1
King Sporty / De Mer - Fall Out
2
King Sporty / De Mer - Fall Out (Fresh '86)
3
King Sporty / De Mer - Fall Out (NAD Discomix)
Emotional Rescue's vital Konduko reissue series sadly comes to an end here with a look at the label's final years. In those days it moved away from reggae, disco and boogie towards an enduring electro sound that had a vast and lasting impact on the Miami scene. The biggest tune from that time was when Noel Williams linked with local songwriter Lawrence Dermer aka Der Mer for the track reissued here. 'Fall Out' soon became a hit with its driving electro-funk rhythms. The original sits next to the later Fresh '86" mix as well as a NAD disco mix from Dan Tyler, best known as one of the Idjut Boys. It's an irresistible package of body-popping electro with hooks for days.
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More records from Emotional Rescue
1
King Sporty / The Extra Funk Factory - Fantasy
2
King Sporty / The Extra Funk Factory - Fantasy (Instrumental)
3
King Sporty / The Extra Funk Factory - Fantasy (Jonny Rock Discomix)
The last of the Konduko series from Emotional Rescue arrives now and quite possibly it is the best of the lot from Noel Williams. His 'Fantasy' saw him work with Larry Dermer aka Der Mer on what is an effective and catchy electro jam that operates at the higher end of the tempo chart with some classic vocoder vocal action to really make it pop. Despite being released originally in 1984 this one still bangs with its emulated TR-808 beats and nagging melodies. The instrumental heightens that and then the Jonny Rock Discomix shuts down with long-form rework that shows why the DJ, editor and all-round amiable bloke is so well regarded.
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Label:Emotional Rescue
Cat-No:ERC144
Release-Date:16.10.2023
Genre:Alternative/Electronic
Configuration:LP
Label:Emotional Rescue
Cat-No:ERC144
Release-Date:16.10.2023
Genre:Alternative/Electronic
Configuration:LP
1
Kalahari Surfers - Free State Fence
2
Kalahari Surfers - Crossed Cheques
3
Kalahari Surfers - Running Out Of Time
4
Kalahari Surfers - Beat About The Bush
5
Kalahari Surfers - Ten Dirty Fingers
6
Kalahari Surfers - Hillbrow 2
7
Kalahari Surfers - Don't Dance
8
Kalahari Surfers - Beatle Love Song
9
Kalahari Surfers - I Wonder Why
10
Kalahari Surfers - Song For Magnus
11
Kalahari Surfers - Messer Im Kopf
12
Kalahari Surfers - Telephone
13
Kalahari Surfers - Perpetual Emotion
South African Warrick Sony is a ground breaking composer who was behind the Kalahari Surfers project which now gets a vital spotlight courtesy of Emotional Rescue. This compilation shows how effortlessly eclectic his sound was - from jive rhythms to jazz, tabla to political speeches and much more in between. A Hindu pacifist who was once conscripted into the South African Defense Force, he founded this group as a way out getting his ides out there, calling on other musicians as and when he needed them. It was the first radical white anti-apartheid pop in South Africa and as this vital collection shows it explored polyrhythms, slow motorik, dub sound collage and even a goofy cover of Nancy Sinatra.
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1
King Sporty / The Laptop - Computer Age (Club Mix)
2
King Sporty / The Laptop - Computer Age (Dub Mix)
3
King Sporty / The Laptop - Computer Age (Universal Cave Discomix)
King Sporty is something of a chameleonic artists, not that many people know. He started out int he 70s making reggae and soul 7"s, then moved into disco, boogie, hip-hop and electro 12"s during the 80s, and then when house music hit in the 90s he evolved once more. This new drop from Emotional Rescue takes a tune from that late era. 'Computer Music' is four to the floor with electro influences and a lazy break that pull you in deep. Far-sighted chords bring a serene sense of cosmic majesty while a filtered vocal adds space age vibes. A dub is included as well as the Universal Cave Discomix by the Philadelphia DJ and production crew. A retro-future EP indeed..
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1
Barry Biggs - Illusion
2
Barry Biggs - Illusion (Version)
3
Barry Biggs - Illusion (DJ Duckcomb Discomix)
Noted reggae vocalist Barry Biggs comes under the Emotional Rescue microscope here with celebrated LA digger Patrick Billard aka DJ Duckcomb remixing one of his cuts. First up is the original version of 'Illusion' which has big pianos over the clean digital dub. The soaring vocal is obscured by plenty of lush effects and melodies. After a version twists and contorts the original, the DJ Duckcomb Discomix slows things down and ups the dazzling disco vibes but keeps the dub dubby bottom end to ensure plenty of dance floor impact. This is a classy one as ever from this label.
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1
King Sporty / Fashion Funktion - Sun Country
2
King Sporty / Fashion Funktion - Sund Country (Instrumental)
3
King Sporty / Fashion Funktion - Sund Country (40 Thieves Disco Mix)
Here comes Emotional Rescue and Konduko's last in their series of Noel Williams/King Sporty reissues, this time looking at later electro productions and the hip-hop/boogie influenced 'Sun Country'. Vocals and co-production come from Williams' long-time partner Betty Wright and as well as a vocal and instrumental mix there's a longform remix by Bay Area disco dub stalwarts, 40 Thieves.
