Search results for DISTRI

MC Bogy & DJ Craft – Best Of Mixtape (NMK Entertainment / Distri)
Friday, July 14th, 2017 | Tags: , , , ,
Posted in Magazine, Record of the Week | Comments Off on MC Bogy & DJ Craft – Best Of Mixtape (NMK Entertainment / Distri)

Die Berliner Straßenlegende MC Bogy und DJ Craft von K.I.Z haben ihre Kräfte vereint und präsentieren ein Mixtape-Album mit Berliner Schnauze. Featuring Kool Savas, Bushido, B-Lash, Taktloss, Sido, K.I.Z, u.v.a.

CD NMK016
Release: 14-07-17
The Afro Soul Prophecy – Red Light District / The Game of Love
Friday, April 28th, 2017 | Posted in Products | Comments Off on The Afro Soul Prophecy – Red Light District / The Game of Love

Image: 1609933 The Afro Soul Prophecy project welcomes the Spring of 2017 with a series of two exclusive 7-inch records, for a total of four fully instrumental new compositions. This first 45rpm consist consists of the main track “Red Light District”, a rare groovy funk effort tinged with catchy brass melodies, backed with the slower, mellow and sensual “The Game of Love” – yes, the title says it all! Once again Alex Puddu has lent his creativity and put his music signature on these tracks, for an exciting and charming result!

TRACKLIST 7”
A1 Red Light District
B1 The Game of Love Available from 19.05.2017

TaiMo – Horner Corner (Steuerfreimoney / distri)
Thursday, April 13th, 2017 | Tags: , , ,
Posted in Magazine, Record of the Week | Comments Off on TaiMo – Horner Corner (Steuerfreimoney / distri)

Der Junge mit dem T an der Schläfe hat seine Tasche gepackt und bringt das erste Album-Release für das neu gegründete Label Steuerfreimoney auf den Markt.

CD STFM001
Release: 14-04-17
Kerrier District – Kerrier District 1 (Re-Mastered)
Friday, March 25th, 2016 | Posted in Products | Comments Off on Kerrier District – Kerrier District 1 (Re-Mastered)

Image: 1603288 Hypercolour present a stone cold classic as Kerrier District 1 (Re-Mastered) is finally getting reissued.

TRACKLIST 3LP
A1. Let’s Dance And Freak
A2. Silhouettes
B1. Illogan
C1. Disclix
C2. Disco Bus
D1. New York
E1. Yesco
E2. Negresco
F1. Wide Vice
F2. Squaredance

Originally released in 2004 on the Rephlex label (the label co-founded by Aphex Twin), Kerrier District’s debut has long since gone down as a classic album, a kaleidoscopic ride through Disco, Funk and MPC beats. The mastermind of Luke Vibert, the Cornish acid pioneer and grand exponent of mischievous electronic sounds under a variety of guises (including Plug, Wagon Christ and Amen Andrews), the Kerrier District debut has long been of print and circulation.

Following 2015’s successful re-entry on Hypercolour, with the critically acclaimed album ‘4’, the label will re-master and re-issue this landmark release. Faithfully re-creating the original 3LP vinyl set, and re-issuing on CD & digital alongside a bonus disc/tracks that feature the second Kerrier District EP (‘2’, originally released in 2006).

With a big Kerrier revival in full swing (check the latest remix single on Hypercolour where Ricardo Villalobos & Max Loderbauer, KiNK and Head High all pay homage to the man), then there’s been no better time for the re-issue treatment on one of dance music’s classic albums.

Available from 06.05.2016

Kerrier District – 4
Wednesday, April 8th, 2015 | Posted in Products | Comments Off on Kerrier District – 4

Image: 1596471 Cornish acid dance pioneer, Luke Vibert, dusts off the old gladrags and revives his cherished Kerrier District moniker for a new album this year on Hypercolour.

Having already released an album last year (the audacious 303 tweakathon ‘Ridmik’, released under the Luke Vibert name), Vibert returns to the label with a 14 track album as Kerrier District. “4” will be the first Kerrier album since 2004’s self titled long player for the legendary Rephlex label. Two singles also emerged from this project in 2006 and 2011, so it’s a huge scoop for the British imprint and a welcome return for Vibert’s disco and funk led project.

Digging into a huge pot of influence, and ably assisted with a trusty MPC, “4” is not surprisingly made up of a glorious collage of samples, old skool drum loops and large doses of acid funk and deep electronic disco, inspired in parts by the landmark “Black Devil Disco Club” EP from 1978 that has since gone on to influence the music of many like minded producers (step forward Metro Area/Daniel Wang et al).

A scan through the track titles (“Treacle Tits”? “Discuntek”?) reveal an album filled with humour and mischievous intent, most definitely a trait of many of Vibert’s past releases, but the music really is some serious business. From the album opener, “Discogram”, with its easy (listening) vibes and low slung groove, right the way through to the closing “Come On Kerrier” with its frenzied synth work, deadly bass and incessant vocal stabs, the album is a Technicolor romp through feel good modern funk music as only Kerrier knows how. Drawing upon a wealth of incredible source material, playful beat programming and lush bass, “4” is an album that will quite possibly soundtrack the Summer of 2015 for many, many people.

Tracklisting
A1 Discogram
A2 It’s The Disco
B1 Techno Disco
B2 London Grooves
C1 Funky Train
C2 Treacle Tits
D1 Brush The Bush
D2 Discotron
E1 Discuntek
E2 Sexspurt
F1 Live Disco
F2 Come on Kerrier Available from 15.05.2015

Diamond District – March On Washington Redux (LP+7")
Saturday, January 31st, 2015 | Posted in Products | Comments Off on Diamond District – March On Washington Redux (LP+7")

Image: 1595078 Oddisee, XO and yU are back with production by Large Professor, Oh No, Diamond D, Black Milk, Apollo Brown, Nottz, L’Orange & more…

incl. Bonus 7” Vinyl Single:

A. I Mean Business (prod. Jonwayne)
B. Bonus Flow (prod. Paul White)

Available from 13.03.2015

Diamond District – March On Washington (Colored)
Friday, October 3rd, 2014 | Posted in Products | Comments Off on Diamond District – March On Washington (Colored)

