Suche:the jackson 5

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

Celebrate the epic conclusion of Netflix’s Stranger Things with the official Season 5 soundtrack, a nostalgic journey back to 1987. Featuring iconic tracks that underscore the final battle in Hawkins.

Limited Edition Transparent Black Vinyl Version - 500 Units Only

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s The House Music Anthem (Move Your Body) featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

After following Luke Blair's work for approaching two decades from his 2007 debut as Lukid on Actress' Werk Discs, we're humbled to present a new album on Death Is Not The End. Following relatively hot on the heels of 2023's Tilt (his first in 11 years, not counting his work with Jackson Bailey under the Rezzett guise) Underloop brings Blair's innate knack for building loops and sound structures further to the surface, while allowing his ear for emotional expression to be dialled up a notch. Those fortunate enough to be familiar with Lukid's work as a DJ will be aware of how distinct his ability is to seamlessly disappear into loop-based abstraction and back again seemingly without blinking, and often Underloop feels much like a collection of the sludgey interludes and foggy sketches that underpin his sets. Blending apparently ramshackle melodies and textures and pulling them together into an undeniable whole, Blair's tendency for pairing the simple and the indescribable with an understated vigour is fully on show here.

Written and produced by Luke Blair. Mastered by Giuseppe Ielasi.

On “Cold Sweat,” James Brown famously called to “give the drummer some.” In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson’s PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle.

Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet’s Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground.

Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal’s development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label.

“We couldn’t get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris,” Jamal recalled in a Cadence interview with Ken Weiss. “Within a few weeks, I had a few articles and I did a record date. It didn’t make me feel good about America.” That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu’s recent The Complete PALM Recordings, 1973-1974.

Jamal’s record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes’s wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal’s last word there were “The Creator has a master plan/drum dance to the motherland.” “Give the vibes some” could be added to this programmatic statement.

Hip-Hop-Legende Ghostface Killah liefert mit seinem neuen Album "Set The Tone" eine Mischung aus Tracks, die sowohl das männliche als auch das
weibliche Publikum ansprechen: Eine Mischung aus knallhartem New Yorker Rap und melodischen, entspannten Tracks.
Ghostface hat außerdem mit Hip-Hop-Schwergewichten wie Nas, Kanye West, Ja Rule und vielen anderen zusammengearbeitet.

The Beatles played two shows at the Montréal Forum on September 8th 1964, a matinee at 4pm and an evening performance at 8pm and at 6pm they held a press conference for Canadian Broadcasting Corporation from the Forum’s stage. A local newspaper had reported that somebody was going to kill Ringo, so instead of staying the night in Montréal, they flew out straight after the evening show and arrived at Key West at 3.30am where hundreds of fans were awaiting them. After a day off in Miami, the group performed at the Gator Bowl in Jacksonville, Florida the following night.
We have done the best we possibly could with these admittedly lo-fi yet important historical recordings. The source is AM radio and there is considerable distortion on the vocals. The broadcast was faded out halfway through A Hard Day's Night so the last two songs of the show, I Want To Hold Your Hand and Long Tall Sally were not transmitted.

Das mit einem Grammy ausgezeichnete Album "Stankonia" enthält den weltweiten Hit "Ms. Jackson" (über 1 Mrd. Streams) sowie "So Fresh So Clean" (250 Mio.+ Streams) und "B.O.B." (100 Mio.+ Streams) und taucht regelmäßig in den Listen der besten Alben auf, z.B. in der "Rolling Stones 500 Greatest Albums Of All Time". Erhältlich als schwarzes 2LP-Vinyl-Set.

With a multi-decade spanning back catalogue behind him, Bearface aka Raj Panasa shows no signs of slowing down. Over the years he has built a sturdy reputation around his distinct and innovative feel-good touch whether that be on his own Beartone Records, or the many other labels he has shared his classy sound with.

“Remakes and Raw Cuts Vol. 1” is the launch of a new vinyl series from the London-based producer, a safe place for him to showcase his eclectic sound, alongside edits and remakes of some of his favourites over the years, all finding a home on his Beartone label.