By this point in his career, the godfather of Miami Bass had travelled a long way from his Jamaican roots in reggae and soul, paying homage to the warm climbs of the Sunshine State and laying down a much copied template using the TR-808 drum machine create the electronic emulations of the breakbeat, claps accenting the backbeat and trademark low frequencies shaking the floorboards. The instrumental stretches the arrangement, emphasising the interplay between electronics, bass, vocal samples, scratching and fx, the voice transformed into a percussive element in its own right. The flip sees 40 Thieves flexing their understated understanding of electro funk, making for a rounded, generation-jumping package. More
By this point in his career, the godfather of Miami Bass had travelled a long way from his Jamaican roots in reggae and soul, paying homage to the warm climbs of the Sunshine State and laying down a much copied template using the TR-808 drum machine create the electronic emulations of the breakbeat, claps accenting the backbeat and trademark low frequencies shaking the floorboards. The instrumental stretches the arrangement, emphasising the interplay between electronics, bass, vocal samples, scratching and fx, the voice transformed into a percussive element in its own right. The flip sees 40 Thieves flexing their understated understanding of electro funk, making for a rounded, generation-jumping package. More
1
Group Du Jour - Motion Of Waves
2
Group Du Jour - Motion Of Waves (Cassette Mix)
3
Group Du Jour - We Travel Dark Waters
Group Du Jour was founded in Portland, Oregon in 1983 and have had a storied career spanning the decades since. They have always brought together live, ethnic, and electronic sounds with folk and modern pop, later getting ever more experimental. Early albums Forgotten Colors in 1986 and Wonderful Vision in 1988 are groundbreaking affairs, the latter of which gave rise to 'Motion Of Waves', which is something of a cult favourite for deep diggers. It is a rich instrumental groove that layers up synthesiser, flute, guitar and haunting vocals sitting over a brilliantly electric beat. The whole thing was a live one-take recording and is perfectly suited to both sunset and sunup moments of dancing pleasure.
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1
Betty & The Code Red - Wishful Thinking
2
Betty & The Code Red - Na Wahala
3
Betty & The Code Red - Na My Life Be Dis
4
Betty & The Code Red - Memories
There is always a good backstory to the music that Emotional Rescue releases and this EP is a case in point. It comes from Betty & The Code Red and Betty was the girlfriend of Tunde Obazee, a Nigerian-born artist who used music as a "non-violent tool to express his socio-political opinions on global injustice." The pair would entertain people on campus by playing anything they could get their hands on, informed by the old Edo folk songs they had grown up around. They went on to live in Italy and the US and start a family as well as lay down self-released songs that have become cult classics. A selection of them feature on this, the first of two EPs from the pair.
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1
Betty & The Code Red - Akure
2
Betty & The Code Red - Is Wrong (Apartheid)
3
Betty & The Code Red - Cry Africa
4
Betty & The Code Red - Hard Working
Betty & The Code Red is a life and creative partnership between Benin-born Tunde Obazee and his girlfriend Betty. The pair grew up in Nigeria and would play all manner of instruments to entertain people at the local school before staying together as they went on to live in Italy and the US. Obazee performed at colleges and universities despite no formal training and eventually recorded a selection of tunes together including a small album on relatively new bits of gear like the Yamaha RX7. Especial has collated some of their best work across two new EPs, this being one of them.
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1
The Vision - Far Away
2
The Vision - Different Language
3
The Vision - Whirl
4
The Vision - Natty Vision
5
The Vision - Fear
6
The Vision - No 4
Emotional Rescue looks to the newly rebuilt but still very much culturally separate East and West Germany of the 1980s with this new EP. It's dub reggae through a post-punk and alternative lens by Hanover artists Felix Holter aka Dubvisionist. All these cuts have a very live, improvised feel because father way he worked from rhythms first and jammed endlessly before adding the vocals. They are taken from their 1987 release 10 Tracks Of Reggae & Dub Music which was inspired by the great Adrian Sherwood label On-U Sound label, and you can hear that clearly.
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1
Adu - Burkina Faso (Wagadugu Blues)
2
Adu - Burkina Faso (Wagadugu Dub)
3
Adu - Burkina Faso (Jura Soundsystem Discodub)
Emotional Rescue can be relied on to dig up obscure, left of centre dance gems and serve them up to newer, wider audiences. Adu's reggae-pop cut 'Burkina Faso' is a great example, re-purposed for the dancefloor without any of its original flavour lost in the overhaul. A
South Saharan/West African emigre to Brixton, Rauf Adu would go on to fairly sizeable European fame with the Eddy Grant-esque 'Human To Human'. This, however, is his 1982 debut for Copasetic Records, another reggae-pop inspired, ludicrously catchy effort with scorched electric guitar and a Compass Point-style drum/bassline providing rhythmic rocksteadiness. As well as the buffed up original, there's a dub mix, which gives his beautiful guitar plenty of room to breathe, and an appearance from the Isle of Jura Sound System boss Kevin Griffiths , whose remix completes the trio of mixes. More
South Saharan/West African emigre to Brixton, Rauf Adu would go on to fairly sizeable European fame with the Eddy Grant-esque 'Human To Human'. This, however, is his 1982 debut for Copasetic Records, another reggae-pop inspired, ludicrously catchy effort with scorched electric guitar and a Compass Point-style drum/bassline providing rhythmic rocksteadiness. As well as the buffed up original, there's a dub mix, which gives his beautiful guitar plenty of room to breathe, and an appearance from the Isle of Jura Sound System boss Kevin Griffiths , whose remix completes the trio of mixes. More
1
Avalanche - Your Love Is Such A Good Thing
2
Paul Thompson - Can I Take You Home?
3
Keith Robinson - Keep On Dancing
4
Ras Ibuna - Black Beauty
5
Warp Speed - Take It To The Night
6
Majority - Caroline
7
Keith Robinson - Never Let Go
8
Burning Flames - Can't Let Go
Emotional Rescue is delighted to debut a first. Rather than a straight reissue of an (obscure) classic or a collection of music by an artist or label, here presented is a compilation of various artists centered around a sound and movement reggae-tinged music and how it influenced and spread from the Caribbean and diaspora.
Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (NTS).
This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon.
As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.
While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.
This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it. More
Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (NTS).
This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon.
As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.
While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.
This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it. More
Label:Emotional Rescue
Cat-No:ERC130
Release-Date:31.03.2023
Genre:Alternative/Electronic
Configuration:7"
Label:Emotional Rescue
Cat-No:ERC130
Release-Date:31.03.2023
Genre:Alternative/Electronic
Configuration:7"
1
Staalfagel - Utan Rymddrakt Pa Uranus I
2
Staalfagel - Utan Rymddrakt Pa Uranus II
3
Staalfagel - Utan Rymddrakt Pa Uranus (Gary The Tall Re-Edit)
Emotional Rescue dives back in the world of post punk experiments and early synthesised electronics to present another of the labels iconoclastic 7" 'collectors specials', with a look at Stockholm's Staalfagel.
