Tip!

Preview: https://www.youtube.com/watch?v=6YX2QMCVZD8

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy." Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

Tracklist:

1.1GRATEFUL
1.2GLORIOUS GAME FEAT KIRBY
1.3I'M STILL SOMEHOW
1.4HOLLOW WAY
1.5PROTOCOL FEAT. SON LITTLE
1.6THE WEATHER
1.7THAT GIRL
1.8I WOULD NEVER
1.9ALONE
1.10MIRACLE
1.11GLORIOUS GAME (REPRISE)
1.12ALTER EGO FEAT. BRAINSTORY More

Sky High Coloured Vinyl.

Tip!

Preview: https://www.youtube.com/watch?v=6YX2QMCVZD8

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy." Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

Tracklist:

1.1GRATEFUL
1.2GLORIOUS GAME FEAT KIRBY
1.3I'M STILL SOMEHOW
1.4HOLLOW WAY
1.5PROTOCOL FEAT. SON LITTLE
1.6THE WEATHER
1.7THAT GIRL
1.8I WOULD NEVER
1.9ALONE
1.10MIRACLE
1.11GLORIOUS GAME (REPRISE)
1.12ALTER EGO FEAT. BRAINSTORY More

Preview: https://www.youtube.com/watch?v=LdCiqqpFmEU

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He’s now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reflection of who he is now and a testament to how struggle often brings about a needed change.

In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was significant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life.

The first song from these sessions, “Now That It’s Over” perfectly sums up Homer’s triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo—aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts “Deep Sea”, a modern love song, “Start Select”, a juxtaposition of inspiration and melancholy, and “Forever and Ever and Ever and Ever” which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on “Racecar Driver”, pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener “Rollin’”, an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on “So Get Up!”, a bottom heavy infectious track that MINOVA’s vocals turn into an instant hit that is sure to smash speakers. On “Wishing Well” & “Hide It Behind the Light I’m Shining Through” Homer is joined by girl named GOLDEN, who’s unique voice effortlessly finds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer “Goldie” which Homer says is the part of the movie where the credits roll.

Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and influences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this first solo offering is just the beginning of his next chapter. More

Big Crown Records is proud to present Derya Yildirim & Grup Simsek’s debut 7” offering on the label. They came to New York in June of 2024 to record their new album at The Diamond Mine Studio in Queens with Leon Michels handling production. These are the first two tunes from those sessions and they are very telling of what is to come on the new album.

The A side “Cool Hand” is a beautiful juxtaposition of intensity and lightheartedness with lyrics that explore the depths of unrequited love while the music is uplifting and bright. Derya’s passionate vocals and maverick Saz playing ride atop the band’s infectious groove as she conjures images of pink mountains and unbloomed yellow tulips. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart.

The B side “Yakamoz” is a deeply moving song that captures the profound emotions connected to displacement and loss. The lyrics tell the story of someone who had to leave their home, the place of their roots, out of necessity and is uncertain if they will ever return. A sense of irreversible departure is echoed in the recurring lines, “I can’t go back home again, I can’t look back.” The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. More

Big Crown Records is proud to present Dave Guy’s debut album Ruby.

Having lent his talents both on stage and in the studio to artists like Amy Winehouse, Lizzo, Pharrell, and Sharon Jones and currently playing every night on The Tonight Show as a member of The Roots, Dave steps out on his own with a jazz record that is both unique and modern. Ruby mixes his musical influences with the energies of the city that raised him, capturing different moods and inviting the listener into the world as Dave Guy sees and feels it.

Recorded in Queens at The Legendary Diamond Mine, the album is produced by Homer Steinweiss and Nick Movshon and features musical contributions from Leon Michels, Marco Benevento, Claire Cottrill, and more.

Ruby instantly sits with the classics as an album that is fully realized and not simply a collection of songs. Lead single “7th Heaven” opens the album with an anthemic energy as Dave’s horn lines soar over thundering drums, ethereal vocals, and dancing piano. Keeping the energy high, “Footwork” is a Latin inspired number that is sure to soundtrack many a dance floor from SoHo to Harlem. The synth intro of “Pinky Ring” cleanses your palate for the mood shift when the track drops. Deep bass tones underline the impeccable drumming and Dave effortlessly finds the pocket wasting no notes as the verses and choruses trade off. The record leans into spiritual jazz vibes on “Diamond Encore” with a dark and deep almost “Axelrodish” rhythm track then picks the energy back up with the stomper “Still Standing”. “Dave Wants You” has a bop all its own with an unorthodox drum pattern that Dave anchors with his trumpet hits. The otherworldly arrangement of “Drony Boy” puts the production on a pedestal. The first intro almost serves as an intermission on the album while the second intro sets up the neck snapping track that is about to drop. A menacing guitar signals the builds and the whole thing is juxtaposed by Dave’s beautiful trumpet riffs. “Quesodillas” & “Green Door” begin the autumn of the album with their mellow & intimate energy and “Ruby’s Rubies”, the album’s closer is the perfect ending to the journey. More

