quête:wi fi soul

Unavailable for over 20 years, In The Beginning There Was Rhythm was Soul Jazz Records first foray into post-punk and punk-funk in the UK and captures the groundbreaking and seminal groups that crossed the divide of punk and dance music for the first time.

" In the Beginning is essential missing-link history – and body-rockin' fun" The Guardian

" In the Beginning doesn't have a single limp tune. It'll amaze new listeners and give old ones some hard-to-find tracks. Buy it." Pitchfork

"There's no denying that In the Beginning There Was Rhythm is a great gateway into this expansive, fruitful, trailblazing era." All Music

First released in 2001, this album is fully remastered, remade and presented once more in its entirety and features A Certain Ratio, Cabaret Voltaire, Throbbing Gristle, The Human League, The Pop Group, Gang of Four, The Slits, 23 Skidoo and This Heat.

This album comes as a limited-edition one-off pressing double coloured vinyl (red and blue) complete with two bespoke inner bags containing extensive sleevenotes and original photography.

As Muzik magazine noted on its initial release 'In The Beginning' is a choice selection from the fertile post-punk period when bands thought nothing of combining politics and philosophy with imported dance rhythms and edgy industrial angst.


The bands featured come (mostly) from the then bleak post-industrial North of England - Manchester, Sheffield, Leeds as well as Bristol and London, and yet all show a fascination with black American rhythms and an experimentation in sound that was completely unique at the time.

The title of the album comes from The Slits track of the same name.

This album is produced with all the original photos and full extensive sleevenotes.

This EP could arguably be the peak expression of Filippini's, (aka Enrico “Big City” Filippini) career in Italo-Disco. Without doubt a more polished pinnacle within the genre, elegantly and efficiently conceived, with less grammar mistakes than many of its contemporaries. Downtempo paced in the low 100's, Enrico takes his time with the nostalgic lyrics in confident efforts of mending some questionable past romantic affairs. A production with melancholic nuances that would very deservingly find its place in a mix by the late visionary DJ Zecky for example. The kind of track that could be played 3 times in a row before offending anyone, very digestible to the ear, a delightful pleasure for the less sober soul, to be served with cocktails and high SPF sunscreen, just cruising along.

White Viny 2024 Repressl

Following the fiery motion and ecstatic energy of their first release, Riga-based imprint 'Tooflie' are back for round two.

Paying tribute to 90s Eastbloc low-brow pop music, four anonymous producers are breaking new ground and breathing new life into the lipstick traces of the kitschy melodies of the era in their edits for 'Tooflie'. 'LKA' boasts galloping percussion, funktastic breaks, and infectious vocals in an epic but sensual dance floor trip. 'KFE' turns into a deep, slo-mo house jam with sharp melodies and soulful vibes.

On the flip side 'MAXIM VS. TDJ' is as high and steamy as it gets with the whole thing sure to boost and uplift any crowd. Building up to its explosive finale 'LIND' goes in slow, with thrilling beats, haunting overtones and a yearning female vocal that slowly but surely rises into bliss.

'Tooflie' is a label that's squarely on the spot, re-imagining unknown sounds from all over the globe into the new sonic grooves for dancefloors and diggers' collections.

The story of Ultrasonic Grand Prix is one of two vintage 60s guitars and their owners. I love my 1967 Vox Grand Prix guitar,” declares multi-instrumentalist/producer Shawn Lee - creator, among other feats, of the soundtrack for Rockstar video game classic Bully, and one half of Ultrasonic Grand Prix. “It is a serious beast and an important part of my arsenal. Every tone you need…’For guitar maestro Barrie Cadogan - of Nottingham Freakbeaters Little Barrie, best known for the main title theme of ‘Better Call Saul’, The The, Liam Gallagher and playing on the soundtrack for Baz Luhrmann’s ‘Elvis’ - it was the Vox Ultrasonic, also from the same period, that caught his eye. “I first became interested in Vox guitars because of people who used them like Spacemen 3 and the James Brown band of the late 60’s”, he explains, “but it was when I was part of a recording session at Anton Newcombe’s studio in Berlin that I had chance to get to know the Vox gear better. I was borrowing an Ultrasonic from a friend for a while and Shawn already had his Grand Prix. I thought it would be a good name for our project whenever we got it going.’ It was with this shared passion for these weapons of vintage, psychedelic gold that the suave, velvety, and off-kilter cool of INSTAFUZZ was born. While a project born of recent times, the flames of INSTAFUZZ were first ignited all the way back in 2010, where the two met during mixing sessions for Little Barrie’s 2011 LP King of the Waves. Snap forward a decade and we find Cadogan ripping guitar licks on Instagram, the workaholic Lee using these as inspiration to lay down rhythm tracks on analogue drum machines. And not long after that, cut to the two trading files back and forth furiously online, birthing music together in ever more completed forms. And the music that did emerge was weird, startling, and insatiably groovy. With one foot dipped in the organ-warbling garage of 60s psych, and the other vibrating in the mind-expanding fractals of the British Acid House boom, INSTAFUZZ plies the earthly quintessence’s of blues, rock, soul and jazz, against the preternatural discomforts of programmed drums and unhinged synthesisers to produce something distinctly and nostalgically futuristic

Warehouse Find!