Born in 1977, Erik Fritjofsson and Petter Brundell merged and formed Staalfagel out of the suburbs of Jakobsberg. Like so many at the time, the duo was tired of Prog, Jazz and Symphonic Rock and formulated something new and against at the same moment; a time where drummers were jettisoned in place of drum machines and the inspirations of artists like Creedence Clearwater Revival, Devo and Pere Ubu were thrown in the mix to fervent results.
With Micke Kjell soon joining on bass, they toured Sweden constantly, the manic machine beat, beating guitars and strange synth sounds defeated the throng and led to a considerable following. Recorded live to tape with no overdubs or mixing, the faithful CR 78 drum machine, the results radiate energy.
Release just 4 records in 2 years (1980 - 1982), Utan Rymddrakt Pa Uranus appeared as their last ever release. Jettisoning the punky-funk vocals of previous releases, the single is a pure electronic groove. Funk bass and guitar atop, its short form simplicity is perfection distilled in 2 parts of less than 3 minutes, conjoined like some reggae dream, with 'Uranus II' acting the dub 'version' counterpoint.
Discovered and shared by long-time friend, DJ and collector, Gary The Tall steps out from behind the decks and microphone of his long running NTS show to present an exemplary "Reversion". Teaming up with master producer and label affiliate, Timothy J Fairplay on engineering duties, they keep the originals' straightforward charm, deceptively editing, looping and reversing with aplomb, for a killer flip side. More
Born in 1977, Erik Fritjofsson and Petter Brundell merged and formed Staalfagel out of the suburbs of Jakobsberg. Like so many at the time, the duo was tired of Prog, Jazz and Symphonic Rock and formulated something new and against at the same moment; a time where drummers were jettisoned in place of drum machines and the inspirations of artists like Creedence Clearwater Revival, Devo and Pere Ubu were thrown in the mix to fervent results.
With Micke Kjell soon joining on bass, they toured Sweden constantly, the manic machine beat, beating guitars and strange synth sounds defeated the throng and led to a considerable following. Recorded live to tape with no overdubs or mixing, the faithful CR 78 drum machine, the results radiate energy.
Release just 4 records in 2 years (1980 - 1982), Utan Rymddrakt Pa Uranus appeared as their last ever release. Jettisoning the punky-funk vocals of previous releases, the single is a pure electronic groove. Funk bass and guitar atop, its short form simplicity is perfection distilled in 2 parts of less than 3 minutes, conjoined like some reggae dream, with 'Uranus II' acting the dub 'version' counterpoint.
Discovered and shared by long-time friend, DJ and collector, Gary The Tall steps out from behind the decks and microphone of his long running NTS show to present an exemplary "Reversion". Teaming up with master producer and label affiliate, Timothy J Fairplay on engineering duties, they keep the originals' straightforward charm, deceptively editing, looping and reversing with aplomb, for a killer flip side. More
1
Jhalib - Mysteries Of The East
2
Jhalib - Mysteries Of The East ('88 Mecca Mix)
REPRESS ALERT!: A planned reissue for many years, the untimely passing of Steve Coe shortly after the label's rerelease of The Ganges Orchestra's The Dream put everything on hold. However, time moves and so now seems a fitting time to revisit this "world dance" classic with fonder hearts. Long cherished, it is a reminder of Steve's enduring studio mastery. After the initial success of his work with Sheila Chandra in Monsoon, Steve expanded his musical scope, working on an Indipop compilation as clubs looked to Eastern flavours to add a new dimension for the dancefloor.
Teaming up with tabla disciple turned teacher, Jhalib (Millar), as well as long time collaborator Martin Smith, it's hard to imagine Mysteries was first heard in 1982. Hailed as an all time classic, it's enduring appeal can be seen in how it became a staple for the likes of Danielle Baldelli at the infamous Cosmic club and beyond to become an original Evissa "balearic" secret play for Weatherall & co in those fateful summers of love and beyond.
Remastered especially for this release, the orchestral Eastern melody and mid-tempo chugging rhythms and vocals marry in perfection with a dub bassline of Wobble inspired depth. This alone would be enough, however, the original is at last backed with the 1988 remix. Aimed at the then burgening New Beat scene, a subtle straightening kick is added, but it's the unmistakable vocals of Sheila Chandra that finally brings this release together in melodic harmony. Peace be with you Steve. I AM x More
Teaming up with tabla disciple turned teacher, Jhalib (Millar), as well as long time collaborator Martin Smith, it's hard to imagine Mysteries was first heard in 1982. Hailed as an all time classic, it's enduring appeal can be seen in how it became a staple for the likes of Danielle Baldelli at the infamous Cosmic club and beyond to become an original Evissa "balearic" secret play for Weatherall & co in those fateful summers of love and beyond.
Remastered especially for this release, the orchestral Eastern melody and mid-tempo chugging rhythms and vocals marry in perfection with a dub bassline of Wobble inspired depth. This alone would be enough, however, the original is at last backed with the 1988 remix. Aimed at the then burgening New Beat scene, a subtle straightening kick is added, but it's the unmistakable vocals of Sheila Chandra that finally brings this release together in melodic harmony. Peace be with you Steve. I AM x More
1
East West - Can't Face The Night (Club Mix)
2
East West - Can't Face The Night (Dub Mix)
3
East West - Can't Face The Night (Chuggy Discomix Part 1 & 2)
Completing a trilogy of reissues from the Indipop label, Emotional Rescue celebrates its 10th Anniversary by looking again at the ground-breaking music of Steve Coe and his label.
Founding Indipop in 1981 to debut the single of his new project, Monsoon and the soon to be hit 'Ever So Lonely' that brought to the world (dance) music stage the singing talents of young actress and vocalist, Sheila Chandra.
