4 monstruous tracks straight from the basement feat. one of the original house music creator RON HARDY. All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.
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4 monstruous tracks straight from the basement feat. one of the original house music creator RON HARDY. All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.
More

4 monstruous tracks straight from the basement feat. one of the original house music creator RON HARDY. All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.
More

Born from the friendship between Luke Solomon and Derrick Carter, Classic is above all else a family label. Creating a platform for artists to satisfy their artistic intentions with left-of-centre house creations, this release sees Classic return to its vinyl-only beginnings for Volume VIII of its 12” Label Sampler series. Kicking off the A-side, Classic co-founder Luke Solomon, Amy Douglas & Queen Rose deliver ‘Love. Hope. Happiness’, a joyous boogie-filled track destined to uplift listeners. Jansons’ ‘Less Ordinary’ follows featuring Liz Cass’ uniquely hypnotic vocal, with a devilishly deep bassline providing boundless dancefloor appeal. On the flip, Scotsman Austin Ato’s groove filled track ‘Heat’ opens, featuring choppy guitar riffs and a soulful vocal, this record radiates good energy. Wrapping up the sampler is Jaden Thompson’s ‘To The Light’ with warm synths and a gloriously deep bassline sure to captivate its listeners. This sampler is the perfect dose of Classic’s signature grooves that are always full of character, and with all tracks previously unavailable on 12” is not one to be missed. TRACK LISTING :A1. Luke Solomon featuring Amy Douglas & Queen Rose - Love. Hope. Happiness (Extended Happiness Mix)
, A2. Jansons & Liz Cass - Less Ordinary (Deep Mix), B1. Austin Ato - Heat (Extended Mix), B2. Jaden Thompson -To The Light (Extended Mix) More

Mythical status for those rare disco tracks & heavy in demand 12 inches (prices between EUR 100 to EUR 400 minimum !!!)
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Mythical status for those rare disco tracks & heavy in demand 12 inches (prices between EUR 100 to EUR 400 minimum !!!)
More

Mythical status for those rare disco tracks & heavy in demand 12 inches (prices between EUR 100 to EUR 400 minimum !!!)

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Mythical status for those rare disco tracks & heavy in demand 12 inches (prices between EUR 100 to EUR 400 minimum !!!)

More

Mythical status for those rare disco tracks & heavy in demand 12 inches (prices between EUR 100 to EUR 400 minimum !!!)

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Electro-boogie-machine 'Straight Line' is taken from 'Cool Cool', the upcoming third album by British multi-hyphenate James Alexander Bright. "'Straight Line' started out as a wonky homage to 80s & 90s radio", says James. "It's based on the memory of meeting someone you want to stay up all night listening to music with". James' passionate voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead over a melange of body-popping LinnDrum beats, a host of swooping, fuzzy synths, and backseat-rocking bass. Initially written and recorded at his home studio in the rolling hills of the Hampshire countryside, 'Straight Line' was completed with regular collaborator Peter Lyons in East London. It's backed on 7" vinyl with the wonky dancefloor wobbler 'Oh My', sounding something like Theo Parrish producing Arthur Russell after a sleepless night.
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This month we have three beautifully pressed mostly unreleased Ike Noble 45s with o.g style silver Ink overprinted labels, they look just

Side A on this 45 is a killer previously unreleased cover of James Brown's classic "Money Wont Change You" stepping up the pressure with The Uptight's on backing smashing it out the part, it probably outdoes the JB version.

On the flip, it's Big Boy/Girl ballad time. Stunning unreleased deep soul. Sweet Deep soul heads will hoover this up so be quick. More

This month we have three beautifully pressed mostly unreleased Ike Noble 45s with o.g style silver Ink overprinted labels, they look just

On side A we have the only previously released (but very rare) track on these three 45s. A brilliant, mid-tempo soul chugger that falls between Syl Johnson and James Brown, undeniable, how this did not blow up at the time is beyond comprehension.