The Black 80s make a long overdue return to Freerange following their 2014 release Move On (from which the Kollektiv Turmstrasse remix become something of an underground anthem). The duo hailing from Montreal and consisting of Hollis P Monroe and Overnite have been responsible for some seriously influential tracks over the years, not least Hollis' bonafide classic from 1997 - I'm Lonely. For The Rest is a slice of sultry, stripped back house heaven which drips with soul and will melt the hearts of all who hear it. The key to the tracks beauty is in the minimalism of the production keeping everything paired back to the bare bones and placing all the focus on Overnite's vocal which twists and mutates thanks to some clever use of FX. Who better to work their magic on the remix than German producer Show-B
who comes fresh off his incredible Jaap Ligthart Remix and Washint EP on his own Lossless label . Here he pushes the original through his sonic mangle, injecting steely atmospherics and layers of synths to forge a driving, muscular version which will sit perfectly amongst the sounds of Dixon, Mano et al and has already been getting early spins from Ame´. A second remix from Carlos Sanchez completes the package (on the digital
version) staying truer to the original vibe but adding delicate pads and whispering strings for some late night bliss.

One day early in the global lockdown, Frédéric Blais scribbled four words on a Post-It note and pinned it up in his studio. When he headed to a studio in the mountains north of Montreal to start work on his fifth album as Fred Everything, those words went with him. They would not only provide inspiration during two weeks of isolated music-making, but ultimately provide the subsequent album with its title: Love, Care, Kindness and Hope.

Those sentiments – a positive mantra during a period of personal and collective vulnerability and isolation – resonate throughout the album, a gorgeously warm and beautiful affair that counts as Blais’s most personal, musically expansive, mature and sonically detailed set to date.

While each of the tracks began as a rough sketch laid down during Blais’ retreat, they evolved considerably over the months that followed. Blais reached out to a handful of carefully selected guest vocalists and collaborators, including Stereo MC’s, Robert Owens, Sapele, James Alexander Bright, Wayne Tennant, string arranger Pete Whitfield and multi-instrumentalist Finn Peters. He also lent his voice to several tracks, a first in a career that stretches back to the 1990s.

The results are magical, with Blais not only offering subtle variations on his own trademark deep house sound, but also nods to complimentary music styles and classic electronic albums from the late ‘90s and early 2000s.

Naturally, much focus will fall on the album’s high-profile guests, whose contributions work perfectly with Blais’ cultured dancefloor electronica and soul-soaked broken house grooves. Robert Owens – “the voice of house” himself – expertly delivers lyrics full of compassion and reassurance on recent single ‘Never’, Sapele infuses ‘A Long Time Coming’ with lashings of soulful spirituality, and UK hip-hop/soul legends Stereo MC’s make their presence felt on the subtly Latin-infused dub house excellence of ‘Soul Love’.

Then there’s ‘Breathe’, where UK singer-songwriter James Alexander Bright and backing vocalist Wayne Tennant rise above punchy broken house beats, Blais’ trademark square-wave bass and Pete Whitfield’s swelling strings on ‘Breathe’. By the time kaleidoscopic, sun-down breakbeat brilliance of ‘A Good Day’ arrives to draw proceedings to a close, you’ll be overflowing with Blais’ “love, care, kindness and hope” – just as he intended.

The package, posted from Inglewood in California, dropped through my letter box…
I was looking forward to seeing this, the VHS of the then relatively ‘unknown’ but now legendary live show at the Saenger Theatre in New Orleans by Maze featuring Frankie Beverly. But when I fed it into my VHS player, I was disappointed. I could not quite figure out why. The band were tight, each musician sounded great, the product of being on the road, year after year, club after club in the States, sometimes playing five shows a night, all propped up by one of the best soulful voices we had ever heard, the maestro Frankie Beverly.
It took a second play of the VHS to realise what was missing. It was ‘too comfortable’ an atmosphere. A few wealthy customers sat around coffee tables quaffing champagne. It seemed to me that this audience, somehow, did not fit the band.
Paul Fenn at Asgard promotions received the contract from the band to appear live in London and Manchester. I became more and more convinced that his UK fans were going to be a lot more responsive than those from New Orleans.
We put the word out with just a couple of exclusive ‘shout outs’ by Robbie Vincent on his Radio London Soul programme. Those two plugs were enough to sell out all four shows at London’s premier music venue, the Hammersmith Odeon. The ticket office was rammed and the queue six deep, stretched halfway down Queen Caroline Street.
“I have never seen anything like it” expressed the manager of the theatre as he rolled down the shutters and turned on the “Sorry, SOLD OUT” notice above the theatre box office.
I was curious, so I went up and stood in the wings of the Hammersmith stage on that first show. Frankie, introduced to the stage by his sound engineer, Greg Blockman, sauntered past me, strumming his rhythm guitar, dressed in a casual dark green towelling suit, a brown leather visor and flip flops…and then five seconds later, he suddenly stopped. He seemed suddenly to be aware of the thunderous ’Welcome to London Maze’ roar, circling around the theatre about to engulf him. He slapped every black and white hand offered up to him that night, with a huge smile as he circled the edge of that stage. We wanted to get next to him, even if it meant climbing over rows of seats in front of us to do so.
That was the beginning of our love affair with Maze and Frankie Beverly. It certainly wasn’t New Orleans comfort; it was more like a crazy, but friendly, London riot.
Five albums on from the “Live in New Orleans” LP, Frankie sauntered into the California recording studio, probably with the same swagger as in London, to cut the delightful A-side here, “Somebody Else’s Arms”, from his aptly named ‘Silky Soul’ album. Along with the B-side, ‘Love is’ (from the “Back To Basics” CD, 1993) both are so delicious you might want to relax and pour yourself that London glass of champagne, 1983 vintage. Tell your mates your Maze/Hammersmith story too. You deserve it.