Image: 1592150 “We attract people who need that boom and that bap.” That’s more
than a line, it’s a legacy. When Diamond District dropped In the Ruff on
Mello Music Group in 2009, the gritty drums and grimy raps combined as
elementally as hydrogen and oxygen. The D.C. Voltron of Oddisee, yU, and
X.O. dusted off and revitalized a sound once consigned to the catacombs.
Hailed as an instant classic, its impact reverberated throughout the
underground and mainstream. The Washington D.C. City Paper called it the
city’s best album in many years. During an era when lyricism was deemed
too intellectual and samples too dated, Diamond District overturned
conventional logic. They preserved the raw and made it righteous.
A half-decade later, the holy trinity has returned with March on
Washington. The truths remain timeless. Wisdom over rhythm. Slang
turned into testament. The march turned into indelible memory. This is rap
for every man (and woman) done by extraordinary men. They’re doing it
for the pioneers of the culture and for Trayvon Martin, for those workers
toiling on the weekends to get their moms out of the hood.
It’s music to entertain, but also to restore a feeling. It places an
increasingly rare value on wordplay, flows, concepts, breath control, and
passion. It’s replete with the intangibles that make hip-hop special. Oddisee
crafts beats that bang like galvanized soul, hard enough to deflect bullets but
infused with a veiled sensitivity. And as the group says on finale, “Bonus
Flow,” they made it cool for “K. Dot to do what he do….and “Oddisee’s
better than Kanye too.”
The songs reflect the creative push and pull of the group itself, three
solo artists who manifest something greater than the sum of their parts.
This is the antidote for those who feel like they didn’t leave hip-hop, hip-
hop left them. It refuses to spin its wheels or let its focus stray. It is filthy
enough to come from the gutter, but it doesn’t cater to low sensibilities.
There is the spirit of the old transplanted into the legs of the new. Round
up the troops, lace those boots. This is triumph that you can march to, until
you can’t walk anymore.

TRACKLISTING

1. March On
2. First Step
3. These Bammas
4. The Backup
5. Working Weekends
6. Purveyors of Truth
7. A Part of It All
8. Say What You Mean
9. Ain’t Over
10. Erything
11. You Had To Be There
12. Lost Cause
13. March Off
14. Bonus Flow (Bonus Track)
Available from 05.12.2014

Diamond District – March On Washington (180g)
Friday, October 3rd, 2014 | Posted in Products | Comments Off on Diamond District – March On Washington (180g)

Image: 1592149 “We attract people who need that boom and that bap.” That’s more
than a line, it’s a legacy. When Diamond District dropped In the Ruff on
Mello Music Group in 2009, the gritty drums and grimy raps combined as
elementally as hydrogen and oxygen. The D.C. Voltron of Oddisee, yU, and
X.O. dusted off and revitalized a sound once consigned to the catacombs.
Hailed as an instant classic, its impact reverberated throughout the
underground and mainstream. The Washington D.C. City Paper called it the
city’s best album in many years. During an era when lyricism was deemed
too intellectual and samples too dated, Diamond District overturned
conventional logic. They preserved the raw and made it righteous.
A half-decade later, the holy trinity has returned with March on
Washington. The truths remain timeless. Wisdom over rhythm. Slang
turned into testament. The march turned into indelible memory. This is rap
for every man (and woman) done by extraordinary men. They’re doing it
for the pioneers of the culture and for Trayvon Martin, for those workers
toiling on the weekends to get their moms out of the hood.
It’s music to entertain, but also to restore a feeling. It places an
increasingly rare value on wordplay, flows, concepts, breath control, and
passion. It’s replete with the intangibles that make hip-hop special. Oddisee
crafts beats that bang like galvanized soul, hard enough to deflect bullets but
infused with a veiled sensitivity. And as the group says on finale, “Bonus
Flow,” they made it cool for “K. Dot to do what he do….and “Oddisee’s
better than Kanye too.”
The songs reflect the creative push and pull of the group itself, three
solo artists who manifest something greater than the sum of their parts.
This is the antidote for those who feel like they didn’t leave hip-hop, hip-
hop left them. It refuses to spin its wheels or let its focus stray. It is filthy
enough to come from the gutter, but it doesn’t cater to low sensibilities.
There is the spirit of the old transplanted into the legs of the new. Round
up the troops, lace those boots. This is triumph that you can march to, until
you can’t walk anymore.

TRACKLISTING

1. March On
2. First Step
3. These Bammas
4. The Backup
5. Working Weekends
6. Purveyors of Truth
7. A Part of It All
8. Say What You Mean
9. Ain’t Over
10. Erything
11. You Had To Be There
12. Lost Cause
13. March Off
14. Bonus Flow (Bonus Track)
Available from 05.12.2014

Diamond District – March On Washington
Friday, September 19th, 2014 | Posted in Products | Comments Off on Diamond District – March On Washington

Image: 1592144 Zweites Album des Trios bestehend aus Produzent und MC Oddisee, yU und XO für das Mello Music Group Label, bekannt durch Veröffentlichungen von Apollo Brown, Oddisee, Guilty Simpson, u.v.a.! Available from 31.10.2014

Uptown XO (Diamond District) – Color De Grey (Colored Vinyl)
Thursday, June 6th, 2013 | Posted in Products | Comments Off on Uptown XO (Diamond District) – Color De Grey (Colored Vinyl)

Uptown XO is DC through and through. Born as Jamaal Walton in historic Howard University hospital in ’85, XO grew up immersed in the culture and music of the District of Columbia. Both parents were musicians and XO’s first musical experiences include …

yU (Diamond District) – The Earn (Mello Music Group)
Monday, December 19th, 2011 | Tags: ,
Posted in Magazine, Record of the Week | Comments Off on yU (Diamond District) – The Earn (Mello Music Group)

yU is back with his sophomore project “The Earn”. The album is a timely meditation on the struggle to advance, set afire by yU’s potent wordplay.

CD MMGCD021
Release: 16-12-11
yU (Diamond District)
Monday, December 12th, 2011 | Tags: , , ,
Posted in Artists, Magazine | Comments Off on yU (Diamond District)

Before yU the 78er became a fan of music, he acquired certain tastes from his mother, Gina. Many artists trace their roots back to the funk, soul, jazz, or R&B sounds that were household staples during times of youth, but yU was born to a true female hip-hopper. Mecca and the Soul Brother and early […]

GROOVE ATTACK DISTRIBUTION and KOMPAKT will start to cooperate on vinyl formats …
Thursday, August 30th, 2007 | Posted in News | Comments Off on GROOVE ATTACK DISTRIBUTION and KOMPAKT will start to cooperate on vinyl formats …

Generic

DJ MURO (The King Of Diggin’) starts his own distribution company 11154 …
Monday, March 22nd, 2004 | Posted in News | Comments Off on DJ MURO (The King Of Diggin’) starts his own distribution company 11154 …

Generic

Groove Attack Distribution welcomes Philly based imprint Soulspazm …
Wednesday, June 18th, 2003 | Posted in News | Comments Off on Groove Attack Distribution welcomes Philly based imprint Soulspazm …

Hip Hop

LARS VEGAS gives up the nuggets on production, distribution and where to get your heavy beats …
Monday, February 10th, 2003 | Posted in News | Comments Off on LARS VEGAS gives up the nuggets on production, distribution and where to get your heavy beats …

