Cerca:soul power

The second installment of The Tape Masters series by German film music maestro Peter Thomas. Audiophile pressing in deluxe 2x10" vinyl set, limited to 500 copies.
While volume one of the series compiled Thomas' dopest library music cuts, this album dives deep into the soulful side of the Peter Thomas Sound Orchester, featuring the mystique house band of Afro-American Munich GI club Tabarin Bar, Donna Summer's first solo recordings, stunning cinematic funk instrumentals and a healthy amount of breaks and beats.

Out of the 20 scorching tunes on this compilation, only three were released at the time of their recording and are nearly impossible to find on the 2ndhand market, ten have never been released anywhere before, others celebrate their first outing on vinyl or in stereo.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970s, best known for his iconic soundtracks. Today, his work is cherished not least for its incredible groove factor. The story of this compilation traces the origins of the Peter Thomas Sound Orchester's rhythm section and its soul music background, shines a light on unsung heroes like singer Joe Quick and unearthes nuggets that have been lying dormant on tape for decades.

All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation is released in cooperation with Peter Thomas' son Philip who represents the Peter Thomas Sound Orchester catalogue since his father's passing in 2020.

Soul Jazz Records’ Nigeria Soul Power 70 album showcases the influence of funk, rock and disco on Nigerian music during the 1970s. Originally released as a now-long-out-of-print collectors’ 7” RSD box, this fully expanded album release now also includes extra tracks from Sonny Okosuns, Wings, Chief Kollington Ayinla and more. While for many people the fusion of funk and jazz music with Nigerian rhythms and aesthetics began with Fela Kuti and his afro-beat sound, in fact this can be traced further back to the phenomena of the 1960s Nigerian artists and house bands in nightclubs and hotels who interpreted US soul and pop music with a local flavour and none more so than Geraldo Pino, the ‘African James Brown’ who features heavily in this collection. Other similarly inspired Nigerian funk and soul artists featured here included Tony Grey and his Ozimba Messengers and Don Bruce and The Angels. Nigeria Soul Power 70 includes a number of tracks from the group Wings originally known as BAF (Biafran
Air Force) Wings, an army band formed during the Biafran civil war in Nigeria. The groups’ heavy mixture of funk, rock and African styles was popular among many Nigerian groups at the time.
Beneath the shadow of the few Nigerian artists who signed international recording deals in the 1970s – Fela Kuti, King Sunny Ade, Chief Ebenezer Obey – lies of vast wealth of largely undiscovered musical transmutation and cultural cross-pollination, and included here are heavy afro-funk/rock and disco tracks
from artists such as the legendary Sonny Okosuns as well as rare cuts from little-known outside of Nigeria - groups such as Colomach and MFB. Most of these obscure artists signed to major labels in Nigeria in the commercial slipstream that opened up as Philips, Decca and EMI tried to emulate the international
success of the big three international Nigerian artists. Finally featured here is Kollington Ayinla, one of the co-founders of Nigerian Fuji music, who gives us perhaps the heaviest of all tracks on this album. Ayinla is the great moderniser of the Fuji sound and in the late 1970s began adding Bata drums and synthesizers to his authentic music to create a powerful and heavy new fusion of traditional and modernist aesthetics, embracing both new technology and experimentation while rooted firmly in Nigerian historical lineage. Nigeria Soul Power 70 is released as a heavyweight gatefold double vinyl LP (+ free download code),
deluxe slipcase CD and digital album.

Fourth studio album by East Coast hip hop collective. Originally released in 2001 & now reissued on double black 140gm vinyl with download code insert.

Breakbeat Paradise Recordings is pleased to welcome back the Laptop Funkers for another set of high-octane fun & funky breakbeat. This 8-track album is a symphony of samples and breaks designed for you to Feel The Goodness. Following up on the successful vinyl release Ready to Rumble from 2013 the Laptop Funkers is back in better shape than ever!

Almost instantly after Ready to Rumble was sold out and a repress was demanded , tunes started coming in for what quickly turned out to be a full album release. Now after tweaking and perfecting these jams for over 2 years we are ready to present you with Feel The Goodness - a 12" vinyl filled to the limited with the finest beats and breaks this scene has to offer.

The Laptop Funkers ( the alias used by producer and sound designer Nuno Soczka for this breaks project ) is an elusive underground act that only emerges when there are some fresh choons to showcase. The influences are not hard to discover and Laptop Funkers has no problem in taking us back to the glory days of Big Beat with tunes that would make even Fatboy Slim and The Chemical Brothers feel envious!

Some of the biggest grooves you've heard for a while can be found throughout this ruthless funky album : from the soul-gospel flow of the Feel The Goodness tune to the bouncy brass works on Ain´t Nobody Like We , the ghetto drops on Incredible Funk and the contagious funky groove of Soul Power , from the pump up energy on I Can Keep It Going to the laid back soulful vibes on Where The Funkers At , the b-boy banger attitude of Got The Party Rockin and the chemical psychedelics of The Temple.

