruff says, "an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that"s lost in space. For what is apparently the 25th album I"ve had a hand in writing I"ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness." And so it was that Gruff and his band - Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager "Dr" Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked "Sadness Sets Me Free" in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff"s most accomplished and beautiful record to date. In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain"s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. "At this point I quite like working with serendipity," he says. "Not in a cosmic way, but I try and leave things open to chance encounters and chance geography. As I"m around 25 albums in I"m always looking for ways to make a different-sounding record".

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.

Aurélien Hamm aka Saint DX introduces his debut album, "Way Back Home," due for release on January 26th . Although introspective & meditative , this album is more collaborative than ever: it features Ponko and Prinzly, with whom he co-produced Belgian rapper Damso's QALF album. As well as his friend and pianist Paul Prier & Jules Fradet. Renowned producer for Damso and Disiz, Saint Dx first came to prominence by accompanying Charlotte Gainsbourg on keyboards on her tour for the album 'Rest' . His pop and electronic- original soundtracks inspirations can be called Ultra-Classy Pop" and romantism. His new single 'Late' begins with an emotive, liberating cry and captivates with its potent synths.

Hiyo is a coming out party in a lot of ways for a band that has been a staple of the American Folk Music scene for over two decades. Co-Produced and engineered by Nashville's Rachael Moore and including performances by Jamie Dick (Drums), John Mailander (fiddle) and Maya de Vitry (vocals), the album Hiyo pushes the sound of CCL past anywhere it has been before. For a band that spent 15 years performing around a single microphone, CCL has found new inspiration in all of the sounds the world has to offer. "Synthesizers, drum machines, banjo...the world is really open right now to what constitutes folk music and we are grabbing on to that inspiration with both hands and not letting go," says leader Dave Wilson. Produced by Rachael Moore & Dave Wilson. Recorded & Mixed by Rachael Moore (George & Tammy) at Echo Mountain in Asheville, NC. Mastered by Nathan Dantzler at The Hit Lab in Nashville, TN.

Needlepoint live im Konzert! Die wohl beste Progressive-Rock-Band Europas präsentiert ein fantastisches Live-Medley-Album, das klingt, als wäre es direkt aus den 1970er Jahren transportiert worden. 'In Concert' ist eine Reihe von Live-Aufnahmen, die nahtlos miteinander verbunden sind und einige Albumausschnitte der letzten paar Platten sowie neue Jams und musikalische Erkundungen zeigen.
"…Needlepoint präsentieren sich mit nordischem Leichtmut und lassen sanften aber abwechslungsreichen Canterbury Sound sprechen. Musikalische Grenzen sind nicht gesetzt, wenn zwischen Psychedelic Folk, Progressive Folk und Jazz auf und ab getanzt wird. Dabei geben sich Needlepoint melodisch, reflektiert und überlegt." (BetreutesProggen.de)

Will Long is an American artist. He curates and manages the label Two Acorns, as well as producing music since 2005, in various forms under his own name for Terre Thaemiltz's Comatonse Recordings, and as Celer for his own label and many others.
Here he joins the perfectly aligned Scissor and Thread label of Francis Harris and Anthony Collins for the Too Much EP.
"Too Much" is a deep cut from the same grooves as the Long Trax series," says Will Long, "a further entry for the downtrodden, the overwhelmed, and those that think change has come. A midnight meditation of intentional simplicity, strained, and on that night train."
The title track is lush, loose deep jam that combines wistful, warm pads with an insistent groove and choice samples.
Francis Harris steps up to provide one of his signature reforms, adding a little more percussion and drive to the track, while DJ Aakmael (Greg Stewart) offers up another version that takes the track somehow even deeper, adding some additional instrumentation and raw sounds.

The first remix EP of Noema's new album, ONE, contains five exciting tracks reimagined by rising producers Kalabrese, Lauer, Mehmet Aslan, Panthera Krause, and Shubostar. Noema's ONE is a comprehensive art piece that includes music, remixes, interactive performance installations, videos, costumes, and choreography. In ONE, Noema tells the story of his interdimensional space explorations, in which he manifests as four different entities. Because of the energetic state of humanity, these entities became trapped in our dimension and now put on performances to re-power their portal, so that we can all be interdimensional again! During the performances five actors invite up to 120 people from the audience to join the action. Sun Ra meets Steve Reich meets Larry Levan - imagine it as a "happening" from the 70s.