Starting off on the A side Bearface provides a funk fuelled latin explosion with his version of the classic “Tudo Que Você Podia Ser”, sassy disco attitude ready for the summer months, presenting some unforgivable dance floor mania. The A2 “Got To Be” is an original cut, meandering between playful guitar licks, and stripped back, hypnotic percussion, there is a curious atmosphere as the track continues to simmer.

On the flip side an edit from the revered beatmaker. First up he edits “Tell Me I’m Not Dreamin’” by Jermaine Jackson, the infectious vocal injects a zesty life into a killer electro groove, a playful and animated trip ready to rock the floor! Closing out the EP is the retro sounding “Everything”, the robotic vocal flashes in and out, nodding towards Daft Punk, boasting beautiful strings and crispy hi-hats bringing that day time energy.

Bearface teasing those summer moments with a jam packed EP brimming with sunshine and positivity, dive in and feel the fun!

Krewcial returns with more MJ from the vaults. Mixed from the original multi-tracks, always with love and respect for the original material.

The A side kicks off with The Jacksons 'Everybody' but feels and sounds like a solo Michael joint and references his “Get On The Floor” in the lyrics. The extended version gives plenty of room to all instruments to build up and join before MJ comes in.

On the flip we have the seminal 'Can’t Help It', written by Stevie Wonder and sampled by DeLaSoul combines the instrumentation and energetic drums from the demo version with the lead vocal from the album version. Adding a lush string arrangement which takes this version into TSOP territory and adds the disco vibe that works on today’s dancefloors.

Limited Vinyl Only Release act fast!

The new Mono Jazz series - The Jazz Sinners - is designed, crafted and produced to the highest standards allowed by today’s music industry.
The tracks featured come from either rare, top-condition vintage first pressings or from meticulously sourced recordings to ensure the
best possible sound quality. Thanks to the expertise of Giorgio Cencetti (DJ Farrapo), we've created a fully organic mastering process that offers a
360° sound spectrumfor a truly high-fidelity listening experience. The vinyl itself is pressed under the supervision of Elettroformati - Milano.

The cover is 100% Italian-made, using premium 350g cardstock with a luxurious hand feel, with inner sleeves lined in polyliner for complete protection of the record.

a A1 James Russo (2)– Winged, Written-By Dialogue – Quentin Tarantino


d A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

DJ Support: Kenny Dope, Mark Knight, Riva Starr, The Shapeshifters, Tedd Patterson, Hector Romero, Grant Nelson, Brian Tappert, Kevin Yost, Saison, Ron Carroll, Steve Bug, The Cube Guys, Massimino Lippoli.

Get yourself geared up for summer season with some fierce dancefloor prime time certified with the Groove Culture Deep Stamp. DEEP INTO HOUSE vol.3 includes some fresh House/Deephouse actions from Ricky Montanari & Discoplex, Luca Olivotto, Gianni Bini and Andrea Tomei. An essential package for diggers.

This is the fourth volume in the collection dedicated to the Arlecchino nightclub in Santa Maria Codifiume, in the province of Ferrara. It's once again a double-vinyl set that gathers the best of Afro, Funky, Rare Groove, and Black Music, as played at the club by resident DJs Giancarlo Lelli, DJ Ghello, and DJ Frank.

The Money Records 2” multi-track tape of ‘Sugar Love’ and ‘You Bet I Would’ revealed an unknown title ‘We’ve Reached A Dead End’. This turned out to be a beautiful Richard Cason-penned ballad which featured a lush, dramatic arrangement by Los Angeles musician Ray Jackson, complete with male backing vocals.

Cason co-produced the three songs with producer Hadley Murrell who licensed the recordings to Ruth Dolphin at Money. ‘Sugar Love’ only appeared on the flip of the second pressing of ‘You Bet I Would’, the instrumental was used initially. ‘Sugar Love’ is in itself in-demand as a dance track. Money 606 did not sell enough to warrant a further release and the track lay unmixed in the vault until now.

Interestingly the tape was dated May 1973, just prior to the two releases, and was described on the box as a rework of a tape from July 1971 - the music certainly wasn’t rushed.