On the flip, it is Deep Soul time again with a version of 'Best of Luck to You', also recorded by Sam baker and Earl Gaines, but easily toping both. More

This month we have three beautifully pressed mostly unreleased Ike Noble 45s with o.g style silver Ink overprinted labels, they look just

On side-A we have the only previously released (but very rare) track on these three 45s. A brilliant, mid-tempo soul chugger that falls between Syl Johnson and James Brown, undeniable, how this did not blow up at the time is beyond comprehension.

On the flip, HUGE deepsoul anthem 'Look a Little Higher' was release at the time but is mad rare, again a hit that never made it. Solid Gold! More

A rare but unknown modern soul dancer from band Premonition or Premonitions depending on what release they put out. The A side is well written proto disco dancer, it's no wonder collectors have been calling begging for the TPs on this , as nobody can find an original (my copy is beat to death).

I actually really dig the sweet soul flip, its almost to cheesy but walks the edge well, and has some great rising moments if that's your bag (which is should be).

500 Only More

Modern soul / disco royalty, written by the talented Mark Beiner and co-writer Ben Iverson about Marks x girlfriend. It is up there with the best modern floaters in the game. I still remember the first time I Heard this on the dancefloor at Prestatyn soul weekender (I cannot remember who played it), I set out on a mission to get myself a copy which failed miserably at every turn. Many years later I finnaly met Mark, he had done a great job looking after the tapes and all the epherma surrounding the band after Ben has passed away.

On the flip, an early new york rap 45 by the band, previously unreleased on vinyl (we did do it digitally with the LP). More

The rarest and best genuinely outsider soul 45 to come out of America (I know that's a controversial shout), Lee Tracy's super rare single outing from the outskirts of Nashville is a dream of something bigger that never came in time for him. A beautiful, haunting song cut to cassette with help from his friend Isaac Manning (on the Casio). Flipped with an almost unrecognizable version of Whitney Houston's hit "Saving All My Love For You" which stands all tall as what was the original B-Side. Beyond essential cut of outside soul. More

Multi-hyphenate artist James Alexander Bright releases soulfully tender paean to romance 'Fall For You', backed with urgent funker 'Viper Flames'. This new music heralds James' third solo album, currently being recorded and mixed, which is planned for release via Athens of the North mid 2024.On 'Fall For You' James says "You know when you've loved, to love is a magical thing. Whether it's an experience, an object, or a person; we've all loved and lost. The senses, vibration and elements have a wondrous strength and power. Love is the most powerful of all." Following the release of !K7 debut album 'Headroom' ("Blissful choruses, sweetly nagging refrains and a lo-fi sensibility. Hard not to love" Mojo), James featured on Groove Armada's album 'Edge Of The Horizon', contributed 'Under The Sun' to the Too Slow To Disco: The Sunset Manifesto compilation and released single 'It's Alright' with Feiertag. His second album, the joyous 'Float' ("Vivid intermingling of buoyant breakbeat drum loops, sunkissed psychedelic folk song, retrofuturist synthesisers and hot buttered British soul" Test Pressing), was released in July 2022 with singles 'Drink This Water', 'Wheels Keep Turning' and 'Sundown' feat Fink paving the way. This was followed in early 2023 by 'Mirage In The Mojave' ("One hundred percent proof dancefloor ready" Louder Than War), an album of collaborations and reworks with cosmic Americana-disco DJ/producer duo Flying Mojito Bros. On radio his tracks have been played across BBC 6 Music (where he's recorded guest mixes for Tom Ravenscroft and Huey Morgan), Amazing Radio, Bandcamp Weekly, Worldwide FM, Soho Radio, KCRW, Triple J and BBC Solent (who chose his track 'Tigers Roar' to soundtrack Portsmouth FC's 2019 journey to Wembley – awkwardly James is a Saints fan). A new project with Groove Armada's Tom Findlay as Bright & Findlay - married around their shared love of machine-led funk, outsider soul, 70s-80s nautica and 21st century basement disco - was released via Athens of the North in summer 2023. Solid tastemaker support included BBC 6 Music's Gilles Peterson, who included 'Slow Dance' amongst his tracks of the year, and Huey Morgan, for whom the duo recorded a Block Party mix. More

