Search results for WHOLE TRUTH RECORDS

Whole Truth – Party Down
Thursday, June 11th, 2015 | Posted in Products | Comments Off on Whole Truth – Party Down

Image: 1597744 For the third Whole Truth EP, the nameless producer is joined by LA vocal duo Lucid Paradise, comprised of Ishtar and E. Da Boss (the latter is best known as the deep-voiced half of Stones Throw’s Myron & E). On ‘Party Down’ extends the direction of the Tom Noble mix of Myron & E’s ‘Do it Disco’, bringing beautiful modern soul vocal stylings to a limber groove that could have graced West End Records in ’81. The pair also duet on ‘Who’s Taking All The Love?’, while The Whole Truth flexes his dub muscles and drops some deeply burnt chords.

This EP follows releases on The Whole Truth’s self-titled label in collaboration with UK dub legend Erroll Bellot and Anglo-Mauritian producer, singer and vocalist Mo Kolours, which found favour with the likes of Optimo’s JD Twitch and Mary-Anne Hobbs (BBC 6 Music).

Art comes from Lewis Heriz once again. Known for his work for the Soundway and Sofrito labels, he is becoming one of the most distinctive and respected sleeve designers around.

1. Party Down (feat. Lucid Paradise)
2. Memories of Love
3. Keep On
4. Who’s Taking All the Love? (feat. Lucid Paradise) Available from 03.07.2015

The Whole Truth – Gimme Your Love
Friday, December 20th, 2013 | Posted in Products | Comments Off on The Whole Truth – Gimme Your Love

The Whole Truth presents the first in a series of collaborations with UK reggae artists. First up: Errol Bellot. This single – Gimme Your Love – sees him showcasing his more soulful side, with thick, full harmonies, and emotional overdubs. In all, the…

Gyptian – Hold You (VP Records)
Monday, August 2nd, 2010 | Tags: , ,
Posted in Magazine, Record of the Week | No Comments »

Third album for the singer, songwriter and producer built around the US #1 Billboard Reggae chart single “Hold You”. Top-A-Top longplayer of Jamaican contemporary music produced by Windel Edwards (aka Gyptian), Jon FX, and Neil ‘Diamond’ Edwards.

Release: 23-07-10
DJ Platurn – In Love (feat. E da Boss)
Saturday, February 4th, 2017 | Posted in Products | Comments Off on DJ Platurn – In Love (feat. E da Boss)

Image: 1608599 DJ Platurn has built a reputation as a tastemaker with vision and a sense of community and in turn preserving crucial aspects of DJ and music culture. Founder of the Oakland Faders and The 45 Sessions.

Best known as one-half of soul duo Myron & E, Newark native Eric ‘E’ Cooke aka E Da Boss is the definition of a multifaceted artist. It began with DJing and a love of hip-hop, which eventually turned into producing, and ultimately brought him to singing and songwriting both alongside Myron and on his own.

Since then Myron & E have toured the world and released their own music (Stones Throw) as well as collaborated with c with The Soul Investigators (Timmion Records) , The Soul Surfers (Ubiquity Records), in the meantime E has contributed vocals to a track for UK sensation The Gene Dudley Group’s sophomore album on Wah Wah 45s, as well as releasing material under the moniker Lucid Paradise alongside Ishtar on The Whole Truth Records and a few 45s as part of The Pendletons on his own independent label Slept On Records. It’s an exciting time for fans of E’s music, as it appears new sounds are on the horizon, starting with this limited edition 45!

1 In Love (feat. E da Boss & Ishtar) [clip]
2 Lie to Kick It (feat. E da Boss) [clip]
3 Lie to Kick It (Bonus Beats) [feat. E da Boss] Available from 24.02.2017

Nat Birchall charts new paths toward spiritual communion
Monday, February 19th, 2018 | Tags: , ,
Posted in Magazine, News | Comments Off on Nat Birchall charts new paths toward spiritual communion

Cosmic Language sees the UK-based saxophonist, composer and arranger return to Jazzman Records with a cross-cultural approach: an exploration of the parallel musical paths of jazz and Indian ragas. Here he takes influence from spiritual jazz forebears such as Alice Coltrane and Yusef Lateef and introduces the Indian harmonium to his band, where it takes […]

Nat Birchall
Tuesday, February 13th, 2018 | Tags: , ,
Posted in Artists, Magazine | Comments Off on Nat Birchall