Ba Da Bing is releasing the soundtrack to 2022’s paeon to cuisine prep, Flux Gourmet. A vibrant, four-coursed, 23-track double album, Flux Gourmet includes contributions by Heather Trost, Jeremy Barnes, Marta Salogni, Cavern of Anti-Matter, and Roj (Broadcast), as well as Strickland’s own compositions as part of The Sonic Catering Band. British Director and sonic pioneer, Peter Strickland, known for The Duke of Burgundy (2014), Berberian Sound Studio (2012) and Björk: Biophilia Live (2014), has always pushed visuals and narrative to absurd heights. In Flux Gourmet, performance artists taking part in a residency dedicated to sonic catering combining cooking, sound and theater. Food is amplified, microphones are jammed against blenders, and the sizzling sound of the frier turns becomes an ominous rattle. The film’s soundtrack is equally as process oriented, experimental, and kaleidoscopic as its protagonists’ practice. Contributors are Cavern of Anti-Matter, Jeremy Barnes, Heather Trost, Roj (formerly of Broadcast), Tim Harrison, Dan Hayhurst and Nurse With Wound.

"Cross My Heart" is a tribute to the harmonica player and singer James Cotton, one of Boney Fields" heroes and companions on the road, is certainly the most representative track of this thrilling groove mood that authentic blues musicians know how to infuse. Boney Fields possesses that almost funk tone matured enough to tickle our ears and make us tap our feet. By revitalizing, for example, "The Thrill Is Gone" in the spirit of its original author (Roy Hawkins), Boney Fields perpetuates the tradition of spirited orchestras of yesteryears without compromising the modernity of its irresistible tempo. Much more personal than all his previous albums, "Just Give Me Some Mo" is also the expression of introspection, that of a man who remembers without drowning in dark nostalgia. He thinks of the courage of his mother bravely facing obstacles in an unequal America. "Back in the Day" is not a sad song. It makes one stronger and nurtures faith in the future. This melody is certainly the most touching of the six compositions written by Boney Fields. From "Control of you" to "Something" holding me" or "I know yes I Know" he invites us into his intimate biography, the story of a large family shaken by inevitable upheavals that must be faced, the destiny of a combative musician who resists adversity. Boney Fields chose to let his soul speak. This effort of truth had to be supported by the artistic direction of a master. By enlisting Sebastian Danchin for the production of this album, Boney Fields turns to a historian of African-American culture whose keen ear has already won over Little Milton, Mighty Mo Rodgers, Toni Green, and Jean-Jacques Milteau, among others... Their exchanges uncovered a perfect understanding of "Chicago Blues" the brassy vigor of which they experienced firsthand 40 years ago. Surrounding oneself with the right people is quite a challenge. Fortunately, Boney Fields knows how to spot true talents. He was convinced that the Senegalese guitarist Hervé Samb would also be a good musical director. Hadn"t he been the first to highlight the expressive power of this luminous composer and arranger? The enduring vitality of the blues, when narrated with precision and insight, always manages to find its legitimacy. The months of reflection, of questioning, will not have been in vain. They have given substance and depth to this thrilling record which, we wager, will be a milestone. Boney Fields has waited long enough. Does he want more? We will give him more! "Just Give Me Some Mo" will now be a shared leitmotif, that of an insatiable conductor and that of enlightened admirers.

Now re-issued on 180 gram including comprehensive sleeve notes by Burning Sounds, Michael Palmer Meets Kelly Ranks At Channel One was originally released in 1985

Michael Palmer is a Jamaican reggae and dancehall artist. Michael Palmer's music has been part of the cultural and musical history of Jamaica and has a dedicated following among reggae enthusiasts.

Repressed on vinyl for the first time in 15 years - As conceptual as Xiu Xiu's fusion of post-punk, gamelan, synth pop, folk, and noise might seem, the group's music never feels overly cerebral or detached. On the contrary, it's usually brimming over with often contradictory emotions: love, hate, sex, violence, fear, and humor cling together so tightly in Jamie Stewart's songs that they can't be separated. Harsh and beautiful words and sounds remain intertwined on La Foret, which ranks among Xiu Xiu's subtlest, and scariest, albums.

