1
Amajika - Got My Magic Working
2
Amajika - Tomati So
3
Esa's Afro-Synth Band - Got My Magic Working (Dub Mix)
Heavy South African cut, unearthed by Dene from LCT, All about the massive title track ''Got My Magic Working''... Phat bassline, machinegun claps dipped in acid!
The origins of Amajika is a tale of two worlds colliding at the perfect moment and begin in KwaMushu Township outside Durban. Here would be where a young Tu Nokwe would set up a school to help teach other aspiring youngsters like herself in music, dance and acting. This would become known as the Amajika Youth and Children’s Art Project and would be run from the Nokwe home, a common hangout for artists at the time. Some boast 2000+ pupils going through this program while others claim it wasn’t more than a backyard dance group, but for the lucky group of kids that were members in the mid 80s it would be their chance at stardom.
It was during these years that a young aspiring playwright and musician Mbongeni Ngema had come across Tu and her group of gifted youngsters at the Nokwe family home. Although he was touring extensively at the time with the plays Woza Albert and Asinamali, the latter which eventually ended up on broadway, he would spend any time off from the tour with Tu and her dance troop. After being inspired by the American group New Edition, Mbongeni envisioned Amajika as the South African answer and decided to bankroll a studio session.
The session would take place in a private studio in Durban.The release of the first single would follow very shortly. The lead track, Tomati-So is a fun swinging groove over some basic programmed drums. The song is dedicated to Tu Nokwe sings of her unique style and kind heart. On his next tour Mbongeni would take the remaining masters with him to the US and had the track remixed. Although it never materialized in a release States side he did return with the remixed tape and release it in South Africa the following year. Much like Tomato So the song was an ode and would be dedicated to the man who was making all their dreams come true. Got My Magic Working sings of going overseas and being a star on Broadway and TV and the man who is making it all happen. All these true predictions are sung on top of a groovy acid bass by a clearly matured troop of artists.
During these years of working with Amajika, Mbongeni became very impressed with the exceeding talent of one of the members and decided to cast her in his upcoming musical Sarafina. The other children also wanted to be a part of the Broadway show but not everyone would get a role. This would be the end of Amajika as the next years would be dedicated to creating success on the musical stage. The growing kids that formed Amajika became young adults and pursued their own careers after the fact. Tu Nokwe would leave the country to return years later as the wife of Shaka Zulu on the big screen. To this day she is still very active both on stage and screen while Mbongeni is still writing and adding to the South African Musical Theatre catalog.
Fast forward 30 years from the original release to a smokey club where ESA hears Got My Magic Working played by Rush Hours Store’s own Bonnefooi. Instantly he inquires about the track from his homeland and feels it a perfect addition the repertoire of the Afro Synth band he is quietly cooking up. The band’s instrumental take ended up as the B side on a mysterious and limited white label released by Rush Hour in early 2020 but quickly sold out.
Here you have compiled the two title tracks from original Amajika singles along with the instrumental version by ESA’s Afro Synth Band for The complete Amajika experience, past to present. More
The origins of Amajika is a tale of two worlds colliding at the perfect moment and begin in KwaMushu Township outside Durban. Here would be where a young Tu Nokwe would set up a school to help teach other aspiring youngsters like herself in music, dance and acting. This would become known as the Amajika Youth and Children’s Art Project and would be run from the Nokwe home, a common hangout for artists at the time. Some boast 2000+ pupils going through this program while others claim it wasn’t more than a backyard dance group, but for the lucky group of kids that were members in the mid 80s it would be their chance at stardom.
It was during these years that a young aspiring playwright and musician Mbongeni Ngema had come across Tu and her group of gifted youngsters at the Nokwe family home. Although he was touring extensively at the time with the plays Woza Albert and Asinamali, the latter which eventually ended up on broadway, he would spend any time off from the tour with Tu and her dance troop. After being inspired by the American group New Edition, Mbongeni envisioned Amajika as the South African answer and decided to bankroll a studio session.