Preview: https://www.youtube.com/watch?v=JgRmvgOYH0Y

Big Crown Records ist stolz darauf, "Perak", das Debütalbum von Thee Marloes, zu präsentieren. Wenn man Thee Marloes zum ersten Mal hört, mag einem ihr spezieller Soul-Sound vertraut vorkommen. Da sind die wuchtigen Trommeln, eine sanfte Gitarre und eine schöne Stimme, die über unerwiderte Liebe und die Komplikationen in Herzensangelegenheiten singt. Aber dann ist da etwas unbestreitbar anderes an Thee Marloes und ihrer Musik, etwas Neues und Unverwechselbares. Die meisten, die mit Soulmusik vertraut sind, haben wahrscheinlich noch nie etwas aus Surabaya, Indonesien, gehört - dem Ort, den Thee Marloes ihre Heimat nennen. Thee Marloes, das sind Natassya Sianturi (Gesang und Keyboard), Tommy Satwick (Schlagzeug) und Sinatrya ("Raka") Dharaka (Gitarre und Produktion). Ihr Sound hat die universelle Anziehungskraft von Soul, Jazz und Pop, aber mit einem ganz eigenen Ansatz, der auf ihre lokale Kultur und ihren globalen Einfluss zurückzuführen ist. Die erste Auskopplung von "Perak" ist "Midnight Hotline", die heiße A-Seite ihrer Debüt-7" auf Big Crown. Eine druckvolle Dancefloor-Nummer mit einem ansteckenden Refrain, vibrierendem Piano und jazzigen Gitarrenlicks. Die B-Seite "Beri Cinta Waktu" ist auch auf dem Album und hat alles, was eine beliebte Soul-Ballade ausmacht, aber der Text ist auf Indonesisch. Unabhängig von der Sprachbarriere ist das Gefühl in ihrer Musik spürbar, was dazu beiträgt, dass ihre Songs nachvollziehbar sind und ans Herz gehen. "I Know" ist ein Mid-Tempo-Song, der davon handelt, wie man den Schleier der Lügen von einer Liebesaffäre, die auf Falschheit beruht, wegzieht. "Not Today" gehört zu den groovigsten Wohlfühlsongs, die man an einem Sonntagmorgen spielen kann. Natassya erinnert uns daran, uns selbst Raum zu geben, ganz gleich, was das Leben uns vor die Füße wirft. "Mungkin Saja" zieht das Tempo mit einem weiteren Dancefloor-Smoker wieder an, während Thee Marloes mit "True Love" in die gefühlvolle Seite des Jazz eintauchen, mit einer Beat-Ballade, die eine Tarantino-Tanzszene untermalen könnte. "Over" beginnt mit einem schweren Drum-Break und entwickelt sich zu einem epischen Arrangement, das in Schichten wunderschöner Melodien getränkt ist und das Chaos einer Liebesaffäre, die abrupt endet, perfekt einfängt. "Perak" ist eine Reise aus dem Herzen Surabayas in den Geist des Soul-Sounds. Es geht darum, einen Raum zu schaffen, wo keiner war, und es zu tun, weil man es liebt. Man spürt den Spaß, den Thee Marloes haben, ihre Musik zu machen, vom Songwriting und Aufnehmen bis hin zu den Auftritten vor Publikum. "Wir wollen das, was wir leben, mit anderen teilen", sagt Natassya. Egal, welche Sprache man spricht oder aus welcher Kultur man kommt, die Musik und die Energie von Thee Marloes sind so charmant, dass wir sie alle noch jahrelang in der Nähe des Plattenspielers haben werden. More

Clear Orange Vinyl!

Compilation mit unveröffentlichten Songs von The Shacks, produziert von El Michels Affair und Max Shrager. Inklusive der Viral-Hit Coverversion von "Crimson & Clover". Für Fans von Katie Bollinger, Drugdealer, Khruangbin, Soccer Mommy, Japanese Breakfast, El Michels Affair, Clairo, Faye Webster, Men I Trust. Die cineastischen Songs von The Shacks, angeführt von Sängerin/Bassistin Shannon Wise und Gitarrist/Produzent Max Shrager, sind der Soundtrack zu einer geheimnisvollen alternativen Realität. The Shacks waren eine der ersten Bands, die bei Big Crown Records unter Vertrag genommen wurden. Shannon war damals 17, also musste bis zu ihrem achtzehnten Geburtstag gewartet werden, bis der Deal abgeschlossen werden konnte. Ihr Einstieg war ein Feature auf dem El Michels Affair-Track "Strange Boy". Als Nächstes folgte die B-Seite der El Michels Affair Single "No Surprise". Dann kam die selbstbetitelte Debüt-EP, und von da an ging es Schlag auf Schlag. The Shacks tourten mit Chicano Batman und Khruangbin durch die USA und Europa. Während einer dieser Tourneen entstand die Apple-Werbung, bei der die The Shacks Coverversion von "This Strange Effect" in einer weltweiten Werbekampagne platziert wurde. Der Regisseur bestand darauf, dass Shannon die Hauptrolle in dem Spot spielte, der in den USA auf allen großen TV-Sendern lief, während des Superbowls, SNL und allen anderen hochkarätigen Sendungen jener Zeit. Später wurde der Spot weltweit ausgestrahlt und erreichte etwa eine Milliarde Aufrufe. 2018 erschien mit "Haze" ihr mit Spannung erwartetes Debütalbum und die Band tourte durch die Welt, um die Platte zu promoten. Doch wie das Schicksal es wollte, brach die Band auseinander, bevor das nächste Album fertiggestellt war. Shannon und Max trennten sich 2020. In der Blütezeit der Band waren sie sehr produktiv und machten jede Menge Aufnahmen, aber viele dieser Songs haben nie das Licht der Welt erblickt. Auf "Big Crown Vaults Vol. 2" wurden nun einige der besten dieser unveröffentlichten Tracks und einige Songs, die nie eine Vinylpressung gesehen haben, für die Fans zusammengestellt. More

Big Crown Records is proud to present Brainstory’s sophomore full-length album Sounds Good.

