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First time on vinyl, expanded version of Japan-only CD album from 2006! Now a double LP with unreleased tracks on audiophile grade colored vinyl (Disc 1: Opaque Baby Blue, Disc 2: Opaque Brown) The Jungle Bros embraced of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz sample , on this reissue double LP Release on Colored Audiophile grade Vinyl , the I got U album is remastered and re-released with additional tracks .Michael Small (Mike Gee), Nathaniel Hall (Afrika Baby Bam), and Sammy Burwell (DJ Sammy B). Known as the pioneers of the fusion of jazz, hip-hop, and house music, they were the first hip-hop group to collaborate with a house-music producer. The trio released their debut album, Straight out the Jungle in July 1988. Their hip-house club hit single, "I'll House You" was added to the album in late-1988 reissues. Fostered by Kool DJ Red Alert, the Jungle Brothers success would pave the way for De La Soul, A Tribe Called Quest, and eventually the Native Tongues collective that they founded. Hip-Hop-House with a jazzy feel including "I Got U", a re-recorded "Sunshine" and four bonus tracks/versions. -- The Jungle Bros embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz samples -- _John Bush, All Music

Alt-rap dissident Jam Baxter announces his newest solo venture, Fetch the Poison. Conceived during a state-wide alcohol ban in Mexico, the album is Baxter’s first to be composed in complete sobriety — though his hallucinatory style of storytelling and cast of monstrous characters make a welcome return. Lyrics on Fetch the Poison meld Baxter’s Latin American experience with visions of a grisly alternate dimension: sun, sea and glittering vistas are sullied by hollow-eyed addicts, shady bar tenders and duplicitous lovers. Amongst deft bars, the rapper includes a number of spoken word pieces that echo the prose in his now sold out book Off-Piste. The album also features Blah Records' Nah Eeto & Black Josh, as well as DJ Sammy B-Side and Jehst, alongside Brazil’s NOG, Black Alien and Xamã. Baxter reunites with frequent collaborator Chemo on production — now under the moniker Forest DLG — for much of the album, with appearances from Jack Danz, Dr Zygote, Wundrop (CMPMD) and Midlands' electronic stalwart Lenkemz. Despite its diverse credits, tracks are connected by icy, spaced-out electronics with beats twisted through tape distortion and anchored by chest- rattling bass. Baxter began writing the album in Mexico just before the pandemic began while holed up in the city of San Cristobal De Las Casas, Chiapas, as the world shut down. “All the streets were eerily empty and it was amazing. I had the city to myself,” he says. “Then suddenly there was a state- wide alcohol ban and I could no longer casually sip tequila as I went about my business. I didn’t really have a choice but to write” With no alcohol to fuel him, and San Cristobal largely silent, the rapper says he was surprised to find himself in a deeply creative — and prolific – state. “I took to it amazingly well, and I wrote this whole album in three months of clear-headed bliss in the same apartment. I would sit and write all day, and occasionally walk up a mountain when I got stuck ... or go and feed the stray dogs at the church on top of the hill. It was weirdly the most fun I’d had in years.” Fetch the Poison is Baxter’s seventh solo album.

2022 Repress

During the 80's dancehall era a number of record producers claimed to be the real authentic sound of downtown Kingston but Ossie Thomas' Black Solidarity label, operating out of Delamare Avenue in the heart of the ghetto, was the real deal ....

This was the start of the 70's when the political rivalry got heated between JLP and the PNP, - also the shots start fire ....
I said to myself if you're going die, you're going die ... from that me not scared of Kingston' Ossie Thompson.

This album provides an insightful glimpse into life in these unforgiving Kingston neighbourhoods describing not only the poverty and desperation, but also how at times, styles, fashions and the cathartic joys of music, and the dancehall could transform this harsh environment into one of joyous celebration ...

Among the great moments in the career of Blossom Dearie, an exceptional singer and pianist, are the concerts she gave and recorded in the Netherlands between 1968 and 1989, of which we have a faithful reflection here, thanks in particular to a fine recording. She dominates all instrumental formats, from solo to the large Metropole Orchestra, and all repertoires, from the film song "Raindrops Keep Falling On My Head", which she magnifies, to Joni Mitchell's "Both Sides Now", which she renews with intelligence, not forgetting a masterpiece for which she is responsible, "Winchester in Apple Blossom Time". Not forgetting her other personal works, as well as "Bring All Your Love Along", of which we hear the first recorded version here. Blossom's sublime farewell, eternal spring, in the form of a delicate reverence.