The session would take place in a private studio in Durban.The release of the first single would follow very shortly. The lead track, Tomati-So is a fun swinging groove over some basic programmed drums. The song is dedicated to Tu Nokwe sings of her unique style and kind heart. On his next tour Mbongeni would take the remaining masters with him to the US and had the track remixed. Although it never materialized in a release States side he did return with the remixed tape and release it in South Africa the following year. Much like Tomato So the song was an ode and would be dedicated to the man who was making all their dreams come true. Got My Magic Working sings of going overseas and being a star on Broadway and TV and the man who is making it all happen. All these true predictions are sung on top of a groovy acid bass by a clearly matured troop of artists.
During these years of working with Amajika, Mbongeni became very impressed with the exceeding talent of one of the members and decided to cast her in his upcoming musical Sarafina. The other children also wanted to be a part of the Broadway show but not everyone would get a role. This would be the end of Amajika as the next years would be dedicated to creating success on the musical stage. The growing kids that formed Amajika became young adults and pursued their own careers after the fact. Tu Nokwe would leave the country to return years later as the wife of Shaka Zulu on the big screen. To this day she is still very active both on stage and screen while Mbongeni is still writing and adding to the South African Musical Theatre catalog.
Fast forward 30 years from the original release to a smokey club where ESA hears Got My Magic Working played by Rush Hours Store’s own Bonnefooi. Instantly he inquires about the track from his homeland and feels it a perfect addition the repertoire of the Afro Synth band he is quietly cooking up. The band’s instrumental take ended up as the B side on a mysterious and limited white label released by Rush Hour in early 2020 but quickly sold out.
Here you have compiled the two title tracks from original Amajika singles along with the instrumental version by ESA’s Afro Synth Band for The complete Amajika experience, past to present. More
More records from La Casa Tropical
1
Vumani - Isiqedakoma
2
Vumani - Guy Fawkes
3
Vumani - Banana Kar
4
Vumani - I Can Play
5
Vumani - Midnight Express
6
Vumani - Cheater
7
Vumani - Black Mampatile
Not much is known about the mysterious pop sensation Vumani or his short musical career. Originally from KwaZulu Natal he made his way to Johannesburg in the mid 80’s to follow his dream of becoming a recording artist. He was able to make that dream come true when talent scouts from Decibel Music came across the charismatic youngster. At the time Decibel was still a small fish trying to make waves and the label believed in Vumani they had found the star they were looking for. Being a label with mostly groups signed to the catalog they needed a Front Man to push into the growing demand for Solo Artists that were dominating the airwaves and catching the hearts of youngsters.
Up to this point Decibel had one major hit record. In 1986 they released a single by an artist named David Thanzwane. The music was a direct rip off of the first hit Single by Shangaan Disco pioneer Paul Ndlovu. Copying the music of both sides of the original single the “covers” offered different lyrics and hooks also sung in xiTsonga. This was enough to trick the masses and the single led to record sales for the small label. The unintentional outcome of the single was that from then on the producers and label had one sound they wanted to pump out in hopes of recreating that magic. This desire to create another Shangaan Disco hit would be the backbone of the Vumani sound and what makes his music so special and collectable after all these years.
That same year Vumani would release two Singles, Black Mampatile and Guy Fawkes. Musically these playful and fun singles would have great appeal to youngsters as they sung of daily life in the Townships. Black Mampatile being a game of Hide and Seek, Banana Kari referring to the trucks that would go around the Township exchanging chips and snacks for glass bottles and of course every child’s favourite reason the dress up on November 5th, Guy Fawkes Day. Both singles were received well and a few more tracks were later recorded to create the full album Isiqedakoma. Although he would sing in Zulu the music was unmistakable for Shangaan Disco. The synth heavy bass lines and happy melodies along with relatable fun lyrics were a perfect blend for an album that would make people dance if they were out at a Tavern or Shabeen on a weekend or just enjoying at home with family and friends.