Having worked with Steve right at the start of Emotional Rescue, it's fantastic his special mix of Indian Classical and Dance Pop under the spotlight once more, highlighting his role in helping to kick start the 1980s huge interest in world music, while achieving considerable commercial success and cross-appeal.
The reissues of The Ganges Orchestra's The Dream (ERC010) and Jhalib's Mysteries Of The East (ERC029) were tinged with sadness as both Steve and John (Jhalib) passed shortly after each was released. Working with Sheila Chandra over a number of years, the idea to bring the sole East-West release back has been a long labour of love.
Only ever released as a white label promo in 1984, the reasons the song remained a mega rarity have been lost over-time; however, its sheer scarcity means it now trades for dizzying sums. Appearing later on compilations, here at last is the first-time full reissue of the Club and Dub Mixes, plus a long-form remix in 2 parts, by label honcho Chuggy.
Possibly the most song based of Steve's projects working away from Sheila, he again teams up with Martin Smith to work with unknown vocalist Usha on what became an unfinished band project idea. Presented in Club Mix, they craft a one-off, uplifting sitar and bass heavy 80s disco-inspired "Klab hit", as well as the instrumental focused Dub Mix that accentuates the sitar play for a slower and steady build.
As this project was painstakingly formed, the B side remix took shape, diving in to the studio with label affiliate DanyTyler (Idjut Boys / NAD), rearranging the best of both mixes, extending and dubbing over 12 minutes of Indian Classical meets 80s Psychedelic clubland Ecstasy and is presented alongside a digital only bonus long Dub for the more nuanced minds. More
Founding Indipop in 1981 to debut the single of his new project, Monsoon and the soon to be hit 'Ever So Lonely' that brought to the world (dance) music stage the singing talents of young actress and vocalist, Sheila Chandra.
Having worked with Steve right at the start of Emotional Rescue, it's fantastic his special mix of Indian Classical and Dance Pop under the spotlight once more, highlighting his role in helping to kick start the 1980s huge interest in world music, while achieving considerable commercial success and cross-appeal.
The reissues of The Ganges Orchestra's The Dream (ERC010) and Jhalib's Mysteries Of The East (ERC029) were tinged with sadness as both Steve and John (Jhalib) passed shortly after each was released. Working with Sheila Chandra over a number of years, the idea to bring the sole East-West release back has been a long labour of love.
Only ever released as a white label promo in 1984, the reasons the song remained a mega rarity have been lost over-time; however, its sheer scarcity means it now trades for dizzying sums. Appearing later on compilations, here at last is the first-time full reissue of the Club and Dub Mixes, plus a long-form remix in 2 parts, by label honcho Chuggy.
Possibly the most song based of Steve's projects working away from Sheila, he again teams up with Martin Smith to work with unknown vocalist Usha on what became an unfinished band project idea. Presented in Club Mix, they craft a one-off, uplifting sitar and bass heavy 80s disco-inspired "Klab hit", as well as the instrumental focused Dub Mix that accentuates the sitar play for a slower and steady build.
As this project was painstakingly formed, the B side remix took shape, diving in to the studio with label affiliate DanyTyler (Idjut Boys / NAD), rearranging the best of both mixes, extending and dubbing over 12 minutes of Indian Classical meets 80s Psychedelic clubland Ecstasy and is presented alongside a digital only bonus long Dub for the more nuanced minds. More
1
Eighth Ray - Axis Of Love
2
Eighth Ray - 8th Ray
Emotional Rescue finally gets around to reissuing some House music with the start of a 3 x 12" series from Miami's Dancefloor Records. Covering House and Freestyle, this is music as worthy as any other explored to date.
Founded by British ex-pat Jeffery Collins in 1983, Dancefloor Records was the culmination of a music industry journeyman's long career from swinging sixties London to bohemian seventies NYC before relocating to the sunnier climbs of Miami.
Taking in the City's unique mix of American, Latin and Caribbean sounds, Dancefloors early success came via a long association with reggae turned disco star King Sporty. While his legacy will be looked at in future, this series concentrates on Dancefloor's shift to the growing club sounds emanating from Chicago and NYC.
First is the little is known Eighth Ray. As often the case, a project by a group of musician friends who went on to release under various pseudonyms. From the opening spoken word intro of Axis Of Love, the spaced-out 4/4 and spiritual, pulsing arps, this could be mistaken for the then in-vogue 'Italian House'. With Rimini in its sights, the vocals are the journey, underpinned by simple, up'n'back bass and Mateo and Matos style keys, pure 6am sunrise.
Backed with the deeper 8th Ray, the EP eschews the bumpin' House then coming from NYC and looks to the sound system vibes out across the Atlantic. Deep House before the term had grabbed hold, been twisted and contorted and donned head-to-toe in black. Simply, real House music. More
Founded by British ex-pat Jeffery Collins in 1983, Dancefloor Records was the culmination of a music industry journeyman's long career from swinging sixties London to bohemian seventies NYC before relocating to the sunnier climbs of Miami.
Taking in the City's unique mix of American, Latin and Caribbean sounds, Dancefloors early success came via a long association with reggae turned disco star King Sporty. While his legacy will be looked at in future, this series concentrates on Dancefloor's shift to the growing club sounds emanating from Chicago and NYC.
First is the little is known Eighth Ray. As often the case, a project by a group of musician friends who went on to release under various pseudonyms. From the opening spoken word intro of Axis Of Love, the spaced-out 4/4 and spiritual, pulsing arps, this could be mistaken for the then in-vogue 'Italian House'. With Rimini in its sights, the vocals are the journey, underpinned by simple, up'n'back bass and Mateo and Matos style keys, pure 6am sunrise.