Based in L.A. but hailing from the Inland Empire's own Rialto, California, two-thirds of Brainstory, Kevin and Tony Martin are brothers by blood, while Eric Hagstrom is a brother through their music and long term friendship. Since they started the band they have constantly faced situations that forced them to rise to the occasion. They got signed to Big Crown Records, they stepped up their game. COVID happened, they learned to record themselves. They started touring a ton sharing the stage with the likes of Lady Wray and they got their live show super tight. All of this time spent grinding and growing has certainly paid off. The path to take their art to the next level is clearer than ever, and once again, they are here for it. If there is one thing that is abundantly clear on Sounds Good, it’s that Brainstory has leveled up.

Part of this evolution is undoubtedly attributed to having access to and working constantly in their own studio in Long Beach. Another major factor is that their brotherhood has expanded. "I've been playing music with my brother all my life and now with Eric for a long time," Tony tells us. "Leon, though, is like another brother I've just met."
Leon Michels, Big Crown's co-owner, produced this record and applied his unmistakable golden touch in crucial ways. The other member of the extended Brainstory brotherhood whose contributions were essential to the album, is studio engineer legend Jens Jungkurth who controls the tones and textures of the music. "That's what you're hearing, our connection, the fun moments, the little details," Kevin describes. "This record isn't half what it is without them—and it made us want to match that effort," and match that effort they did.

Album opener "Nobody But You" is an uplifting, dance floor burner, that shows off a new side of Brainstory's range. Drummer Eric Hagstrom’s crushing back beat lays the foundation for an inspirational feel good banger that manages to take the uncomfortable truth that “nobody will save you but you” and turn it into pure blissful motivation. "Peach Optimo" is a laid back half time tune that blends the bounce of Down South Hip-Hop with California G funk and Jazz. They once again show off their B said ballad talents with "Gift Of Life" but this time taking the genre to a new place with lyrics about existentialism and a track that is drop dead gorgeous, haunting, and profound all at once. "NyNy" is an homage to Kev and Tony's recently deceased grandfather while "Too Yung" is a show stopping, deeply personal, stripped down number about being introduced to alcohol at a young age. They put another hit on the boards with "Hanging On," a Latin / Psychedelic Soul inspired banger featuring Claire Cottrill on background vocals while "XFaded” addresses the all too common vicious cycle of smoking and drinking too much over a trippy shuffle.

"It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." That's one way to describe change: catching up to oneself. Each member of Brainstory has gone through shifts, both personally and musically, and all of that threads through Sounds Good. It's easy to say that the music industry can be short on lasting, genuine relationships. However, for Brainstory, from day one it's been about standing by each other, for each other. Their friendship started the group, and now, this expanded brotherhood is supporting them to push it further. The stars have aligned for them to take a big and well deserved step with this new album and it couldn't have happened to a better group of guys. Ups and downs of course, but they are acutely aware of how good the big picture has been for them and you can hear it in their music—music that just Sounds Good. More

Green Felt Vinyl!

Big Crown Records is proud to present Brainstory’s sophomore full-length album Sounds Good.

Based in L.A. but hailing from the Inland Empire's own Rialto, California, two-thirds of Brainstory, Kevin and Tony Martin are brothers by blood, while Eric Hagstrom is a brother through their music and long term friendship. Since they started the band they have constantly faced situations that forced them to rise to the occasion. They got signed to Big Crown Records, they stepped up their game. COVID happened, they learned to record themselves. They started touring a ton sharing the stage with the likes of Lady Wray and they got their live show super tight. All of this time spent grinding and growing has certainly paid off. The path to take their art to the next level is clearer than ever, and once again, they are here for it. If there is one thing that is abundantly clear on Sounds Good, it’s that Brainstory has leveled up.

Part of this evolution is undoubtedly attributed to having access to and working constantly in their own studio in Long Beach. Another major factor is that their brotherhood has expanded. "I've been playing music with my brother all my life and now with Eric for a long time," Tony tells us. "Leon, though, is like another brother I've just met."
Leon Michels, Big Crown's co-owner, produced this record and applied his unmistakable golden touch in crucial ways. The other member of the extended Brainstory brotherhood whose contributions were essential to the album, is studio engineer legend Jens Jungkurth who controls the tones and textures of the music. "That's what you're hearing, our connection, the fun moments, the little details," Kevin describes. "This record isn't half what it is without them—and it made us want to match that effort," and match that effort they did.