Vumani quickly became the Label’s top priority with managers making sure he always had the freshest clothing styles to go along with his persona, and he never missed any performances or opportunities to impress a crowd. His popularity grew in the Township’s but with that came the unfortunate and all too common problems with fame. He started getting mixed with wrong crowds. He would record another album for Miracle Music, the Decibel sub label that had emerged to focus on the more underground sounds of the post synth pop era. Musically things were going well for Vumani but it would be his life off the stage that would catch up with him. Always known for his commitment to his music and fans one day he uncharacteristically failed to show up and was never heard from again. His body would later be found in a burnt car on the outskirts of Soweto. What led to his tragic death was never known but with the company he kept it is not hard to imagine what one of the many situations that led to that horrific ending could be. His funeral was attended by the entire Township it seemed as people packed the service and flowed out onto the streets, a testament to his popularity and the love the people had for one of their own. More
Up to this point Decibel had one major hit record. In 1986 they released a single by an artist named David Thanzwane. The music was a direct rip off of the first hit Single by Shangaan Disco pioneer Paul Ndlovu. Copying the music of both sides of the original single the “covers” offered different lyrics and hooks also sung in xiTsonga. This was enough to trick the masses and the single led to record sales for the small label. The unintentional outcome of the single was that from then on the producers and label had one sound they wanted to pump out in hopes of recreating that magic. This desire to create another Shangaan Disco hit would be the backbone of the Vumani sound and what makes his music so special and collectable after all these years.
That same year Vumani would release two Singles, Black Mampatile and Guy Fawkes. Musically these playful and fun singles would have great appeal to youngsters as they sung of daily life in the Townships. Black Mampatile being a game of Hide and Seek, Banana Kari referring to the trucks that would go around the Township exchanging chips and snacks for glass bottles and of course every child’s favourite reason the dress up on November 5th, Guy Fawkes Day. Both singles were received well and a few more tracks were later recorded to create the full album Isiqedakoma. Although he would sing in Zulu the music was unmistakable for Shangaan Disco. The synth heavy bass lines and happy melodies along with relatable fun lyrics were a perfect blend for an album that would make people dance if they were out at a Tavern or Shabeen on a weekend or just enjoying at home with family and friends.
Vumani quickly became the Label’s top priority with managers making sure he always had the freshest clothing styles to go along with his persona, and he never missed any performances or opportunities to impress a crowd. His popularity grew in the Township’s but with that came the unfortunate and all too common problems with fame. He started getting mixed with wrong crowds. He would record another album for Miracle Music, the Decibel sub label that had emerged to focus on the more underground sounds of the post synth pop era. Musically things were going well for Vumani but it would be his life off the stage that would catch up with him. Always known for his commitment to his music and fans one day he uncharacteristically failed to show up and was never heard from again. His body would later be found in a burnt car on the outskirts of Soweto. What led to his tragic death was never known but with the company he kept it is not hard to imagine what one of the many situations that led to that horrific ending could be. His funeral was attended by the entire Township it seemed as people packed the service and flowed out onto the streets, a testament to his popularity and the love the people had for one of their own. More
1
Morgan - Vakonwana
2
Morgan - Vakonwana (Club Mix)
Releasedate: 05.04.2021
"A Bangin South African bubblegum tune, with house club mix on the flip!"
The start of the 90's brought the final wave of House music that would cement it as the future of South Africa’s music scene. In the years leading up to the new decade, Disco had already naturally evolved into the very early stages of what would become South Africa’s signature House sound, with Instrumentals and Dub Mixes earning themselves spots on the Pantsula records leading the charts of the late 80s, it would be an influx of remixes appearing on import singles that would make the “House mix” the premier b side sound for those bubblegum artists trying to stay relevant in the 90’s.
The House remixes coming from Chicago and New York dominated the airwaves at first, eventually gaining genre status by the later part of the decade as International House or just International for short. At the time this would have been synonymous with House music everywhere else in the world. After a years of these tracks getting remixed by the touch of the local talent, International no longer fit the description of what the music was and Kwaito became the sound of the streets. In the studio, Kwaito was the sound of the next generation of producers that was coming up under the Disco legends of 80s. In total it took less than 5 years total for the sound to evolve. It would be in this transition period between International and Kwaito, with the help of the new wave of studio talent, that we find the ingredients that gave birth to a short lived yet unique African House sound.