Backed with the deeper 8th Ray, the EP eschews the bumpin' House then coming from NYC and looks to the sound system vibes out across the Atlantic. Deep House before the term had grabbed hold, been twisted and contorted and donned head-to-toe in black. Simply, real House music. More
1
Dambala - Rally Rally Round
2
Dambala - Rally Rally Round (Version)
3
Dambala - Me & My Dread
4
Dambala - Revelation / Dub Wise
5
Dambala - Babylon
6
Dambala - No Go
7
Dambala - Rebel
8
Dambala - Militant Dub
Collecting Orders For Repress!
UK lover's rock/roots reggae group Dambala has been at the forefront of Emotional Rescue's revival of these sounds in recent years. After a haunting EP last summer we now get an immersive full-length that takes us back to the melting pot of sounds that was London in the 70s and 80s. Revelations is actually a collection of singles from the band recorded between 1978 and 1980 pressed on nice loud wax for heavy DJ deployment. There is a melancholic mood to the synths in these tunes, with weighty dub, fat bass, and skilled guitar all adding the sort of detail that occupies the mind as much as the body. More
UK lover's rock/roots reggae group Dambala has been at the forefront of Emotional Rescue's revival of these sounds in recent years. After a haunting EP last summer we now get an immersive full-length that takes us back to the melting pot of sounds that was London in the 70s and 80s. Revelations is actually a collection of singles from the band recorded between 1978 and 1980 pressed on nice loud wax for heavy DJ deployment. There is a melancholic mood to the synths in these tunes, with weighty dub, fat bass, and skilled guitar all adding the sort of detail that occupies the mind as much as the body. More
1
Mataya - Golddigger (12" Mix)
2
Mataya - Golddigger (Tape Mix 1)
3
Mataya - Golddigger (Jura Soundsystem Disco Dub)
Emotional Rescue is at it again with another fully licensed and remastered offering, this time bringing to wax Mataya's Golddigger with a previously digital-only 'tape Mix.' Zimbabwe-born and later London-based Mataya "Clifford" Chewaluza was a core part of the vibrant West London music scene, using his songwriting, production and multi-instrumentalist skills on albums for RCA and Virgin. He also dropped a few 12"s and this one was released in 1988. It's a cult curio with crashing 80s production, disco-tinged grooves and plenty of subtle African rhythm which includes a standout dub mix from Jura Soundsystem.
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1
King Sporty - Safari
2
King Sporty - Safari (Lexx Discomix)
Emotional Rescue return to the work of Noel Williams as King Sporty. The Miami-based Jamaican made some seminal, stunning music that presaged the increasing importance of synthesisers in disco and dance music overall. This time the label have decided to give a regal airing to a cut previously only available squeezed onto the Deep Reggae Roots LP. "Safari" is a heady brew that keeps a necessary skank in the groove while channeling the nagging funk of The Meters and heading somewhere exotic. At just under four minutes, it's the kind of jam that warrants an extended treatment, and who better to do a respectful job than Lexx, who more than doubles the run time of the track on the B side.
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Reissued for the first time this ultra-rare reggae album originally released in 1974. Considered by many to be the first reggae “lovers” album ever, signed by the producer and Singer Clement Bushay and the reggae singer Carl Bert. As guests The Cimarons, Jackie Parris, Junior English, Dego Sensation. Engineers: Steve Wadey, Clem Bushay and Lee Perry … Four unreleased tracks from the original version are included here!
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1
Al Hirt - Honey Pot
2
Al Hirt - Mess Around
3
Al Hirt - Calypsoul
4
Al Hirt - Long Gone
5
Al Hirt - Sweetlips
6
Al Hirt - Girl
7
Al Hirt - Love Ya' Baby
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Al Hirt - Sunday-Goin' To Meetin' Time
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Al Hirt - Snap Back
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Al Hirt - Ludwig
Format Notes: 2024 first time vinyl reissue, remastered audio with original artwork, 140g vinyl
Track List:
A1 Honey Pot
A2 Mess Around
A3 Calypsoul
A4 Long Gone
A5 Sweetlips
A6 Girl
B1 Love Ya' Baby
B2 Sunday-Goin' To Meetin' Time
B3 Snap Back
B4 Harlem Hendoo
B5 Ludwig
Release Notes:
Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!
Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.
However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.
A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!
Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".
The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.
The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.
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Track List:
A1 Honey Pot
A2 Mess Around
A3 Calypsoul
A4 Long Gone
A5 Sweetlips
A6 Girl
B1 Love Ya' Baby
B2 Sunday-Goin' To Meetin' Time
B3 Snap Back
B4 Harlem Hendoo
B5 Ludwig
Release Notes:
Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!
Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.
However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.
A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!
Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".
The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.
The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.
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Elaine Brown - Very Black Man
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Elaine Brown - Assasination
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Elaine Brown - Poppa's Come Home
Reissued on vinyl for the first time! A milestone of the Black music movement, originally released on Vault in 1969. The debut album of Elaine Brown was arranged by piano player amd composer Horace Tapscott, conducting the Californian Pan-Afrikan Peoples Arkestra. A true political manifesto, the album is an accurate meeting between black poetry and spiritual jazz. After her debut Elaine went to release an eponymous second album on Motown. Elaine Brown is an African American activist and a former leader of the Black Panther Party – Minister of Information and Chairman.
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Nina Simone vs Lauryn Hill - Feeling Good
2
Nina Simone vs Lauryn Hill - Ready Or Not
3
Nina Simone vs Lauryn Hill - Doo Wop (That Thing)
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Nina Simone vs Lauryn Hill - To Zion feat. Carlos Santana
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Nina Simone vs Lauryn Hill - Fu-Gee-La feat. The Fugees
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Nina Simone vs Lauryn Hill - The Sweetest Thing feat. John Forté
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Nina Simone vs Lauryn Hill - Take It Easy
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Nina Simone vs Lauryn Hill - Peace Of Mind
9
Nina Simone vs Lauryn Hill - Lost Ones
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Nina Simone vs Lauryn Hill - Killing Me Softly
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Nina Simone vs Lauryn Hill - If I Ruled The World feat. Nas
12
Nina Simone vs Lauryn Hill - How Many Mics feat. The Fugees
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Nina Simone vs Lauryn Hill - So High feat. John Legend
14
Nina Simone vs Lauryn Hill - Care For What
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Nina Simone vs Lauryn Hill - Angel Of The Morning
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Nina Simone vs Lauryn Hill - The Miseducation of Eunice Waymon
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Nina Simone vs Lauryn Hill - Fu-Gee-La (Refugee Camp Remix) [Bonus Track]
Repress!