Every now and again, a record carves itself an indelible place in the history of a place, a scene or a genre, all under its own steam – without a big budget, without a press campaign, without mainstream radio, just by hitting all the right notes at the right moment. Maybe you had to have been there to really feel it – locked into the pirate stations, a regular at the right clubs, or leaning on the counter in the right records shops on a Saturday afternoon – but if you were, there are some tunes that will always vibrate with the underground cultural energy of their time. Bô'vel's 1996 Manchester streetsoul anthem 'Check 4 U' is one of those tunes. The kind of song that makes the over-used phrase 'underground classic' mean something again, it effortlessly distills the sounds of its era into one of the most undeniable, genre-spanning cuts of the mid-1990s. The song resonates with the regional flavours of UK sound-system culture: the sweet club sound of Manchester's vibrant streetsoul scene, the dubwise hip-hop throb of the Bristol movement, and the bass-lore of the reggae sound systems whose wisdom stretched from Leeds to South London and beyond. Built around a humid kick drum and a bin-busting bass pulse arranged in head-nodding syncopation, the song is blessed with an instantly memorable harmonised hook, and perfectly set off by Bô'vel's crystalline vocals. Upful, stepping and tinged with melancholy, it remains one of the most well-loved and highly sought-after UK streetsoul sides. The three mixes of 'Check 4 U' appeared as the a-side of a blank-label five-track 12". It was Bô'vel's second release, after a soulful five-track EP issued in 1995 on her own Bô'vel Records had been a surprise success. Produced by Kev Waddington, that initial record had come about almost by accident after a chance encounter in Manchester's HQ Studios, as Bô'vel recalls today: 'We were making these five tracks because we were having bit of an argument with radio not being able to play what they wanted, really, only what the record labels wanted… they never had anybody coming through properly, because everything was pretty much underground. We were making records, like really pop stuff, to take the piss… So in the studio one day, this guy came in – all I know is that his was name was Nigel. And he came in and said, I want to put that five-track EP out with you. We just don't know who the hell he was to this day, really. And he said, you've got to do it 50/50, it's going to be £1000. So I said okay – I just trusted him. I gave him 500 quid. He gave me 1000 records. He just dropped them at the studio. I picked them up and then I went into Manchester city centre and gave it to a couple of DJs on underground radio.' Pirate radio loved it. With play on stalwart Manchester pirates like Buzz FM and Soul Nation, the EP immediately blew up. Bô'vel took the record into Fat City Records, Manchester's premier outlet and distributor for soul, hip-hop and dance, who took a batch, quickly sold out and took several hundred more copies; it eventually transpired that a large quantity were selling to Japan, where the combination of soul smarts and classy production had been caught by discerning ears. Elsewhere, friends distributed the record by hand in London and Birmingham, working them through UK's then burgeoning network of independent dance music shops. The warm reception the record received encouraged Bo'vel to return to the studio for sessions that would become 'Check 4 U'. The EP had been issued under a Bô'vel Records imprint, but she had sold it to Fat City without disclosing that she was the artist – 'I said, "There's this singer, she's great, she's done this cheesy stuff, try it, it's a bit Kylie Minogue". He said "oh, give us 300", and then he had some more.' For the next release, she decided to keep things completely minimal. 'The next one, I said, right, let's just put it out as a white label, and if people like it they like it, they don't have to see who we are or anything.' Though punitive legislation and overexposure had tamed rave culture, and the inflated status of superstar DJs had pushed once underground scenes fully into the mainstream, dance music culture in mid-1990s Britain still retained a certain feral energy. There was still a groundswell of vital local scenes and rapidly changing musical styles, and – combined with local record shops – clubs and pirate radio were still the chief arbiters of influence. 'In the 90s, pirate radio just played the best music. I mean, you couldn't really get music like that anywhere. The same as you couldn't get music like that [being played] in the Reno, which was very different,' remembers Bô'vel, referring to the legendary Moss Side soul club, an underground institution from 1962 until its closure in 1986. 'That's where music really started for me, going to clubs like the Reno at the age 15, 16, 17, and going to places like the Nile [upstairs from the Reno], which was all reggae, you know – that's really where the beats came for me.' The production on the new record would reflect these influences more than the EP had been able too. 