After a long career with the soul group The Savers, Morgan Kwele cut two solo records under his own name in the late 80’s. Without much success and after being dropped by EMI, Morgan was picked up by Peter Snyman and independent Sounds of Soweto. At the time it was becoming a premier label for the emerging house sounds. M’du and Joe Nina would both end up working at Snyman’s studio, and it would be their collaborating project LA Beat that would launch their respective careers further. For his new album Morgan would team up with legendary producer and long time friend from the 70s Koloi Lebona. They would work together once more and record what most likely became Morgan’s final Album. The title track Vakonwana became the lead single, with the original bubblegum version on the A side for the old timers and the Club Version on the flip for the late nite parties. More
"A Bangin South African bubblegum tune, with house club mix on the flip!"
The start of the 90's brought the final wave of House music that would cement it as the future of South Africa’s music scene. In the years leading up to the new decade, Disco had already naturally evolved into the very early stages of what would become South Africa’s signature House sound, with Instrumentals and Dub Mixes earning themselves spots on the Pantsula records leading the charts of the late 80s, it would be an influx of remixes appearing on import singles that would make the “House mix” the premier b side sound for those bubblegum artists trying to stay relevant in the 90’s.
The House remixes coming from Chicago and New York dominated the airwaves at first, eventually gaining genre status by the later part of the decade as International House or just International for short. At the time this would have been synonymous with House music everywhere else in the world. After a years of these tracks getting remixed by the touch of the local talent, International no longer fit the description of what the music was and Kwaito became the sound of the streets. In the studio, Kwaito was the sound of the next generation of producers that was coming up under the Disco legends of 80s. In total it took less than 5 years total for the sound to evolve. It would be in this transition period between International and Kwaito, with the help of the new wave of studio talent, that we find the ingredients that gave birth to a short lived yet unique African House sound.
After a long career with the soul group The Savers, Morgan Kwele cut two solo records under his own name in the late 80’s. Without much success and after being dropped by EMI, Morgan was picked up by Peter Snyman and independent Sounds of Soweto. At the time it was becoming a premier label for the emerging house sounds. M’du and Joe Nina would both end up working at Snyman’s studio, and it would be their collaborating project LA Beat that would launch their respective careers further. For his new album Morgan would team up with legendary producer and long time friend from the 70s Koloi Lebona. They would work together once more and record what most likely became Morgan’s final Album. The title track Vakonwana became the lead single, with the original bubblegum version on the A side for the old timers and the Club Version on the flip for the late nite parties. More
1
P.V.P. - Malende
2
P.V.P. - Singapore
3
P.V.P. - Si Ya Jola
4
P.V.P. - Go Tsofala O Ratang
5
P.V.P. - Tshilidzi
6
P.V.P. - Somebody To Love
7
P.V.P. - Uli Bambe Lingashoni
8
P.V.P. - Go Down
After two tracks were successfully taken for a limited Maxi single, the whole album is now available on Double LP - Nicely remastered.
Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African Disco, A leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album Why O Nketsa so Baby, loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit.
For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP Malende. Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads.
The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day. More
Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African Disco, A leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album Why O Nketsa so Baby, loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit.
For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP Malende. Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads.
The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day. More
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Marrying the old with the new, ‘I Need You Now’ is drenched in funk bass slickness and colourful chords, yet embraces a wealth of synthesized sounds from electro sequencers to synth-based strings, giving it that early ‘80s post disco, boogie feel. Bernard Fowler of Peech Boys fame steps up on guest vocals bringing a deep, R&B tone to proceedings, complimented by the all-female vocal prowess of Sinnamon adding their trademark feminine touch to the track.
First up on the flip side, the six minute ‘Fierce Reprise’ mix. Reversed rides that suck back into the skull, tape delayed vocals and spacey synth echoes blend together, as elements are overlaid and dubbed out for maximum, heavyweight, proto house vibrations.