Cam Cameron appears to be another one of those performers from an infinite list of Black American artists that cut a solitary 45 single and then disappear into obscurity never to be seen or heard from again. Couple this with the passing of any of the relevant protagonists from the time along with any of the surviving ones ever diminishing memories and the job of collating events and artists back stories from over 50 years ago becomes that much harder.

Cam Cameron appears to be one of those artists (although our investigations are ongoing). Therefore, from the information currently gleaned, the artist Cam Cameron was none other than Alvin Cameron the writer of the featured song “You Say”, with Cam being a kind of nickname. The string arrangements on both “They Say” and “I’m A Lonely Man” were provided by the late John Andrew Cameron a hugely respected arranger, producer and songwriter within the Chicago music scene of the 1960’s and early 70’s, more often credited as Johnny Cameron. Johnny’s credits can be found on many recordings of the time often working with fellow Chicago music scene producer Clarence Johnson, some of the highlights from this liaison being the song “I Really Love You” recorded by both Jimmy Burns (Erica) and Bobby James (Karol) and the girl group, ‘The Lovelites’, on their acclaimed album “With Love From The Lovelites” (Uni). Johnny’s involvement with the Scott Brothers goes as far back as 1965 when he provided the musical arrangements on The Howard Scott penned song “I’ve Got To Get Over” recorded by Syl Johnson for the TMP-Ting label. Although they share the same surname, Alvin (Cam) Cameron is believed to be of no relation to Johnny Cameron.



“You Say” would gain a release on the independent Capri label owned by Sephus Howard Scott who together with brother Walter Scott composed the 45’s flipside “I’m A Lonely Man”. Howard also featured as one of the songs producers alongside the mysterious Edgar Mullins (a name which has been found on a couple of other tape boxes, the investigations continue).

Musical accompaniment was provided by The Scott Brothers Band, with both songs being recorded at RCA Victor’s Chicago number 2 Recording Studio at 445 North Lake Shore Drive, in the Navy Pier section. on the 10th of August 1967 and released on Capri Records during the month of February 1968.



Cameron’s “You Say” was another 45 that was first introduced to UK Soul Collectors via those much lamented and fondly remembered soul packs, always regarded as a quality collector’s 45 the only regular turntable action remembered was provided by Northampton’s very own discerning DJ Cliff Steele at venues such as ‘Detroit Academicals’, ‘Bretby Country Club’ and later ‘Albrighton’ during the leaner days of the UK Rare Soul Scene?! Hopefully a wider appreciation of both sides of this soulful Windy City 45 beckons! The second release in Soul Junction’s Capri series.

The Ganjas Meets Nairobi. The Space Rock of the Chileans together with the Dub of the Argentines. First time on vinyl celebrating 10th anniversary. Sounding laid-back and incisive at once, crisp production and rock sensibilities. The Ganjas are one of the best exponents of Chilean Space Rock and a fundamental-must-listen to understand the new Chilean psychedelic scene of the last decade. They began 25 years ago with long jam -kind -of-playing, with steady drum beats and simple basslines, but adding innovative and colorful lyrics and synths, without never losing the song structure. On the other side of the Andes, the eclectic by nature Nairobi laid the groundwork for a new style in Dub. Since 2009 they had released 3 studio albums and worked with the best legendary Dub producers: Mad Professor, Lee “Scratch” Perry and Sly & Robbie. Touring the same year 2014 in Chile they coincided with The Ganjas at BYM Studios for an unforgettable session that brought this recording, that boasts an intricate rhythm, sumptuous keyboards, and soaring guitars offering elastic grooves, disembodied vocals, and deep bass lines. The album itself revisits the past while also looking to the future. The songs are particularly creative, with the Bob Marley & The Wailers cover ‘The Heathen’ totally revitalized and other passages like ‘Pastor’ and ‘Eagle & Snake’ that travel through an incredible mix of styles, brilliantly blending Trip-Hop, Dub FXs from soundboard, a Brian Jones-esque style slide guitar, and songs like ‘Soul Salvation’ that brings an steady reggae beat with genius saxophones lines from Ignacio Czornogas (King Krule). Mastered by Cem Oral at Jamming Masters (Berlin). AVAILABLE 300 BLACK VINYLS. For fans of: Primal Scream (Echo Dek), Sumo, Dub Syndicate-Murder Tone, Upsetters, Peaking Lights, Peter Tosh-Mama Africa.