Headz

New waxolution: GROOVE ATTACK distribute TOMMY BOY vinyl in Germany…
Monday, August 14th, 2000 | Posted in News | Comments Off on New waxolution: GROOVE ATTACK distribute TOMMY BOY vinyl in Germany…

Hip Hop

Here comes STRESS ! The new Swedish hip-hop label signs with Groove Attack Distribution…
Thursday, March 23rd, 2000 | Posted in News | Comments Off on Here comes STRESS ! The new Swedish hip-hop label signs with Groove Attack Distribution…

Hip Hop

Young RJ – Blaq Royalty
Friday, November 17th, 2017 | Posted in Products | Comments Off on Young RJ – Blaq Royalty

Image: 1616606 Slum Village Produzent und Rapper Young RJ stellt sein Debüt Soloalbum “Blaq Royalty” vor. Young RJ produzierte zusammen mit Black Milk auch unter dem Namen BR Gunna und wirkte an vielen Detroiter Hip Hop Alben mit, beginnend mit Slum Villages “Trinity” Album und der Compilation “Dirty District”. Als Gäste sind Pete Rock, BJ The Chicago Kid, Statik Selektah, Guilty Simpson und andere auf dem neuen Album. Als Bonus CD ist eine Best of-Zusammenstellung der dreiteiligen “Dirty District” Serie mit Auftritten von De La Soul, J Dilla, Dwele, Slum Village, Frank’n’Dank und anderen begefügt. Available from 15.12.2017

Chuck Senrick – Dreamin’
Friday, October 6th, 2017 | Posted in Products | Comments Off on Chuck Senrick – Dreamin’

Image: 1611446 Notes On A Journey present Dreamin a essential reissue of the private press masterpiece from Chuck Senrick.

TRACKLISTING:
A1 – Dreamin’
A2 – Wedding Trilogy
A3 – It Don’t Matter No More
A4 – Downtown
A5 – Gray Days
B1 – Kids
B2 – Don’t Be So Nice
B3 – Celebration Lover
B4 – It’s Alright
B5 – Bright Face
B6 – The Duke Is Gone
B7 – Drop A Dime
B8 – Dreamin’ (Reprise)

LP (180g vinyl + Old School Tip On Cover + Download Card + Printed Inner Sleeve)

It’s a well-documented fact that a person’s reasons for pursuing a career in music are varied and manifold. For some, it’s the desire for a glamorous and stellar career, the longing for fame and glory. For others, it’s just a job like any other, and for some, it’s a calling, just something you got to do. With this idea in mind, it’s easy to draw a parallel between the modesty and humility in Chuck Senrick’s life to that of Sixto “Sugarman” Rodriguez. But while Sugarman
recently learnt of him enduring fame on the other side of the globe and the creation of a legend for a whole generation around his craft, Chuck Senrick was never famous, now or at any time or place during his still enduring career. For more than 45 years now he simply plays his Fender Rhodes or piano and entertains any audience which is present, incidentally at the location at which he is performing. In this day and age, an endangered species anywhere but in the US, Chuck Senrick serves as a bar pianist.
Raised in Farmington, Minnesota, the young Senrick came at the decision to throw caution to the wind and become a career musician at an early age. At the tender age of 15, he played his first gig in Minnesota, and after the venue’s owner pressed his pay into his hand, he quickly came to the conclusion that making a living by performing music was the path he wanted to pursue. From this on it was surprisingly his life of simplicity and restricted circumstances that gave Senrick the liberty to play music whenever and wherever he felt like – be it as an all-round entertainer in bars and restaurants or as a member of several bands (i.e. touring with the Shuffle Brothers across Minnesota between 1976 and 1978 and later accompanying the Claudio Baltierras Ensemble on occasion). By 1982 Senrick was hired by Joe’s Steak House in Bloomington, Illinois (a two-hour drive south of Chicago) where he has earned money ever since, either as a solo pianist or as a band leader at his own evening „At Home At The Piano Bar“. This steadfast engagement was only interrupted once, for a six years period when he moved to Anna Maria Island in sunny Florida. During this time he also only played at a single location, the Cafe Crobar. Since this time he spends the remaining parts of his day following his second love after music, building sand castles.
Building castles in the air, though, was something Chuck Senrick never did during his career. His first and only record “Dreamin” wasn’t meant to signal the start of an illustrious career in the music business. The dozen songs he recorded in friend’s living rooms during 1976 were for the by then 21-year old, freshly married Minnesotan, just a plain and simple collection of compositions capturing the world around him and recounting humble tales of his life in it. “Drop A Dime” is a simple account of the flat he shared with three friends, while, as the title suggests, “Wedding Trilogy” is dedicated to his wife and is a living reminder of his marriage which happened around the time of these recordings. It was also his first wife who drew the illustration for the cover of “Dreamin”: A portrait of a young Chuck cross-fading between Minneapolis’ bustling city life (sung about in “Downtown”) and the comforting mountain scenery of Montana embedded in familiar unity. The songs, starting with the title track “Dreamin”, invoke the calm, humble life and bond with nature, which is still dear to Chuck Senrick’s heart to this very day. The songs also address the conflict between harmony and
adventure, a facet of his personality which embodies him all the same. These days, Senrick’s personal favourite from the collection is, “Don’t Be So Nice”, the best example of this discrepancy. Hard to be topped in its reduced purity, the song is scored in a restrained and jazzy manner, as all tracks of the album, with just a Fender Rhodes accompanied by a simple beat coming from the drum machine, the Donca-Matic by Keio/Korg. This minimalism, paired
with a preference for bittersweet melodies and his ingenious vocals, bestow Chuck Senrick’s music with a brutal honesty that will never go out of fashion, therefore bearing the imprint of timelessness. The soundtrack to eternity one could say. Just 200 copies of the record were pressed, which Senrick gave away to friends or sells to his audience at his gigs. Only many years later, in 1993 to be exact, during his stay in Florida, does Senrick again record further material. A few of his live gigs are put onto cassette tape and distributed them under the name “Island Live“ and “Cheap Thrills”. Somehow, through a series of unknown events and coincidences, 40-years later those original songs finally meet the catalyst for exposure to a bigger listenership. Not in Minnesota nor in Florida but a Japanese second-hand store of all places, Jazzanova member and NOAJ co-founder Stefan Leisering finds a copy of “Dreamin”. A magic moment for the passionate musician and DJ, one that stands out strong in his decades of record collecting. It’s exactly this type of songwriting and these arrangements that hit him emotionally, ticking every box along the way. Back in Berlin, he plays the record to some friends, who are also deeply moved and impressed by Senrick’s thoroughly honest music. The author of these liner notes also remembers the first time he heard “Don’t Be So Nice” very
vividly. It was during a car trip through Berlin with friends and fellow record collectors, Danny McLewin (Psychemagik) and Alex Barck (Jazzanova), when Alex played the track on the stereo of his A-Class, I couldn’t believe my ears for a moment. Once in a blue moon do you hear such a perfect pop song, minimalistic yet overflowing with charm owing to its sincerity. Knowing about its extreme scarcity, I didn’t even attempt to try to find the record. All the
more delighted I was when Notes On A Journey asked me to write the liner notes for this reissue. Finally, I can hold this beautiful record in my hands and I can listen to this ageless, bonafide and touching music again and again and again. I hope you dear reader, gets a kick out of this the same way I did and that I and the whole Notes On A Journey crew still do.
Linernotes by Adrian Hoenicke.