For those seeking a musical experience reminiscent of the iconic LARRY HEARD, RON TRENT & KERRI CHANDLER, delving into the enchanting sounds of A VISION OF PANORAMA is a journey well worth taking. A VISION OF PANORAMA, much like MR. FINGERS, has mastered the art of crafting immersive and soulful electronic compositions. This latest release invites you into a sonic realm where lush melodies, dreamy textures, and intricate rhythms coalesce to create an atmosphere of pure musical bliss. In a landscape where electronic music continually evolves, A VISION OF PANORAMA stands out as an artist who skillfully pays homage to the timeless vibes of classic deep house while adding a contemporary touches of forward thinking smooth and Balearic jazz. The fusion of classic house elements with a futuristic flair makes A Vision Of Panorama the closest thing available to the legends that precede.

naive's 20th release epitomizes what the Lisbon-based label, run by Violet, has become cherished for: imaginative yet timeless, soothing yet moody, melodic yet sonic music. Entitled 'Computer Hermetics', this new record is an EP by UrbnMowgli, a fairly new Berlin-based artist who began releasing music in 2020. The opening track, 'Fast Love Life', is a 145 bpm electro-bred, breakbeat-driven emotive dancefloor banger. It features menacing stabs juxtaposed with beautiful pads and acid-drenched arpeggio motifs that lend it a oneiric quality. 'Oracle Algorithm' picks up the 303 spirit and delves into trippier territories, densening the dreamlike, expansive atmosphere while infusing the record with electro-driven grit. Closing side A is 'Warschauer Rush-Hour', a futuristik, high-tempo twisted electro banger that's both tough and playful. 'Immaterial Desires' inaugurates side B--an ode to adventurous drum programming and intricate sound design in the form of a percussion-punctuated curveball belter. 'Digital Dawn' brings it all back home to the heart and closes the record with its deepest, most immersive moment, giving us big bass lines that alchemically converse with angelic bleepy melodies as if soundtracking a soulful sci fi movie that doesn't exist yet.

The debut album by the italian singer-songwriter influenced by soul, jazz, funk and hip hop.

Love Letters is the debut album of urban singer-songwriter Raffaella Zago. The first album of the Paduan-born, Milan-based artist contains ten tracks influenced by soul, jazz, funk and hip hop that deal repeatedly with the theme of love. In 2023, Raffaella Zago quickly attracted attention with her first official song, a nu-soul reinterpretation of "Money Trees", a song by the most praised rapper of the last decade, Kendrick Lamar, for which she composed a new melody. The other pieces of "Love Letters", in which she addresses people who have been or are part of her life, reaffirm her vocal, writing and composing skills.

The King of Miami's Cuban music scene, the late Ray Fernandez, is featured here fronting his enormously talented family band on an album that first brought him into the spotlight.

Heavily influenced by deep funk and Latin music, their psych-tinged creations also incorporated many other kaleidoscopic sound infusions, including soul, calypso, Afro-Cuban and salsa. Fronted by Ray Fernandez, his band included his very talented wife and two sons and proved to be a highly influential group on Miami's Latin music scene in the late 70's. What also made them stand out was their versatility; this group could easily shift from Cuban funk to Reggae in a blink. Their instrumentation was also different to the 'norm', and where a lot of similar sounds were saxophone-led, this band used a bass clarinet. Instead of bongos, Ray and His Court played with the unique Osi drums from Africa.

Sampled heavily by DJs worldwide (including DJ Shadow) On High presents a must have piece of music for any serious Latin, funk, or rare groove collector. Remastered and pressed on audiophile virgin vinyl for your listening pleasure.

Embark on a timeless journey through sound with Mihai Pol's debut release on Storytellers label.

"Addicted EP" is crafted with meticulous precision and artistic finesse, each track within this vinyl-only collection offers hypnotic rhythms and captivating sounds, becoming a soulful addiction for listeners.

To be released on Ransom Note Records and marking the debut album of Wave Arising project , "(The) Rooted Sky" is an invitation to an initiatory journey where intuitions are channeled into grooves and otherworldly sonic landscapes . A sound where intense rhythms meet circular expansions .

From various improvisations, the experienced & avant-garde musician Sebastian Vaughan decided to take a fresh look and avoid the use of sampling third parties by crafting compositions. An approach to music as a spiritual path driven all the way long by psychedelic dubby vibes , acidic frequencies & hypnotic repetitions coming from his sound-system culture heritage .

While the tracks "It Comes and Goes" , "Ronde Cinétique" , "Electric Shrine" and "Golden Black" draw contemporary almost cinematic ambiences with vibrant and spacious feelings , "Monin Yiri" , "Sound Loves Dance" & "Grow with the Flow" represent a series of energetic deconstructed leftfields , with the omnipresence of a singular tribalism that emphases the african side of Wave Arising .

On its own "Music without chains" is , as the title underlines , a joyful jam free from any boxes or attempts at confinement .

Finally "Subconscience" arrives like a probe , a dreamlike piece full of endless reverbs from Kynsie's voice ; generating mysterious environments and resonating directly with "Soul Whispers" .

Taking on the challenge of fusion , "(The) Rooted Sky" asks the listener to open up through a collection of progressive tracks reflecting the core of Wave Arising’s spirit : Music & Body as a portal . Through this consciously chosen wide range of dynamics , the producer shows his musical ability to create an unique sonic palette yet staying true to his own personality .

Regarding the cover, the outside is a minimalist yet symbolic photograph of the duo’s hands. As for the interior, Wave Arising is very grateful to welcome primitive artworks by the talented artist Rapoon , one of the founder members of the legendary group Zoviet*France . Continuing with this global vision of intertwined arts, the videos accompanying this record are created by Wave Arising .