A mashup masterpiece from AMERIGO GAZAWAY, the man behind the BIZARRE TRIBE, YASIIN GAYE, and FELA SOUL mashup albums. Here he imagines a studio session between the high priestess of soul NINA SIMONE and hip hop legend LAURYN HILL. 17 track two LP set in pic sleeve.
Side 1
1. "Feeling Good" (4:59)
2. "Ready Or Not" (feat The Fugees) (5:27)
3. "Doo Wop (That Thing)" (4:30)
4. "To Zion" (feat Carlos Santana) (5:49)
Side 2
1. "Fu-Gee-La" (feat The Fugees) (4:56)
2. "The Sweetest Thing" (feat John Forte) (4:45)
3. "Take It Easy" (4:32)
4. "Peace Of Mind" (4:59)
Side 3
1. "Lost Ones" (4:45)
2. "Killing Me Softly" (6:06)
3. "If I Ruled The World" (feat Nas) (3:51)
4. "How Many Mics" (feat The Fugees) (5:43)
Side 4
1. "So High" (feat John Legend) (3:55)
2. "Care For What" (2:54)
3. "Angel Of The Morning" (3:42)
4. "The Miseducation Of Eunice Waymon" (5:00)
5. "Fu-Gee-La" (bonus track - Refugee Camp remix) (5:33) More
A mashup masterpiece from AMERIGO GAZAWAY, the man behind the BIZARRE TRIBE, YASIIN GAYE, and FELA SOUL mashup albums. Here he imagines a studio session between the high priestess of soul NINA SIMONE and hip hop legend LAURYN HILL. 17 track two LP set in pic sleeve.
Side 1
1. "Feeling Good" (4:59)
2. "Ready Or Not" (feat The Fugees) (5:27)
3. "Doo Wop (That Thing)" (4:30)
4. "To Zion" (feat Carlos Santana) (5:49)
Side 2
1. "Fu-Gee-La" (feat The Fugees) (4:56)
2. "The Sweetest Thing" (feat John Forte) (4:45)
3. "Take It Easy" (4:32)
4. "Peace Of Mind" (4:59)
Side 3
1. "Lost Ones" (4:45)
2. "Killing Me Softly" (6:06)
3. "If I Ruled The World" (feat Nas) (3:51)
4. "How Many Mics" (feat The Fugees) (5:43)
Side 4
1. "So High" (feat John Legend) (3:55)
2. "Care For What" (2:54)
3. "Angel Of The Morning" (3:42)
4. "The Miseducation Of Eunice Waymon" (5:00)
5. "Fu-Gee-La" (bonus track - Refugee Camp remix) (5:33) More
1
Tete Mbambisa - African Day
2
Tete Mbambisa - Khumbula Jane
3
Tete Mbambisa - Siviwe
4
Tete Mbambisa - Kohinoor
5
Tete Mbambisa - Mr. Mecca
6
Tete Mbambisa - Siyanda
7
Tete Mbambisa - Umsenge
8
Tete Mbambisa - Relaxin
9
Tete Mbambisa - Untitled For Duke Makasi
2LP set in a gatefold sleeve - first edition of 500 copies
Awarded an honorary doctorate from the University of Cape Town in 2023, pianist Tete Mbambisa (84) is a legendary figure in South African jazz. Supported by the cream of the local scene, his albums from the 1970s are among the most cherished vinyl documents from this golden era. A monumental archival undertaking, African Day compiles unreleased recordings from 1976 to resurrect a "lost" Tete Mbambisa double album that falls between his seminal works Tete's Big Sound (1975) and Did You Tell Your Mother (1979).
Born in 1942 and raised in South Africa's Eastern Cape province, Tete Mbambisa’s childhood home served as an informal tavern where social gatherings orbited around the family's carefully curated music collection with live performances by a local pianist. Growing up in this environment, his musical roots are embedded in marabi, the syncopated piano sound that blended cues from American jazz, blues and ragtime with the cultural sensibilities that shape modern South African jazz.
A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career began in earnest. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's two solo recordings from the 1970s were produced by Rashid Vally for the independent As-Shams/The Sun record label. With an abundance of strong material but limited resources, some of the label's prospective releases were not issued at the time of recording. Featuring the intended artwork commissioned for the project in 1976, African Day marks the first major unveiling of unreleased gems from the As-Shams master tape archive. More
Awarded an honorary doctorate from the University of Cape Town in 2023, pianist Tete Mbambisa (84) is a legendary figure in South African jazz. Supported by the cream of the local scene, his albums from the 1970s are among the most cherished vinyl documents from this golden era. A monumental archival undertaking, African Day compiles unreleased recordings from 1976 to resurrect a "lost" Tete Mbambisa double album that falls between his seminal works Tete's Big Sound (1975) and Did You Tell Your Mother (1979).
Born in 1942 and raised in South Africa's Eastern Cape province, Tete Mbambisa’s childhood home served as an informal tavern where social gatherings orbited around the family's carefully curated music collection with live performances by a local pianist. Growing up in this environment, his musical roots are embedded in marabi, the syncopated piano sound that blended cues from American jazz, blues and ragtime with the cultural sensibilities that shape modern South African jazz.