Album opener "Nobody But You" is an uplifting, dance floor burner, that shows off a new side of Brainstory's range. Drummer Eric Hagstrom’s crushing back beat lays the foundation for an inspirational feel good banger that manages to take the uncomfortable truth that “nobody will save you but you” and turn it into pure blissful motivation. "Peach Optimo" is a laid back half time tune that blends the bounce of Down South Hip-Hop with California G funk and Jazz. They once again show off their B said ballad talents with "Gift Of Life" but this time taking the genre to a new place with lyrics about existentialism and a track that is drop dead gorgeous, haunting, and profound all at once. "NyNy" is an homage to Kev and Tony's recently deceased grandfather while "Too Yung" is a show stopping, deeply personal, stripped down number about being introduced to alcohol at a young age. They put another hit on the boards with "Hanging On," a Latin / Psychedelic Soul inspired banger featuring Claire Cottrill on background vocals while "XFaded” addresses the all too common vicious cycle of smoking and drinking too much over a trippy shuffle.

"It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." That's one way to describe change: catching up to oneself. Each member of Brainstory has gone through shifts, both personally and musically, and all of that threads through Sounds Good. It's easy to say that the music industry can be short on lasting, genuine relationships. However, for Brainstory, from day one it's been about standing by each other, for each other. Their friendship started the group, and now, this expanded brotherhood is supporting them to push it further. The stars have aligned for them to take a big and well deserved step with this new album and it couldn't have happened to a better group of guys. Ups and downs of course, but they are acutely aware of how good the big picture has been for them and you can hear it in their music—music that just Sounds Good. More

Big Crown Records is proud to present Zero Grace, Liam Bailey’s sophomore album on the label. Following the success of 2020’s Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve.


Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts.


That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo-fi recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push. With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't."


Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener “Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. “Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance floor with him. “Disorder Starts At Home” is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.


Bailey has managed another album that moves across genres but remains entirely cohesive. The title Zero Grace represents his uninhibited energy. He wears his heart on his sleeve, he speaks his mind without filters, and he has little concern for formalities where his ambitions are concerned. He won't be held back ever. One thing is for sure, his talent speaks for itself, and it is on full display on this album. More

Tracklist:

1. This Is My Story
2.Love It Is Not Love (feat. Shanny of The Shacks) https://www.youtube.com/watch?v=1ff2vgkorpM
3.Green Milk
4.Red Is The Rose (Folk Version)
5.The Shame
6.Swimmer
7.Celeste
8.Kingdom Of The Sun 03:44
9.Middle Of The Night
10.A Perfect Space
11.Driftless
12.End Of Time

Holy Hive released two full length albums and one EP in the short span of 3 years and then they decided to disband. In 2019, while recording their debut album world renown harpist Mary Lattimore was in NY. They got together in the studio on a whim and wound up recording their Harping EP in a few days. They followed that up with their 2020 full length debut Float Back To You which became an instant cult classic and defined their unique “Folk Soul” sound. Frontman Paul Spring’s tender falsetto and maverick guitar playing over Homer Steinweiss’ incomparable drumming and production proved to be a match made in heaven and created a sound that piqued the ears and charmed the hearts of all those who heard it. By the time they started recording their sophomore album COVID, commitments, and life started taking their toll on the band.

Spring and Steinweiss took their sound and pushed it way forward on their eponymous 2nd album keeping the anchor of their sound they established while exploring where else they could take it. Unbeknownst to the public by the time that record was released the band was done and had moved on to other things individually. While fans will undoubtedly not like this news, we will all have the timeless music they made while together, and, prolific they certainly were…

Big Crown Vaults Vol. 3 : Holy Hive digs into the treasure trove of unreleased recordings and pulls some that never saw their way to vinyl and in all honesty, this is not even half of what is in there. These recordings were made during their two album sessions largely, some were recorded before they even signed to Big Crown. The compilation kicks off with the tune that started it all on the label, their smashing cover of The Invincibles “This Is My Story” that was previously only on a 7”. “Love It Is Not Love”, “Middle Of The Night”, “Celeste”, and their cover of “Kingdom Of The Sun” all feature guest vocals by Shanny of The Shacks who had started playing bass with them at their live shows and sitting in on a lot of the recording sessions. “The Shame” features Robin Pecknold of Fleet Foxes on bass and El Michels Affair on flute, the latter also plays on “A Perfect Space”. At one point in time the would turn the live show over to Paul Spring who would perform the Irish folk tune “Red Is The Rose” in a traditional style with just him singing and playing acoustic guitar and then launch into their rendition of the song that is on Float Back To You. That stripped down version is featured here on Vaults Vol. 3. The comp finishes poetically with “End Of Time” and it is unlikely that we will ever release the rest of what is sitting in the vault.

On behalf of ourselves and all the fans we’d like to take this time to thank Holy Hive for the gorgeous music they made together. We will continue to enjoy it forever. Of course as individuals everyone involved from the core members to the people who lent their talents to certain songs continue to make music. Find them, follow them, enjoy their music.
More

Lucid Blue Vinyl!

Tracklist:

1.I'll Never Leave
2.Falling Away - https://www.youtube.com/watch?v=XxDMgENSanQ
3.Chess
4.Still Here - https://www.youtube.com/watch?v=4MO6Pf9E46g
5.If I 03:06 - https://www.youtube.com/watch?v=evrcLpXHqEE
6.It's Over
7.Love & Flowers - https://www.youtube.com/watch?v=XY5mQ3tcXM4
8.You
9.Our Love
10.Next To Me
11.Thousand Clouds
12.Muse

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen. More

Since the release of Surprise Chef’s 2022 album, Education & Recreation they have been touring across the US, Europe, and Australia selling out shows and cementing themselves as a force to be reckoned with. Releasing three albums and a string of successful 7” singles since 2019, their output is nothing short of prolific and they show no signs of slowing down with the announcement of their new Friendship EP.

