og:image" content=""https://s12.postimg.org/akaze8k99/blog.png"" /> Gidman's Treasures And Nuggets: 2008

Sunday, 21 December 2008

Merry Christmas To One And All - Here some links to some Festive Goodies...

Merry Christmas and a Happy New Year to all those who have supported my blog over this year......

When starting this blog I never belived there would be so many visitors....so for all those who check back again and again, here are a few links for some festive goodies that have been already been posted......

Daptone Jukebox Festive Podcast

"Jared Boxx is the co-owner of Big City Records, one of NYC’s top used vinyl record stores specializing in Jazz, Soul, Latin, Funk, Hip Hop, 45’s & LP’s, also carrying various new releases. Read more here

Big City Records 521 East 12th Street | New York, NY 10009 (212) 539-0208 | 12pm-8pm Everyday

You can hear Jared & Friends spin at: The Lost & Found (Every Tuesday @ Savalas, 10pm - 3am, Brooklyn, NY) Bumpshop (along w/Mr. Fine Wine, Chairman Mao & David Griffiths)
" (Daptone Jukebox)

Click here for Link.


1. Jing Jing A Ling ~ Honey and the Bees (Chess)
2. Merry Christmas, Baby ~ Otis Redding (Atco)
3. This Christmas ~ Donny Hathaway (Atco)
4. Stevie Wonder Drop (Motown)
5. Snowflakes ~ Betty Lloyd (Thomas)
6. What Do The Lonely Do At Christmas? ~ The Emotions (Volt)
7. The Gift of Giving ~ Bill Withers (Sussex)
8. Eddie Kendricks drop (Motown)
9. Soul Santa ~ Funk Machine (Creative Funk)
10. Silent Night Chant ~ Rotary Connection (Cadet Concept)
11. Christmas in Vietnam ~ Private Charles Bowen (Rojac)
12. Let’s Make This Christmas mean Something This Year ~ James Brown (King)
13. Without The One You Love ~ The O’Jays (Neptune)
14. Gwendolyn Berry (The Sisters Love) Drop
15. Let’s Get It Together This Christmas ~ Harvey Averne Band (Fania)
16. Gee Whiz, It’s Christmas ~ Carla Thomas (Atlantic)
17. Back Door Santa ~ Clarence Carter (Atlantic)
18. I Wanna Spend Christmas With You ~ Lowell Fulsom (Kent)
19. Mr. Santa Claus (Bring Me My Baby) ~ Nathaniel Mayer (Munster)
20. It’s That Time of the Year ~ The Manhattans (Starfire)
21. Santa’s Got A Bag of Soul ~ The Soul Saints Orch. (Jazzman)
22. Pull My Sled ~ Raindeer Runners (Soul Fire)
23. Merry Christmas Baby ~ Charles Brown & Johnny Moore’s 3 Blazers (Hollywood)
24. Smokey Robinson Drop

Shook Mixtape Winter ‘08 by Welson Creep

Click here for Link.

Many thanks to 'creaminal.wordpress.com' for these links.....

Wednesday, 17 December 2008

Old School Education (5) - 'Freaks Come Out At Night'' by WHODINI

Taken from the classic 12" 'Freaks come out at Night'.....this video use to kill me back in the old days...bring back MTV YO Raps ?


A1 Freaks Come Out At Night (4:45)
B1 Grandmaster Dee's Haunted Scratch (3:30)
B2 Freaks Come Out At Night (Instrumental) (4:45)


"Along with Run-DMC and The Fat Boys, Whodini was among the first hip-hop groups to cultivate a high-profile national following for hip-hop music and made significant inroads on Urban radio. The Brooklyn, New York-based trio consisted of vocalist-chief lyricist Jalil Hutchins; co-vocalist John Fletcher, aka Ecstasy, who tended to wear a Zorro-style hat as his trademark; and DJ Drew Carter, aka Grandmaster Dee. Contemporaries of Run-D.M.C., they were managed by Russell Simmons, brother of Joseph “Run” Simmons. The group signed with London-based indie Jive Records in 1982; they enjoyed a string of hits, mostly charting on Urban/R&B stations. The bulk of production on its releases was done by Larry Smith, a bass player who also handled much of Run-D.M.C.’s early work.