8 golden joints of epic sampling inferno that'll be sure to keep you entertained from start to finish. Comes in a full-color front-and-back cover 12" vinyl package with custom illustrations by the talented Cristiano Suarez.

As so many times before BBP is here to provide the b-boys and girls with some proper breaks to keep the party going...,

IZIPHO SOUL is thrilled to release the epic “HIGHER POWER”- better still these are unearthed and unheard versions, especially commissioned for this 7” release.

Paul Tillman Smith wrote, produced and assembled the cream of Bay Area musicians - Featuring the legendary late greats - Freddie Hughes, Pharoah Sanders and Calvin Keys.

Freddie Hughes powerful tenor voice is ’Dripping with soul’ and at it’s captivating best - the warm tones of Pharaoh Sanders’ tenor saxophone intertwines with the harmonic richness of the backing vocals, making this an immense piece of music!

Papa Records is excited to announce its latest release: two dancefloor ready tracks featuring the Diplomats Of Soul, Incognito, and Vanessa Haynes.
On Side A, you’ll find "Sweet Power Your Embrace," a remix of James Mason's iconic Jazz-Funk masterpiece by Terry Hunter & Emmaculate 7”.
Side B features a remix by Micky More & Andy Tee of "Never Gonna Fall In Love Again (Like I Fell In Love With You).

Includes a huge remake of James Mason’s iconic jazz-funk masterpiece – ‘Sweet Power Your Embrace’
A new 7” of soul classics by Diplomats of Soul with legendary UK band Incognito & Vanessa Haynes
Remixes courtesy of Chicago house legend Terry Hunter & Emmaculate, alongside sought after Italian production duo Micky More & Andy Tee.

Brand new collection of Studio One killer tunes, focussing on the late 70s, 80s and beyond.
Since the early 1960s Clement ‘Sir Coxsone’ Dodd had established Studio One as the unparalleled leader in reggae music in the world. In the years that followed he established the careers of countless reggae legends – Bob Marley & The Wailers, Marcia Griffiths, The Skatalites, Horace Andy, Dennis Brown, Burning Spear and many more.
From its inception Studio One had been at the forefront of every major development in reggae music – ska, rocksteady, roots, DJ, dub and, starting in the second half of the 1970s, dancehall.
Having attained such great success, by the late 1970s Clement Dodd was free to enjoy Studio One’s now firmly established supremacy in reggae music. He released a series of stunning new albums at the end of the decade by Sugar Minott, Johnny Osbourne, Freddie McGregor and others that rode the wave of dancehall and set the path of Studio One’s output for the following 25 years.
During this period, long-established artists such as Alton Ellis, Jackie Mittoo and others returned to the label, recording some of their most creatively satisfying albums with new music that both celebrated the classic sound of Studio One while continuing to experiment, push boundaries and look forward to the future.
This release celebrates this sometimes overlooked golden era at Studio One in the 1970s,1980s and beyond.

Soul Jazz Records’ Holy Church of the Ecstatic Soul: Gospel, Funk and Soul at the Crossroads 1971-83 draws upon the extensive links between black American gospel music and soul music, showing how the sensibilities of gospel artists such as Shirley Caeser, Dorothy Norwood, Andrae Crouch and others crossed over into secular soul music during this period.

The album was first available as a (sold out) ltd.edn. coloured vinyl for RSD23 and is now available as a black double vinyl + download edition and also for the first time on CD.

Many of the most successful soul artists - from Aretha Franklin to Al Green, The Staple Singers to Sam Cooke - all drew upon their upbringing in the church for their musical inspiration. This album discusses how important the links between the black church and soul music were in creating soul music and spotlights some of the many important (and also little-known) gospel artists who walked this line between sacred music and soul, funk and disco in the 1970s and early 1980s.

Holy Church of the Ecstatic Soul shows how sacred gospel music was at home with Stevie Wonder, Blaxploitation-style funk and produced music celebrated both in New York’s underground discos (The Paradise Garage, Studio 54, etc) and later sampled by the likes of Jay-Z, Snoop Dogg and Mary J Bilge.

Soul Jazz Records’ new Holy Church of the Ecstatic Soul: Gospel, Funk and Soul at the Crossroads 1971-83 is a one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023.

he album draws upon the extensive links between black American gospel music and soul music, showing how the sensibilities of gospel artists such as Shirley Caesar, Dorothy Norwood, Andraé Crouch and others crossed over into secular soul music during this period.

Holy Church of the Ecstatic Soul shows how sacred gospel music was at home with Stevie Wonder, Blaxploitation-style funk and produced music celebrated both in New York’s underground discos (The Paradise Garage, Studio 54, etc) and later sampled by the likes of Jay-Z, Snoop Dogg and Mary J Blige

A soundtrack of Sudan's revolution and the first ever international release of the Beja sound, performed by Noori and his Dorpa Band, an unheard outfit from Port Sudan, a city on the Red Sea coast in eastern Sudan and the heart of Beja culture.

Beja Power! is a living archive of the finest, most heartfelt Beja songs—a six-track portal to another time and place, of melodies long forgotten and never before interpreted by an electric and brass-driven ensemble. Few older Beja recordings were produced. Even fewer, if any, remain.