www.notesonajourney.com Available from 17.11.2017

Alborosie
Monday, July 31st, 2017 | Tags: , ,
Posted in Artists, Magazine | Comments Off on Alborosie

The first Italian reggae artist to be internationally recognised, Alberto D’Ascola (aka Alborosie) was born in Sicily in 1977. He formed his first band “Reggae National Tickets” in 1992 and they quickly reached success selling more than 200,000 records. They were the first Italian band to play at Sunsplash and Sumfest in Jamaica in the […]

Axis – Silver Satin / Runaway Love
Saturday, July 22nd, 2017 | Posted in Products | Comments Off on Axis – Silver Satin / Runaway Love

We are officially under exclusive rights reissuing a very special privetly pressed 45, “Silver Satin” by Axis. Originally released back in 1984, Axis was a short-lived band formed in California by guitar player/vocalist Byron Bordeaux. Back in 80s, re…

Justin Carter & Eamon Harkin – Mister Saturday Night, Then & Now
Friday, May 19th, 2017 | Posted in Products | Comments Off on Justin Carter & Eamon Harkin – Mister Saturday Night, Then & Now

Image: 1610063 Justin Carter and Eamon Harkin’s Mister Saturday Night: Then and Now is a perfect encapsulation of one of their parties and a fitting celebration for a pair of DJs that have painstakingly formed so many moments over the course of 250 parties.

Tracklisting (CD)
Menelik Wossenatchu – Tezeta
Soul Bros. Inc – Pyramid
ESB – On Cue
Baba Stiltz – Aches
FaltyDL – Hardcourage
Marcellus Pittman – There’s Somebody Out There
Soft Rocks – Talking Jungle (Justin Van Der Volgen Remix)
Kerrier District – Let’s Dance & Freak
Dennis Ferrer – The Red Room (OBJ Vocal Mix)
Oni Ayhun/Rroxymore/Jaguar Woman/Aquarian Jugs – DR-1
Alden Tyrell featuring Jack Marks – All We Need (’87 Fix)
HVCK – Domino
Bourbon and Maxx – Mystery Man
Mystic Pleasure – Back Door (Getting Down)

Back in 2009, Justin Carter and Eamon Harkin started their
Mister Saturday Night loft party in New York City. Almost a
decade later, the party has become an institution, spinning off
the all-walks-of-life Mister Sunday and, this summer, Harkin and
Carter mark their 250th party under the Mister banner.
To commemorate the moment, the Mister Saturday Night
residents have compiled and mixed Mister Saturday Night:
Then and Now, a selection of songs that have come to define
the party – as well as some recent discoveries that reflect
Eamon and Justin’s ongoing commitment to unearthing and
sharing music they love.
The mix begins with Menelik Wossenachew’s stunningly beautiful, highly sought-after version of “Tezeta”, arranged, written
and performed on by Mulatu Astatke.
Eamon and Justin then move on to Soul Bros Inc.’s “Pyramid,”
another grail record, before flipping into deep territory with
the slept-on “On Cue” by ESB. This leads to a trio of songs by
Baba Stiltz, FaltyDL and Marcellus Pittman that have become
ubiquitous at Mister Saturday Night and Mister Sunday.
As the keys ring out in Justin Van Der Volgen’s remix of Soft
Rocks, the climb to the party’s peak begins, making way for a
number of Mister anthems: Kerrier District’s “Let’s Dance and
Freak,” reissued for the first time ever outside of the LP, Dennis
Ferrer’s “The Red Room”, Oni Ayhun, Rroxymore, Jaguar
Woman and Aquarian Jugs’ collaborative “DR-1”, and Alden
Tyrell’s ode to late 80s Chicago house, “All We Need”.
The plane begins its decent with another recent but overlooked
moment of arpeggiation genius by HVCK, blending into early
80s New Jersey disco gold from the obscure Bourbon and
Maxx, finally closing on the highest of highs, with Mystic
Pleasure’s Back Door (Getting Down), a bass-driven, disco
stomper that’s driven many a Mister over the edge.
Justin Carter and Eamon Harkin’s Mister Saturday Night: Then
and Now is a perfect encapsulation of one of their parties and
a fitting celebration for a pair of DJs that have painstakingly
formed so many moments over the course of 250 parties Available from 30.06.2017

Various – Praise Poems Vol.5 (2LP+MP3)
Saturday, April 29th, 2017 | Posted in Products | Comments Off on Various – Praise Poems Vol.5 (2LP+MP3)

Running a record label offers adiversified and challenging field of activity. This is particularly true when speaking of tiny independent re-issue labels where one, two or three guys have to take care of everything. Tracking down musicians, collecting…

TaiMo
Monday, April 3rd, 2017 | Tags: , , ,
Posted in Features, Magazine | Comments Off on TaiMo

Der Junge mit dem T an der Schläfe hat seine Tasche gepackt und bringt das erste Album-Release für das neu gegründete Label Steuerfreimoney auf den Markt. “Horner Corner” heißt sein Debüt-Album und steht für den Hamburger Stadtteil Horn, wo er aufgewachsen ist. TaiMO setzt da an, wo er mit seinem Mixtape “Washingtonallee” 2016 aufgehört hat. […]

Luke Vibert – Luke Vibert Presents UK Garave Vol.1
Friday, March 24th, 2017 | Posted in Products | Comments Off on Luke Vibert – Luke Vibert Presents UK Garave Vol.1

Image: 1609403 A riotous romp through imaginatively used samples, familiar piano riffs, customary beats and other rave tropes, the master of mischief Luke Vibert puts together a 10 track ode to the era of M25 convoys, mobile phone hotlines and raving amongst dogs on strings in British aerodrome fields.