Hailed by Gilles Peterson as “one of the best musicians in the UK”, saxophonist Nat Birchall remains one of the UK’s hidden jazz treasures. Playing tenor and soprano saxophones, he is a band leader, composer and arranger (and occasional DJ) who has grabbed listeners attention with his soulful sound and inspirational compositions. For his upcoming […]

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

Miles Mosley – Uprising
Friday, December 16th, 2016 | Posted in Products | Comments Off on Miles Mosley – Uprising

Image: 1607752 MILES MOSLEY stepped into the light with magnetic force this year following the release of his new single ‘ABRAHAM’, garnishing critical acclaim from worldwide press such as NPR, The Guardian, BBC Radio, The FADER, and Bass Player Magazine. The Los Angeles-based upright bass virtuoso and composer has reached impressive professional heights in recent years, and his full length album has been eagerly anticipated.

Now the moment audiences across the globe have been waiting for is finally here: Miles Mosley announces the release of his album UPRISING, scheduled to be released worldwide on digital and vinyl formats on January 27, 2017. Ahead of the album release in January, Miles Mosley is offering the second single in the powerful track “Young Lion.” As the opening floodgates to UPRISING, “Young Lion” bursts with energy from every seam. Scorching horn lines, slick keys and a propulsive rhythm section unlike any other in modern music, the end of the track is supplanted with a mind-bending effects laced bass solo from Miles that shows why he’s one of the most respected bassists alive.

Scheduled to hit digital outlets September 16th, “Young Lion” is filled with gusto in lyric and music form. A perfect beginning to the story of UPRISING. It encapsulates the dynamic range of genres and expression that traces the rest of the album. UPRISING serves as his most personal and defining climb throughout his long-time career in the music industry. For Miles, it combines a deep love of songwriting with an innovative, truly one-of-a-kind ability on the Upright Bass. A balance he has worked decades to execute with precision, quality and taste.

UPRISING will release on the Alpha Pup Records sub-imprint World Galaxy, and features the collective Miles co-founded, the West Coast Get Down, a family of musicians he helped bring together during their formative years. The group have imprinted their stamp on the world unlike any other musical collective in recent times. Long-time manager and music collaborator Barbara Sealy, who has worked with the collective since they were in high school, co-produced the album with Tony Austin, shaping the content through the infamous KSL Sessions that produced over 150 finished compositions including those found on Kamasi Washington’s “The Epic.” As Miles describes, “I was the organizer, Tony Austin was the technical guru, Kamasi Washington was the wrangler, Ryan Porter was the heart, and our long-time manager Barbara Sealy was the safety net that made sure we were able to be in a safe, creative space. I began my record at Tony’s studio and transitioned to KSL to do Strings and Choir, yet once we were all in the groove more songs started crossing the finish line.”

Miles and company blend into a unified system of brilliant luminance through UPRISING. Kamasi Washington, Ryan Porter, Zane Musa, Dontae Winslow and the other L.A. horn players shout from the mountain tops, Brandon Coleman brings unrelenting funk on vintage keys, Cameron Graves displays his ethereal piano virtuosity, and Tony Austin holds it down with equal measure on drums and the production/engineering chair.

UPRISING is Miles’ personalized take on the musical journey of his life, and that of his West Coast Get Down family. It stands as an impressive record of deep conviction and technical prowess, following the influences he has gained from legends such as Otis Redding and Jimi Hendrix. Every lyric, rhythm, melody and harmony from UPRISING comes from the deepest reserves of Miles’ soul and the experiences he has endured over the last two decades in the music industry: “I wanted to create a work that was natural and intimate, but still maintained a sense of grandeur.” Miles explains. “As if you were best friends with a giant. The West Coast Get Down, the Strings, the Choir, I sought to utilize all of these elements together to create something with memorable melodies and a message to the people that we are here for them. We are and want to be the loudspeaker for their hearts.”

The album demonstrates Miles’ vision and scope, traversing through stunning vocal cadences and complex music arrangements with scorching horn lines, innovative bass solos, thought-provoking lyricism and an overall dynamic that bleeds with the lineage of the West Coast Get Down. It showcases tracks reminiscent of the best that pop, jazz, blues, funk and soul have to offer.

As a connecting factor from the beginning to the end, UPRISING walks the listener through the trials, tribulations and successes that Miles has experienced in the music industry, in a way that holds a mirror to the broader human experience of living in the modern age. It culminates in the triumphs that he and the West Coast Get Down gained in that process, honing their craft to perfection while uplifting a generation. Every song becomes a piece to the whole, highlighting Miles’ strengths as a composer, musician and lyrical seeker of truth.