Following the vinyl release of Delfonic's reworks of Roy Ayers tracks taken from the BBE Music compilation Roy Ayers-Virgin Ubiquity, it's now Osunlade's turn to add his production and remix enchantment to the music of the master craftsman with these remixes of Brand New Feeling. Featuring the exceptional vocal talents of Merry Clayton, perhaps best known for her blistering performance on the Rolling Stones' Gimme Shelter and her own Webster Lewis penned hit Emotion, alongside Jazz vocalist and Earth, Wind & Fire, Ubiquity and Harvey Mason collaborator Silvia Cox, Osunlade's Yoruba Soul remixes have added new dimensions to this track. Hailing from St Louis, USA Osunlade's CV includes writing music for Sesame Street to working with and producing artists as varied as Patti Labelle, Freddie Jackson, Eric Benet, Martha Wash, Salif Keita, Nadirah Shakoor and Cesaria Evora. He started the Yoruba Soul project and label after his move to New York because of 'the continued need to create the music I wanted' and it is this musical freedom that has made him one of the most distinctive music makers, producers, DJs and remixers around today. Brand New Feeling is released as a vinyl EP featuring two tracks, the Yoruba Soul Mix Parts 1 & 2.

200 Records marks its 50th release with a four-track EP showcasing both fresh faces and long-time contributors to the label. M.R.E. opens with a vibrant house cut, full of energy and warmth. Blauert follows with a deep, dub-tinged house track, subtle but with a steady, driving rhythm that keeps things moving. Havantepe contributes a deep and intricate Detroit-inspired techno track, rich in texture and unmistakably his own. Till Krüger rounds off the release with a timeless B2 track: —subtle, melodic, and unmistakably his in style.

Highly recommended by Paul Nazca, Tim French, Chad jackson, Brett Gould, Johan, Sinca, Spencer Brown, Steve parry, Ruede Hagelstein,
Karotte, Alexander maier, Greg Eversoul, Dibby Dougherty / Island Hill, Adi Shabat, Michel de Hey, Francesco Chiocci, Paul James Nolan,
Yas Cepeda, Urmet K, Satoshi Fumi, Steve Raschke, Siavash, Ranj Kaler, Nhar / Bernhard Siefert, Four Candles, Alex Neri, Dimitri Schnider / Definition,
Yves Eaux, Cerillio, Paco Osuna, Lonya, Richie Hawtin, Just Her, Stefano Lotti, Nick Stoynoff, Joseph Capriati, Luke Garcia, Mihai Popoviciu, Daniel Mehlhart, Joris Voorn, Jamie Jones, Greg Fenton, Audio Jack, Stefan Weise....to name a few!

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

2025 Repress


Australian music devotees András and Instant Peterson hold a candle to overlooked avant-pop and electronic works by antipodean artists and outsiders working through the 80s and 90s. Through co-presenting weekly radio show Strange Holiday, the duo slowly upturned their locale for inspiration - archives, country bookstores, private collections and convenience stores, searching for a place to anchor their own identities in the oceans of the island continent. The 10 tracks acknowledge a minor history, passed on via a network of friends, friends of friends, the libraries of radio station 3RRR and more often than not, the artists themselves. Renowned mixed media artist Maria Kozic enters with the mysterious downbeat of Trust Me, her husband Philip Brophy responsible for digital and analogue sonic construction. A recurring character in András and Instant Peterson's investigations, Brophy reappears with a score piece from his divisive feature film Salt, Saliva, Sperm and Sweat, recorded as (pronounced 'Tch Tch Tch"). Other links are thread under the surface. Melbourne inner north experimentalist David Chesworth explores his Australiana songcraft leading Whadya Want. The short lived project also featured Philip Jackson, whose husband-wife duo The Couch is restored from Fast Forward's dance issue - a pioneering cassette fanzine published by early-80s 3RRR personality Bruce Milne.

In celebration of the iconic film’s 30th anniversary, this is a standard weight vinyl reissue of the platinum-selling original motion picture soundtrack, featuring songs by Radiohead, Supergrass, Beastie Boys and many more!