The sound company operating under the project name "Noiseshaper" is poised to release a very special vinyl album into record shops worldwide. The band received great acclaim for their first albums, which were released on the legendary and famous Rockers Hifi label Different Drummer. They later became celebrated for their musical contribution to the US television series CSI - Miami ! The Viennese coffeetable boys Axel Hirn und Florian Fleischmann achieved cult status with their 12-inch single "The Only Redeemer", which was later released in the US by Quango (Island Records /Palm Pictures) and fast became a permanent fixture on the playlists of the best and most popular DJs in Berlin, Vienna, Tokyo, Paris, London and New York. The next dancefloor filler followed with "All A Dem A Do", sung by Juggla, which was the band"s first release to get heavy rotation on many European and US radio stations. Next up were remixes by and for heavyweights such as Sly & Robbie, Outkast, Seven Dub and Carl Douglas. Noiseshaper"s defining sound has been distilled and condensed an utterly distinctive blend of "housey downbeats with a fat reggae flavour" has brought the Noiseshapers international acclaim and popularity. The very special VINYL release is the essential of what NOISESHAPER has ever done all over the years with a special focus on HEAVY bass remixes by Adrian Sherwood & Paolo Baldini. It is another very impressive display of how a musical style has progressed. Dub as a style with all its reference points between commerce and innovation ! 8 pounding dub flavour tunes all are best for bringing the dancefloors of the dub universe to boiling point. Heavy bass for heavy dancing!

Since the late sixties Lee Fields has amassed a prolific catalog and has played and toured with such legends as Kool and the Gang, Sammy Gordon and the Hip-Huggers, O.V Wright, and many more. With a career spanning 43 years, it s mind-blowing that the music he s making today with Brooklyn s Truth & Soul Records is the best of his career. While drawing comparisons to The Moments, The Delfonics, The Stylistics, and of course James Brown, Faithful Man is able to create a space of it s own due to the group s desire to interpret and further the formulas of good soul music rather then imitate them. Chalk that up to Truth & Soul producers and co-owners Jeff Silverman and Leon Michels. These are the same individuals that co-wrote, produced, and played on Aloe Blacc s global smash I Need A Dollar, and have provided the back drop for records by Adele, Ghostface Killah, and Jay-Z to name a few. The older Fields becomes, the closer he gets to perfecting the sound of soul said DJ Oliver Wang about Fields in an NPR feature. Faithful Man is the next step towards perfection. A step that will find Lee Fields & The Expressions finally being bestowed the contemporary soul music crown.

“Micro tonal poetry” - Mats Gustafsson

'Its an honor for the AFJ-Series to introduce the self-titled debut album by Danish Oslo resident Signe Emmeluth. Recorded at Flerbruket, in the forest an hour outside of Oslo - Emmeluth alone in a room with her alto and tenor saxophones.

A fantastic session of sax solo ecstasies recorded by Magnus Hemnes Nergård. Much like Joe McPhee’s Tenor and Peter Brötzmann’s 14 Love Songs, this album share the same beautiful intimacy. It is close, sparse, poetic and raw at the same time. Minimalist and soulful free music.

Signe Emmeluth is a Danish saxophonist and composer educated by the Jazz Department in Trondheim and is currently based in Oslo. Emmeluth has recently become a rising star on the international scene for improvised music. She has her own quartet Emmeluth’s Amoeba and has worked with Trondheim Jazzorkester, John Edwards, Tony Buck, Paal Nilssen-Love, Mats Gustafsson and Mette Rasmussen to name a few.'

All music by Signe Emmeluth, except 'I’ll Be Seeing You' by Sammy Fain
Signe Emmeluth: alto saxophone, tenor saxophone, recorder and electronics
Recorded at Flerbruket, Hemnes (December 2020/January 2021)
Sound Engineer: Magnus Skavhaug Nergaard
Mix/Master: Lasse Marhaug
Artwork: Kim Hiorthøy

Tak til Karl, Magnus, Lasse og Joakim for hjælp og gode vibber

Ambolley is revered as the Simigwahene in Ghana – The King of Simigwa-Highlife. Because of his deep, soulful, and funky Highlife sound, he is also sometimes referred to as the “James Brown of Ghana.” And not without reason. His blend of Highlife, Funk, Jazz, Soul, and proto-Rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played In the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful Highlife sound he called SIMIGWA-DO. Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and “musical-life-force” has more than 30 music albums to his credit. On his new album "GYEDU-BLAY AMBOLLEY AND HI-LIFE JAZZ" you can hear his versions of some classic Jazz tunes like "Round Midnite", "Love Supreme", Footprints" and "All Blues" as well as some new compositions by the Simigwa - Man himself.