Last up, a favourite and much used vocal accapella that’s been sampled by a whole host of early house, hardcore and garage producers from 808 State and Criminal House to Ray Keith and Paul Johnson.
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Marrying the old with the new, ‘I Need You Now’ is drenched in funk bass slickness and colourful chords, yet embraces a wealth of synthesized sounds from electro sequencers to synth-based strings, giving it that early ‘80s post disco, boogie feel. Bernard Fowler of Peech Boys fame steps up on guest vocals bringing a deep, R&B tone to proceedings, complimented by the all-female vocal prowess of Sinnamon adding their trademark feminine touch to the track.
First up on the flip side, the six minute ‘Fierce Reprise’ mix. Reversed rides that suck back into the skull, tape delayed vocals and spacey synth echoes blend together, as elements are overlaid and dubbed out for maximum, heavyweight, proto house vibrations.
Last up, a favourite and much used vocal accapella that’s been sampled by a whole host of early house, hardcore and garage producers from 808 State and Criminal House to Ray Keith and Paul Johnson.
An essential bit of kit for anyone with a penchant for that early ‘80s boogie flavour.
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Roberto Onofri & Dee Jay Program Band - Let's Go Out (Original Vocal Verison)
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Roberto Onofri & Dee Jay Program Band - Let's Go Out (Instrumental)
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Roberto Onofri & Dee Jay Program Band - Let's Go Out (Original Radio Version)
Massaroni Record (MSR) was born with the collaboration between the distributor Ermanno Massaroni and the disc jockey Roberto Onofri, who was also a radio and television presenter. "Let's Go Out" captures the essence of the very first Italo-Disco in its most genuine and melodic form where it's not easy to understand the vocal part but this gives to the song a certain ambiguity and a rare case in which the vocoder is fine. In addition to original, radio and the essential instrumental version there is a well structured and strong M.B. Roller Disco Edit by Massimo Berardi (former Harlem Hustlers) useful to give greater balance to the entire release.
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Chez Damier feat. Leroy Burgess - Your Love (Dj Aly RMX)
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Repress!
As always high quality House Music by Chez who teamed us with Roy Burgess on A1 "Your Love". A2 is a great remix of "Your Love" by Dj Aly. On B1 it's Chez Damier with a very soulful track called "Soul Minimal", reconstructed by Stephan Hoellermann and a s grand final on B2 it's Chez Damier and Ron Trent with the stunning "My House".
Fantastic release! More
As always high quality House Music by Chez who teamed us with Roy Burgess on A1 "Your Love". A2 is a great remix of "Your Love" by Dj Aly. On B1 it's Chez Damier with a very soulful track called "Soul Minimal", reconstructed by Stephan Hoellermann and a s grand final on B2 it's Chez Damier and Ron Trent with the stunning "My House".
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Label:Nothing But Net
Cat-No:NBN005INST
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Limited run of Devin Morrison's Bussin LP instrumentals... impress your friends with your own smooth fresstyles (via Zoom)
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Breakwater - A1 : No Limit (Extended Version) (6:33)
2
Breakwater - B1 : Do It Till The Fluid Gets Hot (Extended Version) (6:00)
Format Notes: 140g vinyl, extended versions, cut at 45rpm
Territories: Worldwide no restrictions
Track List:
A1 : No Limit (Extended Version) (6:33)
B1 : Do It Till The Fluid Gets Hot (Extended Version) (6:00)
Release Notes:
Be With presents hen’s teeth extended cuts of two glorious Breakwater classics - “No Limit” and “Do It Till The Fluid Gets Hot”. These super-rare Arista promo-only 12" versions from 1978 have never been commercially available until now. Originals have regularly sold for upwards of £400 in the past 10–20 years so you know how vital this is.