Escape Music is delighted to announce the release date for the long-awaited Robert Hart fourth studio album title “Circus Life” (Bad Company / Manfred Man’s Earth Band / Diesel / The Jone’s). Limited Edition Vinyl in “Green Leaves” colour (500 all numbered 001 to 500), also will include hand signed postcard by Robert Hart! Produced by Steve Overland & Steve Morris / Robert Hart – Vocals (Solo / Bad Company / Manfred Mann / Diesel) / Featuring guests: Steve Morris - Guitars (Heartland / Lonerider / Ian Gillan) / Steve Overland Official - Backing vocals (FM / Lonerider / solo) / Robert Säll - Guitars (Work of Art / WET) / Steve Mann - Keyboards (MSG / Ousey Mann / Lionheart) / Chris Childs - Bass (Thunder / Lonerider) / Harry James - Drums (Thunder / Shadowman) / Keith Atack - Guitars (Atack / Bonnie Tyler / David Cassidy) - Robert Hart is a much-loved British vocalist and has been involved with many top acts over the years such as Manfred Mann’s Earth Band, Bad Company and The Jones Gang. He is also remembered for his fine solo albums, more recently “Pure” which was released by Escape music in 2020. Robert has such a versatile vocal range and can adapt his vocals to many types of rock music, such as AOR, Hard Rock and Blues rock and he has demonstrated this admirably on many occasions since the 1980’s. This is no exception. “Circus Life” also features many musicians and songwriters such as Steve Overland and Steve Morris who wrote the songs we have on show here. The style of “Circus Life” is an extension of what Robert gave us for the “Pure” album but this new recording tops even that. We have bags of melody and some excellent musicianship, as you would expect for such a line-up. If you like Bad Company then you are not going to be disappointed with these 12 tracks.

repress !

A lovely selection of mixes from Paolo Baldini’s Dubfiles, all mixed
at his Alambic studio in San Foca Italy. The vocal is supplied by Al Brown and music is from his band from the 80s the Inner Force.

There are 3 rumbling dubs as well as the opening vocal cut from
Al Brown. We have added some keyboard action from Toike Mitsuhiro.

The best of the traditional elements of Jamaican music, with modern mixing, and all done with a strong sense of respect towards
the original recording and playing. Comes in a custom Pressure Sounds sleeve.

Ourtime Music returns with three fresh tracks from Dave Ball's archive.

A stunning EP of soulful Techno, emotive melodies and lopsided club grooves.

'Moments' and 'Fall' take us on melancholic, deep Techno journeys to the outer realms and beyond, before finally closing with 'IAM Pro', a minimal claustrophobic Techno track to jam your box !​

VERY Limited copies.

This EP contains six tracks previously released as three 7" singles in 2003, and have not been available for almost two decades. Emerson Kitamura played his favourite songs from different eras and places with his organ equipped with bass pedals and accompanied by the legendary drum box TR-808.

Having had a long career playing keyboards in bands and sessions, Kitamura came to the fore in Japan with his self released 7" on his Bubblingnotes label. In 2018, he burst onto the international scene with his EP for EM Records, The Countryside Is Great, which gave him an opportunity to stretch out his inimitable style to make a bass/dub re-work of the Thai hit. The EP also debuted his collaboration with the guitarist/singer/songwriter/ mmm, with their cover of George McCrae's Rock Your Baby. The duo went on to release their LP Chasing Giants on Kitamura's label, and to grace Europe with a few legendary gigs.

This EP represents Kitamura's roots, with two Jackie Mittoo covers, some jazz evergreens, and a stellar version of the Lou Rawls classic

To mark the 35th Anniversary of Acid Jazz, we have been reissuing seminal records from our catalogue on colour vinyl. The final instalment - and the second James Taylor Quartet release in the series - is this this version of ‘Mission Impossible’ is pressed on a fitting red vinyl.