Ultimately , the recurrent animistic vibes of "(The) Rooted Sky" give to the album a spiritual ethos directly driven by the book of Nature reminding us that, we are all connected to the Source .

Whatever the "Source" means for each one . . .

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

For our 50th release on Delusions Of Grandeur we're pleased to bring you seven exclusive tracks from a mighty-fine collection of both existing DOG artists and veritable newcomers alike.
Kicking off Part One we have Rush Hour regular Nebraska who manages to successfully combine elements of wait for it... trance and broken beat into an altogether more exciting and amazing way than that actually sounds on paper. Organic, sampled drums with plenty of grit and dirt lay down a groove whilst spacey synth arps and an almighty break (in a subtle way) make this something of an epic which all of us here have fallen for in a big way.
Quintessentials and Kolour LTD favourite Ugly Drums steps up next digging deep in his seemingly bottomless collection of brilliant of disco and soul to mine some killer samples and conjuring up a masterclass in deepest ravehouse in the process.
Rounding off Part One DOG mainstays and bona fide Retreaters Session Victim do what they do best on Came To Be Alive, turning in a completely blissed-out, dusty soul jam tailor-made as much for cozy nights in front of a log fire as for antipodean BBQ's under a hazy sun.

New selection of Acid Jazz songs this time from the funkier side of this music. Groove, rhythm and a lot of happy feeling.

Inside some classic artists of the genre such as Black & Brown, Jestofunk, LTJ Xperience, Funky Destination, Lo Greco Bros & Fusion Funk Foundation, Man Sueto, Vito Lalinga (Vi Mode Inc. Project), The Smoke Orchestra, The Last Minister , Gazzara with many versions not available on vinyl for some time or never released on this support.
Limited edition double vinyl.


Groove, rhythm and a lot of happy feeling.

A treasure-trove of rare and unusual recordings mostly recorded in Lomé during the 70’s and 80’s . A fusion of traditional
voodoo chants, raw soul and even Electro Funk . Includes biographies and rare photos

Finding these tracks and their rights holders hasn’t become any easier even after few trips all over this west African country bordered by Ghana , Benin & Burkina Faso. After 8 years, We , at Hot Casa Records with the kind help of Roger Damawuzan decided to select thirteen tracks, a snapshot of some hundreds of rare and often forgotten tapes from the most prolific, professional and exciting phase of the country’s recording history included international stars like Akofa Akoussah, Gregoire Lawani to Roger Damawuzan compared as the James Brown from Lomé to forgotten tapes and brilliant songs in Mina, Kabyié and Fon language.

Many of the tracks featured here are peppered with innovation and experimentation highlighting how diverse, the music scene in Togo was at the time even if the political context influenced their creation. Many of the original albums these tracks are taken from high prices online due to their rarity and so it’s with great pleasure that we present a selection here that evokes a golden boomtime in Togolese music history.

A year on from the release of his critically acclaimed album ‘Billy Valentine And The Universal Truth’ released in collaboration between Flying Dutchman and Acid Jazz Records, Billy returns with a brand new take on a classic of conscious soul. Returning to the studio with Bob Thiele Jr and the band that is made up Larry Goldings, Pino Paladino, Jeff Parker, James Gadson and John Philip Shenale, he has recorded three new numbers for release on the deluxe version of the album. The first to be released is his take on Gil Scott-Heron’s ‘Lady Day & John Coltrane’ which held audiences in rapt attention when performed live over the last year.

Mikal Asher, a scion of Jamaica's Morgan family dynasty, reunites with Chocolate Star Records here and does so with a collaboration with disco legend Gary Davis. Asher, akin to his brother Denroy Morgan, upholds the family's legacy of righteousness through music. Known as the Binghiman, he crafts captivating tunes with profound lyrics and has recorded in Ghana's Hustle Hard Studios and collaborated with industry pioneers in Kingston and Brooklyn, setting new standards in musical excellence along the way. Here, 'Wicked Ah Fi' transforms into a modern dub stepper, while 'Black Woman' offers a soulful, laid-back dedication to Davis' wife, Sonjia. This 12" also comes with innovative remixes from California-based DJ and producer Knoe1.

2024 edition of the single that marked the return of Joe Bataan in 2004. A dancefloor favourite by the King of Latin Soul!

Back in 2004, Vampisoul was extremely honoured to play a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album "Call My Name", written and produced by Daniel Collás. But first came out the preview 45 'Chick-A-Boom' / 'Cycles Of You', which quickly became a DJ favourite and guaranteed dancefloor filler, long out of print until now. Let's hear Collás explain how it all happened:

"This whole project grew out of a song called 'Cycles of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighborhood, where he not only still sounded great, but was also gracious and easy to talk to.

"By the time we got around to recording with Easy, the band was about to break up but we still had the studio booked. We all agreed that we didn't want to continue as a band, but at the same time, it would be a shame to never record what we had been working on. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles of You'. The funny thing is, 'Chick A Boom', a live favourite with Easy, was hastily added so we could have a B-side, but it ended up chosen to be the A-side of the single."

DJ Support: Danny Krivit, Craig Charles (BBC Radio 6 Music), Hallex M, Jazzanova, Delite Radio, Mi Soul, Pointblank, Totally Wired Radio, XFM, Radio Solar, Tony Minvielle, Simon Phillips, Chris Phillips (Jazz FM), KCRW DJs, Ian Friday, Aroop Roy, Samantha Badd (Café Del Mar), Mr. V, Simon Harrison (Basic Soul), Greame Park, Mike Fossati, Timo Mass, Deli G, Servino (Horse Meat Disco), Hyenah.