Electric soul, blues, jazz, rock, surf, even hints of country, speak fluently to styles and chords that could be Tuareg, Ethiopian, Peruvian or Thai—all grounded by hypnotic Sudanese grooves, Naji's impeccable, airy tenor sax, and of course, Noori's tambo-guitar, a self-made unique hybrid of an electric guitar and an electric tambour, a four-string instrument found across East Africa.

A truly ancient community, Beja trace their ancestry back millennia. Some say they are among the living descendants of Ancient Egypt and the Kingdom of Kush. They are even depicted in the hieroglyphics. Beja melodies—nostalgic, hopeful and sweet, ambiguous and honest—are thousands of years old. Yet their sounds are also reminiscent of Dick Dale's 1963 "Misirlou" and jazz great Charlie Rouse's 1968 "Meci Bon Dieu". This album could be 6,000 years, 60 years, or 6 months old.

Along with his Dorpa Band, formed in 2006, Noori's instrumental Beja music forms the latest link in an unbroken chain of an inherited, arresting sound that is local as it is global, a gift of a storied past and the exchanges of the well-traveled Red Sea.

Ostinato Records is honored to bring the nearly forgotten Beja sound in all its nostalgia, sweetness, honesty, and power, recorded and mastered to maintain the warmth of Sudan's signature aesthetic, to your sound system.

When his mother brought Stanley Turrentine’s Salt Song LP back from a trip to Canada, Julien Lourau, then a teenager, was impressed by the scope of the sound and the groove of the saxophone. He was also charmed by the lush arrangements and funky sound of the record, typical of releases on the CTI label. Created by producer Creed Taylor, CTI left an imprint in the minds of 70s jazz fans much like Blue Note did in the 60s, and it even ended up releasing work by artists who started out on this mythical label such as Stanley Turrentine and Freddie Hubbard. The two even shared the same sound engineer, the great Rudy van Gelder.
Yet CTI, though highly prolific during its 15 years of activity, has not benefitted from the same aura as its predecessor. “To breathe life into this album, I listened to a wealth of CTI releases and discovered some I had never heard before. I noticed, oddly, that many of today’s musicians know very little about CTI - a label unfairly considered as minor.”

The choice of tracks was determined by Julien’s personal tastes, always keeping in mind a desire to help people discover them yet focusing on the joy of actually playing them too.

"The album is made up of 9 pieces. Mathieu Débordes got everything down to the nearest note before we even attempted to play them. CTI didn’t hold back in fuelling their compositions with brass and violins, but I erased this aspect and pared things down to a bass, drums and two keyboards."
English drummer Jim Hart, someone Julien worked with during his London years, propels the group - from hard-bop polyrhythms with “drum & bass” inflections to a reworking of classic Red Clay.

Sylvain Daniel on the bass and Arnaud Roulin on the analogue keys are two musicians close to the saxophonist, and that he met when they were students in 1999 while organising a master class at the Conservatoire de Nantes. Since then, they have become his esteemed companions.

The collaboration with young pianist Léo Jassef began on this recording, where he also plays the Prophet 5. The dynamic and overlap of the many keyboards played by Arnaud and Léo bring the record a richness of timbre and harmony that the strings and brass provided on the CTI recordings.
For the final track on the record, Julien called upon his friend of 30 years, guitarist Bojan Z, for a fresh, Gospel take on Love and Peace, a track recorded by Quincy Jones in 1969, which here, is dedicated to Bojan’s recently departed brother.

“When it comes down to it, this album really is as I had imagined it, with, luckily, a few unexpected turns. I created a playlist I then claimed as my own. But in the end, I must admit that I would have loved to have composed some of these tracks.”

Following on from the success of ‘Greg Belson’s Divine Disco’ series Greg Belson and Cultures of Soul team up again to explore the world of Gospel Funk. Belson, one of the world's leading collectors and DJs of gospel music, has assembled a collection of some of the rarest Gospel funk records for “Greg Belson’s Devine Funk.”

In addition to the full-length, available on CD and LP, choice selections from the compilation will be released on 7 inch singles in limited quantities. Third in the Devine Funk 7 inch series, includes the laid back breakbeat laced “I Don’t Want to Be Alone" by Allen Gauff Jr.,

With a history 50+ years in the making, Tower of Power has been a funk
institution since 1968, knocking out hits like “What is Hip,” “So Very Hard
to Go,” “This Time It’s Real” and “You’re Still a Young Man” while lending
their soulful sound to collaborations with Santana, the Grateful Dead, Elton
John, Huey Lewis, Justin Timberlake and everyone in-between.
50 Years of Funk & Soul - Live at the Fox Theater captures their storied career
with no-holds-barred victory lap concerts in Oakland, CA, performing their full
spectrum of life-affirming funk and soul hits to sold out audiences in 2018.
Available as a 3-LP set, 2-CD/1-DVD package, standalone DVD and digital audio configuration, these historic performances include alumni special guests
Chester Thompson, Lenny Pickett, Francis ‘Rocco’ Prestia, Bruce Conte and Ray
Greene. PBS will celebrate the 50th anniversary with a 60 minute airing of the
performance beginning February 27.