The power of the West Coast Get Down’s voice has manifested in numerous ways, and Miles Mosley continues that journey for audiences in an entirely new way with UPRISING, the sound of this generation: “I have always loved the power of words, and what they make us feel. The word “UPRISING” is often used in moments in which a group of people witness their strength in numbers and band together to seize an opportunity. Not only are we living in a time where people all over the world in art and politics are recognizing their own power in numbers, but as a member of the West Coast Get Down it seems fitting that this new attention to our sound, and the impact we are capable of making across genres feels like our own UPRISING. This is my piece of our story.” – Miles Mosley

1. Young Lion
2. Abraham
3. L.A. Won’t Bring You Down
4. More Than This
5. Heartbreaking Efforts of Others
6. Shadow of Doubt
7. Reap A Soul
8. Sky High
9. Your Only Cover
10. Tuning Out
11. Fire Available from 24.02.2017

Various – Motor City Drum Ensemble – Selectors 001
Friday, February 12th, 2016 | Posted in Products | Comments Off on Various – Motor City Drum Ensemble – Selectors 001

Image: 1601770 MCDE shares some of his most prized gems on this compilation that kicks of the limited Dekmantel ‘Selectors’ series.

1. DJ Slym Fas – Luv Music
2. House Of Jazz – Hold Your Head Up
3. 20 Below – A Lil Tribute To The Moody Black Keys
4. Risque III – Essence Of A Dream
5. Licky – African Rock
6. Raphael Green – Don’t Mess With The Devil
7. Ahzz – New York’s Movin (Instrumental)
8. Bill Deal – Freak n Freeze

What, exactly, is a selector? Dekmantel has long been determined to find out, even before the Amsterdam-based crew added an official Selectors stage to its annual summer festival in 2014. While the stage has since played host to an elite class of DJs that includes the likes of Floating Points, Mike Servito, Traxx, DJ Harvey, Ben UFO, and Donato Dozzy, to name just a few, Dekmantel came to realize that the Selectors concept needed a larger platform of its own.

As such, 2016 will see the launch of both a limited-capacity festival and compilation series, both bearing the Selectors name. The compilations will come first, with Motor City Drum Ensemble, Young Marco, and Joy Orbison at the helm of the initial three chapters. These are not mix CDs, every Selectors compilation will include a collection of hand-picked, unmixed tracks personally curated by the artist.

Admittedly, drawing a line between “selectors” and mere DJs is an all-but-impossible task—it’s essentially a “you know it when you see it” proposition—but it’s hard to argue that Motor City Drum Ensemble (a.k.a. Danilo Plessow) doesn’t tick all of the required boxes. He’s been digging for records since his teenage years, and his DJing has become the stuff of legend, thanks in no small part to his head-turning sets at the last few Dekmantel festivals.

In truth, Plessow’s relationship with Dekmantel dates back to the earliest days of the Motor City Drum Ensemble project, making him a natural candidate to head up the inaugural Selectors compilation. As expected, he’s thrown himself into the task, selecting a want list from his collection of 15,000 records was no easy task, but getting permission for the final tracklist was even tougher.

One song in particular, Raphael Green’s “Don’t Mess with the Devil,” required him to personally call up a church in St. Louis, Missouri. “The guy, he’s a Bishop,” he says. “When the Ferguson protests were happening, for example, he was on CNN explaining his thoughts on the whole thing, so he’s a known public figure, but nobody really knew that he had this amazing record that was recorded in ’79 or ’80. His voice is just unbelievable. It’s the kind of record that when I heard it the first time, I couldn’t believe that there had only been like 100 copies pressed, and that this wasn’t actually big.”

Motor City Drum Ensemble’s record bag is full of these kinds of gems, but he has no qualms about sharing a few of his secret weapons with a wider audience. “I wanted to get some of the stuff that is really, really hard to get, and make it available for younger people,” he explains. “I used to be in the same situation. Back when I was 18, I would listen to a Rainer Truby mix and he would only play these $400 Brazilian records. I was like, ‘Fuck, how am I ever going to be able to afford these?’ I was glad when there was a reissue, and it’s a bit the same with the compilation now.”
“Basically,” he explains, “the approach for the compilation was, ‘If I walked into a record store, what kind of compilation would I buy?’ That’s what I did.” Available from 13.05.2016

Jose James – While You Were Sleeping
Friday, July 4th, 2014 | Posted in Products | Comments Off on Jose James – While You Were Sleeping

Image: 1589682 José James has announced a June 10 release date for his new album, While You Were Sleeping, his fifth studio album and his second album for Blue Note Records. While You Were Sleeping is the follow-up to his widely acclaimed R&B and jazz steeped No Beginning No End, and signals a new creative direction for the versatile singer-songwriter. The album was recorded in Brooklyn, NY, and was produced by José and Brian Bender.