The original release track-listing showcases JTQ’s sixties soundtrack odyssey – driving organ instrumentals from the beginnings of Acid Jazz, showing James and the original lineup in their prime. Alongside Lalo Schifrin’s iconic title track appear tracks by Herbie Hancock, Paul Simon and Bacharach & David, before the Taylor-penned original ‘The Stooge’ closes out this lean, hip collection.

Get Ready to Groove! Boo Williams Is Back With a Sizzling 4-Track Ep on Phonogramme Records That's Set to Ignite Your Dancefloor With His Tripping House, Spaced Out, and Classy Beats.

From the Mastermind Behind Iconic House Beats, This Ep Is a Sonic Journey You Won't Want to Miss. Williams' Signature Sound Combines Classic Rhythms With Cutting-Edge Innovation, Creating an Irresistible Blend of Nostalgia and Modernity.

Each Track Is a Testament to Boo Williams' Exceptional Talent, Promising a Dynamic Mix of Deep, Soulful, and Electrifying House Music, All With That Tripping House, Spaced Out, and Classy Touch.

So Mark Your Calendar, Because This Ep Is About to Become the Soundtrack to Your Next Dance Party.

Der Detroit-Spucker Danny Brown ist nicht ohne Grund ein Fanfavorit. Nur wenige MCs haben die pure lyrische Wildheit in eine so fesselnde Persönlichkeit gehüllt. Dannys Beats und Reime sind berüchtigt, er wusste immer, wann er die Dramatik ankurbeln musste. In einer Zeit, in der sich Hip-Hop in zahllose Richtungen aufspaltete, schien Brown alles einer Wissenschaft zu verdanken – mit seinem bahnbrechenden Album XXX war er die Speerspitze einer Bewegung des avantgardistischen Internet-Hip-Hop, in dessen Schatten wir heute noch leben. Seitdem hat Brown Raver auf europäischen Festivals in Aufruhr versetzt, eine Brücke zwischen alten und neuen Rap-Königen geschlagen (Kollabos von Earl Sweatshirt bis Q-Tip) und ist mit den renommiertesten Underground-Labels für elektronische Musik verbunden. Und dabei ist er unerklärlicherweise er selbst geblieben ist, macht sich auch nicht die Mühe zu erklären, wie er das Gleichgewicht hält. QUARANTA beginnt endlich, den Vorhang zu öffnen und enthüllt die inneren Monologe eines Künstlers, der seine Fans seit über einem Jahrzehnt verblüfft. Browns sechstes Studioalbum, das während der Pandemie-Lockdowns im Jahr 2021 geschrieben wurde, ist autobiografisch und persönlich, wie man es vom MC selten zuvor gehört hat. 'Es gab nicht viel zu tun, also war es das Beste für mich', sagt er, 'alles, was ich durchgemacht habe, in die Musik zu integrieren.'

Der Detroit-Spucker Danny Brown ist nicht ohne Grund ein Fanfavorit. Nur wenige MCs haben die pure lyrische Wildheit in eine so fesselnde Persönlichkeit gehüllt. Dannys Beats und Reime sind berüchtigt, er wusste immer, wann er die Dramatik ankurbeln musste. In einer Zeit, in der sich Hip-Hop in zahllose Richtungen aufspaltete, schien Brown alles einer Wissenschaft zu verdanken – mit seinem bahnbrechenden Album XXX war er die Speerspitze einer Bewegung des avantgardistischen Internet-Hip-Hop, in dessen Schatten wir heute noch leben. Seitdem hat Brown Raver auf europäischen Festivals in Aufruhr versetzt, eine Brücke zwischen alten und neuen Rap-Königen geschlagen (Kollabos von Earl Sweatshirt bis Q-Tip) und ist mit den renommiertesten Underground-Labels für elektronische Musik verbunden. Und dabei ist er unerklärlicherweise er selbst geblieben ist, macht sich auch nicht die Mühe zu erklären, wie er das Gleichgewicht hält. QUARANTA beginnt endlich, den Vorhang zu öffnen und enthüllt die inneren Monologe eines Künstlers, der seine Fans seit über einem Jahrzehnt verblüfft. Browns sechstes Studioalbum, das während der Pandemie-Lockdowns im Jahr 2021 geschrieben wurde, ist autobiografisch und persönlich, wie man es vom MC selten zuvor gehört hat. 'Es gab nicht viel zu tun, also war es das Beste für mich', sagt er, 'alles, was ich durchgemacht habe, in die Musik zu integrieren.'