TRACKLIST
1. The Future
2. U Can’t Touch Dat
3. Back With Me
4. Heard It All B4
5. Everybody
6. Feel The Melody
7. Stop Gap
8. Clap Sing
9. Feel The Riddim
10. Pump

A riotous romp through imaginatively used samples,
familiar piano riffs, customary beats and other rave
tropes, the master of mischief Luke Vibert puts together
a 10 track ode to the era of M25 convoys, mobile phone
hotlines and raving amongst dogs on strings in British
aerodrome fields.
With a long and extensive history in the UK’s dance
counterculture spanning three decades, Vibert has
released a barrage of inventive and animated music over
the years that really doesn’t take itself too seriously, and
is all the better for it. LPs and singles for Mo Wax,
Warp, Planet Mu, Ninja Tune and Rising High really
speaks for itself, so it’s a honour to welcome Vibert back
onto Hypercolour (after 2014’s ‘Ridmik’ album and
2015’s return of his Kerrier District moniker).
Vibert stiches together a collage of sounds, samples and
beats for ‘Luke Vibert Presents UK Garave Vol. 1’ that
captures the essence of the rave era perfectly. Shuffling
breakbeats and spine-tingling synths provide the
flashbacks on ‘Heard It All B4’ whilst an onslaught of
classic vocal hits come at the listener faster than a
double drop rush on ‘Feel The Melody’.
‘Feel The Riddim’ doffs it cap at the dawn of UK garage
with big bass bin rumbling riffs and Todd Terry beats on
+8 whilst ‘U Can’t Touch Dat’ fuses skippy garage beats,
rave-tastic stabs and another rewind on the ‘Can You Feel
It’ vocal sample that never fails!
Whether you are an ageing raver, or a wide-eyed newbie,
‘Garave Vol. 1’ is a hugely enjoyable frolic in rave’s DAT
tape archives, with Vibert playing master of ceremonies
to a musical genre that quite simply refuses to die!
Available from 05.05.2017

Various – Southwest Side Story (RSD)
Wednesday, March 22nd, 2017 | Posted in Products | Comments Off on Various – Southwest Side Story (RSD)

Image: 1608684 There are hundreds of bootlegs out there to sate the ravenous soulero set, and so often they incorporate songs in the vast Numero catalog. Rather than beat them, Numero joins them with our answer to the iconic East Side Story series. Eschewing our classic look and standard-bearing copious notes for sardonic artwork and impeccable selections, Numbero is proud to present a ‘bootleg’ you can be proud of (because it’s all licensed). This time we’ve set our sights on the most unique of soul cultures: the irreplaceable melting pot of San Antonio. Included here are all songs never before issued other than in minuscule pressings on 45, never distributed outside of Bexar County limits.

The Southwest Side Story rolas are obscure everywhere in the United States while eliciting intense nostalgia on the South and West Sides of San Antonio to this day. This could be a greatest hits of DJs like Henry Pena, who began his rein in the 1960s and continues it today with many of these same selections. This no-frills, 14-song LP features local luminaries the Royal Jesters, Sonny Ace, The Dreamliners, The Eptones, Dino Bazan & The Dell Tones, Henry & The Kasuals, and the Volumes. Limited to 2000 copies on “Texas Crude” colored vinyl.

Track Listing
A
1.Sonny Ace & The Twisters – Little Girl
2.The Eptones – No One Else But You
3.The Volumes – I’m Gonna Miss You
4.Henry Pena & the Kasuals – Forever
5.George Jay & the Rockin’ Ravens
– Say That You Love Me
6.Dino Bazan & The Dell Tones
– Don’t Leave Me Baby
7. Royal Jesters – Girl I Can’t Forget
B
1. The Eptones – Making Me Cry
2. Henry Pena & the Kasuals – Only One
3. Little Henry & The Laveers – What To Do
4. Al Castana – I Need And Love You
5. Royal Jesters – I Want To Be Loved
6. The Dreamliners – Just Me And You
7. Danny & The Dreamers – Eternal Love Available from 22.04.2017

Various – Function Underground (RSD)
Wednesday, March 22nd, 2017 | Posted in Products | Comments Off on Various – Function Underground (RSD)

Image: 1608992 FUNCTION UNDERGROUND – The Black and Brown American Rock Sound 1969-1974

14 tracks by Jimi Macon, Black Maffia, Blacklites and more, many reissued for the first time. Includes a 16 page booklet with extensive notes on an overlooked and important portion of rock n’ roll’s history & a Download card to WAV files of the full album.

Nearly everyone in the world can rattle off the great African-American musical forms. Jazz, blues, R&B, soul, hip-hop, house, gospel. One influential genre is always left off of the
list: a folk music known as rock n’ roll. Rock n’ roll was a term originally coined to market the white-friendly version of a genre that already existed, prior to 1965, the line between
rock n’ roll and R&B was thin: Ike Turner recorded and released “Rocket ‘88’ ” in 1951 and, while its Chess Records release reached number one on the Billboard R&B chart, it is
regarded by many as the first rock n’ roll record.
The Great Divide between R&B and rock n’ roll came after the Beatles and the British Invasion decimated the Top 40 chart in 1964. Simultaneously, R&B entered a new phase, soon
to be labeled “soul,” which upped the music’s gospel quotient and turned its frantic twang. So somewhere in the mid to late-1960s, rock n’ roll became perceived as something for
the Caucasian kids. When Jimi Hendrix and Arthur Lee made the scene, they were said to be black musicians entering into a white world. While that couldn’t be farther from the truth,
that false dichotomy has existed in America’s popular conscious ever since, to the point where the idea of a black rock musician is on the level with the idea of a black cowboy.
In the mid-1960s, funk replaced soul as the rhythm that was going to move the world. We know all its progenitor – James Brown, The Meters, Kool & The Gang – and their
innovations: the syncopated, 4/4 dance between the bass and drums, horns repurposed as percussion, chicken-scratch and wah-wah guitar. We can trace where they came from.
But there is one crucial funk influence that no one seems to want to acknowledge – a devil-may-care attitude we can attribute to rock n’ roll. It’s not a stretch to say that funk is the
African-American answer to psychedelia and hard rock rolled into one.
The idea of “progressivism” that took over rock music after psychedelia’s heyday in the late 1960s belatedly spilled over to funk. In the early 1970s, as the underground/psychedelic
fire burnt out in the white rock world, it roared to a blaze in the black musical community. Nearly every American city with a large black population boasted self-contained funk bands
that didn’t consider themselves simply revues or backup groups, but rather fully-operational ensembles In these bands, everything from composing, arranging, record production
and distribution, was handled in house by band members. These are the bands whose music comprises this anthology, and while they’re all different, they’re unique in one way: they
kept their ears open for new developments in funk and rock music.
This anthology presents earnest questions as to why we know so little about these bands and the movement of which they were a part. While we don’t anticipate that we’ll ever find
a definitive answer as to what these ensembles’ true goals were, then, we do know that they took their charges seriously. And they knew they were onto something different,
something that, though only they and their immediate kin might recognize it, was more interesting than the status quo. Function Underground shines light on an important and
overlooked part of rock n’ roll’s history and talented ensembles that toiled in the shadows, derided by their peers
‘Do you realize that Hendrix was dead before most black people in America knew he was a black man?” Ebony Rhythm Band drummer Matthew Watson questions rhetorically. “We
was scorned. In that era, everybody else in the black community was wearing three-piece suits, processes and Afro wigs and that shit. We was the first guys to wear bell bottoms.
The first guys to wear big hats. We were off into a whole other thing.”