That creative shift is heard in the rock edge of tracks like ”EveryLittleThing” and ”Anywhere U Go” and is evidenced in a change in José’s band which adds guitarist Brad Allen Williams to the stellar line-up of keyboardist Kris Bowers, bassist Solomon Dorsey and drummer Richard Spaven. The influence of Jimi Hendrix can be heard throughout the album as much as R&B forefathers like Al Green. Special guests on While You Were Sleeping include vocalist Becca Stevens who duets with James on her song ”Dragon,” as well as trumpeter Takuya Kuroda who is featured on the cover of Green’s classic ”Simply Beautiful” that closes the album.

”This album is a synthesis of everything I love about music,” says José, ”from contemporary artists like Frank Ocean, James Blake, and Junip to groundbreaking artists I grew up with like Nirvana, Radiohead, and Madlib. It’s also a love letter to many late nights spent in East London clubs like Plastic People and Cargo, watching new movements unfold in electronic music. I want people to feel the joy of discovery that I experience night after night onstage, reaching for something new.”

NPR Music raved about No Beginning No End, proclaiming ”James makes utterly contemporary music,” adding that he ”skirts categories with ease, fitting in with current R&B innovators like Frank Ocean or Miguel, yet maintaining a strong awareness of a lineage that stretches from Ray Charles to Marvin Gaye to Lou Rawls to Maxwell.”

Pitchfork noted that ”While he’s always been one to try stuff out – he successfully collaborated with Flying Lotus on Blackmagic – on No Beginning No End he finds a way to make an eclectic approach feel unified and whole. With previous releases, he’s earned his heroic acclaim in the tough, tried-and-trusted lanes of contemporary jazz. With No Beginning No End, he’s built his own road out.”

José has also announced a short run of April U.S. tour dates to preview songs from While You Were Sleeping. The tour kicks off April 15 in Philadelphia and makes stops in Boston, Chicago, Minneapolis, Denver, Seattle, Portland, and San Francisco. He has also announced album release shows in New York (Highline Ballroom, June 12) and Los Angeles (Playboy Jazz Festival, June 15). More dates will be announced shortly. See a full list of currently confirmed tour dates below.

The tracklisting for While You Were Sleeping is as follows:

1. Angel (José James)
2. U r the 1 (J. James/T. Billig/K. Bowers/B. Williams)
3. While You Were Sleeping (J. James)
4. Anywhere U Go (J. James/S. Dorsey)
5. Bodhisattva (J. James/S. Dorsey)
6. 4 Noble Truths (J. James)
7. Dragon feat. Becca Stevens (Becca Stevens)
8. Salaam (K. Bowers/B. Williams/S. Dorsey/R. Spaven)
9. Without U (J. James/T. Billig/B. Williams)
10. EveryLittleThing (J. James/K. Bowers)
11. xx (J. James)
12. Simply Beautiful feat. Takuya Kuroda (Al Green) Available from 13.06.2014

Quakers – Quakers (Stones Throw)
Monday, April 2nd, 2012 | Tags: ,
Posted in Magazine, Record of the Week | Comments Off on Quakers – Quakers (Stones Throw)

Quakers is a hip-hop collective boasting 35 members which orbits around a core of three producers: Fuzzface, 7-Stu-7 and Katalyst. They’re here to shake the foundations.

CD STH2284-2 / 2LP STH2284
Release: 30-03-12
Raw, earthy, deep jazz – Spiritual Jazz at its finest! …
Tuesday, March 6th, 2012 | Tags: , , ,
Posted in For Facebook, Magazine, News | Comments Off on Raw, earthy, deep jazz – Spiritual Jazz at its finest! …

“A whole album of earthy, deep and sublime Spiritual Jazz – a definition of the genre” – Suffused with spiritual uplift but lacking any saccharine in either content or production values, Azanyah communicates in a language that harks back to the great message bearers of an earlier time: the musical language of Coltrane, Pharaoh and […]

Staff Charts 2011
Thursday, December 22nd, 2011 | Tags: , , , , , , , , , , , , , , , , , , , , , , ,
Posted in Features, Magazine | Comments Off on Staff Charts 2011