Belgian DJ / producer down under Gratts is back with his most intriguing collection of songs to date.
Different shades of house music are on offer - always raw, real, and full of personality.
‘Off My Feet’ is dedicated to Restless Soul and features Durban force Venessa Jackson on vocals.
Adelaide’s Ed Temple destructs, rerubs and transforms it into a sleazy slice of hardware boogie.
‘Smiling’ chronicles hazy London days and nights some 20 odd years ago, brought to life by the
illustrious JPHiLo. A track both for club and airwaves use. ‘Better Days’ is a warm and uplifting chunk
of balearica, in which Rose ensures us better days are soon upon us (surely), while Belgium’s
Steven De bruyn shines on harmonica. The ‘Moody Beatdown Dub’ pulls things firmly into Detroit
territory. The EP concludes with title track ‘New Horizons’, an emotional piece that fuses a juicy acid
line with the cascading magic of Adelaide pianist (and techno veteran) Antony Coppens.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

Hailed as the “Godfather of electronic music,” Paul Oakenfold is one of the most successful electronic artists of all time, counting more than 110M streams, 5M albums sold worldwide and three GRAMMY nominations.
Oakenfold’s discography includes three full-length studio albums, countless live/compilation albums, singles and remixes, and over 20 DJ mix albums. He has written and produced for major stars like Cher, The Happy Mondays, U2 and Madonna and also counts more than 100 remixes, including ones for The Rolling Stones, Justin Timberlake, Michael Jackson, Britney Spears and Elvis Presley.

He continues to push the envelope via his game-changing projects, including a once-in-a-lifetime DJ set in April 2017 at the top of the base camp of Mt. Everest, commemorating the set with the release ‘Mount Everest: The Base Camp Mix.’ In September 2018, he became the first-ever artist to perform at Stonehenge, a UNESCO World Heritage site, followed by his ‘Sunset at Stonehenge’ mix album (February 2019) capturing the historic DJ set. In March 2019, he performed at the 2019 Special Olympics World Games opening ceremony in Abu Dhabi, in addition to remixing the Games’ official theme song.

This release is a reissue of his classic soundtrack album for the 2001 Joel Silver produced Swordfish starring Hugh Jackman, John Travolta, Halle Berry & Don Chedle. It contains tracks specially commissioned for the film written by Paul & film composer Christopher Young, plus his remix versions of N*E*R*D – Lapdance, Afrika Bambaataa - Planet Rock, Muse - New Born, plus tracks from Lemon Jelly + Dope Smugglerz, Jan Johnston.

The original release has sold over 100k units to date & the vinyl is now selling upwards of £300 on Discogs. This 2025 triple vinyl reissue has been remastered at Metropolis Studios + will be pressed on green coloured vinyl & coincides with the 4k UHD limited edition 25th anniversary Blu Ray release.

After over a year of being a floor-filling staple in their live set, we are pleased to release Say She She's stunningly bright and bold cover of the Jackson Sister's classic 'I Believe In Miracles.' Oozing with fresh and funky production from Orgone's legendary Sergio Rios, it's an utterly irresistible tune that will get you giddy with movement! The B-side, 'C'est Si Bon', is the group's French discodelia anthem -- encouraging listeners to throw their hands up and concede to joy. This catchy bilingual track is one of many hits off of their critically acclaimed sophomore LP 'Silver,' which was released to rave reviews last fall. This 45 is essentially a double A, and a collector and DJ must! Two tracks that will undoubtably get the crowd going, what more could you need?

The Situation collective headed up by Mr Mulatto and Frank Situation return with their much-anticipated new album ‘Audio Proxemics’. Across nine sumptuous tracks it explores a warm array of sounds from jazz-flecked deep house to soulful nu-disco with guests like Javonntte, Faze Action's Robin Lee and more. Situation is a collective of DJs, producers, editors, and musicians who hail from the five valleys of Stroud in the UK. Between them they have deep roots in electronic music and have been entrenched in the scene on many levels from hosting their own events, organising free parties, releasing everything from deep house to tech under several aliases and, since 2014, have established Situationism Records with cultured sounds from the likes of Ashley Beedle, Greg Wilson, Dr. Packer, and more.

This accomplished new album has been two years in the making and began with three tracks recorded by South African vocalist Venessa Jackson while she was on tour in the UK. As well as Venessa’s sweet tones, vocalists from across the globe contribute alongside some core Situation members: James Payne, Phil aka Dr Keys and Jon Gray aka BitterSuite who take care of bass, arrangement, production, and guitar.