‘Badly Written Songs’ is, of course, a tongue-in-cheek title. It comprises a carefully structured and well-produced array of songwriting, topped and tailed with live instrumentation, commanding vocal performances and high-end production: the result of years of sound engineering and music production experience. Since the last album, Ross Hillard has continually honed his skills whilst earnestly crafting this sophomore long player. As well as developing a range of audio plugins, Ross also manages recording sessions at his own Paddocks Recording Studios: huge live spaces boast cutting-edge technology, integrated with distinguished analogue kit. The studio is complemented by a collection of prized microphones, together with a fully-restored vintage Raindirk mixing desk.

The opening track and first single from this album is the positively-anthemic gem entitled ‘Good Morning Sunshine’. It tells a forward-looking story promoting the merits of getting back into the driving seat of life. It’s propelled further by superb jazz-inspired drums and live horns that build up to an exhilarating crescendo. Featuring the vocal talents of Sophia Marshall, the story she paints is supported by a wonderful, darkly humorous cartoon video. An animated cadaver hilariously acts out her notions of positive living.
Other tracks also destined for a single release include: ‘Loving You’. It’s a song written around love lost. A bouncing house composition lays the foundations for Sophia Marshall's beautiful vocal that narrates the many facets to be found in loving another person. ‘Better’ again echoes jazz-inspired drums behind Sophia's vocals, drawing attention to how so many people are lost on their devices, missing out on the awesome world around them. A catchy chorus chants the notion behind this song, i.e., that you ‘could be better!’ This single is also supported by another fantastic video featuring the same comical, deceased character introduced through the ‘Good Morning Sunshine’ video.

Matt & Lee team up with the grammy award winning Terry Hunter to deliver this soulful house weapon ! Matt & Lee also deliver a killer Masters At Work inspired soulful house mix. Jazz Apple smash out a Mario Biondi style jazz mix that fits the Jazz & Northern Soul Market.

The Hammond organ was first manufactured in 1935. In 1954, the now famous Hammond B3 model was introduced with additional harmonic percussion feature. When the company went out of business in 1985, around two million of various models of the Hammond organ have been produced.

The Hammond B3 was originally marketed to churches as a lower-cost alternative to the wind-driven pipe organ. It quickly became popular with professional jazz musicians in organ trios. Jimmy Smith's use of the Hammond B3 inspired a generation of organ players, and its use became more widespread in the 1960s and 1970s in rhythm and blues, rock, reggae, and progressive rock.

This collection is centered on the exciting and dynamic sounds of the Hammond B3 organ!

We’re hugely excited to announce the brand new album from Dee C. Lee - ‘Just Something’, out 22 March on Acid Jazz. It follows the incredible response to the new single ‘Walk Away’ and last year’s double-sider ‘Don’t Forget About Love’ / ‘Be There In The Morning’, marking the return of one of the UK’s most revered soul singers. Dee is known for her work with The Style Council, Wham!, Slam Slam and Animal Nightlife, and an illustrious solo career (including the Top 3 hit ‘See The Day’). ‘Just Something’ is her first new record since 1998, and her debut for Acid Jazz. Available on LP and CD, all pre-orders from the Acid Jazz Store will be signed by Dee.

‘Just Something’ features 11 songs: nine originals co-written by Dee, a song penned by her daughter Leah Weller, a successful singer/songwriter in her own right, and two inspired covers. Produced by Sir Tristan Longworth, the album is a soulful collection that frames her instantly recognisable vocals in luxurious horns, percussion and keys, and heritage soul with a disco backdrop. While making the record has been a collaborative process, ‘Just Something’ is nevertheless the sound of a singer in charge of her own style and direction. Her vocal delivery and phrasing steal the show throughout, bright and lilting one moment, passionate and ringing the next. She cites Chaka Khan and Jean Carn as major influences, but Lee’s voice is resolutely her own, the product of a life lived.

Inspired by classic Motown, current single ‘Walk Away’ was written by Dee with one of her ‘brothers from another mother’, former fellow Style Council member Mick Talbot, and features Talbot’s distinctive piano and Wulitzer playing on the track. Talbot also plays on another of the album’s many standouts, the Leah Weller-penned ‘Everyday Summer’.

Three of the album’s songs, opener ‘Back In Time’, first single ‘Don’t Forget About Love’ and ‘How To Love’ were co-written with Michael McEvoy and Ernest McKone, whom Dee wrote with back in the 1980s. All three songs channel her musical past, from the thrill and excitement of those early Wham! days, going out and partying, to The Style Council’s trademark jazzy soul, and expressive balladry and killer choruses, which places Lee in the lineage of classic soul singers.

Elsewhere, on ‘Anything’, co-written with Paul Barry, Dee sings her heart out on a song full of optimism and hope for the future, while ‘For Once In My Life’, the oldest song here dates back to 1998, is effortlessly commercial and has hit written all over it, with Lee empowered and regal sounding over a warm blanket of bassy funk.

The album’s two covers, meanwhile, were both suggested to Lee by Acid Jazz’s Eddie Piller. In Lee’s hands, Renee Geyer’s ‘Be There In The Morning’ is pure celebration, taking its cue from the Norman Connors version from 1979. ‘I Love You’, written by Don Blackman and recorded by Weldon Irvine in 1976, could have been written with Lee in mind. A big club tune, Dee recalls hearing it everywhere she went and I wanted to keep as close to the original vibe as she could.

Dee’s relationship with Acid Jazz the goes back to The Style Council days, and it was the 2019 documentary ‘Long Hot Summers’ that renewed Dee’s friendship with label founder Ed Piller and director Dean Rudland. We’re honoured to release this record and be a part of Dee’s return to the forefront of UK soul music.