In good old tradition we asked around what the employees of Groove Attack, Rough Trade, and GoodToGo have been listening to during the past twelve months. Naturally it’s a wild mixture of rock, pop, folk, hip hop, reggae, jazz, dance music, and obscure underground stuff – as diverse as we are. Nonetheless, what you’ll find […]

Wednesday, November 17th, 2010 | Tags: , , ,
Posted in Artists, Magazine | Comments Off on Shad

After high-school Shad put his nose to the grindstone and wrote his first songs while studying business at Wilfrid Laurier University where he later graduated with a Bachelor’s degree. Sprung from his dorm-room and financed by the winnings from a radio song-writing contest, Shad’s first record “When This Is Over” was released in July 2005, […]

Gyptian sings 21st century reggae …
Thursday, July 15th, 2010 | Tags: , ,
Posted in Magazine, News | No Comments »

Just when you thought you’ve heard it all, along comes an artist with the power and vitality to steer reggae in a new direction. At age twenty-six, Gyptian sounds like no one else and, unlike 99% of his peers; he’s oblivious to the constant parade of one hit wonders. His new hit “Hold You” is […]

Monday, July 12th, 2010 | Tags: , ,
Posted in Artists, Magazine | No Comments »

Just when you thought you’ve heard it all, along comes an artist with the power and vitality to steer reggae in a new direction. At age twenty-six, Gyptian sounds like no one else and, unlike 99% of his peers; he’s oblivious to the constant parade of one hit wonders. His new hit “Hold You” is […]

Staff Charts 2009
Monday, December 28th, 2009 | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
Posted in Features, Magazine | No Comments »

2009 wasn’t just the year everyone you know bought an iPhone, joined Twitter and put on a pair of gum boots to till their fields in Farmville. Actually it was also an exciting and eventful year for music – full of blown speakers, sweaty t-shirts and the surprising comeback of psychedelic rock. Along the way […]

Monday, February 9th, 2009 | Tags: , ,
Posted in Artists, Magazine | No Comments »

Known to the world as Mavado or more recently “The Gully God”, the singer behind the eerie wails of “Anywayyy!” and “Gangsta For life!” which have dominated the airwaves was born David Constantine Brooks on November 30, 1981 in the micro-ghetto community Cassava Piece within Kingston, Jamaica. Before getting his break in the music business, […]

The Saint
Wednesday, July 7th, 2004 | Tags:
Posted in Features, Magazine | Comments Off on The Saint

Steve “The Saint” Luthy was always a fan of hip-hop, he just didn’t know it until he was 11. This Long Island native fell hard at an early age for the Motown and Doo-Wop sound because of his father, who was an avid record collector. This sound, that was so full of integrity and soul, only led Steve deeper into music and eventually was the motivating force behind his first drum set in second grade. Around 1990, Steve heard a group called 3rd Bass and it was exactly what he wanted to hear. Hip-hop then was solely about creativity, no matter what way you looked at it. Every record that came out was something brand new: a new sound, a new approach to production, or a new group. Hip-hop was formless and ever changing. There was no area hip-hop wouldn’t venture into, turn out and then release on a white label promo. This was the time that nurtured The Saint …

Groove Attack Staff Charts 2002
Tuesday, January 7th, 2003 | Tags: ,
Posted in Features, Magazine | Comments Off on Groove Attack Staff Charts 2002

Have you ever asked yourself what the people at Groove Attack listen to when they’re sitting at home alone? Is it true that they’re all thugs n shit? Or do they like the more sensitive sound of Donny Osmond and Mick Guzauski? Here’s the answer!

Thursday, June 13th, 2002 | Tags:
Posted in Features, Magazine | Comments Off on Stereotyp

All fruits ripe.”My Sound” the first album by Stereotyp is gracing sound systems round the globe with its unique and massive fusion of ragga, dub and 2 Step. A new sound of Vienna is taking the world by storm and G-Stone are runnin things left, right and center. Our man in Vienna Alan D.Brown, better known as the Cukipapa gives us a first hand insight report on his encounter with the man and his music…

The Funky 16 Corners
Monday, November 5th, 2001 | Posted in Uncategorized | Comments Off on The Funky 16 Corners

All praises due to Stones Throw for putting together one of the best funk compilations ever. The Funky 16 Corners proves that compiling can be an art and that record diggin isn’t just a sport for premature music lovers who refuse to grow up. The CD presents a glimpse into the lives and music of 16 unsung heroes of the 70s’ funk revolution from each corner of the United States. We spoke with Eothen “Egon” Alapatt about the Making Of, the deep funk scene and diggin’ in general.

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