'syncho Sound System & Power' Features The Music Of Nigeria Fuji Machine,
Which Includes Some Of The Country's Finest 'fuji' Master Drummers And Singers, And Is Newly Recorded By Soul Jazz Records In Lagos, Nigeria. Fuji Is The Heavily Percussive And Improvisational Style Of Nigerian Popular Music, At Once Modern And Yet Deeply Rooted In The Traditional Islamic Yoruba Culture Of Nigeria.
Here On This Album Nigeria Fuji Machine's Striking And Powerful Lead Vocalist Taofik Yemi Fagbenro Soars Above A Wild And Energetic Backdrop Of Polyrhythms Played On Traditional Talking Drums, Trap Drums, Electronic And Street Percussion To Create A Powerful Wall Of Intense Sound. Fuji Is A Hi-energy Street Music, Heavily Percussive Which Evolved Out Of The Islamic Celebration Of Ramadan, Which Became A Major Event In Mid-20th Century Lagos. Groups Of Young Men Walked Through Muslim Neighbourhoods At Night Singing Improvised 'wéré' Music To The Accompaniment Of Pots, Pans, Drums, Bells
And Anything Else Available, Waking Believers For The Early Morning Prayer. By The Early 1970s This Music Had Crossed-over Into Popular Nigerian Culture Where It Came To Be Known As Fuji, First Made Popular By The Artist Alhaji Sikiru Ayinde Barrister, As The Music Began To Be Performed Commonly At Parties And Social Events. In The 1970s And 1980s Three Nigerian Artists - King Sunny Adé, Chief Ebonezer Obey And Fela Kuti - All Secured International Major Record Deals Bringing Popularity To The Nigerian Musical Styles Of Juju (adé And Obey) And Afro-beat (fela Kuti's Unique Mixture Of Highlife, Funk And Jazz) Abroad, But In The Process Ignoring Much Of Nigeria's Rich Musical Landscape. Fuji Is, Alongside Highlife, Juju, Afro-beat, Sakara, Afro-reggae, Waka, Igbo Rap, Apala And Numerous Others - One Of These Central Styles Of Nigerian Music. The Singer Barrister Described The Music As Follows: 'fuji Music Is A Combination Of Music Consisting Of Sakara, Apala, Juju, Aro, Afro, Gudugudu, And Possibly Highlife.' Juju Performer King Sunny Adé Described The Difference Between The Two
Styles Of Fuji And Juju Somewhat Competitively Thus: 'fuji Music Is More Or Less Like My Music Without Guitars. It's Like I'm Singing In A Major Key And They Are Singing In A Minor. The Music Itself Is The Music Of Juju Music.' Today Fuji Remains A Powerful Popular Music With Deep And Powerful Islamic Roots
Which Continues To Modernise And Attract New Generations Of Young Nigerians And Nigeria Fuji Machine's 'syncho Sound System & Power' Is A Powerful And Intense Musical Experience. This Album Is Released As A Limited-edition Heavyweight Vinyl Edition (+free Download Code), Deluxe Cd And Digital Format.

Underground Jazz, Street Funk & The Roots Of Rap 1968-79. Soul Jazz Records' new release 'Soul of a Nation: Afro-Centric Visions in the Age of Black Power' is released in conjunction with a major worldwide art exhibition, Soul of A Nation: Art in the The Age of Black Power which takes place at the Tate Modern, London, UK (July-Oct 2017) and The Brooklyn Museum, New York, USA.

The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X, Martin Luther King and the rise of the Black Panther party.

Featuring groundbreaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, Soul of A Nation shows how political themes led to the rise of 'conscious' black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets.

The Soul of a Nation exhibition draws on the links between Black art forms - art, music, poetry - and how they came together during the civil rights and black power era as part of the wider black arts movement across the United States.

Iconic African-Amercian revolutionary figures such as Martin Luther King, Malcolm X and Angela Davis, John Coltrane, Muhammad Ali all appear in the radical artworks of Barkley L. Hendricks, Romare Bearden, Norman Lewis, Lorraine O'Grady and Betye Saar.
A selection of original radical jazz record sleeves artworks which appear in Soul Jazz Records' earlier groundbreaking Freedom, Rhythm and Sound - Revolutionary Jazz Original Cover Art book will also be on show at the Tate, London throughout the exhibition. The Freedom, Rhythm and Sound book is also newly back-in-print in conjunction with this major exhibition and the release of the Soul of a Nation album.

Stuart Baker (founder of Soul Jazz Records) will appear on the panel of Jazz for Soul of a Nation: Art in the Age of Black Power discussion at the gallery as part of the show. Soul of a Nation comes with extensive sleeve-notes and exclusive photography in a large 36-page outsize booklet and slipcase. Double gatefold vinyl album edition comes with full colour inners + bonus download code and includes full sleeve-notes/photography.