'I liked a big bassline,' the singer reflects. 'There's a big bassline there on the five-track EP, 'I Can't Get By', which is a really, really good song, but they just could not get the bass – I was so gutted when that came back…if they'd have shown us the master we'd have said no.' These problems were to be avoided on 'Check 4 U' by the involvement of producer Uriah Gale. 'We already had the tune, and Uriah came on board, and I said, it's just not soulful enough. I was working with Kev Waddington, and he said "I just can't do it." So when Uriah came along, the bass was there, but he tidied it all up and made it really cool, and he was tremendous on the harmony,' she recalls. 'Out of all the mixes, his was the best. He was incredible to work with, and also incredibly talented. With alternate mixes of 'Life Changes You' from the 1995 EP as the b-side, 'Check 4 U' was issued with blank blue labels and sent out with a DJ one-sheet describing Bô'vel as 'Manchester's favourite soul Diva'. 2000 copies were pressed, and the record was distributed by Jetstar. It quickly became another pirate radio hit. 'Soul Nation and Buzz FM did support me from the very start [along with] every single DJ on Manchester radio,' she recalls, 'They're my biggest fans, the DJs here, I've got to big them up!' Manchester's support was mirrored by pirates around the UK. 'We had the support of radios across the country – I just could not believe it. So we went on a tour… We would go to the pirate stations, do an interview, then do a gig – that's how the gigging came about… gigging in Birmingham, Huddersfield, Liverpool, London – I've got so much respect for the pirate radios down there. They were brilliant… We used to take all my stuff straight to London,' she remembers. 'Each radio was doing pretty much the same thing, in their own style, with their own beats. Like, when I went down to Bristol, I showed them the EP and 'I Check 4 U' and they said, hey girl, you've got the Bristol beat!' But her core audience was at home in Manchester. 'London did support me a lot, but not like my home town – they loved me as I love them… Manchester supported me through and through, to this very day,' she remembers. Performing in mid-1990s Manchester was not always straightforward, though: 'In Manchester, it was kind of hard to do gigs, because there was a bit of gang warfare. So, you know, that was a problem. You'd be doing a gig and they'd all be there in their [bulletproof] vests, you know, Cheetham Hill and Moss Side, and it was a bit of a nightmare. And because I was more Manchester side, even though I went to school in Cheetham Hill, I was with a guy from Moss Side. So it was pretty hard gigging in Manchester, I had a bit of a hard time.' Nevertheless, 'my gigs were packed to the rafters…I wasn't scared because I knew I had protection. The gigs were fantastic, here in Manchester and everywhere, and I'm glad and very grateful to be able to say that.' A further single followed – the garage-flavoured 'Earthling', made with producer Ben Stansfield – but this would be her final release. 'My life changed,' she remembers. 'I had a split… I was just bringing my daughter up. I used to live in the countryside, and I was having a bit of a different life… I just spent a lot of time writing when I split up – I couldn't sing, it was like my voice wouldn't work. I was just thinking all the time, and not speaking. So I was just speaking through my music… I just became a writer, and I was more looking for other people to sing the [songs], you know? Because there's a lot of talent here in Manchester.' However, she retained access to a studio, and over time she began to record again, working with various producers and amassing a large amount of material. It is this unreleased material that we collect on Life Changes – nine unheard Bô'vel songs from the period 1997-2008(dates?), selected from her own archive. Until now, none of this unreleased work has been heard. Not an artist to be constrained by genre, the music showcases Bô'vel's exploration of a wide range of styles, from the dubbed-out downtempo of 'My Man' or 'I Wanna Be Free' to the updated streetsoul of 'Let Down And Liar', via the breakbeat hype of 'Do It Your Way' and the straight-ahead reggae vibe of 'Daydreamer'. This unreleased music is presented alongside the unfadeable 'I Check 4 U' and two classic streetsoul cuts from her 1995 EP, 'Life Changes You' and 'Coming Back'. The common denominator across the album is of course Bô'vel herself: a singer of rare timbral clarity whose musical vision has determined the sound of every record she has made, a prolific and personal song-writer in the UK soul tradition, and the artist behind one of the most celebrated underground soul tunes of the pirate radio era. Still most definitely someone to check for. More