Top-Sampler mit 10 Klassikern, produziert von Reggae-Legende Philip 'Fatis' Burrell, der in den 1980er Jahren in den Channel One-Studios auf Jamaika seine Arbeit begann und später das Label Vena Recordings gründete, das im Laufe der Zeit zu Kings & Lions und später zum legendären Xterminator-Label wurde. Mit neun Protagonisten seines Labelstalls, angefangen bei Luciano und Sizzla, über Marcia Griffiths und Ini Kamoze bis Charlie Chaplin und Beres Hammond.

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.”

Was als Idee für eine gemeinsame EP von Fixed Abode-Labelchef Rainy Miller und Space Afrika begann, entwickelte sich zu einem längerfristigen Projekt mit Beiträgen von Mica Levi, Coby Sey, Richie Culver, Voice Actor und Iceboy Violet - unter anderem.

'A Grisaille Wedding' ist eine immersive Erfahrung, die den Raum füllt, in dem diese Künstler während ihrer kreativen Reise gelebt haben. Es erweitert nicht nur die Grenzen der Musik, sondern schlägt auch eine Brücke zwischen den regionalen Dialekten innerhalb der zeitgenössischen elektronischen Musik.

Für Fans von: Actress, Dean Blunt, Lee Gamble, Loraine James

From acclaimed director James Carney (‘Once’, ‘Sing Street’, ‘Begin Again’, ‘Modern Love’). Album features tracks performed by the film’s actors, including Eve Hewson, Joseph Gordon- Levitt and Oren Kinlan, with additional vocals by Lianne Carr Wyllie, Adam Hunter and Gary Clarke.

Starring Eve Hewson (‘Bad Sisters’, ‘Behind Her Eyes’, ‘The Knick’, ‘Robin Hood’), Oren Kinlan (‘Sunlight’, ‘Taken Down’), Jack Reynor (‘Midsommar’, ‘Sing Street’, ‘Glassland’) and twice Emmy-winner Joseph Gordon-Levitt (‘Create Together’, ‘HitRECord on TV’, ‘The Trial of the Chicago 7’, ‘Lincoln’).

Two tracks submitted for Oscar consideration - ‘Meet In The Middle’ and ‘High Life’.

This is TEK2 Production Records third vinyl release with Winston covering the classic Channel One recording originally recorded by Jamaican harmony group Wailing Soul entitled Very Well

Out of print for quite a few years now, this album is a stunning power-pop gem recorded at a time when this kind of girl group pairing with punk rock was unusual.b This is one of the most iconic albums released on Greg Shaw's Bomp! Records. It now includes bonus tracks on top! Definitely stood the test of time. Check out the titles, these young ladies were wearing their collective hearts on those sleeves of theirs. This kind of girl group pairing with punk rock was unusual at the time and it provided a much-needed antidote to the male dominated skinny tie brigade. Nikki looked like Pam Dawber (Mindy from Mork and Mindy) and sounded like Clare Grogan (of Altered Images) what was not to be instantly smitten by. Born and bred in Detroit, Miss Corvette reportedly ran away from home at age 16 because her mother refused to allow her to attend an MC5 show. Greg Shaw wrote the following in the liner notes to the 20th Anniversary label compilation, Destination Bomp! "Nikki was a tireless worker. Like some coalminer's daughter, she'd travel around the country with her band. Playing 200 shows a year. She knew everybody and was a lot of fun to hang out with so, I figured that if all her friends bought the record... so I signed her. The girl had style and attitude galore plus, she had master guitarist/songwriter and former Romantic Peter James. One of Detroit's most savvy cats." The lady herself kindly supplied the following summary. "We went to LA and signed with Bomp in maybe 1979 but Greg wasn't sure what to do with us. We did the Honey Bop single with Ronny Weiser at Rollin Rock and a couple songs with the Kessel Brothers. We started something with Kim Fowley that did not work out. They kept trying different producers until we finally decided to go back to Detroit and do the album on our own. We didn't have a lot of experience but we knew what we wanted and Detroit was part of that so we recorded the album and had a blast doing it. Peter wanted us to be poppier and I wanted to be more punk. We sort of met in the middle with what I've always called Bubblegum Punk. I can't believe it's been 43 years since this came out and there are still kids discovering it and people who grew up with it that still listen to it. I constantly hear from people all different ages, all over the world about how much they love it album and that really means so, so much to me!" Hear the phenomenon for yourself.