A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career began in earnest. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's two solo recordings from the 1970s were produced by Rashid Vally for the independent As-Shams/The Sun record label. With an abundance of strong material but limited resources, some of the label's prospective releases were not issued at the time of recording. Featuring the intended artwork commissioned for the project in 1976, African Day marks the first major unveiling of unreleased gems from the As-Shams master tape archive. More
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SOUL SUGAR - Axumites feat. Booker Gee & Lone Ark
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SOUL SUGAR - Out In The Rain feat. Booker Gee
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SOUL SUGAR - Never Too Much feat. Leo Carmichael
4
SOUL SUGAR - Matumbee feat. Booker Gee & Blundetto
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SOUL SUGAR - Faith feat. Booker Gee & Lone Ark
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SOUL SUGAR - I Want You (Sly & Robbie Remix) with Leo Carmichael
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SOUL SUGAR - Cool Down feat. Booker Gee & Blundetto
8
SOUL SUGAR - Greedy G feat. Booker Gee
Since first emerging in the latter half of the noughties, Guillaume Metenier’s Soul Sugar project has evolved considerably. Initially a trio built around the virtuoso organist’s love of ‘60s and ‘70s soul-jazz and Hammond funk – Metenier studied under jazz organ legend Dr Lonnie Smith – Soul Sugar is now a collaborative collective that draws just as much influence from classic Jamaican dub and reggae as the works of Jimmy Smith and Jimmy McGriff.
The outfit’s musical evolution comes into sharp focus on Excursions in Soul, Reggae, Funk & Dub, a collection of hard-to-find tracks that have been released at different points, and on different vinyl formats, over the last three years. Taken as a whole, the set offers a stunning snapshot of Soul Sugar’s rapidly expanding catalogue of classics. Metenier is once again at the controls but this time round Soul Sugar’s cast list of contributing musicians includes Sly & Robbie, Blundetto, Lone Ark, Slikk Tim, Thomas Naim and honey-voiced soul singer Leo Carmichael. Metenier also stars as a musician, providing lively and ear-catching organ solos under his now familiar Booker Gee alias.
What’s most noticeable from the off is the richness of the reggae riddims, the warmness of the instrumentation and the effortlessly soulful nature of the music. This is particularly evident on the collective’s stunning covers of Luther Vandross’s "Never Too Much" and Marvin Gaye’s "I Want You": effortlessly sunny and life-affirming interpretations that re-imagine the tracks as sumptuous slabs of reggae-soul and provide a platform for Leo Carmichael’s inspiring and comforting voice. Metenier and friends’ take on dub reggae – toasty, authentically bass-heavy and seeped in analogue effects – can also be admired on "Matumbee" and "Cool Down", the latter a digi-dub influenced affair rich in colourful synths sounds, echoing delay trails and sub-bass so deep it will rattle your teeth. Both also contain lusciously jazzy guitar licks and some incredible keys-work from Metenier.The guiding hand of Spanish multi-instrumentalist and producer Lone Ark can be heard on album opener "Aximites" – think Lee ‘Scratch’ Perry producing Jimmy Smith – and "Faith", an expertly breezy concoction that sports Jackie Mittoo-esque Hammond B3 solos from Metenier over a luscious backing track that sounds like something that may have emerged from Studio One in the mid 1970s. The collective’s love of Studio One is explored further on a sweaty, reggae-funk cover of "Greedy" that features fabulous drums, bass and guitar from Slikk Tim, while "Out In The Rain" is an authentically sparse, spaced-out dub number laden with fluid instrument solos and devilishly heavy riddim.
Part compilation, part artist album, part collaborative celebration of dub-soul fusion, Excursions in Soul, Reggae, Funk & Dub is the strongest statement yet of who Soul Sugar are, and where they’re going. More
The outfit’s musical evolution comes into sharp focus on Excursions in Soul, Reggae, Funk & Dub, a collection of hard-to-find tracks that have been released at different points, and on different vinyl formats, over the last three years. Taken as a whole, the set offers a stunning snapshot of Soul Sugar’s rapidly expanding catalogue of classics. Metenier is once again at the controls but this time round Soul Sugar’s cast list of contributing musicians includes Sly & Robbie, Blundetto, Lone Ark, Slikk Tim, Thomas Naim and honey-voiced soul singer Leo Carmichael. Metenier also stars as a musician, providing lively and ear-catching organ solos under his now familiar Booker Gee alias.
What’s most noticeable from the off is the richness of the reggae riddims, the warmness of the instrumentation and the effortlessly soulful nature of the music. This is particularly evident on the collective’s stunning covers of Luther Vandross’s "Never Too Much" and Marvin Gaye’s "I Want You": effortlessly sunny and life-affirming interpretations that re-imagine the tracks as sumptuous slabs of reggae-soul and provide a platform for Leo Carmichael’s inspiring and comforting voice. Metenier and friends’ take on dub reggae – toasty, authentically bass-heavy and seeped in analogue effects – can also be admired on "Matumbee" and "Cool Down", the latter a digi-dub influenced affair rich in colourful synths sounds, echoing delay trails and sub-bass so deep it will rattle your teeth. Both also contain lusciously jazzy guitar licks and some incredible keys-work from Metenier.The guiding hand of Spanish multi-instrumentalist and producer Lone Ark can be heard on album opener "Aximites" – think Lee ‘Scratch’ Perry producing Jimmy Smith – and "Faith", an expertly breezy concoction that sports Jackie Mittoo-esque Hammond B3 solos from Metenier over a luscious backing track that sounds like something that may have emerged from Studio One in the mid 1970s. The collective’s love of Studio One is explored further on a sweaty, reggae-funk cover of "Greedy" that features fabulous drums, bass and guitar from Slikk Tim, while "Out In The Rain" is an authentically sparse, spaced-out dub number laden with fluid instrument solos and devilishly heavy riddim.
Part compilation, part artist album, part collaborative celebration of dub-soul fusion, Excursions in Soul, Reggae, Funk & Dub is the strongest statement yet of who Soul Sugar are, and where they’re going. More
1
King Sporty / The Laptop - Computer Age (Club Mix)
2
King Sporty / The Laptop - Computer Age (Dub Mix)
3
King Sporty / The Laptop - Computer Age (Universal Cave Discomix)
King Sporty is something of a chameleonic artists, not that many people know. He started out int he 70s making reggae and soul 7"s, then moved into disco, boogie, hip-hop and electro 12"s during the 80s, and then when house music hit in the 90s he evolved once more. This new drop from Emotional Rescue takes a tune from that late era. 'Computer Music' is four to the floor with electro influences and a lazy break that pull you in deep. Far-sighted chords bring a serene sense of cosmic majesty while a filtered vocal adds space age vibes. A dub is included as well as the Universal Cave Discomix by the Philadelphia DJ and production crew. A retro-future EP indeed..