The harmonious nature of creation, the search for symmetry, the perpetual motion of bodies. Characteristics that amplify the sensations when we face something bigger than ourselves. In the same way, the lake reveals itself as a mirror for the soul, and the carp begin to flow into our soul, bringing out some "Distance Problems", able to be filled only with music.

KOI008 is brought to you by the enigmatic yet oniric outer-world creator S.O.N. with three mesmerizing original tracks. On the remix duties, Romanian superstar Sublee delights us with his take on "Vanessa", in front of which we must only surrender.

Demon Music are happy to present – Electribe 101 - ‘Electribal Memories’, this stunning half-speed master vinyl edition cut from the original tapes by Barry Grint at Air Studios. Formed when Hamburg-born / London-based, sometimes S’ Express member Billie Ray Martin hooked up with four musician / producers from Birmingham, Electribe 101 instantly hit upon a sound heavily influenced by the de rigueur deep house sounds of Chicago and Detroit but with a distinctive European twist. With Billie Ray up front, with a voice like ice on fire and looking as if she’d stepped forward in time from a circa-1966 Mary Quant catwalk, the band were instantly snapped up by Mercury Records, and taken under the wing of Pet Shop Boys manager Tom Watkins. The band released five singles in the UK, and all featured on their debut album ‘Electribal Memories’ – ‘Tell Me When The Fever Ended’, ‘Talking With Myself’, ‘You’re Walking’, ‘Lipstick On My Lover’ and an incredible cover of Odyssey’s deep soul classic ‘Inside Out’. When the album arrived in 1990, it was an instant hit with critics – immaculately produced, poised, luxurious and soulful, it was difficult to believe it was a debut record at all. After ‘Electribal Memories’, Electribe 101 called it a day. Since then, the album’s reputation has grown in stature and many of its’ singles’ attendant remixes have become sought-after rarities. The cultural earthquake prompted by the late-1980s arrival on these shores of house, acid and rave prompted many a legendary club night and a generation of superstar DJ / producers. While there were a myriad of great club tracks produced in that heady period between 1988-1991, classic albums from the scene were rather more of a rarity. One towering exception was the debut by Electribe 101…

Louise van den Heuvel is a dynamic Dutch bass player and composer. She's known for blending modern music technologies and effect pedals in her compositions rooted in the contemporary electronic/jazz scene. Louise founded the up-and-coming Belgian electronic jazztrio Dishwasher_, collaborated with renowned artists on stage such as Zwangere Guy & Lander Gyselinck and Bruno Vansina Orchestra, and is part of Stéphane Gallands' The Rhythm Hunters, The Gallands, and the neo-soul group STACE.

For her latest project, Sonic Hug, Louise composed the whole repertoire by herself. The self-titled album, supported by JazzLab and W.E.R.F. Records, features a stellar line-up of some of the leading figures in the Benelux (jazz) scene: Hendrik Lasure on keys, Daniel Jonkers on drums and Daniel Comerford on reets (live replaced by Werend Van Den Bossche). The band is set to tour in April and May 2024 after its release on 5th of April 2024.

Her own creations expose themselves as elaborated melancholic songs filled with elegant grooves, crystalline vocals and experimental jazz excursions. She's brilliantly using her own musical voice - even literally, since you will also hear her sing on some of the tracks.

?Surrounded by three equally inevitable peer musicians in the front of the new Belgian jazz generation (known from acts such as schntzl, Bombataz, Profound Observer, Otto Kintet, Dishwasher_, Kin Gajo, ...) Sonic Hug becamea very personal, unique new project. Influenced by the sounds of Scandinavia and artists such as ADHD, Nala Sinephro, Floating Points, Y Otis and Joni Mitchell, the vibe of Sonic Hug is etheric, elegant, melodically narrative, and always searching for a grasping groove.

Red Vinyl Repress!

(Feat. Joe Killington & Duane Harden)

The world’s leading disco house artist Purple Disco Machine teamed up with Joe Killington & Duance Harden to deliver ‘Devil In Me’ which was the first official single taken from his highly anticipated debut LP ‘Soulmatic’.

This vinyl features an extended mix, a Club Dub mix from Purple Disco Machine himself and a mix from one of dance music’s most established and decorated stars, Fatboy Slim.

É Soul Cultura captain, originator of Manchester’s legendary Electric Chair and definitive people’s champion, Luke Una taps into a lifetime’s worth of musical discovery for the second volume in our Mr Bongo Edits series. A cosmic coming together that sees two of Luke’s secret weapons, re-edited and re-contextualised by the man himself to provide optimal dancefloor euphoria.

A stalwart of the underground for nearly 40 years, Luke has become an appointed leader of the late night disenfranchised, with an unquestionable ability to pick records that make minds tick. Not least through his two É Soul Cultura compilations released on Mr Bongo over the past two years.

A taste that traverses genres as much as it does emotions and decades, who better to give an insight into the tracks he has chosen to edit, than the man himself. “I've been an avid collector of afro-beat house, techno and underground black heart disco since before the basement soul days of Electric Chair 30 years ago. Both these bombs were very much holy grail finds, plucked from the last four decades of digging in random crates of dusty vinyl all over the world.”

First up, Thandi Zulu & The Young Five’s interpretation of Pure Energy’s early ‘80s disco power play – ‘Love Game’. With a distinctive South African synth bass and killer keys combo, Luke explains the original has this “bonkers alchemy of heavy machine soul, uptempo rawness and a majestic disco evangelism”, making it ripe for a re-edit.

On the B side, Lionel Pillay’s Jazz dancer ‘Plum’. “The original was a relentless 18-minute raw jam”, Luke states, “which despite its late ‘70s South African origin kinda reminded me of a 1986 Chicago piano House record”.