Brilliant rough and funky two sider from Charles Barnwell's band The Funnybone express. A very obscure deepfunk spin with that splash of modern sound that was so appreciated at the time (I can't actually remember whether it was Ian or Keb that first played this). It has remained an extremely rare and sought after slab of wax and this limited run of 500 will serve to sort out the heads that know the score. Big up DJ Mr Big Happy (check out his NTS show) and Daniel Mathis (Check his show Reachin' Out on WYXR) for helping unearth this rare banger. More

When Ben White was 25 years old Eddy Bongo Brown of the Funk Brothers brought him to Motown to play with Marvin Gay, 5 years later he recorded this single 'I would have to be a fool' and released it himself. Ben comes from a long line of musicians in his family, his cousins are Cab Calloway and Otis Redding. Over the years he sessioned for Marvin Gay, Bloodstone, Carl Carlton, High Energy, Harold Johnson, J.W. Alexander, Richard T & The Salsoul Orchestra Unfortunately, as is often the case, children came along and Ben moved away from music, this and forthcoming AOTN single 'Give Me Love' were his only solo recordings unless we can find the tapes of his lost LP further down the line. More

Amazing floaty modern soul / disco goodness out of late 70s Queens, NY. 'Love Is The Same' two brilliant and different versions, both dancefloor fire… Mark Beiner met Ben Iverson in 1976 when I was 17 years old, at the time he was a junior at Newtown High School in Elmhurst, Queens. Mark had taken a part time job as a Produce Clerk at Walbaum's Supermarket on Northern Boulevard in Jackson Heights, Queens, where I met Ben Iverson, the "Frozen Food Manager." Back then Mark remembers, 'I was going to work early just to talk to him about his musical background and his time spent in the 50's and 60's with the Ohio Doo Wop Group, "The Hornets", or better known as, "Ben Iverson and The Hornets."' In 1978 after Ben and I discussed getting together and composing music, I started writing poetry and expressing in writing my break-up with my college girlfriend, Paula. Ben and Mark went on to writing two albums worth of material, which in turn gave us a lot of time and presence on stage at our live gigs. The regular Coast to Coast Band members consisted of Ben Iverson on Lead Vocals, Rhythm Guitarist and Co-Executive Producer, Joe Crowley, who is known today as "New York Congressman Joe Crowley." Carl (Woody Wood) Morton on Bass Guitar, Jimmy Johnson on Keyboards. Lead Guitarist, Lou Jimenez, currently owns his own recording studio, Music Labs in Elmont, Long Island. On Drums, Eddie Byam, on Alto Sax, Jay Cohen, who in the 70's used to record for "Gary U.S. Bonds." Gary Pevols on Trumpet. On Bone, Scott Burrows, Trumpet player, Steve Becker, along side Neil Levine, Stan Stockley, Tom Russo. More

We love to just try things at Athens of the North and when Clara and Theo (one of our PR friends) were chilling with us at pikes one evening it came up in conversation that Theo has a lovely singing voice and fancied having a spin in the studio. Roll on a month later, and they were home in Edinburgh, and we threw ourselves into a couple of days of experimenting, this little electro floater we were all super pleased with came out of the session. Tonight is a super late night CR78 drum machine mashed work out with a Theo's floaty falsetto smashing out the park, we flipped the OG with a brilliant dubbed out mix that's not to be slept on either. More