A1. 1984 – There’s A Wrinkle In Our Time
A2. Purple Snow – Down By The River
A3. Jimi Macon – Jimi’s Guitar Raps With The Bass
A4. Creations Unltd – Corruption Is The Thing
A5. We The People – Function Underground
A6. Michael Liggins And The Super Souls – Loaded Back
A7. Stone Coal White – Stone Coal White
B1. Blacklites – BL Movement
B2. Ebony Rhythm Band – Drugs Ain’t Cool
B3. Cisneros and Garza Group – I’m A Man
B4. LA Carnival – Blind Man (45 Version)
B5. Revolution – The Siesta Is Over
B6. Black Conspirators – Just Got To Be Free
B7. Black Maffia – I Want To Take You Higher
Available from 22.04.2017

TaiMo bringt das erste Album-Release für das neu gegründete Label Steuerfreimoney auf den Markt
Monday, March 20th, 2017 | Tags: , , ,
Posted in Magazine, News | Comments Off on TaiMo bringt das erste Album-Release für das neu gegründete Label Steuerfreimoney auf den Markt

Der Junge mit dem T an der Schläfe hat seine Tasche gepackt und bringt das erste Album-Release für das neu gegründete Label Steuerfreimoney auf den Markt. “Horner Corner” heißt sein Debüt-Album und steht für den Hamburger Stadtteil Horn, wo er aufgewachsen ist. TaiMO setzt da an, wo er mit seinem Mixtape “Washingtonallee” 2016 aufgehört hat. […]

Knocker Jungle – Knocker Jungle
Thursday, January 19th, 2017 | Posted in Products | Comments Off on Knocker Jungle – Knocker Jungle

Image: 1608330 Knocker Jungle’s sole LP was released by Ember in 1970 when the duo had already split. Little is known about members Tony Coop and Keith Jones, but their music displays a true passion for classic song-based artists, from Donovan to Nick Drake or Dylan. Tony Cox held production duties and Dave Pegg and Mattacks from Fairport Convention featured among the band players.

Almost 47 years after the original album was withdrawn from sale due to a controversial picture in the inner sleeve, this rare gem gets a deserved vinyl reissue. Presented in facsimile gatefold sleeve and pressed on 180g vinyl.

Ember was a British label created in 1960 by Jeffrey Kruger, founder of London’s Flamingo Club. As well as recording British acts, Ember distributed many American and other recordings in the UK. The Knocker Jungle LP was released by the label in 1970, when the duo had already split, being withdrawn from sale shortly after due to a controversial picture included in the inner sleeve that made many shops refuse to stock it. A single (for the Spanish market only) somehow managed to get released too, and that’s about all Tony Coop and Keith Jones achieved in their short life as Knocker Jungle… What the band members had done before this project was formed or where this album led them to remains totally unknown.

Their music speaks for itself, confessing a true passion for classic song-based artists, from Donovan to Nick Drake or Dylan, with a certain degree of hippie-bluesy approach on most tracks. Tony Cox (responsible for producing Yes’ album “Time And A Word” and other records from Family, Caravan, etc) held production duties and Dave Pegg and Dave Mattacks from Fairport Convention featured among the band players. From the splendid opener ‘I Don’t Know Why’, consistency remains solid throughout the entire album. The catchy ‘You’ve Lost Your Love For Me’ adds some early T-Rex sound into the equation while ‘Where I Belong’ shows a strong West Coast influence.

Almost 47 years after its sudden withdrawal from the shops, this rare gem gets a deserved vinyl reissue.

Track Listing:

Side 1
1. I Don’t Know Why 2. Oh To Be Free 3. Caught A Cold Last Night 4. I’ve Got Time 5. Not Even A Letter 6. Ecclesiastes 7. Reality

Side 2
1. You’ve Lost Your Love For Me 2. Amanda 3. Sunburnt Virgin Trousers 4. Impossible You 5. Where I Belong 6. It Ain’t Necessarily So 7. Oh My

https://www.youtube.com/watch?v=MakjwprHJM0
https://www.youtube.com/watch?v=8st3Okkrh8I
Available from 10.02.2017

Enlightment – Faith Is The Key
Friday, January 13th, 2017 | Posted in Products | Comments Off on Enlightment – Faith Is The Key

Image: 1608187 After more than three decades as a lost classic, the debut album by Washington DC soul/gospel outft Enlightment is fnally receiving a proper release. Founded by ordained bishop Larry H. Jordan and his brother-in-law Frank Tinsley in the early 1980s, Enlightment was among the frst groups to fuse modern R&B production with gospel themes. Unfortunately, the independent release of their 1984 debut album Faith Is The Key was torpedoed when both their distributor and pressing plant went out of business. “We knew we were getting airplay across the country, but we couldn’t get the product in the stores at the time”, explains Tinsley of the missed opportunity. Only a handful of Faith Is the Key LPs ever made it into the public’s hands.
As a result, the record became a holy grail for collectors. It was rediscovered around the year 2000, when copies started selling online for over $2000. While disappointed in the record’s lack of immediate impact, the group’s founders are not surprised by its recent revival. “It’s just good music with a spiritual message, that’s why it stood the test of time,” says Tinsley. “We made sure we had very crystal clear production,” adds Jordan. “We knew we had a gospel beat, but we wanted to be dynamic and innovate.” Thanks to an official vinyl rerelease via Nature Sounds with worldwide distribution, listeners can now experience that innovation frst-hand.

1. Faith Is The Key
2. Burning Flame
3. Jesus Will Always Be There
4. Up And Away
5. What’s Happening People
6. Going Home
7. Jesus Is Walking By
8. I Got To Get Away
9. Him On Top Of The World

7”
1. Burning Flame (Instrumental)
2. Agape Love (Instrumental) Available from 24.02.2017

Asterix Music – Cupid’s Arrow / Let Your Body Show You
Thursday, January 12th, 2017 | Posted in Products | Comments Off on Asterix Music – Cupid’s Arrow / Let Your Body Show You

Image: 1608182 • Asterix Music has collaborated with artist such as Planet Asia, Sadat X, M.C Eiht and Tray Dee
• For the past few years Asterix has been at the forefront of the modern funk movement, his new offering “Cupid’s Arrow” has gained traction with the use acetates distributed to key DJ’s worldwide
• Music videos for both songs on this single to be released in conjunction with a web and print campaign
• Video for “Let Your body Show You How” features some of the world’s best poppers (Kid Boogie, Popping John)
• Plan on releasing a second 7” single in mid 2017 followed by a full length album titled “4130 Chromolly Way”

Funk is a dish best served hot and these two modern funk anthems are bound to get your body temperature up.“Cupid’s Arrow” recounts a tale of genuine love at first sight over an infectious synth funk groove, it’s honest and true to life content make it very relate-table to anyone who has been awestruck by a woman’s beauty. “Let’Your Body Show you How” is an up-tempo modern funk tune that covers the story of a young man who conquers a high school crush after a chance meeting. The songs hypnotic bass line and hard-hitting drums are well complemented by Asterix Music’s silky vocals.