GLBDOM sub-label GLBDOM Classic is dedicated to nostalgic house sounds inspired by the great styles of Chicago, Detroit and New York vibes, with hints of Italo-Dream house and even the Balearics. We get all that here on this new split EP from French house producer Sunny Galaxy and Englishman Dan T.

Sunny opens up with some happy, piano-laced party starters, well-swung garage-house grooves and steamy basement jams, then Dan T offers a B-side trio headed up by the gloriously vocal laced 'Wrong Time.' 'My Desire' cuts up the groove with some nice raw percussion and 'Want To Love You' is a sultry and jazz-tinged number for lovers.

La Rama is back on wax with two original compositions from local producer/DJ Rig Thrall. We first linked up with the Rakya crew member at the shop and soon after released his music on a limited run 10” named ‘Exit 19’ via our La Rama Dubs sub label. We kept in touch, and when an assortment of unreleased material caught our ears, we quickly jumped on the opportunity to get working on this 4th record on our label.

‘Broken Guru’ drones and grooves you through the cavernous depths, out in to the open, where the clouds part and a voice reaffirms that you are on the right path. From here we dive back into the depths, with the full confidence that this is the right path.

Thanks to two Roman legends, we have variations on the theme of ‘Broken Guru’. Marco Passarani delivers the masterful hyper dance floor club dub with his many years of experience clearly on display… play it out and you will see that this is some kind of sorcery. In speaking of magic, we are honoured to have the one and only Lory D serve us up a bass heavy re-interpretation, recorded in one pass through his live rig and edited to perfection.

‘Acidly Dose’ is the second original from Rig Thrall, an acid infused beat of the highest order with all the necessary elements to give the room a communal high.

Out on the 6th of January 2024, mastered by Nik Kozub, manufactured and distributed by La Rama Records. Much love to all the distros, shops, DJs, radio players, jam organizers, rave goers… may these tunes add to the life of your party :-)

BADBADNOTGOOD is a young supremely talented trio of musicians made up of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums. Since their inception at Humber College’s Music Performance program in 2011, the three have challenged the rule book on improvised instrumental music and taken jazz tradition into the future.
With early champions including acclaimed BBC broadcaster Gilles Peterson and Tyler The Creator who helped fuel their discovery with a series of live jams that instantly went viral and dubbed them the “Odd Trio”, the band released their first EP BBNG in June 2011 to wide praise. The marriage of jazz virtuosity and hip hop source material offered a fresh take on the traditional “standard” applied to hip hop classics by taking on choice cuts from the golden era rap cannon and writing inspired arrangements for them instead of one-dimensional covers.
The band hit a landmark by introducing original material into their composi- tions with BBNG2 in 2012. New songs like “Rotten Decay”, “Vices” or “UWM” carried on the proud heritage of musical juxtaposition by bringing together jazz, hip hop, punk, and dance music into vigorous balance. Since then, they’ve won praise from the four corners of the globe and collaborated with Frank Ocean, Earl Sweatshirt, MF Doom, Pharaoh Monch and RZA among many. Their no- torious live performances have brought fans across the whole musical spectrum together, taking the band around the world from Coachella to Glastonbury.
Now, the inseparable friends are prepping to release their biggest project to date III on prodigious young label Innovative Leisure, a highly-anticipated project ushering in the group’s newest explorations which are proving to be limitless.

The esteemed Mr. Gary Davis is a disco funk pioneer who inspired countless hip-hop producers and MCs. This special, limited edition new full-length, Gary Davis vs Hip Hop, collects all the iconic tracks that most obviously wear that influence and inspiration on their sleeve. And the tracklist is a who's who of the greats in the game with names like J Dilla, M.F. DOOM, Styles P and Exile all featuring having sampled Gary's work. On the flipside of this record, you will find the original and sought-after sample songs that were made by Davis as well as some unreleased jams and instrumentals.