It’s a timeless record that spans everything from jazz to funk with real musicality and standout instrumental skills lighting up each track. Underground favourite Javonntte adds deep and smoky tones to the flute laced and sunny house sounds of 'Bullit' while 'Never Taken A Weekend Off' is a lush broken beat sound with radiant synth leads and vocal hooks that echo classic Brit funk. 'Mrs Donovan' is a more club-ready sound with dazzling keys dancing over dusty house drums and 'Fairy Godmother' is a gorgeous slice of disco house with vibrant strings from Faze Action's Robin Lee and an effortlessly cool acid jazz vocal. Add in 'Over & Over', a lovely jumble of chords, organic percussion and life-affirming horns, and the hip-swinging drums and expressive interplay of sax and synth on the uplifting 'Rodborough Groove' and you have an album perfectly suited to bright days and hot summer nights.

MMOTTORR is a new collaborative project between Tr One and New Jackson and the 1st EP marks an exciting fusion of both artists' sounds combined with a fresh take on machine music, blending influences from Chicago and ghetto house, deeper acid textures, techno and use of classic samplers and voice modulation to create 4 dancefloor orientated tracks.

EP 1 features four tracks from the Irish artists that push the boundaries of hardware based production, offering a captivating exploration of sound and influences from both artists.

The lead track U LIKE IT RAW (RED HOT) offers a ghetto house influenced track with a booming low end and persistent bassline containing a dual pitched vocal to devastate dancefloors.

Following that is RED EYE DRIVE a high tempo 4/4 drum machine and tom driven track with hints of hi tech soul and classic acid.

On the B side we have WANNADO - A booming 808 and snare combination contains a powerful yet melodic acid line which ups the heat and energy with a crescendo of sampled sound and fizzing low end.

Finally on a deeper level HEADZ VOL.3 takes it back to a classic "plus 8" and Detroit influenced track with a recurrent wave of sound and synthesis building and weaving towards the end of the record.


The EP will be available on limited vinyl and digital starting exclusively with bandcamp. Thanks for supporting underground music. "

From an artist in their seventies, you probably wouldn’t expect to hear an album like this. But Brazilian drumming legend Ivan ‘Mamão’ Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group’s ‘samba doido’ (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser known jovem guardua group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker ‘Jackson Conti’.

With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of rootsy electronic samba and tripped out jazz, beats and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London based producer Daniel Maunick (aka Dokta Venom).

Take a bite of Mamão’s psychoactive Papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle.

United by a love for the music of Mamão and Azymuth, the CD and digital edition also feature the previously released remixes and dubs from some of today’s most forward-thinking producers with a penchant for percussion, including IG Culture, the 22a crew, Max Graef and Glenn Astro.

Zongamin and Mytron reunite on Multi Culti with an album of collaborations. Exploring the depths of leftfield outer nationalism these two mainstays of our global family serve up a colorful array of mind-altering disco and interdimensional dub. Tribal motifs merge with field recordings while synthesized animals call out over exotic hand percussion. Jams on vintage synths meet 8-bit sampling bounced onto spring reverbs and digital delays from the 80s. Started mid-pandemic, this collaboration ignored the surrounding havoc and social distancing, instead focusing on Good Vibes TM and positivity with a genre-defying approach belying trans-continental origins. The result is a playful symbiosis that is Phatter than the sum of its elements. Mytron is Jacek Janiszewski, a pan-European multi-instrumentalist, producer and DJ, born in Poland, raised in Holland and Germany, and now living in London for the best part of a decade, his releases, for labels including XXX, Codek, Bordello A Parigi, Multi Culti, Nein and Les Yeux Orange, herald a similar nomadic spirit. Zongamin, Susumu Mukai is a composer, producer, and illustrator based in London. He has released records on Multi Culti, Flesh Records, XL recordings, Ed Banger, ESP Institute, and AD93, and has remixed for Air, John Cale, Trevor Jackson, Sandro Perri, and others. He is a member of groups Vanishing Twin, V/Z, Holy Tongue, and Stalactite.