In keeping with 1980s trends, Whodini’s cuts tended to be synthesizer-driven with a heavy electronic drumbeat. The sampling technology that became identified with hip-hop music hadn’t really become prominent during Whodini’s early days, and its works were thoroughly original compositions. “Haunted House of Rock” was its first single, a whimsical Halloween-themed number. Synth-pop pioneer Thomas Dolby produced another of its early singles, “Magic’s Wand,” which was originally conceived as an advertisement for prominent radio jock Mr. Magic, who worked for New York’s WBLS. The group cultivated a female audience with such relationship-themed cuts as “Friends” and “One Love.” Backstage partying was extolled in the mildly controversial “I’m a Ho.” “Fugitive” was guitar-driven funk.

From 1982 to 1986 was the band’s heyday, touring with Run-D.M.C., LL Cool J, the Fat Boys, and other prominent R&B and funk outfits of the 1980s. The group was involved in the first Fresh Fest tour, which was the first hip-hop tour to play large coliseums. The instrumental to its hit record "Five Minutes of Funk" was used as the theme music for WNYC TV show Music Box, an influential early hip-hop music video show. Its albums Whodini (1983), Escape (1984), and Back in Black (1986) were all well-received by hip-hop fans and youthful R&B enthusiasts, but full-fledged crossover fame seemed to elude them.

The group had earned its share of gold singles and albums by 1987, when the hits started to slump. Open Sesame, their release that year, failed to produce any hits. After that point, the band eked out its tenure on Jive by occasionally releasing singles, including “Anyway I Gotta Swing it” for the Nightmare on Elm Street 5 movie soundtrack."

Old School Education (4) - 'Follow The Leader'' by ERIC B & RAKIM

Taken from Eric B & Rakim's Classic LP 'Follow The Leader'.....This has to be the best example of Rakim's delivery......just rolls and rolls.....


A1 Follow The Leader (5:33)
A2 Microphone Fiend (5:14)
A3 Lyrics Of Fury (4:13)
A4 Eric B. Never Scared (5:19)
A5 Just A Beat (2:05)
B1 Put Your Hands Together (5:14)
B2 To The Listeners (4:30)
B3 No Competition (3:50)
B4 The R (3:53)
B5 Musical Massacre (4:28)
B6 Beats For The Listeners (4:08)

"Follow the Leader is the 1988 follow-up to Eric B. & Rakim's debut album Paid in Full. Like that LP, Follow the Leader spawned no major hits at the time of its release, but is now generally recognized as one of the most groundbreaking and influential hip hop albums of all time. In 1998, the album was selected as one of The Source's 100 Best Rap Albums., and in 2005, it was ranked twelfth on comedian Chris Rock's list of the "Top 25 Hip-Hop Albums".[1] The song, "Lyrics of Fury", was ranked number five in About.com's "Top 100 Rap Songs".[2]

In the track, "Microphone Fiend", Rakim raps a portrait about his growth and addiction to hip hop. In 2000, Rage Against the Machine covered the song for their cover album Renegades. The Fun Lovin' Criminals also did a cover of this track in their 2001 album Loco
". (Wikipedia)


"Eric B. & Rakim began recording together in the middle of the 1980s with "Eric B. Is President" (1986 in music), originally released on Zakia Records in Harlem, New York City. The single, produced by Marley Marl, who incorporated the bassline from the R&B club hit "Over Like a Fat Rat" by Fonda Rae, quickly became a hip-hop anthem. Paid in Full and Follow the Leader were the duo’s first two full-length albums and were hits by hip hop's standards at the time. In 1989 the pair teamed up with singer Jody Watley for the Billboard pop chart top-ten hit "Friends," one of the first collaborations of pop and hip hop artists, featured on Watley's Larger Than Life album. Much of the duo’s initial impetus and influence can be attributed to its now deceased mentor and deejay, FLAME 3 of the TPA graffiti crew. The Coldcut "Seven Minutes of Madness" remix of "Paid in Full" is considered a milestone in hip-hop, remixes, and sample-based music and is arguably the duo’s most-recognized hit. Despite its world wide success which led to the track entering many overseas top ten music charts, the duo claimed not to like the remix during its release.[citation needed]