Here we are at the dawn of a new compilation series and we’re kicking things off with an absolute gem that features a selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

‘With Love: Volume 1’ has been compiled by Miche and presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. We have Brazilian rarities by Alcione and Quientaessencia, UFO gospel by Keith Chism & Light, the jazz-funk/AOR sounds of City Lites taken from a Radio Station album, and the anthemic feel-good emotional soul of Belita Woods to name but a few.

Tracking down artists and musicians from the past is an art form. Like a seagull swooping for treats, sometimes the prizes are easily found, and at other times, it’s the result of very late nights trolling through Facebook profiles, message boards, hitting dead ends and following red herrings, and yet still the search goes on. This compilation is a true labour of love with all the artists tracked down and licensed by Miche. It has long been an ambition of the London based musical connoisseur to compile an album, and like anything that requires craft, care, and knowledge - it takes time. There are many twists and turns in the hunt for those records that make your jaw drop.

In 2018, when just 24, Miche became a music programmer for London’s illustrious Spiritland group of venues. From this musical sanctuary, he was able to listen, learn and meet some of the best selectors from around the world. It was a musical education, and he was particularly drawn to the deep sessions by DJs such as Mark Taylor, George Arthur, Kev Beadle, Patrick Forge, Dr. Bob Jones, and Colin Curtis to name a few. He also used this time to begin running his re-issue label Discs of Fun and Love with co-owner and friend Frederika.

Sometimes the cynical knock compilations, there is certain snobbery amongst some about the original pressing, but music shouldn't just be about lucky collectors giving over large sums of money to record dealers. It's also about a bridge to the past, a celebration of the legacy of somebody’s art, and a second chance for initially overlooked work to shine. As with all the best compilations, it has been compiled with love…

Sam Cooke was such an important pioneer of soul music that he was commonly known as the king of the genre. His distinctive emotive voice is one of the most easily recognizable of all in popular music and his work paved the way for countless other giants, including Otis Redding, Marvin Gaye, Curtis Mayfield and Al Green, among many others. A native of Clarksdale in northwest Mississippi that was raised in Chicago, he was the fifth of eight children born to a Pentecostal minister. Beginning his career with his siblings as The Singing Children, he led gospel group The Highway QCs in his teens and then joined The Soul Stirrers, reaching greater glory upon going solo in the mid-1950s, when he scored the first of many number-one hits for the short-lived Keen label, and then reached a wider audience upon switching to RCA in 1960. My Kind Of Blues was recorded for the label in 1961 (just as Cooke was launching his own SAR Records imprint), being a collection of show tunes and jazz standards, delivered in a soulful blues style by Cooke atop lush orchestration, arranged and conducted by trumpeter and bandleader, Sammy Lowe. Highlights include a soave version of Duke Ellingston’s “I’m Just A Lucky So And So,” a cool cut of “Nobody Loves You When You’re Down And Out,” a stirring take of George Gershwin’s “But Not For Me” and a lovely rendition of Irving Berlin’s “The Song Is Ended.”

Working closely with two time Grammy winner Victor Rice (Easy Star All- Stars, Bixiga 70, Ticklah), JonQuan fashions brand new tunes that evoke the majesty of the golden age of reggae.

The digital version is 20 tracks with instrumentals and vocal versions while the vinyl version features all 10 of the vocal versions on black vinyl.

The singles released from this album have caught the ear of the tastemakers of the reggae world, including David Rodigan, who has spun multiple songs on his weekly BBC show

C-L-A-S-S-I-C library breaks and beats set of heavy drums and louche funk.

One of two Be With forays into the archives of revered British library institution Conroy, we present one of our favourites on the label - the super in-demand Dramatic Tempi / Larry Robbins Background Rhythms, originally released in 1975. Rare and sought-after for many years now, this is one of those cult library LPs that rarely turns up on even the deepest dig.