"Perlman's got beats and it ain't no secret." - The Beastie Boys

This lyric might have slid right by you while you were listening to Ill Communication, but the Beastie Boys were not playing when they said that. Robert Perlman, a native New Yorker, was way ahead of the curve and would stockpile an arsenal of heavy duty vinyl way before the 45 record craze took over. This compilation of over a dozen tracks represents a taste of the fruits of his hard work uncovering these often overlooked gems.

Including some personal notes from the artists you can find on this compilation.

Hungarian power comes through the roof as it can be said and it comes from none other than by Norbert Thunder. The artist that always has known and will know the sence of style whether it’s clothing or the sound of the drums, saw cutting riffs of synths or readiness to penetrate the soul with genuine love and respect for the electronic groove.

On this disc the remix duties are taken by none other than Millimetric, the legendary artist that has been putting people through frequencies for many years and that has been generating feelings for a while. Having Norbert over and sharing many words together have made the process genuine and it is a truly wonderful time that the disc has been shaped in a visually and muscially rich matter that it did.

New chapter on the internationally famous labels "Ocean Trax" and "Confidential Records"

“Shake That Brake” an energetic track that blends classic House elements with a modern club sound.

“Late Night” by The Rituals is a vibrant soul/funk/disco track infused with retro flair and modern polish.

Driven by groovy basslines, tight rhythmic patterns, and shimmering disco elements, the song delivers a warm, feel-good energy.

Funky guitar licks and dynamic arrangements blend seamlessly with soulful influences, creating a lively and infectious atmosphere made for the dancefloor.

“Let Me Show Ya” by Memi P & Andrea Tomei is a groovy soul/funk track packed with rhythm and attitude.

Built around a tight bassline and punchy drum patterns, the song delivers an infectious groove that instantly grabs attention.

Funk-driven instrumental touches and smooth vocal elements blend seamlessly, creating a vibrant, feel-good atmosphere rooted in classic soul energy with a contemporary edge.

“You Know How To Love Me” for this track Gianni Bini and Memi P. joins forces to create a new soul-funk anthem perfect for dancefloors all across the world.

With the help from Fatimah Provillon’s rich and expressive vocals this track has a timeless yet modern sound, a perfect fit for nu-disco, funk and soulful dance playlists.

“Feel The Rhythm” by Memi P is a driving house track built around a solid groove and infectious energy.

Steady four-on-the-floor drums, pulsating basslines, and vibrant synth elements create a dynamic club atmosphere.

The track balances rhythmic intensity with catchy vocal touches, delivering a powerful and uplifting vibe designed to move the dancefloor.

Magasine is back with a new release on his own label. "Thank You My Sun" has four upbeat tracks that fit somewhere between house, tech house, and minimal.

The opener, "Joy," is a total crowd-pleaser. It's captivating with a soulful choir phrase, which sets the mood for the whole piece.

Up next is "Artistico," a standout track with an emphatic bassline and powerful percussion.

On the B-side, "Klimduin" takes a chill ten minutes to deliver some minimalist magic.

The EP ends with "Mistral", a dance-worthy track with its rolling drum arrangement and floating synth figures.

Embracing a vinyl-first strategy, "Thank You My Sun" drops exclusively on wax ahead of its digital counterpart.

>>> comes in 4c Sleeves

King Street Sounds Sampler Vol. 6 continues the long-running series from the legendary King Street Sounds catalogue, bringing together a selection of classic house cuts from some of the label’s most respected artists.

Featuring productions from Dennis Ferrer, Mood II Swing, Studio Apartment and Blaze & Palmer Brown, the release highlights the soulful, vocal-led house sound that has defined King Street across decades of dancefloor culture.

Including standout King Street favourites such as Dennis Ferrer’s Touched The Sky and Mood II Swing’s Closer, the sampler brings together several proven catalogue moments in one DJ-friendly vinyl package.

With warm grooves, powerful vocals and timeless club arrangements, these proven King Street records offer strong crossover appeal for both long-time house collectors and DJs looking for reliable dancefloor material.

As the sixth edition in the King Street sampler series, this release presents a selection of essential catalogue moments on one highly playable vinyl release.

A strong catalogue addition for stores serving soulful and deep house buyers.

^°Michigander Music again sets the pace with another future classic, D Send to Asend, a powerful 4-track EP from Canada's Greg Gow and Detroit's Brian Kage. Rooted in Detroit techno at its finest hour, this release is strictly for the true heads combining Gow’s techno sensibilities and driving textures with Kage’s raw, soulful energy. Together, they break down borders and deliver a timeless, late-night sound that feels both refined and uncompromising.

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their bestselling CLASSIC Studio One collections all released on limitededition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics. Studio One Roots set the standard for Soul Jazz Records’ long-standing series and features many of the classic artists from Clement 'Sir Coxsone’ Dodd’s mighty roster of reggae. This album includes Freddie McGregor, Willie Williams, Cornell Campbell, Alton Ellis, Devon Russell alongside some of the defining in-house groups of Jamaican reggae history - The Sound Dimension, Brentford All-Stars, The Skatalites, New Establishment and more. The album is filled with a mixture of seminal cuts and super-rarities from the vast vaults of 13 Brentford Road.