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1
Harry Thumann - Sphinx
2
Harry Thumann - Welcome Back, Jolette
3
Harry Thumann - Underwater
4
Harry Thumann - Chicago
Repress!
Taking a break from their usual Italian remit, Best Record turn their attention to an overlooked pioneer from the annals of German electronic music history. Harry Thumann was based in Munich, and primarily worked as a studio engineer, but his own recorded work was vitally important too. An early adopter of MIDI, and with a propulsive electronic disco sound that was right at the cutting edge of the times, the four "experiments" Best have gathered here represent some of the most potent dancefloor jams he created - full-fat technicolour fever dreams for the fabulous and flamboyant. More
Taking a break from their usual Italian remit, Best Record turn their attention to an overlooked pioneer from the annals of German electronic music history. Harry Thumann was based in Munich, and primarily worked as a studio engineer, but his own recorded work was vitally important too. An early adopter of MIDI, and with a propulsive electronic disco sound that was right at the cutting edge of the times, the four "experiments" Best have gathered here represent some of the most potent dancefloor jams he created - full-fat technicolour fever dreams for the fabulous and flamboyant. More
A modern day mashup classic from AMERIGO GAZAWAY that takes the Afrobeat rhythms and music of FELA KUTI and mixes it with the rap stylings of DE LA SOUL. Awesome.
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1
Sharon Brown - I Specialize In Love (Ben Liebrand Classic Rework)
2
Sharon Brown - I Specialize In Love (Ben Liebrand DJ Mix)
Originally a club hit in the early 1980s when recorded by American singer Sharon Brown, the niece of songwriter Phil Medley. Released in March 1982, by the legendary Profile Records label from NYC. It was the he first ever record produced by Eddie O Loughlin who would later establish the famous Next Plateau label. “I Specialize In Love” spent three weeks at number two on the US Hot Dance Club Play chart. The single also charted on the UK Singles Chart, and charted In the Dutch Top 15 thus becoming an international club hit. A remixed version of the song was released in 1994, entering the UK Singles Chart for a second time.
Ben Liebrand now steps up and delivers yet again with his Classic Rework and the more club oriented DJ Mix. He manages to retain the pure disco vibe of street and fusion sounds, that, along with a simple rap is total boogie pop. Fantastic and still sounding as fresh as it did forty years ago. A filler on the Dancefloor! More
Ben Liebrand now steps up and delivers yet again with his Classic Rework and the more club oriented DJ Mix. He manages to retain the pure disco vibe of street and fusion sounds, that, along with a simple rap is total boogie pop. Fantastic and still sounding as fresh as it did forty years ago. A filler on the Dancefloor! More
1
Timmy Thomas - Why Can't We Live Together (Ben Liebrand T-Connection Remix)
2
Timmy Thomas - Why Can't We Live Together (1981 Bootleg)
“Why Can’t We Live Together” is a song written and recorded by Timmy Thomas in 1972. A chart hit in the following year, it was included on the album Why Can’t We Live Together. It was one of the first major hits to feature the use of a rhythm machine! From his organ! Very apt for our times, this song simply gives a heartfelt antiwar message. The track has been re-recorded by the likes of Sade, MC Hammer, Santana and Steve Winwood over the years but it’s the original that has the magic of it’s creator!
Ben Liebrand ups the bpm’s for his mix. He creates a percussive jam that pumps with pure emotion. Absolute club class.
Included on this release is Ben’s (now admittedly taking ownership after 43 years) 1981 Bootleg which chugs with soul and funk goodness. More
Ben Liebrand ups the bpm’s for his mix. He creates a percussive jam that pumps with pure emotion. Absolute club class.
Included on this release is Ben’s (now admittedly taking ownership after 43 years) 1981 Bootleg which chugs with soul and funk goodness. More
1
King Sporty / Fashion Funktion - Sun Country
2
King Sporty / Fashion Funktion - Sund Country (Instrumental)
3
King Sporty / Fashion Funktion - Sund Country (40 Thieves Disco Mix)
Here comes Emotional Rescue and Konduko's last in their series of Noel Williams/King Sporty reissues, this time looking at later electro productions and the hip-hop/boogie influenced 'Sun Country'. Vocals and co-production come from Williams' long-time partner Betty Wright and as well as a vocal and instrumental mix there's a longform remix by Bay Area disco dub stalwarts, 40 Thieves.
By this point in his career, the godfather of Miami Bass had travelled a long way from his Jamaican roots in reggae and soul, paying homage to the warm climbs of the Sunshine State and laying down a much copied template using the TR-808 drum machine create the electronic emulations of the breakbeat, claps accenting the backbeat and trademark low frequencies shaking the floorboards. The instrumental stretches the arrangement, emphasising the interplay between electronics, bass, vocal samples, scratching and fx, the voice transformed into a percussive element in its own right. The flip sees 40 Thieves flexing their understated understanding of electro funk, making for a rounded, generation-jumping package. More
By this point in his career, the godfather of Miami Bass had travelled a long way from his Jamaican roots in reggae and soul, paying homage to the warm climbs of the Sunshine State and laying down a much copied template using the TR-808 drum machine create the electronic emulations of the breakbeat, claps accenting the backbeat and trademark low frequencies shaking the floorboards. The instrumental stretches the arrangement, emphasising the interplay between electronics, bass, vocal samples, scratching and fx, the voice transformed into a percussive element in its own right. The flip sees 40 Thieves flexing their understated understanding of electro funk, making for a rounded, generation-jumping package. More