As a single LP, Dramatic Tempi / Larry Robbins Background Rhythms is two distinctly different collections of music. The first side, Dramatic Tempi, is made up of four tracks each from Sammy Burdson and Klaus Weiss.

Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Founder of adored library label Sonoton in 1965, and a classically trained composer, his work runs from easy listening through pop, jazz and electronic, to avant-garde.

About as cult as it gets when it comes to library music legends (German or otherwise) Klaus Weiss produced essential records on German library labels Coloursound, Selected Sound and Sonoton, as well as making two essential entries in the Conroy catalogue. Having started his career at the age of 16 as a jazz drummer, the Klaus Weiss trademark electronic sound is unsurprisingly built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums.

The second side is both titled and also credited to Larry Robbins Background Rhythms. We have to admit to being stumped as to who Larry was, but we don’t think it’s too much of a stretch to assume it might well be yet another incarnation of Gerhard Narholz’s.

First up from Dramatic Tempi are the phased, gargantuan hip-hop beats of Sammy Burdson’s impeccable “Pop Waves”. This is otherworldly funk on a whole new level. Hearing is believing. The magnificently titled “Cyclodrom” is up next, a beast of booming bass and wah wah guitars over frenetic funk drums. “Devils Drive” is dramatic, blaxploitation street funk with rolling, pounding drums. “Crime Ways” is an acid-squelch, slow-pace neck-snapper.

Klaus Weiss starts by askings us “Is It Hip” and we can only answer “yes it is!” to the clean, skipping drums, booming bass and proto-hip-hop bells, layered beneath laconic and melodic guitar shredding. This is just horizontal soul perfection. “The Camp”, propelled by jazzy guitar à la Joe Pass over fast drum and conga breaks, gives way to the dark guitars and cymbal crashes of “Tomorrow”. It sounds like an early New Order jam session. Closing out a pretty startling side of library greatness, “Rhythm Trip” presents early stuttering funk before easin' on in to a jazzy, soulful groove; all breezy guitar and warm keys. Lush.

Larry Robbins Background Rhythms is a lighter, poppier affair, but it’s not without its drum-heavy bangers. “Vox Pop” and “Pop Phase” each have clean, open-ish drum breaks, ripe for sampling or more daring DJ sets. “Pop Twang” is a short and sweet beat-heavy number that gives way to the fantastically out-there “Canned Pop”. We‘d love to know if this was ever actually licensed for something! The final seven tracks are a set of 1-to-2 minute “Percussion Takes”. All compelling, and all equally useful for any number of production needs. Get sampling.

The British library label with those instantly recognisable “orangey-red” sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalogue typified the library industry’s strange mixture of tradition and experimentation from the start. Conroy’s early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. With Berry Music Co working as a distribution partner to the German library label Sonoton, it was through the Conroy that a great deal of German library music found its way into the UK market.

Conroy stopped putting out new music in the 1980s, but its history and its catalogue offer an excellent window into the trends and eccentricities of a highly unique industry at the height of its international appeal.

This re-issue of Dramatic Tempi / Larry Robbins Background Rhythms has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the iconic, hypnotic original Conroy sleeve. Essential.

The popular #Ibiza compilation series returns on July 2nd with its fifth installment, #Ibiza 2021. The album brings together tracks and remixes from some of the world’s biggest names in dance music, including Claptone, Chicane, Sammy Porter, David Morales, Secondcity and Mark Knight. The collection also presents the hottest breakout tracks set to grace the island this year, including Gettoblaster’s recent Beatport number 1 ‘H O U S E’, and Jodie Harsh’s current UK radio hit ‘My House’. Radio promo: Jodie Harsh - My House: Playlisted on BBC Radio 1 (B-List) / No.1 in UK Upfront Club Chart. Other promo: Claptone - Zero: One of the biggest DJ names in Ibiza with his Masquerade parties at Pacha, Claptone moves up to No.41 in this year’s Top 100 DJ’s global rank. Zero is the first single from his upcoming third album.