1. Watermelon Man
This track version actually came from an improvisation that Allesandro IIona (Keys) made on a live show at RonnieScott's at the start of the year. I think we were were having some issues with one of the monitors on stage and it juststarted making this beeping sound. Then I remember Alleh just came in with that piano riffat the start and the rest was history. This one of thefirst tracks we recorded for the EP and I'm super pleased with how this one turned out. Afterseeing Herbie Hancock live for thefirst time the year before, this felt like the perfect tribute to him!

2. Mandible
The majority of the writing on this album was done at my studio space in Hither Green, where I am every tuesday! I usethis space to record but mainly a space to develop my art. So this EP all came from a few sessions there. We all haveour own creative things going on so it was really great to collaborate as a band and trash out some ideas we had.Mandible is one of my favourite tracks on the EP. It's very simple but leaves us a lot of space to explore some more freeimprovisation. I think in some of my previous recorded music I was more focused on creating well crafted music withgreat melodies and harmony. Whereas here there's a bit more focus on playing as a group and being more explorative inimprovisation. We also didn't have a melody for this track until a week before the recording! Sometimes it just takes awhile tofind that melody or it might just pop into your head one day.

3. Slum
This is a tune that was actually written by myself in 2017/18. Round about that time, I had been playing at a jam night ata warehouse unit in Limehouse called Unit 31. The night was ran by Pianist Raffy Bushman and Drummer Sam Michnikand was focused on hiphop and Jazz fusion. We would usually play a set of instrumental music before it opened up forvocalists and other instrumentalists to come and jam. It was a great place to try out new ideas, so I wrote this tune for itbut we never recorded it. It was really nice to revisit this tune and get it recorded properly at 'That SoundStudios' (Seven Sisters). This track is all about dynamics and a slow build throughout. Descending to more chaos at theend!

4. Red Pistachio
For thefirst two sessions we wrote with a different bass player to Edmondo Cicchetti who is on the recordings. A greatbass player and friend of mine Tom Driessler. This track started kinda exactly how it starts on the record, with that basshook. I'm very influenced by Christian Scott Atunde Adjuah and his melodic writing. Particularly on his album 'StretchMusic'. So this felt really inspired by that album. The chords don't really move around too much until the solo sectionwhere it becomes more like a blues. Then Allesandro get's a bit more loose at the end with the descending sequence.

5. Jerome arrived Late
Quite simply we started writing this tune before Jerome (Drums) arrived late. In the recording session we were a bitundecided about what to do in the solo section. We tried out a few different options before we eventually landed onfeaturing Gabriele Pribetti on Sax. I'm really into his solo on this as it's rhythmically and dynamically really exciting. As Imixed the record it was also a great solo to mess with and run through lots of different plug-ins. There's some weirddelays and phasing going on that and I added some octaves too in places.

Ring the alarm - multi-instrumentalist Jimi Jules scheduled for the album „+“ in 2022, executive produced by Innervisions label boss Dixon. The album features the most sought after and requested tracks of the last month including „My City's On Fire“, revolutionary „Der Aufstand“, dancefloor romance „Burning“ and „Clinomania“ featuring Joy Tyson, and fabulous Lily Allen / Elton John drummer Nathan Curran. The artwork concept is developed and designed by iconic graphic artist Trevor Jackson, whose multi-disciplinary works formed the graphical identities of design, music, fashion, and art by the likes of Soulwax, HFD / Comme des Garcons or Apple Music. Jimi Jules’ second album signifies his return to future-focussed album concepts. A welcomed novelty and venture. Exploring themes such as free thoughts and togetherness after a period of interpersonal absence. Better Together Forever.

A unique character in the electronic music scene, Jimi Jules is a multi-instrumentalist and school-trained musician with much more to offer than the standard four-to-floor sound. Jimi plays nearly everything from drums to trumpet and sings almost all the vocals himself. The talent probably lies in his roots, as many of his family members are known for their playing in jazz bands and classical ensembles. Most recently awarded a silver disk marking 200,000 copies of the 2020 track “Pushin On” in the UK, Jimi Jules also commenced a new collaborative partnership with Berlin-based booking agency, Temporary Secretary, earlier this year.