Stand-out tracks include Alton Ellis’s ‘Blackish White’, a surreal and powerful Afro-centric dream, Count Ossie’s Rastafarian drummers’ genre-defying interpretation of Booker T and The MGs ‘Meditation’, Willie Williams aweinspiring versioning of the Skatalites' seminal Rastafari anthem ‘Addis Ababa’ and many, many more. Original sleevenotes by Lloyd Bradley (author of When Reggae Was King), compiled by Mark Ainley (Honest Jons), high-quality Soul Jazz mastering, wicked images of Count Ossie and the Mystic Revelation of Rastafari on the cover, and a rare image of Clement Dodd and musicians inside the studio at Studio One on the full colour inner sleeves. “There isn't a weak number across these 16 tracks, from the Gaylads’ ode to ‘Africa’ and Devon Russell's version of the heavyweight ‘Drum Song’ rhythm, to stunning instrumentals such as Jackie Mittoo and the Cyclones with nyahbinghi drummer Count Ossie on ‘Meditation’, Lenny Hibbert’s sparkling vibe work over Mittoo's ‘Ghetto Organ’ and The Sound Dimension’s ‘Congo Rock.” Pitchfork “The music of this compilation is of a rare, rare beauty and is essential to anyone's reggae collection.” All Music

Fingier Records, released through Acid Jazz Records, has established itself in recent years as a distinctive voice in contemporary soul, drawing from Northern and Rare Soul, 60’s R&B and Raw Funk, Mod Jazz and Boogaloo, conceived by Argentinian producer Kevin Fingier.

‘Nothing Like Be Present’ is a new dancefloor-filler from Jo Ann Hamilton (USA), backed by The Kevin Fingier Collective. A powerful slice of Rare Soul tailor-made for Northern Soul all- nighters. Vibraphone, backing vocals and tight horn arrangements keep the energy locked on the dancefloor, while Hamilton’s voice takes the record to another level.

The instrumental was simply too strong to leave out, so it features on the B-side - a DJ-friendly cut that will feel right at home in many 7” boxes.

UK Street Soul, electronic, Deep House

After enticing tastemakers and fans the world over with her 2-track junket into street soul, Be Loved / What Could Happen, Kuzco doubles down with the after-hours antidote. Bound to Be presents the final two tracks to complete the 4-track EP, plus 2 remixes from Ladymonix and Black Moonchild.

Ladymonix delivers an uncompromising scat dub of Be Loved - a niche and signature style to emerge from the Detroit underground that Ladymonix champions. This one is strictly for the house dancers. The B-side features "Waaalk" and "Ha Ha Ha", a sultry and energetic jaunt into ghetto tech and electro. If it wasn't already evident, Kuzco is clearly making a stand and representing the FLINTA and queer club spaces that she embodies.

The B-side is perfectly complemented by an outstanding remix from Detroit powerhouse Black Moonchild - a superbly deep and hypnotic techno groove reminiscent of UFO activity over the Motor City, with bleeping electronic signals passing through jittery hi-hat and drum passages, married with Kuzco's saucy spoken word.

Following the celebrated reissue of Classics Vol. 1, Metroplex unveils Model 500 - Classics Vol. 2, a powerful new collection of essential works from Juan Atkins--pioneer of Techno and architect of some of the most forward-thinking electronic music ever recorded. Bringing together key cuts, rare mixes, and long-sought favorites from across Atkins' groundbreaking output, this compilation highlights the full spectrum of his sonic universe: deep, rolling machine funk, shimmering electro-techno hybrids, and timeless futurist grooves that helped shape generations of electronic artists. Each track has been carefully remastered to enhance its original energy while preserving the raw spirit and space that define the Model 500 sound. From expansive, atmospheric journeys to soulful vocal transmissions and Detroit-powered rhythmic science, Classics Vol. 2 presents Juan Atkins at his most inspired--an essential document of a visionary whose influence continues to echo across dancefloors worldwide. Three decades on, these tracks have lost none of their immediacy, imagination, or futuristic pull. Restored for a new era, Classics Vol. 2 celebrates the legacy of Model 500 with pristine sound and renewed force. Pure Detroit heritage. Eternal future music.

Hit the North is a DJs’ movement
Not a label. Not a revival. A discipline.

Over the years, the collective travelled across multiple states in the US and parts of the UK, digging deep into private collections, basements, garages, storage rooms and forgotten boxes.

They weren’t looking for classics.
They weren’t looking for hits.
They were looking for attempts.

Artists chasing something bigger than themselves.
Trying to sound like Motown.
Trying to sound like Detroit.
Trying to sound like the records that saved them.

Many of them dreamed — at best — of becoming a one hit wonder.
Most never got that far.

Some never crossed a state line.
Some never crossed the street at the end of their block.
Some never played outside their hometown.
Some never played at all.

What they left behind were fragments.

Raw versions.
Unfinished recordings.
Alternate takes.
Rejected mixes.
Test pressings.
Acetates passed quietly from hand to hand.

Sometimes with real credits.
Sometimes with fake ones.
Sometimes with handwritten labels leading nowhere.
Titles that didn’t match the music.
Stories that changed every time you asked.