Breakwater’s futuristic boogie-funk glider “No Limit” is six and a half minutes of slickness on wax. It’s almost AOR. Like an infinite masterpiece, the chilled opening chords of the intro could go on forever - and they almost do - but when they give way to the power-funk groove, the track just slaps. It sounds so fresh today, over 40 years on, thanks to the smooth, smooth mixing of Jimmy Simpson. In no uncertain terms this is a monster, written by the great Grey and Hanks. That bassline, those keys, the horn section… all the ingredients are there. Ahead of its time by a good 3 or 4 years, some regard “No Limit” as the first 80s groove ever recorded in funk/soul history. A neat trick, given its year of production.
On the flip, the six minute version of “Do It Till The Fluid Gets Hot” is an original Philly party jam. A showcase for Breakwater’s phenomenal intensity, this sounds like Parliament’s “Flashlight” on steroids. Acidic synths bleep and warp, blending with triumphant horns, in-the-pocket drums and bumping bass to conjure a truly deep funk groove. Laying deep in the cut, the salacious vocal delivery only adds to the brilliant sleaze.
Breakwater had a sonic aesthetic beamed in from the future and these two tracks are just more proof of that. Remastered and cut loud for devastating dance floor dynamite, this vinyl reissue arrives just in time for all those (perhaps imagined) BBQ Boogie Throwdowns. This is a true modern soul double-sider, essential in every way.
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Territories: Worldwide no restrictions
Track List:
A1 : No Limit (Extended Version) (6:33)
B1 : Do It Till The Fluid Gets Hot (Extended Version) (6:00)
Release Notes:
Be With presents hen’s teeth extended cuts of two glorious Breakwater classics - “No Limit” and “Do It Till The Fluid Gets Hot”. These super-rare Arista promo-only 12" versions from 1978 have never been commercially available until now. Originals have regularly sold for upwards of £400 in the past 10–20 years so you know how vital this is.
Breakwater’s futuristic boogie-funk glider “No Limit” is six and a half minutes of slickness on wax. It’s almost AOR. Like an infinite masterpiece, the chilled opening chords of the intro could go on forever - and they almost do - but when they give way to the power-funk groove, the track just slaps. It sounds so fresh today, over 40 years on, thanks to the smooth, smooth mixing of Jimmy Simpson. In no uncertain terms this is a monster, written by the great Grey and Hanks. That bassline, those keys, the horn section… all the ingredients are there. Ahead of its time by a good 3 or 4 years, some regard “No Limit” as the first 80s groove ever recorded in funk/soul history. A neat trick, given its year of production.
On the flip, the six minute version of “Do It Till The Fluid Gets Hot” is an original Philly party jam. A showcase for Breakwater’s phenomenal intensity, this sounds like Parliament’s “Flashlight” on steroids. Acidic synths bleep and warp, blending with triumphant horns, in-the-pocket drums and bumping bass to conjure a truly deep funk groove. Laying deep in the cut, the salacious vocal delivery only adds to the brilliant sleaze.
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John Camp ft Greg - Mistral (Charlie Soul Clap Remix)
“People often ask why we started Soul Clap Records and I usually answer: “because we were receiving tons of unique demos by creative artists that we had to start a label.” 11 years later and that flowing faucet of incoming music is still the driving force behind the label. Sure, there is the Funk, House, Disco, and multi-cultural influences in all of the music that we release, but it’s always the artists themselves who guide us.” – Eli Goldstein (Soul Clap)
Having nurtured a community, built many a life-long relationship and brought together an extensive musical family over the past 11 years, Soul Clap showcase these deep bonds with their 11th Anniversary Remix Compilation across two 12 inch records in a beautifully designed picture sleeve. A real smorgasbord of flavours and feelings, from beaming boogie and dizzying disco to blissful broken beat, house and downtempo nuggets coming courtesy of a plethora of the finest artists on the planet right now including the likes of Zopelar, XL Middleton, Colleen 'Cosmo' Murphy, FSQ and many more, alongside the mighty Soul Clap themselves. There’s no denying that this compilation is one with community at it’s core.
DJ Feedback:
OSUNLADE / YORUBA
Very funky.
PABLO VALENTINO/ MCDE FACES
Love this comp
CROSSTOWN REBELS/ PAOLO BARTHOLEMEW
Oh yes! Big fan!