As the new era is underway for Innervisions, Jimi Jules “+” takes center stage of the label’s fundamental core - artist first, label second. For Jimi Jules especially, this new project represents the beginning of a whole new platform and innovative space for collaborations and symbiosis of mixed media.

2025 Repress on clear orange Vinyl!

Jamwax Records proudly presents this historic reissue, featuring two timeless tracks from The Wailers’ legendary album The Best of The Wailers: "Can't You See" and "Back Out". While these songs have long been cherished as classics, this marks the first time they have ever been available on a 7-inch vinyl single. Even though some books about Bob Marley & The Wailers list them as having been released on 7-inch, I have never seen a copy for sale.

Produced by the visionary Leslie Kong with co-producer Warwick Lyn, the album captures The Wailers at their soulful, raw best. These songs predate the group’s later partnership with Lee Perry and Island Records, offering a purer, more unembellished sound. The harmonies are flawless, the arrangements simple yet deeply powerful, and the performances utterly timeless. "Back Out" highlights Bob Marley's unmistakable voice, brimming with the confidence and charisma that would later make him a global icon. Bunny Wailer and Peter Tosh's harmonies add depth to a track that perfectly embodies the spirit of early reggae. "Can't You See" showcases Peter Tosh on lead vocals, supported by the sublime harmonies of Bob Marley and Bunny Wailer.
These recordings, crafted with a four-track setup and featuring some of Jamaica’s finest musicians—including Mickey ‘Boo’ Richards on drums, Jackie Jackson on bass, and Winston Wright on organ—are testament to a moment in time when reggae was still raw, revolutionary, and evolving.

Recorded at Dynamic Sounds Studios (Kingston, Jamaica), from 29th April until 19th May 1970.
Originally released on August 9th of 1971 by Beverley's Records, 135 b Orange Street, Kingston, Jamaica, West Indies.

Since 1982 'Looking Up To You' has become one of the signature tracks of the modern soul world and played out regularly at events to this day. It is co-written by Leon Ware with Zane Grey (of Grey & Hanks) and produced by Webster Lewis, all giants in this music genre. The song has also been much sampled, most notably by Zhane (Hey Mr. DJ), Ortega Cartel (Miami Vice), Yusher (Gorodskie Uzory) and three this year alone by Skule Toyama (To You), Jericho Jackson (Seventeen) and Saint Duck (Bamboo). This 7' version has also become more in demand, as too the B side 'Tell Me Why', both condensed to four minutes. Michael Wycoff was from Los Angeles and worked with Stevie Wonder on 'Songs In The Key of Life' prior to his three albums for RCA

Originally scheduled for release way back in March 1996, "The Raw Factor" by North Carolina native Omniscence is one of the last of the unreleased mid-90's albums to see the light of day. Despite being awarded The Source's coveted "Hip Hop Quotable" and dropping two well-received singles ("Amazin" and "Touch Y'all"), record label politics meant the full-length "The Raw Factor" album was never released and fans were left wondering what might have been.

28 years later, "The Raw Factor" is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90's Hip Hop.

Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was "The Raw Factor" album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums.

Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.
















p Touch Y'all (Remix) feat. Sadat X
















p Touch Y'all (Remix) feat. Sadat X
















p Touch Y'all (Remix) [feat. Sadat X]