Vinyl kommt in blau, Klappcover und bedruckter Innenhülle! Die meisten Dinge im Leben entstehen zufällig. Die große Liebe, eine schicksalhafte Begegnung und manchmal auch eine zweite Karriere. Oliver Perau alias Juliano Rossi hätte 1996 sicherlich nicht damit gerechnet, dass er 2021 immer noch als Rossi unterwegs sein würde. Damals hatte sich gerade die alternative Rockband Terry Hoax, die Perau 1988 mit einem Freund gegründet hatte, nach acht europaweit erfolgreichen Jahren aufgelöst. Doch Perau wollte sein Versprechen, bei der ersten Ausstellung des befreundeten Fotografen Olaf Heine zu singen, halten. Also fragte er den Jazzpianisten Lutz Krajenski, ob man zusammen alte Swing-Klassiker präsentieren könnte. Schließlich war Perau seit frühster Kindheit begeistert von Sammy Davis jr., Dean Martin, Burt Bacharach, Barbra Streisand, Tom Jones und Frank Sinatra. So stand Perau im Sommer '96 mit dem eilig ironisch hinzugefügten Künstlername Juliano Rossi vor Galeriebesuchern und Terry-Hoax-Fans und sang entrückt What the world needs now von Bacharach. "So viele entsetzte Gesichter habe ich selten gesehen" sagt Perau lachend und ergänzt nach kurzer Pause "aber für mich war es wie eine Offenbarung". 25 Jahre später veröffentlicht Juliano Rossi sein fünftes Album, Terry Hoax gibt es auch wieder und zusätzlich tourt Perau seit 9 Jahren durch Pflegeheime und macht Musik für Menschen mit Demenz. Ein sehr ungewöhnliches und in dieser dreigleisigen Konsequenz sicherlich einzigartiges Sängerleben, dass offensichtlich glücklich macht. So jedenfalls wirkt Herr Rossi und sein neues Album "Drunk On Love". Aus der Zeit gefallene glamouröse Songs irgendwo zwischen The Doors, Burt Bacharach und Dean Martin.

Double LP of classic songs from the Kings of Jazz.

Stimulator Jones breaks new ground on his sophomore LP, La Mano. The Stones Throw affiliate heads over to Mutual Intentions for a novel instrumental record that expands a musical dialect built on his singular fusion of sounds. The artist explores the musical possibilities contained in his hands as he moves between keys, guitars, drums and wind instruments in arrangements that break down the intellectual barriers of genre for the corporeal intimacy of the soul.

Vital Sales Points:
The title track is already picked up and compiled by Gilles Peterson on Brownswood Recordings.
La Mano is Stimulator Jones first instrumental LP between two Stones Throw albums as a singer.¨


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From his HOME studio in Detroit, Javonntte gives another nice emotion. As well as having collaborated with
amazing musicians like Trinidadian Deep, Brawther, Patrick Gibin, Mark De Clive-Love, Nikki O, Andres, Amp Fiddler
and many others ... He was part of dancer for Aretha Franklin live. This new release made by Le Disque Records label from Verona, has the intent to get excited the dancefloor all around the world and the hearts of Soulful House lovers. Don't miss it !!

The Song Says - Bruno Pronsato´s label restarts after 4 years of hiatus with a Vinyl Version of his seminal "Lovers Do"

It's been fours years since the original release of Lovers Do. For the first time now finally released on vinyl. In the meantime he's kept very busy--primarily with side projects. First there was Others, his experimental house outfit with Daze Maxim. Then came Public Lover, his duo with the French artist Ninca Leece that debuted last year on thesongsays (Bruno's label). He's continued to join forces with Sammy Dee as Half Hawaii, playing live shows around Europe and putting out tracks on Perlon and Diamonds & Pearls. As half of the duo Ndf, he coproduced Since We Last Met, a single that marked his debut on DFA and landed in Pitchfork's top tracks of the year. But while he was juggling all these different projects, one piece of music was slowly taking shape: his third and most immersive album, Lovers Do. Like much of Bruno's work to date, Lovers Do is experimental without being snobby--or to use his own term, accidentally avantgarde'-- but this one takes it further than the others. It has a looseness that's truly rare in techno, scrapping formulaic verses and breaks, it winds along like an abstract sketch, guided by intuition instead of logic. Some songs are fraught with nervous tension, others are soothing and rich with detail, from dappling rhodes to orchestral swells, jazzy drum fills and wet hand claps. Human voices swirl in and out of the mix, serving only to make things more surreal. Many of the tracks stretch well beyond ten minutes, one bows out after less than three. The album overall is delicate and subtle, but it also features Bruno's best club tune in years, the eerie and delirious Feel Right.' Brian Eno once described his own