Leonard Grandsons'The Sands of Zanziibar' is a classy, extremely rare floater which has remained extremely elusive despite having a sound which could make it an extremely popular spin for soulies, disco and rare groove heads. Steve Trebbin believes it was recorded in 1977, the studio was in Hollywood not far from the Capitol Records building, Tal Armstrong's office was next to it. Steve recalls a story, "I went into the Capital records offices one time to pitch Leonard to them. I mentioned how much he sounded like Stevie Wonder. After listening, they agreed he sounded very much like Stevie - with a smile they told me they already had one.". Big thanks to Daniel Mathis and DJ Mr Big Happy for helping track down Steve. More

Over the past few years, London based DJ and curator Sam Don has shone new light into the Reggae sub-genre of Lovers Rock with his comps 'For the love of You'. His deep, yet deeply accessible selections have opened the ears of many to the genre. With this new compilation 'Just A Touch' Sam shines his torch even deeper, this time through crates of UK Underground Soul. He painstakingly researched and tracking down each producer to bring you some of the sweetest soul cuts that will ever grace your eardrums. Sam Don explains: Whilst the US is most well-known for soul music, the UK has created its own take on the genre, due to the melting pot of cultures and musical styles that makes the UK so special. I didn't 'set out' to make a compilation like this, but one night an idea came to me, and I sketched it out at home with my record collection. When I saw how well these sounds came together, I started my mission to find the people involved with them and 'Just A Touch' was created. More

Absolute smasher of a two-sider 45 out of Waycross Georgia. The 45 was licenced from original band member Michael George & Tim Gillans with help from DJ MR Big Happy & Daniel Mathes. We flipped the sides for the re-issue, the A side now being the more uptempo. 'What About Love' is a melodic spacey floater (you know I'm a fan already) with a brilliant vocal and top sax break. On the flip, 'Dream of a lady' is an absolute killer downtempo floater, I can't stress enough not to sleep on this side, it's a textural dreamy wond More

Athens of the North is very proud to present this insanely rare Georgia rarity (I have never seen a copy of the original vinyl) 'You Can Tell Me Goodbye' by Bernetia Miller. Itwas recorded in Phil Walden's studio (Capricorn Records) in Macon, Georgia. Bernetia remembers a many takes and hard work before they were happy with the record. The Soul Groovers toured extensively, they even had their own little tour bus. The Reissue is taken from the master tapes which Bernetia has held onto for all these years and from whom ewe licenced this single directly More

So after a an unfortunate dispute on the Sonia track, we decided to repress this with a .1 to be sure and distinguish the releases as well as a rather nice replacement track from Byron Walker & Sandra Edwards We enjoyed comping Volume one so much and had such a positive response, we went right onto producing For the Love Of You Volume 2.1 Having bumped this in the car for months I can assure you Sam's selection here probably betters the first. Again it is strictly soul covers featuring interpretations of Grover Washington Jr., Midnight Star, Meli'sa Morgan and Simply Red and loads more. Its been great working with Sam brining attention to such a wonderful UK music scene and we both would like to thank all the artists and producers who went the extra mile to make this happen…The end of 2022 just got a bit sweeter. More

Ylia—aka Susana Hernández—had a remarkably productive 2020. In addition to releasing her debut album, Dulce Rendición, on Barcelona’s Paralaxe Editions, she penned compilation tracks for Lapsus Records, Hivern Discs, and Super Utu/Stars on Earth.

But professional success can be deceiving: The following year was, personally speaking, terrible. Her grandfather died. Her father died. Her cat died. And she ended a relationship. “That’s a lot of things all at once, no?” she says.

Her second album, Ame Agaru, is not necessarily a record of that year, but it is, she says, a response to those life events—a record of grief.