Often, the trail simply disappeared.

What remained was intention.

Energy.
Urgency.
Hope pressed into sound.

So the collective worked on it.

They edited certain parts.
Extended others.
Cut what didn’t serve the floor.

Not to modernise.
Not to rewrite history.
But to unlock the power that was already there.

The result sounds like Northern Soul pushed to its breaking point.
Fast. Physical. Emotional.
Built for movement.

Some circulated privately.
Others were never pressed at all.

Recorded in personal studios, borrowed studios, friends’ rooms, temporary spaces.
Always outside the system.

This is not nostalgia.
This is unfinished business.

Genning's new EP is a musical journey through four unique tracks, each with its own atmosphere.
Stork brings nostalgia and the feeling of childhood discovery with a steady groove and deep bass. At Home is a smooth, sea-inspired track perfect for closing a set. Clockwork energizes with a blend of electro-trance melodies and powerful tech-house bass. Forget You surprises with processed female vocals and analog synths, inspiring positivity on the dancefloor.

This original album unites soul and positive emotions through long musical journeys and takes your mind to dance.

XPRESS Singles Vol.2 is here, and its a certified dance floor weapon. Here at TDE we're stoked to welcome back mystery London duo Dirty Supercar with a brand new cut, Nothing But The Music.

Powered by the deep, soulful vocal of Elliot Chapman, it’s a direct call to the floor. Lush, emotive strings glide over choppy 70s guitar licks, all driven by a throbbing house kick and bouncing bassline combination that hits with precision. It’s a confident, fully-formed house record that speaks to both classic and contemporary sensibilities.

On remix duties, Italian house music heavyweight Angelo Ferreri steps in with a fresh rework that’s already slamming our worldwide parties. A consistent force in the global house scene for over a decade, Ferreri’s catalogue spans chart-topping releases, millions of streams, and support from the scene’s most respected selectors. Regularly ranking among Beatport’s top-selling artists, his signature blend of groove-led, feel-good house is unmistakable. Here he delivers a version that’s primed for peak-time impact. Tested, refined, and truly defined house heat.

Fesh off strong support from Purple Disco Machine, DE SOFFER returns to TDE in fine form. The nu-disco specialist delivers two standout remixes, reworking 20 Buck Funk by Bustin’ Loose and Hot by La Felix. The latter was one of our label’s biggest records of 2025 and gets a slick extended treatment. Meanwhile, 20 Buck Funk is reimagined with a sharp, modern nu-disco edge. Both featuring West Coast's Relaye on the rap, these're both tight, energetic, and fiery Nu Disco bangers ready to cause club carnage.

A seriously strong vinyl package from front to back. Pressed on a limited run of 300, this is one for the collectors and the selectors alike.

In May of 1966, the unknown singer Jack Wood recorded two songs at Great Lakes Studio in Sparta, Michigan. These unique, otherworldly songs 'Born to Wander' and 'So Sad' would be self-released by Wood on his own Lawrence Records imprint in an edition of 100 copies. Going nowhere and being quickly forgotten, it would take Wood ten years to pay back the $250 he borrowed for the entire endeavor. Fast-forward to the 21st century and the deepest of record collectors are intrinsically moved by the power behind Wood's single, vacillating between Northern Soul, garage, big band and country music all within the same song. Featured in the new Bacardi Rum advert as well..

Revered selector Moodymann remixes ‘Take Me As I Am’ by Detroit artists Dames Brown, from their 2026 Defected LP of the same name. First distributed as a super-exclusive dubplate at Amsterdam Dance Event in late 2025, this avant-garde remix showcases a master at work, transforming the soulful feel of ‘Take Me As I Am’ into a provocative, groove-laden sonic experience for heads in the know.

Kicking off 2026 with a bang, Dames Brown’s hotly anticipated full-length LP ‘Take Me As I Am’, presented by Amp Fiddler, paid homage to the late Detroit pioneer while re-introducing the vocal-house trio to the world. Across 14 tracks, the Dames weaved together their disco, R&B and house influences and collaborated with Eddie Fowlkes, Andrés, Waajeed and Amp Fiddler himself.

The critically acclaimed LP was recognised by DJ Mag, Mixmag and Billboard, with the latter noting the project is “dripping with all the soul, style, funk and feeling that you might expect from the powerhouse Detroit trio.” Title track ‘Take Me As I Am’ represented the album’s elevated house sound in full, and now this fresh re-arrangement by fellow Detroiter Moodymann has arrived.