Friendship is a six song 12” EP that picks up where the last album left off and pushes their sound in new directions as they take on different energies and make them their own. The EP opens with “Rosemary Hemphill”, a gorgeous yet haunting tune that takes the listener through a myriad of musical changes and moods. “Friendship Theme” is a bouncy and energetic number with an infectious and driving topline that is sure to move dancefloors around the globe. “Over The Moon” is pure mood music that puts Surprise Chef’s restraint and tasteful use of space front and center while “Spiky Boi” is a frantic upbeat number drenched in percussion and keyboards.

With a year of heavy touring plans in front of them in 2023 this EP will bridge the gap while they write and record their next album due out in 2024. More

Tip!

Preview: https://www.youtube.com/watch?v=6YX2QMCVZD8

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy." Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

Tracklist:

1.1GRATEFUL
1.2GLORIOUS GAME FEAT KIRBY
1.3I'M STILL SOMEHOW
1.4HOLLOW WAY
1.5PROTOCOL FEAT. SON LITTLE
1.6THE WEATHER
1.7THAT GIRL
1.8I WOULD NEVER
1.9ALONE
1.10MIRACLE
1.11GLORIOUS GAME (REPRISE)
1.12ALTER EGO FEAT. BRAINSTORY More

Sky High Coloured Vinyl.

Tip!

Preview: https://www.youtube.com/watch?v=6YX2QMCVZD8

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy." Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

Tracklist:

1.1GRATEFUL
1.2GLORIOUS GAME FEAT KIRBY
1.3I'M STILL SOMEHOW
1.4HOLLOW WAY
1.5PROTOCOL FEAT. SON LITTLE
1.6THE WEATHER
1.7THAT GIRL
1.8I WOULD NEVER
1.9ALONE
1.10MIRACLE
1.11GLORIOUS GAME (REPRISE)
1.12ALTER EGO FEAT. BRAINSTORY More

Tracklist:
1. BAKERY PLEDGE OF ALLEGIANCE
2. GRINNERS CIRCLE
3. VELODROME
4. SUBURBAN BREEZE
5. CONVERSATION PIECE
6. ICONOCLASTS
7. MONEY MUSIC
8. SPRING'S THEME
9. TOGETHER AGAIN
10. WINTER'S THEME
11. TEN & TWO
12. GOLDIE'S LULLABY

Die Musik von Surprise Chef basiert auf dem Hervorrufen von Stimmungen; ihre lebendigen Arrangements nutzen Zeit und Raum, um Klanglandschaften zu schaffen, die den Zuhörer in ihre Welt einladen. Der unverwechselbare Sound des Quintetts speist sich aus der Filmmusik der 70er Jahre, der funkigeren Seite des Jazz und den Samples, die die Grundlage des Hip-Hop bilden. Sie verschieben die Grenzen des instrumentalen Soul und Funk mit ihrem eigenen Ansatz, der durch unzählige Stunden im Studio, das Studium der Meister und - vielleicht am wichtigsten - durch die "Tyrannei der Distanz", die ihrer Musik eine einzigartige Perspektive diktiert, verfeinert wurde. Mit ihren ersten beiden Alben All News Is Good News und Daylight Savings haben sich die aus der Nähe von Melbourne, Australien, stammenden Musiker eine eingefleischte Fangemeinde erspielt und ihren Sound von ihrem Heimstudio aus in alle Ecken der Welt gebracht. Die Band ist nun bei Big Crown Records unter Vertrag und reiht sich damit in eine Reihe zeitgenössischer und klassischer Sounds ein, die die Musik von Surprise Chef seit ihrer Gründung im Jahr 2017 beeinflusst haben. Surprise Chef besteht aus Lachlan Stuckey (Gitarre), Jethro Curtin (Keyboards), Carl Lindeberg (Bass), Andrew Congues (Schlagzeug) und Hudson Whitlock - das jüngste Mitglied, das von der Percussion über das Komponieren bis zum Produzieren alles macht. Die selbsternannten "moody shades of instrumental jazz-funk" haben von allem etwas: druckvolle Drums, mitreißende Keys, eine Rhythmusgitarre, die man auf einer Studio One-Platte hören könnte, und Flötenlinien, die von einer Blue Note-Session stammen könnten. Aber wenn man einen Schritt zurücktritt und sich die Gesamtheit ihres Sounds und ihrer Herangehensweise anschaut, dann hört und sieht man eine Gruppe, die mehr ist als die Summe ihrer Teile. In vielerlei Hinsicht verkörpert Surprise Chef die Redewendung "the benefits of limits". Ihre Möglichkeiten waren insofern begrenzt, als es in Südost-Australien nicht viele Leute gab, die instrumentalen Jazz/Soul/Funk machten oder darüber sprachen, geschweige denn Platten herausbrachten. So mussten sie ihren Sound und ihre Herangehensweise in einer Art kreativer Isolation entwickeln, in der sich ein kleiner Kreis von Freunden und gleichgesinnten Musikern gegenseitig befruchtete. "Da wir in Australien so weit weg sind, bekommen wir nur flüchtige Einblicke in die Ursprünge dieser Musik", sagt Stuckey. "Aber als wir ein Label wie Big Crown hörten, wurde uns zum ersten Mal bewusst, dass man frische, neue Soulmusik machen kann, die nicht super retro oder einfach nur nostalgisch ist." Dieser Ansatz ist auf ihrem neuen Album Education & Recreation deutlich zu hören. Tracks wie "Velodrome" verbinden klobige Drums mit einer ohrwurmverdächtigen Synthie-Linie, die so klingt, als würde sie auf einer Ultimate Breaks & Beats-Compilation zu finden sein, während Nummern wie "Iconoclasts" zeigen, dass sie ein Händchen für die geschmackvolle Nutzung von Raum haben. Vom erdrückenden Intro von "Suburban Breeze" bis zum schwebenden, sanften Bop von "Spring's Theme" haben Surprise Chef ein Album zusammengestellt, das dich durch Höhen und Tiefen der Emotionen führt. Ein lebendiger, die Fantasie beflügelnder Sound! Dem weiten Spektrum dieser Instrumentalmusiksparte wird mit diesem neuen Album ein modernen Klassiker hinzugefügt. More