Side A.
Cupid’s Arrow
Side B.
Let Your Body Show You How Available from 10.02.2017

Laraaji – Celestial Vibration
Wednesday, January 4th, 2017 | Posted in Products | Comments Off on Laraaji – Celestial Vibration

Image: 1608021 This is the stunning debut album from Laraaji. ‘Celestial Vibration’ was originally released in 1978 under the name Edward Larry Gordon, and then first issued by Soul Jazz Records/Universal Sound in 2010.

Soul Jazz Records are now issuing this hypnotic piece newly re-mastered album once again in a very limited vinyl edition of 1000 and new CD as a full Laraaji release.
‘Celestial Vibration’ is a cosmic journey sounding unlike anything else when it was first released in 1978. Laraaji’s album was first issued in New York as a private-pressing record with only very minimal distribution. His distinctive use of the harp-like open-stringed zither and kalimba creates a hypnotic trance like musical landscape.

Laraaji first came to fame in the 1980s as a worldwide ambient artist working with Brian Eno on EG Records. At this time Laraaji worked with a wide range of experimental musicians – Jon Hassell, Harold Budd, Michael Brook, Bill Nelson, Roger Eno, Nana Vasconcelos and Bill Laswell.

Since Soul Jazz Records/Universal Sound first released ‘Celestial Vibration’ seven years ago (now long deleted), Laraaji’s career has had a renaissance, releasing a string of new albums including a fascinating collaboration with Blues Control for the FRKYWS label, as well as reissues of earlier albums including a three-album cassette only release last year.
Today Gordon continues his unique musical and spiritual path – performing his music mainly for meditation at yoga global retreats. He runs his own ‘Therapeutic Laughter Workshop’ where he coaches people in the mindful use of laughing for its health benefits.

Limited-edition deluxe vinyl edition.

Tracklisting:

A: All Pervading (24:18)
AA: Bethlehem (24:29)

https://www.youtube.com/watch?v=SuBH03Piwag Available from 10.02.2017

Mitarbeiter-Charts 2016
Thursday, December 22nd, 2016 | Tags: , , , , , , , , , , , , , , , , , , , , , , , , ,
Posted in Features, Magazine | Comments Off on Mitarbeiter-Charts 2016

Das Jahr 2016 neigt sich dem Ende entgegen. Aus diesem Grund haben wir wieder einige der Mitarbeiter von Groove Attack, Rough Trade Distribution und GoodToGo befragt, was ihre ganz persönlichen Highlights aus Musik & Film der vergangenen zwölf Monate waren. Nachfolgend sind ihre Antworten aufgelistet. Gleichzeitig möchten wir die Gelegenheit nutzen und uns bei allen […]

Shadow – Sweet Sweet Dreams (Analog Africa)
Friday, December 16th, 2016 | Tags: , ,
Posted in Magazine, Record of the Week | Comments Off on Shadow – Sweet Sweet Dreams (Analog Africa)

When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago’s Shadow (aka Winston Bailey) was described as “way ahead of its time”. Remastered and cut by Frank Meritt at The Carvery the album is truly a masterpiece.

CD AACD082 / LP AALP082
Release: 16-12-16
G. Coscia & Formini – B85
Thursday, December 1st, 2016 | Posted in Products | Comments Off on G. Coscia & Formini – B85

Image: 1607620 Fonit’s “B 85”, part of the legendary Serie Usignolo, which bears the signatures of the mysterious Coscia (perhaps a moniker of accordionist Gianni?) and Formini, is another cult library music release: an orchestral pop record whose tracks are curiously recommended to accompany ‘viewings of vast parks, footage of agriculture, ads, moving crowds and congested traffic jams, American working-class districts’ with hilarious titles such as “Dayda”, “Schizzo”, “Palmas”, “Murlak” (which casts an incredible fuzz guitar), “Bronx” and “Ciresa Facaud”. In two words: a must!

Although library music has always had the purpose of accompanying TV and radio shows, documentaries and TV news, it is difficult to track down most of these masterpieces composed by some of the greatest composers of those years. Anonymity is one of the distinctive traits of this music genre, being in most cases difficult, if not impossible, to find out where these tracks had been used. The liner notes of these works often spark the reader’s curiosity: the notes are in fact detailed descriptions of the instruments used and the atmospheres the music aimed to reproduce. Fonit’s “B 85”, part of the legendary Serie Usignolo, which bears the signatures of the mysterious Coscia (perhaps a moniker of accordionist Gianni?) and Formini, makes no difference in that sense.

It is absolutely brilliant to read how these tracks are highly recommended to accompany ‘viewings of vast parks, footage of agriculture, ads, moving crowds and congested traffic jams, American working- class districts’ with hilarious titles such as “Dayda”, “Schizzo”, “Palmas”, “Murlak” (which casts an incredible fuzz guitar), “Bronx” and “Ciresa Facaud” (the latter a probable homage to Piedmont’s dialect that potentially translates in “Cherry, it’s hot!”). The music can be labelled as ‘orchestral pop’, to use terms that made Italian Library music worldwide famous. No hints of ‘country’ as the title seemed to suggest…

TRACKLIST CD
01 Dayda
02 Orlak
03 Schizzo
04 Pete
05 Palmas
06 Spyday
07 Murlak
08 Footing
09 Ciresa Facaud
10 Bronx Available from 16.12.2016

G. Coscia & Formini – B85 (LP+CD)
Thursday, December 1st, 2016 | Posted in Products | Comments Off on G. Coscia & Formini – B85 (LP+CD)

Image: 1607621 Fonit’s “B 85”, part of the legendary Serie Usignolo, which bears the signatures of the mysterious Coscia (perhaps a moniker of accordionist Gianni?) and Formini, is another cult library music release: an orchestral pop record whose tracks are curiously recommended to accompany ‘viewings of vast parks, footage of agriculture, ads, moving crowds and congested traffic jams, American working-class districts’ with hilarious titles such as “Dayda”, “Schizzo”, “Palmas”, “Murlak” (which casts an incredible fuzz guitar), “Bronx” and “Ciresa Facaud”. In two words: a must!