“These edits strip the tracks back and rebuild them, giving them more sonic weight with that looped up drum jacking militancy from the days of Chicago, combined with a boosted sense of transcendental, psychedelic, cosmic disco. They have always had such an explosive reaction on so many dancefloors including the heavier electronic club, so it felt only right to reshare them”.

What I Breathe is the debut album from Mall Grab AKA Jordon Alexander. The Australia-born London-based powerhouse reaches within to create the most comprehensive demonstration of his style to date – loudly defining the raw energy that has become synonymous with the moniker.

“This album is deeply personal and an exploration of all influences, sounds and sides of the Mall Grab project. It follows my journey of the last 6 years from a university dropout in Newcastle (Australia), making music as a source of happiness and expression.”
While glances of what Jordon gravitates towards in dance music can be heard in the record label imprints he steers—Looking For Trouble and Steel City Dance Discs—it's with What I Breathe that he elaborates on and articulates his diverse ear for music. Through collaborations with Brendan Yates of Turnstile, Novelist, D Double E and Nia Archives, the Mall Grab repertoire of emotive electronics is used to traverse his love of hard-to-define energies that exist between genres like Hardcore, Hip-Hop and Soul.
“I have been lucky enough to work with some of my favourite artists which have really been the glue that keeps the project coherent. There are a lot of familiar sounds on this album that my listeners and followers have become accustomed to and joined me in the deep dive. Elements of emotional but hard and pumping club music are intertwined with House, Jungle, Rave and Grime. My adopted home city of London has been a huge inspiration to how my music has evolved and progressed, and on What I Breathe I wanted to create a body of work which not only had something for everyone who has been with me the past 6 years, but also those who aren’t yet aware of what I’m about or the music I make.”
Jordon’s long-standing penchant for all things DIY blossoms in tracks like Lost In Harajuku and Without The Sun which feature his own original lyrics and vocals. As the album twists and weaves from one song to the next, gleaming melodies flare up into club-ready anthems such as Metaphysical and Breathing. The kinetic flow of the music as a whole can be attributed to the many years of cutting his teeth as a DJ, a skill that can be testified by anyone who has witnessed a Mall Grab set.

“As I was a DJ for many years before I delved into producing electronic music, I had a wide appreciation and love for all types of music, predominantly gravitating towards ‘band' music when creating my own projects, before evolving into a fully-fledged electronic producer – however always retaining the influence and love for all things live and genre-fluid.”

Even with a stack of very well-received projects already under his belt, What I Breathe can be seen as the first deep breath in and a fierce declaration of what’s to come for Mall Grab.

“I’m grateful for everything and everyone in my life, those I love and those who support my music, through all the ups and downs. I live and breathe this shit. I cannot do anything else. I will continue until there is nothing left for me to say.”

Jack's House Recordings favourite (Alex Arnout), is back with another 4 track solid EP. This is the 3rd EP with Alex signed to the label. Alex was the first artist to release on the imprint back in 2016 with sell out Confirmation Bias ep followed by the Sync Jam release and further productions on some of the Jacks Tracks VA series. This latest offering with the new Burn EP does not disappoint


This limited vinyl press offers 4 distinctive tracks showcasing Alex's ability and talent to seamlessly blend influences from different genres making his production unique creating his staple sound.


First up is Burn which kicks of with tough tech beats quickly followed by some punchy chords before it develops into a beautiful fusion of an energetic original tech house sound merged with what can only be described as a pure soulful touch with the vocal snippet which occasionally and simply sings the the title track lyric (Burn). You could describe it as Tech soul if that were a thing. Punchy, warm and energising with a touch of a romantic notion in there while maintaining the techy roots, you will have this on repeat.


2nd up is Tribespeople, which takes you into Alex's tougher side. Leading with a full on kick and rounded sound, it is perfectly suited for true underground dance floors at the height of their energy, or to wake it up, this track is made for the committed clubber that really likes to go for it ! The track is laced with subtle fills that will jog your memory and take you back to the original days of rave. This is pure underground bliss.


On the flip side, is the popular Punkadelic. This was originally released back in 2022 on Jacks Tracks VA Vol 5 alongside tracks from Terry Francis, Lex & Legit Trip. It was always intended to be a vinyl release, so by popular demand, it is finally going onto wax, where it deserves to be. Punkadelic is dark with a real techno vibe, but even in here, if you have a good ear, you can hear subtle touches of Jazz in the percussion, which yet again showcases Alex Arnout's unique talent to fuse elements of different genres in an especially classy way.


Last but by no means least, is a slightly different flavour with the track Recall. This is a slightly more laid back number, but still punchy with a good chug to it, and keeping within the sounds of the underground. Vocal snippets are spoken and broken throughout the track laced over some ghostly chords accompanied by swinging hats, claps and a fierce bassline.

Charlie Ingui a veteran blued eyed soul singer who formed the band The Soul Survivors In the 60's is back with a brand new single.

'Wake Up Old World' is a song about making the world a better place.

Charlie explains 'This has always been a theme in our songs inspired very much by our collaboration with Kenny Gamble and Leon Huff of Philadelphia International Records whose songs like "Love Train" and "Love Is The Message" had a positive and spiritually uplifting message.'

In 1967, Charlie Ingui formed the band The Soul Survivors. They scored a #2 record with Gamble and Huff' first major hit with the song "Express Way To Your Heart.' They were a bunch of hoods from The Lower East Side of New York.