FRANCK ROGER/ REAT TONE
Dope compilation.. still in love with life on planets guy :-)
MR V/ SOLE CHANNEL
Dope. Love it.
AROOP ROY
Diggin the remixes from Zeynep, Cosmodelica, Zopelar and Charlie.
PONTCHARTRAIN/ WHISKEY DISCO
OH my, that Afriqua remix is absolute fire! Whole album is hot.
DJ ROCCA
All the remixes are great. Big fan of SC records, of course ;-)
THE SILVER RIDER/ MUSIC IS 4 LOVERS
Holy crap that Zopelar remix is amazing!
DICKY TRISCO
Love the Underground System remix by Zeynep Erbay. Class! Feeling the Mickey Lion too. Lovely.
FISH GO DEEP/ SHANE JOHNSTON
Phenomenal line up here with a great range of music. Standouts for me on first listen are Life on Planets and John Camp ft. Greg but it’s all quality from start to finish.
MARK BROADBENT/ PIKE HOTEL
This s a killer comp. I’ll be playing this for sure.
DAZ-I-KUE/ BUGZ IN THE ATTIC
Love this comp so dope.
WILLI GRAFF/ THE STANDARD IBIZA
What a killer compilation of remixes. Especially feeling the Cosmodelica Mix and Michael The Lion's mix. More
Having nurtured a community, built many a life-long relationship and brought together an extensive musical family over the past 11 years, Soul Clap showcase these deep bonds with their 11th Anniversary Remix Compilation across two 12 inch records in a beautifully designed picture sleeve. A real smorgasbord of flavours and feelings, from beaming boogie and dizzying disco to blissful broken beat, house and downtempo nuggets coming courtesy of a plethora of the finest artists on the planet right now including the likes of Zopelar, XL Middleton, Colleen 'Cosmo' Murphy, FSQ and many more, alongside the mighty Soul Clap themselves. There’s no denying that this compilation is one with community at it’s core.
DJ Feedback:
OSUNLADE / YORUBA
Very funky.
PABLO VALENTINO/ MCDE FACES
Love this comp
CROSSTOWN REBELS/ PAOLO BARTHOLEMEW
Oh yes! Big fan!
FRANCK ROGER/ REAT TONE
Dope compilation.. still in love with life on planets guy :-)
MR V/ SOLE CHANNEL
Dope. Love it.
AROOP ROY
Diggin the remixes from Zeynep, Cosmodelica, Zopelar and Charlie.
PONTCHARTRAIN/ WHISKEY DISCO
OH my, that Afriqua remix is absolute fire! Whole album is hot.
DJ ROCCA
All the remixes are great. Big fan of SC records, of course ;-)
THE SILVER RIDER/ MUSIC IS 4 LOVERS
Holy crap that Zopelar remix is amazing!
DICKY TRISCO
Love the Underground System remix by Zeynep Erbay. Class! Feeling the Mickey Lion too. Lovely.
FISH GO DEEP/ SHANE JOHNSTON
Phenomenal line up here with a great range of music. Standouts for me on first listen are Life on Planets and John Camp ft. Greg but it’s all quality from start to finish.
MARK BROADBENT/ PIKE HOTEL
This s a killer comp. I’ll be playing this for sure.
DAZ-I-KUE/ BUGZ IN THE ATTIC
Love this comp so dope.
WILLI GRAFF/ THE STANDARD IBIZA
What a killer compilation of remixes. Especially feeling the Cosmodelica Mix and Michael The Lion's mix. More
The much acclaimed city pop masterpiece with flavors of boogie-disco, funk and fusion and the soulful voice of Eri Ohno. Originally released in 1981 and repressed on vinyl for the very first time from the original master tapes.
Limited edition. Comes with insert. More
Limited edition. Comes with insert. More
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Dr. Togo - No Title
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Dr. Togo - No Title
Voice of the Kano project and former percussionist of Eric Clapton, George Benson and Chaka Khan, Glen White in 1982 wrote and arranged "Be Free", one of the most intriguing and elegant Italian disco / boogie song together with the producer Louis "Gigi" Figini (former member of project "Koxo" alongside the unforgettable Leonardo Re Cecconi). An overlooked gem by the West Indian artist brought back to the musical community!