The new album is clearly a continuation of the ambient investigations of Ylia’s debut, but it differs in key ways. Where Dulce Rendición was exploratory and faintly cosmic, Ame Agaru—a Japanese phrase meaning, roughly, “the rain lifts”— captures a melancholy sense of stillness. And where her debut was largely electronic, on the new album, Ylia has folded in a number of acoustic elements, even when they are not recognizable as such. Her partner, Alejandro Lévar, lends fingerpicked acoustic guitar to the glowing dronescapes of “Todos los Cuerpos”; multi-instrumentalist and bandleader Tete Leal adds flutes, clarinet, and soprano saxophone to “Ame Agari”—or “after the rain”—which opens the album with a moment of contemplative calm, the kind that follows an extended deluge.

One track, the dub techno-influenced “Flowers in June,” grew out of Ylia’s live sets, but the rest are the fruit of improvisational sessions at home in Málaga, five minutes from the beach—jamming and then refining, searching for the ideal expression of a feeling as it was first captured. Searching for the spontaneity behind the stillness. In places, Ylia even incorporates piano, an instrument she has played since she was 10, yet has never included on one of her recordings before. For the most part on Ame Agaru, she seeks ways to fuse piano with synthesizers and electronic processes. But on the closing track, “El Único Adiós Posible,” she leaves us alone with the instrument in all its stark, unadorned beauty. It is a profoundly moving conclusion to an album defined by its economy of means and purity of expression: a cycle More

Rare late 80s reggae/dancehall heat coming yet again on DINTE sub-label 333. This time it's the turn of Hugh Maddo's Pop Style LP. Recorded in Jamaica at Byron Lee's Dynamics & Herman Chin-Loy's Aquarius studios for the Bronx-based Jamaazima label in 1987, it is issued here under license from co-producer and label owner, Nami Harmon. The record features a host of celebrated and renowned musicians incl. Winston Wright, Bobby Ellis, Carlton "Santa" Davis, Dwight Pinkney, Willie Lindo and Mikey "Boo" Richards amongst many others - alongside the sublime vocals of Killamanjaro's Hugh Maddo aka UU Madoo. A must. More

With Pharoah Sanders’ blessing, we present the definitive, remastered version of PHAROAH, his seminal record from 1977, in an embossed 2 LP box set. Alongside the original record, we’re including two previously unreleased live performances of his masterpiece, “Harvest Time," and a 24-page booklet with rarely seen photographs and ephemera, which tell the story of this album and this moment in Pharoah’s life in a way that has never been done before—including through interviews with many of the participants and a conversation with Pharoah himself.

For those of you who already know this record, then you know that its origin story is as elusive as Pharoah was about everything Pharoah. It was born out of a misunderstanding between him and the India Navigation producer Bob Cummins, and was recorded when he was at a crossroads in his career with an unlikely crew. Among them was a guitarist who was also a spiritual guru, an organist who would go on to co-write and produce “The Message,” and a classically trained pianist—his wife at the time, Bedria Sanders—who played the harmonium despite never having seen one. At times ambient and serene, at others funky and modal, PHAROAH radically departed from his earlier work. And it became beloved.



Tracklist:

Pharoah

A1. Harvest Time
B1. Love Will Find a Way
B2. Memories of Edith Johnson

Harvest Time Live 1977

C1. Harvest Time Live – Version 1
D1. Harvest Time Live – Version 2 More

Death Is Not The End's 333 sub-label drops a much needed reissue of Rupie Dan's My Black Race 12" from 1982. A huge Shaka selection featuring one of the heaviest dubs available from this era of UK roots production. Originally written and produced by Rupie for his Flag Records label, with engineering from Tony Addis (later of Addis Posse and the Warriors Dance label). More

Repress!

Two luscious soul/folk/psychedelic funk crossover jams from LA born Shuggie Otis on Epic, reissued and remastered 45 years after their first release.

Shuggie's trademark soul-laden tones marry with dusty organs and strutting funk guitars to give two blissful slices of '70s gold. A collectable 7 Inch, remastered, reissued and finally available at a respectful price.

Large / dinked centre hole. More