New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

Bringing together over 50 of Jamaica's greatest session musicians, whose work spans from the birth of reggae in the late 1960s until today, Roots Architects is the largest gathering of Jamaican musical talent on one all-instrumental album. Never before have so many veterans, who helped create the immortal rhythms that made reggae internationally successful, been assembled to play on new material without vocals. This project aims to celebrate and pay tribute to the unsung heroes of reggae music: the rhythm builders or Roots Architects.

Before releasing the full album, due out April 2024, this new single gives you a taste of what's coming your way. Legends back together in Kingston studios doing what they do best: creating instrumental music all together! 'Memories of Old' pays tribute to the rocksteady era. You'll be delighted by Ernest Ranglin's guitar solo and Tyrone Downie's organ solo.

Impulse’ was a band of Milwaukee, Wisconsin musicians whose members included Michael Reese (Rhodes Piano and background vocals), Cedrick Rupert (Lead and Rhythm guitar), Jeffrey Williamson (Drums and background vocals) and Robin Gregory (Bass and background vocals). They would become a group in their own right with the eventual addition of another local artist John Gee, who joined them as their lead singer. The Impulse musicians formed the backing/touring band for another Milwaukee outfit, a vocal quartet, The Quadraphonics who recorded the solitary 45 single “Betcha If You Check It Out/Prove My Love To You” for the Carl Davis/E. Rodney Jones owned ‘Innovation II’ Record label during 1974. This release would later be nationally distributed by the major Warner Brothers label. With import copies of “Innovation II” single finding their way into the UK the record became popular with the devotees of Blackpool Mecca’s Highland Room.

During 1976 the members of Impulse migrated to Oakland California, they had hoped that, The ‘Quadraphonics’ would join them but instead The Quadraphonics chose to remain in Milwaukee and eventually broke up. It was fellow Brewtown producer/recording artist Harvey Scales who was responsible for inviting ‘Impulse’ to the west coast. Under the auspice of Scales, Impulse recorded their self-titled debut album project at Wally Heider’s Studio in San Francisco. The album was initially offered to Casablanca Records but no firm interest was to materialise, a subsequent approach to Jerry “The Ice Man” Butlers newly formed Chicago label, Fountain Records again failed to secure a release of the album, sadly leaving the project unreleased in the can. In the ensuing years, the former group members have continued with their respective careers, the late John Gee embarked on a solo career, recording the 1980 release “Not Enough Love Makin’/ you Are That Man (Why Don’t You Be That Man)” for Leroy Smith’s Oakland C.A, Pashlo label followed by his 1985 modern favourite “So Good To Me/Just Get On” recorded under the artist name of Jon Pierre Gee on his own newly formed Kandi Inc, Record label. Later Kandi projects included the 1995 Jon Pierre Gee & Touch album and the 2005 Ah’VantSoul cd album project, which featured Jon’s business and real-life partner, Kathryn Hannemann (a.k.a the performing artist Kat Webb).Throughout all the aforementioned projects Jon continued to use and enjoy performing with his former fellow ‘Impulse’ musicians of which the two surviving members Robin Gregory and Michael Reese can still be found jamming to this day in the renowned Milwaukee Restaurant/Coffee House by the name of ‘Coffee Makes You Black’. Sadly, drummer Jeffrey Williamson passed away during 2015 with Coley Jackson coming in to pick up the sticks! Lead and Rhythm guitarist Cedrick Rupert left the group in the 1970’s moving to Lake Charles, LA, sadly, he too passed away in 2020.

The Impulse album project having lain dormant since the 1970’s was resurrected during 2018 when Jon Pierre Gee in conjunction with Stephen Chin of Nice Choice Records (USA) and Soul Junction Records (UK) breathed new life into the project. Beginning with the release of the first of two ‘Impulse’ 45 singles on Jon’s Kandi imprint. Firstly “What’s that Sound/You Changed Me” followed in 2020 by a second 45 “I Really Love You/Get The Funk Off my Back” with all four soul and funk tracks receiving worldwide acclaim. Initial plans for the release of the whole album project had been set in place but we’re unfortunately brought to an unexpected halt with the passing of Jon Pierre in November 2020.

Undetered Soul Junction have finally been able to bring this amazing ‘Impulse’ project to life as a limited vinyl press I’m sure once heard, the old adage of “Good Things Come To Those Who Wait” will certainly ring true, enjoy.