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ron trent - 01
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ron trent - 02
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ron trent - 03
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ron trent - 04
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ron trent - 05
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ron trent - 06
RAWAX PROUDLY WELCOMES MR. RON TRENT TO THE FAMILY! WE'RE PROUD TO PRESENT YOU THIS MASTERPIECE OF MUSIC - ORIGINALLY RELEASED ON
CLUBHOUSE RECORDS IN 1992. SOON AVAILABLE WITH NEW CUT AND NEW MASTERING - HIGHLY RECOMMENDED! More
CLUBHOUSE RECORDS IN 1992. SOON AVAILABLE WITH NEW CUT AND NEW MASTERING - HIGHLY RECOMMENDED! More
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ron trent - Berlin Nights
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ron trent - Mississippi Mud
MUSIC AND POWER brings you another installment in the Spaces And Places series from RON TRENT. "BERLIN NIGHTS" is inspired by the underground pulse of the city with heavy 909 drums, primal drive and string elegance. On the flip, "MISSISSIPPI MUD" is a tribute to Indigenous American ancestors.
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Tyrone Henry - Time For You And Me
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Marissa Anglin & Charlene Reid - I Just Wanna Thank You
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John Gibbons - Turn It Inside Out
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Janine Cross - That’s What I Believe
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Raymond Dyer - Come Inside And Look
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Samantha Edwards - My Reason For Life
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Jasmine Kirby - Heaven Is In My Home
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Tyrone Henry - Curious
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Charlene Reid - Spirit In My Life
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John Gibbons & Marissa Anglin - Are You In The Light
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Stella - Love So Unconditional
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Tyrone Henry - Do You Really Know
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Gillian Newbhard - Lord We Honour Your Name
New Flava Volume 1 is an audacious project birthed in Austin Aggrey-Odoom's brain in the Spring of 1995. Austin, being a devoted Christian as well as a massive music fan, was a regular at different churches across the London Area during the mid-90's. He then connected with many young aspiring Gospel/Soul/R&B singers and had the idea to produce a Gospel album that could appeal to a younger crowd, mixing US R&B influences, to create a new kind of Christian R&B that could have radio potential, while showcasing U.K.'s underground Soul talents from the Gospel community. His love of God and passion for music would finally merge into this hybrid compilation project called New Flava Volume 1.
With the help of producer Paul Cumberbatch, they recorded a selection of the finest voices that Austin could find amongst the Gospel circuit. Inspired by popular US R&B/Hip-Hop artists of that time, they aimed to recreate a heavy and well-polished sound that would resonate with the fans of Mary J. Blige, Joe and SWV amongst others. The result is quite mind-blowing, Cumberbatch's top-notch productions make a strong foundation to let the artists shine throughout the compilation, such as Tyrone Henry on the instant-classic « Time For You And Me » or the label-favorite « Heaven Is In My Home » by Jasmine Kirby. The U.K. has always been a great hunting ground for Soul talents, and this compilation is yet another example of it. Now for the first time on 2LP, New Flava Volume One is a must-have for any 90's R&B collectors ! More
With the help of producer Paul Cumberbatch, they recorded a selection of the finest voices that Austin could find amongst the Gospel circuit. Inspired by popular US R&B/Hip-Hop artists of that time, they aimed to recreate a heavy and well-polished sound that would resonate with the fans of Mary J. Blige, Joe and SWV amongst others. The result is quite mind-blowing, Cumberbatch's top-notch productions make a strong foundation to let the artists shine throughout the compilation, such as Tyrone Henry on the instant-classic « Time For You And Me » or the label-favorite « Heaven Is In My Home » by Jasmine Kirby. The U.K. has always been a great hunting ground for Soul talents, and this compilation is yet another example of it. Now for the first time on 2LP, New Flava Volume One is a must-have for any 90's R&B collectors ! More