LIMITED ORANGE VINYL

Bobby Oroza puts his desire for the profound on wax with his sophomore album Get On The Otherside. Musically, he has updated the formula we were introduced to on the first record. But lyrically, songs are bravely rooted in the more complicated, ubiquitous inner tangles of life like self-examination and coming to terms with the vastness of the human experience.

With the Coronavirus bringing the world to a halt, Bobby—a father and husband—had to do something. No tours to play or studio time to fill, Bobby found himself back in the construction yard, doing blue-collar work to provide for his family. “I was super grateful for the work—a lot of my colleagues didn’t have an option like that,” Bobby admits. More than a few personal hardships forced him to acknowledge and work through some brutal truths. And what came of it? Well, for one, this new record Get On The Otherside which pretty well describes what Bobby’s been through: He had to demolish his ego, his old ways of thinking, and his tried approaches to anchor into a refreshed perspective with new understandings.

As Bobby tells it, “I had to do some real self-searching, come to terms with what was wrong, and how much of it I was responsible for.” So how does this translate to the new album? Moments of clarity as to where the real value in life lies on “I Got Love”, encouraging numbers like the title track “The Otherside,” and declarations of self actualization on “My Place, My Time.” Even the more straightforward love songs are outside the box lyrically like “Sweet Agony” and “Loving Body.” If you have never had the pleasure of catching one of Bobby’s live shows you may have no idea that he is a maverick on the guitar. He lets us in on a little of that on “Passing Things” with a solo that possesses the same restrained and space that his lyrics do.

As we’d expect, the songwriting still has that raw, direct edge to it. But an evolution has taken place. There are new points of view on familiar territory which in Bobby’s words “For me to love, I needed to take a bigger view of love. One with less ego and more empathy” really hold true. The result is a record with Bobby’s new found humility on full display and a message of encouragement to anyone who is struggling and can’t see a way out.

It still may be hard to nail down and define Bobby and his sound. He’s no one thing more than the other. But what he’s showing us now, on Get On The Otherside, is that we can also label him a soulful, philosophical optimist. Someone who can say a lot with a little, and who wants us all to know that it’s us that has to do the hard lifting to truly live a life in love—both with the world and with yourself.

Tracklist:

01. I Got Love
02. Loving Body
03. Bobby’s New Mood
04. The Otherside
05. Soon Everyone Will Know
06. Blinding Light
07. My Place, My Time
08. Sweet Agony
09. Passing Thing
10. Make Me Believe
11. Real Connection
12. Through These Tears More

Bobby Oroza puts his desire for the profound on wax with his sophomore album Get On The Otherside. Musically, he has updated the formula we were introduced to on the first record. But lyrically, songs are bravely rooted in the more complicated, ubiquitous inner tangles of life like self-examination and coming to terms with the vastness of the human experience.

With the Coronavirus bringing the world to a halt, Bobby—a father and husband—had to do something. No tours to play or studio time to fill, Bobby found himself back in the construction yard, doing blue-collar work to provide for his family. “I was super grateful for the work—a lot of my colleagues didn’t have an option like that,” Bobby admits. More than a few personal hardships forced him to acknowledge and work through some brutal truths. And what came of it? Well, for one, this new record Get On The Otherside which pretty well describes what Bobby’s been through: He had to demolish his ego, his old ways of thinking, and his tried approaches to anchor into a refreshed perspective with new understandings.

As Bobby tells it, “I had to do some real self-searching, come to terms with what was wrong, and how much of it I was responsible for.” So how does this translate to the new album? Moments of clarity as to where the real value in life lies on “I Got Love”, encouraging numbers like the title track “The Otherside,” and declarations of self actualization on “My Place, My Time.” Even the more straightforward love songs are outside the box lyrically like “Sweet Agony” and “Loving Body.” If you have never had the pleasure of catching one of Bobby’s live shows you may have no idea that he is a maverick on the guitar. He lets us in on a little of that on “Passing Things” with a solo that possesses the same restrained and space that his lyrics do.