Although library music has always had the purpose of accompanying TV and radio shows, documentaries and TV news, it is difficult to track down most of these masterpieces composed by some of the greatest composers of those years. Anonymity is one of the distinctive traits of this music genre, being in most cases difficult, if not impossible, to find out where these tracks had been used. The liner notes of these works often spark the reader’s curiosity: the notes are in fact detailed descriptions of the instruments used and the atmospheres the music aimed to reproduce. Fonit’s “B 85”, part of the legendary Serie Usignolo, which bears the signatures of the mysterious Coscia (perhaps a moniker of accordionist Gianni?) and Formini, makes no difference in that sense.

It is absolutely brilliant to read how these tracks are highly recommended to accompany ‘viewings of vast parks, footage of agriculture, ads, moving crowds and congested traffic jams, American working- class districts’ with hilarious titles such as “Dayda”, “Schizzo”, “Palmas”, “Murlak” (which casts an incredible fuzz guitar), “Bronx” and “Ciresa Facaud” (the latter a probable homage to Piedmont’s dialect that potentially translates in “Cherry, it’s hot!”). The music can be labelled as ‘orchestral pop’, to use terms that made Italian Library music worldwide famous. No hints of ‘country’ as the title seemed to suggest…

TRACKLIST LP
A1 Dayda
A2 Orlak
A3 Schizzo
A4 Pete
A5 Palmas
B1 Spyday
B2 Murlak
B3 Footing
B4 Ciresa Facaud
B5 Bronx
Available from 16.12.2016

Shadow
Monday, November 28th, 2016 | Tags: , ,
Posted in Features, Magazine | Comments Off on Shadow

“I take my guitar and strum and sing some tings and blow people’s mind. But I ain’t trying to do anybody’s music. I’m doing what I feel” – Shadow When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago’s Shadow (aka Winston Bailey) was described as “way ahead of […]

Analog Africa present a re-release of Shadow’s far-out Caribbean disco album Sweet Sweet Dreams
Monday, November 21st, 2016 | Tags: , ,
Posted in Magazine, News | Comments Off on Analog Africa present a re-release of Shadow’s far-out Caribbean disco album Sweet Sweet Dreams

“I take my guitar and strum and sing some tings and blow people’s mind. But I ain’t trying to do anybody’s music. I’m doing what I feel” – Shadow When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago’s Shadow (aka Winston Bailey) was described as “way ahead of […]

Shadow – Sweet Sweet Dreams (LP 180g/Gatefold)
Tuesday, November 15th, 2016 | Posted in Products | Comments Off on Shadow – Sweet Sweet Dreams (LP 180g/Gatefold)

Image: 1607429 “I take my guitar and strum and sing some tings and blow people’s mind. But I ain’t trying to do anybody’s music. I’m doing what I feel” – Shadow

When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago’s Shadow (aka Winston Bailey) was described as “way ahead of its time”. Undeservedly it was panned by critics and, unable to reach markets, disappeared into the dusty record collections of a few music aficionados. Now, more than three decades later that cosmic dance-floor UFO is about to take off again, change all that and set the record straight. Remastered and cut by Frank Meritt at The Carvery the album is truly a masterpiece.

But who is this Shadow behind Sweet Sweet Dreams? Shadow is a man of understated magnitude. A truly enigmatic artist, he first emerged in Trinidad and Tobago during the 1970s, becoming a part of the tapestry of Caribbean music and reinvigorating calypso at the time. Calypso, the indigenous folk music of Trinidad and Tobago, has roots in West African kaiso rhythms, French Creole influences, and the hardships endured by the African slaves brought to Trinbago, whose descendants still use it as a tool for satire, self-expression, and social commentary. Calypso has also given birth to several other music genres, including soca, with its uptempo beats and festival context. Shadow effortlessly moves between both.

Shadow came from a humble but musical family and started writing songs as a youth while tending cattle in the fields. To his family’s initial chagrin he chose calypso over church music but his talent and drive were undeniable. In the early days of his career Shadow’s style was cramped when working with some of the more conservative music arrangers who felt that calypso and soca should fit a mould. But after a while Shadow teamed up with more innovative arrangers, including Arthur “Art”de Coteau, who followed their and Shadow’s intuitions resulting in a long line of hits.

“The first time we met for me to arrange his music we had a heated argument on the arrangement for one of his songs, I was theoretically correct but Shadow was musically right. Shadow broke all the traditional musical rules and made his own and that made him a musical giant. He changed the face of Calypso music in 1974 with the release of “Bassman” a tune in which Bass and magnificent horn line took central stage changing Soca music for ever. What Shadow did with his music was to put calypso on the International Dance circuit, giving it a totally different groove. You could take his music and swing it in any direction, Disco, Pop, Calypso, you name it. His music was different from anything that existed before”. – Carl “Beaver” Henderson, one of Trinidad’s veteran producers.

This inert creativeness culminated in Sweet Sweet Dreams which was arranged by Shadow and deals with burning and ever-relevant themes like love and the ups and downs of relationships. a surprising fact for someone mainly known for his satirical and political lyrics. It prompted his manager to wonder if Shadow had written the lyrics while in a state of ‘tabanca’ (a word used in Trinidad and Tobago to describe lovesickness).

Sweet Sweet Dreams was recorded at the legendary SHARC studios, located on a hill in Chaguaramas (near Port of Spain) and despite a fantastic sound and monster Soca-boogie tunes like “Lets get it together”, “Lets Make it Up” and “Way, Way Out” the album was a commercial flop, probably due to the fact that it didn’t sound like anything else coming out of Trinidad & Tobago at the time: It fused a range of different rhythms and new sounds, primarily heavy synth riffs.

Shadow took the album’s lack of success in his stride with usual aplomb:
“When I did Sweet Dreams I expect something could happen. But nothing big happen because I have no big market and no distribution and all this thing now. So I just cool myself and move on to another song. I wasn’t doing just one song. I used to always have plenty songs at the one time. And be writing music”.

What Shadow didn’t realise back then was that the proto-electronic cocktail he had mixed in 1984 would only find the recognition it deserved three decades later. Life has swung full circle: Sweet Sweet Dreams has come true and been elevated to holy grail status becoming one of the most sought-after Caribbean disco records in existence.

For this re-release we carried out extensive interviews with Shadow and the musicians and have included as bonuses exclusive photos from Shadow’s personal collection and the dancefloor filler tune “D’Hardest” was added as a bonus track.

Long live the “The King from Hell” ! Available from 16.12.2016

Sitelogo_small
Distribution
B2B
Need assistance?

+49 (0) 221 99075 0 phone
+49 (0) 221 99075 990 fax
Contact form

Office hours
Mon–Thu 10h–18h GMT+1
Fri 10h–17h GMT+1

Copyright © 2017 Groove Attack GmbH, Mathias-Brüggen-Str. 85, D-50829 Cologne, Germany
Imprint / Impressum / Disclaimer · Privacy Policy / Datenschutzerklärung