They were part of the same scene in NY with The Rascals, Joey Dee and the Starlighters, The Soul Survivors, The Vanilla Fudge, and many other Blue Eyed Soul Bands that paved the way for folks like Hall and Oates.

Originally they were a trio and had a third singer, Kenny Jeramiah, who went on to have success in Atlantic City.

They went on to have several other great records. The first was in 1969 with Muscle Shoals producer. Rick Hall. The Swampers with Duane Allman played on that one. In 1974, Gamble and Huff got a custom CBS label – Philadelphia International Music and signed the Soul Survivors once again. They made a fantastic record with their amazing band, Charlie and Richie Ingui, John "Beedo"Dzubak The amazing Fred Beckmeier on bass. He was a major influence

Wake Up Old World is going to be the first side of a limited edition 7" vinyl to come on LRK Records.

Went straight in at num one in the UK soul breakers

Spun on all the indie soul stations like starpoint, solar etc

Record Kicks presents "Brothers & Sisters / This is You" a limited edition 45 from Gospel-soul sensational Michelle David & The True-Tones forthcoming album. The 45 is limited to 500 copies on clear transparent vinyl.

This "double-sider" 45 features on the A side "Brothers And Sisters", the first single and title track of the upcoming album, a Marvin Gayesque uptight 70 soul stormer able to set every dancefloor on fire. The B-side is no exception with the blue-eyed soul stomper "This Is You".

The awaited album follows their 2022 full length "Truth & Soul", which was named one of the Albums of the Year at BBC Radio 6. Raised in New York in a church, Michelle David started singing at the age of four and joined her first group, The Mission of Love, when she was five. During her career, she toured the world with Broadway musical "Mama", contributed to successful theatre shows such as "The Sound of Motown", "Glory of Gospel" and "Mahalia" and recorded for artists such as Diana Ross and Michael Bolton. This all happened before releasingsix critically acclaimed gospel-infused albums with the True-Tones.

Michelle David & The True-Tones know how to put on a glowing evening of classic soul. With their upbeat grooves, powerful vocals, and strong melodies, they have already conquered many festivals and numerous clubs. Having played renowned Dutch festivals such as Pinkpop and North Sea Jazz, the band toured from Spain to Scandinavia, leaving memorable impressions wherever they play; delivering an unforgettable live experience. In addition, the band's discography has also been praised; receiving an Edison nomination (the Dutch Grammy), while their previous record "Truth & Soul" was named Album of the Month on FIP radio in France and Album of the Year at Craig Charles' BBC Radio 6 Music show. The group did numerous radio and TV performances and were even invited to play their music on the biggest National TV show during the Winter Olympics 2022.

New edits label from the Deep&Disco crew outta NYC. 2 Killer cuts given a revamp and shine for the dancefloor.

Pressed on heavy weight 180g vinyl limited to 300 pressings hand stamped.
DJ FEEDBACK

Craig Smith (6th Borough Project) - Lovely edits, well produced and expertly put together. Good luck with the label chaps

Guy (Sleazy Beats, Monsieur Monod) - What a delightful debut for your new label. Feel The Rhythm is an irresistable boogie groover. We'll be playing these puppies all over the place! All the best with the release and label.

aliOOFT (OOFT! Music) - Being playing this for ages, good to see it being released. Best of luck with the label - I look forward to more Razor N Tape jams!

Sleazy McQueen (Whisky Disco) - Dig it, man!

Onur Engin (OE Edits) - Nice one! I'll definitely support this.

Jimpster (Freerange) - Nicely done. always a good one to have in the bag. cheers for the good edits.

Trujillo (Apersonal Music) - So Tight is a dope warm disco for the dance floor!, will spin it!

The Glue (Kolour) - Great edits both of them, we will keep an eye out for more stuff from you guys for sure!

Leftside Wobble (Futureboogie) - A pair of filtered boogie beauties.

Alkalino (Much Love) - Like both, but "Feel the Rhythm" is my fav.cheers!

Matthew Bandy (Z Records) - Solid edits here, will be getting support on both from me. Cheers.

Sell by Dave (Bedmo Disco, Juno Plus) - Excellent first release lads - enjoying both tracks. The edits scene needs some fresh cuts/styles, and you've delivered on these. Major props - can see both getting plenty of plays in Bedmo Disco sets this summer x

Daz (Get Down Edits) - So Tight never fails but this is my first time hearing Feel The Rhythm & cant wait to play it out its sounds excellent, have a gig @ Disco Deviance this sat & cant wait to play these at it :)

Mike W (Kolour Recordings) - Been looking forward to RNT001 and it does not disappoint one bit! edits that drip with funk & soul .. just like they should. got a nice batch of gigs in the pipes and these will definitely be seeing their way into my rotation as well as the full gambit of chart support! cheers j. kriv & aaron dae .. got yourselves off to a nice & tidy start .. best of returns to ya!

Nelue (Groove Democracy) - Both sound great!

South West Seven (SWS Music) - Love it!

Kid Color (Dollar Disco) - Slammin' work if I could say so myself!

The Beat Broker (Flexx) - So Tight is exactly that. Killer unstoppable groove. Love it!

Pastime Paradise, first released by Stevie Wonder in 1976 got a new lease of life when sampled by Coolio on his Grammy Award winning Gangsta’s Paradise. It has also over the years been covered by Patti Smith as well as our fave version, courtesy of Latin percussionist Ray Barretto. First released on CTI in 1981, to this day it remains a staple for both the jazz and soul rooms. Never before released on a 12 inch, Major Keys continue their fine form with this extended floor filler that will appeal to DJ’s and collectors alike. It also flips it with La Cuna and Mambotango taken from the same 1981 LP. This is a special EP and one that you will want for your collection.