As we’d expect, the songwriting still has that raw, direct edge to it. But an evolution has taken place. There are new points of view on familiar territory which in Bobby’s words “For me to love, I needed to take a bigger view of love. One with less ego and more empathy” really hold true. The result is a record with Bobby’s new found humility on full display and a message of encouragement to anyone who is struggling and can’t see a way out.

It still may be hard to nail down and define Bobby and his sound. He’s no one thing more than the other. But what he’s showing us now, on Get On The Otherside, is that we can also label him a soulful, philosophical optimist. Someone who can say a lot with a little, and who wants us all to know that it’s us that has to do the hard lifting to truly live a life in love—both with the world and with yourself.

Tracklist:

01. I Got Love
02. Loving Body
03. Bobby’s New Mood
04. The Otherside
05. Soon Everyone Will Know
06. Blinding Light
07. My Place, My Time
08. Sweet Agony
09. Passing Thing
10. Make Me Believe
11. Real Connection
12. Through These Tears More

When Bobby Oroza and the Cold Diamond & Mink production duo first got together in the studio they cut “This Love”. That turned out to be a hell of a start. Since they originally released it in 2016 the tune has become somewhat of an underground hit. From the heavy air play at car shows and swap meets in the South West to being featured in numerous movies and tv shows, it even made its way to an Earl Sweatshirt mixtape. All of this has lead to a lot anticipation for Bobby Oroza’s debut full length which is appropriately named after the tune that started it all. Big Crown Records is proud to present the debut full length from Bobby Oroza, This Love.

Bobby was born in Helsinki, Finland into a family of musicians and artists where he would be exposed to a wide range of music early on. Frequent family parties at Bobby’s were thrown to the sounds of his grandfather playing Latin and Cuban classics on his guitar or to his parents record collection which was full of early jazz and blues, Motown, gospel hits, and doo-wops. The Soul records were balanced out by Brazilian, African, North and South American folk songs, and Nuyorican Salsa albums. All of these influences make appearances in Bobby’s music.

Bobby pushes the borders of soul and rock balladry and creates a sound distinctly his own. Cold Diamond & Mink provide a pitch perfect collection of lo-fi, low-key classics on which Bobby’s smokey tenor floats atop, breaking hearts on some tunes and melting them on others. Maintaining the band’s signature dark and intimate aesthetic, they run the gamut of tempos, breaking hearts on some tunes and mending them on others. The group’s second single “Your Love Is Too Cold” is a stomper that blends the groovy soul drumming of early Motown records with guitar that could have been lifted from a James Bond score and has been getting heavy spins across the globe at soul parties and on radio shows. Bobby takes care of the dancers with a few up numbers, ranging from the northern soul nods on “Lonely Girl” & “Falling in Love” to the 70s jazz funk nod on “Keep On Believing”. However, the ballad lovers with the uncontrollable urge to two-step late into the night will be the real winners with “This Love”. Bobby thrives on the bed of dark and intimate sensuality found on tracks like “Alone Again”, “Down On My Knees”, and “Deja Vu”. The world is about bear witness, and surely be taken back by this strange and unique shade of Soul born in Finland but made for the whole world to enjoy.


Tracklist

01. MAYBE, MAYBE, MAYBE
02. YOUR LOVE IS TOO COLD
03. ALONE AGAIN
04. LONELY GIRL
05. BOBBY'S MOOD
06. KEEP ON BELIEVING
07. THIS LOVE
08. FALLING IN LOVE
09. DOWN ON MY KNEES
10. DEJA VU
11. THERE CAN BE NO LOVE More

What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the SanBernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn'tbe long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman's bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The LegendaryDiamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, "Dead End" which was the A-side to their first 45 on Big Crown that sold outin a matter of days. With Kevin's sublime falsetto floating atop Tony and Eric's unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. "Breathe" showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony's father, Big Tone, an accomplished performer himself, steps in on "Peter Pan" to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on "Sorry", a smoked out, GFunk groove that is just waiting to be sampled. These guys have...

TRACKLIST

01. BREATHE
02. MNEMOPHOBIA
03. SORRY
04. DEAD END
05. PETER PAN
06. BEAUTYFUL BEAUTI
07. LUCID DREAM
08. COVER IT UP
09. RECLAIM
10. THANK YOU
More

Very first version of the first single by Cortex, reissued as 7inch for the 1st time. “I remember that I and Alain Gandolfi wanted to put ‘Mary & Jeff’ on the A side, but the producer decided to set ‘L’Enfant Samba’ instead because he thought that the voice of Mireille would be more selling than my piano… 6 months after, at the beginning of 1976, ‘Mary & Jeff’ was a hit in a lot of Disco clubs and radios!” (Alain Mion).

Limited to 500 copies.