“Raggamuffin Soldier” was recorded at Channel One Recording Studio in 1983 with Soldgie as engineer and a rhythm track played by Jolly Stewart and Daniel “Axeman” Thompson. Growing up in the Waterhouse neighborhood of Kingston, Jolly Stewart obviously developed this singing style and gave us a killer early digital dancehall missile with pure conscious lyrics “Raggamuffin soldier, big ina your area...me no deal with badness, me nah deal inna war, me is a raggamuffin soldier...mi raggamuffin ina foreign, raggamuffin sit down pon di riddim...how you know the raggamuffin? Me no wear no gold chain, me no wear no gold ring...”. “Raggamuffin Soldier” was produced by Fitzroy Peterkin who also produced the digital lover tune "Angie".
The Waterhouse style is a particular style of singing that emerged in the late seventies and early eighties within the Jamaican reggae scene. The Waterhouse style is commonly described as a plaintive, groaning and fluctuating vocal style, often nasal and strident, characteristics that will give it a sound that is distinct from the rest of the reggae singers. The commonly recognized founders of the Waterhouse style are the singers Michael "Mykal" Rose, Junior Reid and Don Carlos. The name derives from the famous neighborhood of the same name in Kingston, the capital of Jamaica, the place where the three pioneers were born and emerged. The Waterhouse style influenced many dancehall reggae artists of the eightiesvsuch as Tenor Saw, Half Pint, Nitty Gritty, Anthony Red Rose, King Kong, Yami Bolo, Andrew Bees...
Vincent Stewart aka “Jolly Man” is a reggae singer from Kingston 11, born december 16 1960 at Hunts Bay Lane, 4 Miles, Jamaica. Jolly started singing at age 13, he was placed in an approve School for 3 years and at the age of 16 he was released.
He started his musical career in the late 70's with Ossie Thomas, Phllip Morgan and Tristan Palmer from Black Solidarity label. Jolly Stewart recorded his first song entitled "Money Pyaka" on the classic "Pretty Looks" riddim which was recorded for Oswald Thomas on Ganja Farm label and released in 1979. Tristan Palmer who has another tune "Disappointed Lover" on the same riddim backed by The Soul Syndicate made the link with Jolly Stewart because he liked his style of song writting.
Jolly Stewart wrote three songs for Black Solidarity label: "Collie Man", "Bad Minded" and "Symbol Of Justice". All three tracks were covered by Triston Palmer. As a song writter, Jolly Stewart is behind Yami Bolo's hit on Stalag riddim “When A Man Is In Love” released on Winston Riley's label Techniques.
Jolly Stewart then decided to move on with his singjay career. He ventured to Tuff Gong studio where he met two producers. One was Prince Jazzbo from Ujama label, and the other was John John who owned the Bun Fi Bun label. He recorded "Praise jah" for Ujama and "Poverty Rush" for Bun Fi Bun. Still not satisfied with how his career was heading, he moved on to Lannaman's Preparatory School. There he learned to play guitar from a man named Fred McMurray aka Faf and Donald Jackson. Later he learned to play the keyboards by watching other musicians.
In the late 80's and early 90's, Jolly Stewart recorded many songs for various labels such as “Do Me Like So” for Bunny Gemini's label “Bun Gem Records” in 1987, “Late Last Night” and “War” for producer Zelma Rust and his label Myotta Ruff.
He also recorded for Augustus Pablo on his label Rockers International just before he died in the late 90's but we never heard about this release so probably Addis Pablo have it on old master tapes in the Rockers International archives....only Jah knows!

Gospel melts into Soul in this dazzling collection of sides originally released by the Chess subsidiary.


Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel — thumping bass and pounding drums, bluesy guitar and horns — and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Not forgetting its sheer, startling, richly diverse soulfulness.

Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house… Morris Jennings, drummer on Curtis’ Superfly and Terry Callier’s What Color Is Love… Louis Satterfield from The Pharaohs and Earth Wind & Fire… Ramsey Lewis’ guitarist Byron Gregory… Phil Upchurch… Laura Lee…

Producer Monk Higgins joined Checker in 1967, bringing his experience of R&B and Gospel hit-making for the labels One-derful and Satellite, together with a loyal cohort of musicians. A protege of Willie Dixon, engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. ‘I’m using horns and an R&B sound in gospel recordings,’ said Bass. ‘We have no charts. All the musicians are given the chord changes. I want the cats to think when we’re cutting. I want spontaneity, and that’s what we’re getting.’ And: ‘There is more to gospel than just finding solace in the church. This follows the same message of Martin King, who was fighting for a new way of life. Kids are tired of hearing Jesus Give Us Help. They want a positive message.’

Focussed on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires’ Groovin’ With Jesus, working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle’s title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks’ achingly timely choral call-to-arms, Stand Up America, Don’t Be Afraid; the East St Louis Gospelettes’ heart-stopping, fathoms-deep rendition of Bobby Bland’s I’ll Take Care Of You.
A beautiful gatefold sleeve; a full-colour booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill.

A shoo-in for soul compilation of the year.

Reissue of the Queen of Space Disco's famous 1978 album. Transparent blue vinyl