With “Louder Than Fate”, Jared James Nichols delivers his fourth studio album and easily his most powerful and fully realized statement to date. Raw, unapologetic, and deeply rooted in the lineage of blues-driven hard rock, the album captures an artist at the peak of his creative confidence, channeling grit, groove, and soul with relentless intensity. Produced and mixed by Jay Ruston (Anthrax, Stone Sour, Amon Amarth, Uriah Heep, Steel Panther etc.), “Louder Than Fate” balances muscle and melody, combining thunderous riffs, searing solos, and emotionally charged vocals with a modern, punchy production. The songs move effortlessly between hard-hitting rock anthems and more reflective, dynamic moments, showcasing Nichols’ ability to fuse classic influences with a contemporary edge. Tracks like “Bending or Breaking” and “Killing Time” expand the sonic palette with subtle keyboards and cinematic string arrangements, adding depth without ever sacrificing power. Since his breakout debut, Jared James Nichols has built a reputation as one of the most electrifying guitarists and performers of his generation. Known for his unmistakable tone, fearless playing style, and commanding stage presence, he has toured extensively across the US and Europe, sharing stages with some of the biggest names in rock and earning praise from fans and critics alike. Louder Than Fate is not just an album — it’s a declaration. A record that speaks to resilience, conviction, and the unstoppable force of an artist who plays every note as if it truly matters. Loud, honest, and deeply human, this is Jared James Nichols at his absolute best.

LIP017 welcomes Bochum-based artist Aleeks to Life In Patterns. Despite being born in the early 2000s, he is deeply inspired by the sound of that era, channeling its essence into a forward-thinking take on modern techno. He has already made a name for himself with releases on ARTS, Oktogon, and Rave Your Soul.

His mini album "Bloom" offers a fresh reinterpretation of old-school foundations. Blending early 2000s influences with contemporary techno aesthetics, the record delivers a modern edge while remaining rooted in the fundamentals-driving rhythms, percussion-heavy grooves, and powerful low-end energy. Rich chords and atmospheric pads add emotional depth, shaping a distinctive and immersive sonic identity.

Spanning eight tracks, "Bloom" moves effortlessly from peak-time intensity to ambient textures and functional club tools, capturing the full spectrum of Aleeks's sound and providing versatility for every moment of the night.

There is a strong sense of craftsmanship throughout this release, hardware-driven, deeply textured, and full of character. MS14 brings together Myles Serge and Jamie Bissmire for a powerful journey into wonderfully raw, analog-rooted techno. And When the Sky Was Open captures the spirit of classic Detroit-infused machine music while pushing it forward with depth, soul, and precision. The record feels both timeless and immediate, balancing driving rhythm structures with a spacious, atmospheric edge that gives it a distinctive emotional weight. Rather than relying on sterile functionality, these cuts breathe with warmth, movement, and a human touch, making the record equally effective for deep listening and focused dancefloor moments. It is techno with substance: hypnotic, elegant, and uncompromising.

A follow-up to The Still Brothers’ 2023 self-titled debut EP on Lewis Recordings and Vermin the Villain’s Power of Two EP, the project expands their textured, genre-bending sound with sharp, reflective lyricism. The trio first connected in London through fellow Lewis Recordings artist Shoshy, bonding over a mutual love of alternative hip-hop icons like MF DOOM and J Dilla. Recorded over the course of a year, Radiovision took shape across four cities — from NYC and Texas to Florida and London. The album blends soulful production on tape, wild solos on guitar and synth, scratching, gritty bars, and a standout guest appearance from Slug of Atmosphere.

The world of discovering Soul music and artists can lead to sheer moments of jubilation. The thought of igniting a long lost sound, reviving the energy of a once exuberant individual . But not every story that's told is filled with joy. Some are peppered along the way with struggles and heartache. Over time artists have battled with over powering label owners, record executives who just don't back what you do. The story of Tommy Hill is one such story. Tommy along with friend and longtime collaborator Ricky Tarbo had a deal with Motown records back in the early 1980's which turned sour very quickly. His release "Flame"/"Super Star Of Love' was dropped pretty quickly with no promotion and record boss Sylvia Rhône calling the shots within the duo questioning skin colour within the group and even trying to get vocals wiped off the release to sabotage it.

This said the single didn't amount to much and nothing else was recorded for Motown records. The duo did record some 4 demo's in LA before Tommy headed to re-record them again in New York circa 1982.

The A side has never been released until now, which is such a crying shame as the quality is so damn good. It's an uptempo boogie cut called "All My Love" which we gave a sexy 45 mix so you get some slamming synth work half way in. Tommy Hill's vocal range is nothing but astonishing. Just check out the 2 step ballad of "Can't Get Over You", which was recorded and released back in 1980 by The James Simpson penetration Band written by Tommy Hill, who went back into the studio 2 years later to give the song much more depth not only within the production but also to his vocal range. Tommy Hill headed back to LA after not securing a record deal and a few years later tried to get this singing career back on track. Like many of the artists who have moved on to a higher place Tommy succumbed to his own mental health issues and took his life. We hope this record does you proud Tommy Hill

Over a decade has past since this was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of cv313 mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape masters. This EP features two equally seductive cuts opening with "Fading Lights" which finds its pulse in the rhythmic elements while floating in a world of vaporous mist and resynthesized stardust. On the B side "Magenta" fills the space with ghostly apparitions and a rather hypnotic hook; pushing the boundaries of the spiritual principles found in the power of repetition. Close your eyes and drift into 14 minutes of endless flotation as modulating low frequencies massage your brain and mind, dive deep into a fathomless analogue world!