La Rue 4:23
Automne (Colchiques) 2:35
L'Enfant Samba 3:00
Troupeau Bleu 5:00
Prelude A "Go Round" 3:52
Go Round 1:20
Chanson D'Un Jour D'Hiver 5:20
Mary Et Jeff 2:40
Huit Octobre 1971 4:22
Sabbat (1ère Partie) 1:00
Sabbat (2ème Partie) 3:15
Sabbat (3ème Partie) 0:26
Madbass 2:50 More

Just had to do it, this timeless classic "Sugar man" by Sixto Rodriguez. An immense tune. OG released on the funk and soul label; Sussex records. With a top line up of musicains - Bob Babbitt on bass and Dennis coffey on Guitar; Gordon Staples did the stunning Strings arrangment and Mike Theodore producer...This was previously issued as a 7" in the 70s, but sell for well over £100.00. We have used the OG White colour sleeve design instead of the South African issue with a black sleeve, in keeping with format styles. On the flip we have take another track from the LP "Only good for conversation" Heavy groove with nice bass drum loop, it has a Eugene McDaniels vibes. More

Frédéric Rabold was born on November 23rd, 1944, in Paris, France. His father was a jazz musician and had dreams of all three of his children becoming musicians as well. Frédéric started out learning the violin but always gravitated to the trumpet. The violin actually ended up on the wall at some point, which may have revealed Rabold's tendency toward impulsiveness. He came into contact with jazz music at an early age when he lived with his parents in France. Later on, his father had a big band with which he performed at dances in health resorts. At the age of 16, he often played with his father in American Army Clubs. From 1961 to 1964, Frédéric studied at the University of Music in Karlsruhe. In 1965, he moved to Stuttgart where he still lives today. In the same year drummer Axel Lauser approached him and asked if he wanted to play in his trio. Then, for a few years, Frédéric played in the Axel Lauser Quartet. In 1968, Frédéric founded his own band, the Frédéric Rabold Crew. The music of the "Crew" was well received in the 1968 era and the band quickly gained recognition in the German modern jazz scene. Invitations to several major festivals followed, including the jazz festival in Zurich. Later, they toured extensively through Eastern Europe on behalf of the Goethe Institute. In 1968, the first recordings were made by a friend of the band during a rehearsal. However, they were not to be released until 1980 on the LP "Berlin". "Noon In Tunisia" is one of these tracks. In March, 1970, the crew performed at the 12th German Jazz Festival in Frankfurt am Main amongst such Jazz greats as the Albert Mangelsdorff Quartet, the Klaus Doldinger Quartet and the Dave Pike Set. Two years later, the Frédéric Rabold Crew released their debut album entitled "Flair". This was followed in the 1970s by more than half a dozen albums for various labels. These included the album "Open House" with guest guitarist Martin Ederer, as well as three albums with singer Lauren Newton between 1975 and 1979. Rabold also worked with avant-garde jazz musicians such as Gunter Hampel, Leszek Zadlo, Lester Bowie, Manfred Schoof, Albert Mangelsdorff and Jeanne Lee. In the mid-1970s, a second formation was formed, the "Frédéric Rabold Jazz Inspiration Orchestra", which, unlike the crew, continued to exist with the same line-up well into the 2010s. In 2018, Frédéric Rabold celebrated the 50th anniversary of his group, the Frédéric Rabold Crew. Today, Rabold can look back on more than 1000 original compositions. Sometimes certain events led him to a composition, other times he just sat down at the piano and something happened, or not. Even though his real love is modern jazz, he has played all styles himself, including classical trumpet. In this respect, his role models were actually always American jazz musicians, who were sometimes quite unconventional in this respect. Frédéric Rabold's motto has always been: there is good and not so good music in all styles. This album brings together only the former. More

After the highly anticipated debut album "Sugar Honey Iced Tea!," the dynamic NYC duo strikes once more with a double pack of alternate versions and remixes. Craig Handfield and Brandon Weems, better known as musclecars, have unveiled a dance music masterpiece, now graced by the touch of house music legends Louie Vega and Maurice Fulton.

This double pack showcases multiple versions of "Tonight," remixed by dance music maestro Louie Vega, who momentarily stepped away from his Masters At Work ventures to infuse this project with his magic. The main remix unfolds like an epic journey adorned with orchestral elegance, while the dub versions range from festival anthems (NV South Jersey Mix) to tracks that echo the early Masters At Work essence (Louie Vega’s Bronx Dub).

Additionally, we are gifted a new version of "Hello?" reimagined by Maurice Fulton. In this version, Maurice's signature live bass lines intertwine with exuberant, hard-hitting percussion, casting a whimsical light on the deep, introspective original.

Complementing the remixes from musclecars' esteemed inspirations, we encounter two new versions of "Ha Ya! (Eternal Life)" and "Water," both stripped of percussion to reveal the stunning arrangements, textures, and harmonies. These renditions are accompanied by a full side of musclecars’ dance odyssey "I Don’t Remember The Last Time I Saw Stars."

The Double Honey Pack is a tour de force. It’s a rarity to witness two legends unite to elevate an already stellar project, yet Vega and Fulton achieve just that. Meanwhile, Weems and Handfield meticulously peel back the layers, allowing the intricate details to shine. This promises to be the release of the summer!

A1. Tonight (05:55)
A2. Tonight (Louie Vega Bronx Dub) (05:50)
B1. Tonight (Louie Vega Remix) (08:22)
C1. Hello? (Maurice Fulton Remix) (06:44)
C2. Ha Ya! (Eternal Life)(Planetarium Mix) (07:38)
D1. I Don’t Remember The Last Time I Saw Stars (11:10) More

Flammer Dance Band back with two new hip-shaking garage funk tunes!
2023 Repress edition in different sleeve artwork colourway
Another essential from Lyskestrekk Records. More