The duo's last album together was Don't Sweat the Technique (1992). Its single "Know the Ledge" was the theme song of the feature film Juice and was among its most popular hits. During the recording of that album, both members expressed an interest in recording solo albums. However, Eric B. refused to sign the label's release contract, fearful that Rakim would abandon him. This led to a long and messy court battle involving the two musicians and their former label MCA Records. Eric B. did release a solo album in the early 1990s on an independent label, but without much commercial succes. Rakim released two solo albums, and a third has been in the works for many years.

In 2004 "I Know You Got Soul" appeared on popular video game Grand Theft Auto: San Andreas, playing on classic hip-hop radio station Playback FM
." (Wikipedia)

Old School Education (3) - 'Livin' In The Jungle' by SCHOOLY D

Taken from Schooly D's classic 12" 'Livin' In The Jungle/Gucci Again'


A1 Livin' In The Jungle (Album Version) (3:34)
A2 Livin' In The Jungle (Single Edit) (3:34)
A3 Livin' In The Jungle (Instrumental) (3:34)
B1 Gucci Again (Album Version) (3:55)
B2 Gucci Again (Single Edit) (3:50)
B3 Gucci Again (Instrumental) (3:09)


"Schoolly D is the moniker of American rapper Jesse B. Weaver, Jr. from Philadelphia, Pennsylvania.

Musically, Schoolly D and his DJ Code Money came up with electronic hardcore beats. Later on, Schoolly embraced the afrocentric style, working together with KRS-One. He contributed songs and music to many Abel Ferrara films, and "Signifying Rapper" from Smoke Some Kill was used in Ferrara's film Bad Lieutenant.[1] Because Led Zeppelin successfully sued due to an uncleared interpolation of their song "Kashmir" in "Signifying Rapper," the song was omitted from the soundtrack of the film and indeed from subsequent releases of the Bad Lieutenant.[1]

Schoolly also wrote "The Player" for Ferrara's film The Blackout, as well as the score to Ferrara's R'Xmas. In addition he also contributed the title track to Ferrara's King of New York starring Christopher Walken. The film also contained the track "Am I Black enough for you?". In 2006, Schoolly D co-wrote the indie film sound track of the Historical Sci-Fi thriller, "Order of the Quest" with Chuck Treece. The project series is produced by Benjamin Barnett, and Jay D Clark of Media Bureau. His last album, Funk 'N Pussy, features guest appearances by Public Enemy's Chuck D, Chuck Chillout, Lady B and a drum and bass remix of the classic Schoolly D track "Mr. Big Dick" (remixed by UK trip-hop crew The Sneaker Pimps).

Schoolly also does the music and occasional narration for the cult animated series Aqua Teen Hunger Force on the Cartoon Network channel in its Adult Swim strand.

Rapper Ice-T, who is often given credit for the creation of gangster rap, credits Schoolly D as an influence on his own music:

“ The first record that came out along those lines was Schoolly D's "P.S.K." Then the syncopation of that rap was used by me when I made "Six In The Morning". The vocal delivery was the same: '...P.S.K. is makin' that green', '...six in the morning, police at my door'. When I heard that record I was like "Oh shit!" and call it a bite or what you will but I dug that record. My record didn't sound like "P.S.K.", but I liked the way he was flowing with it. "P.S.K." was talking about Park Side Killers but it was very vague. That was the only difference, when Schoolly did it, it was '...one by one, I'm knockin' em out'. All he did was represent a gang on his record. I took that and wrote a record about guns, beating people down, and all that with "Six In The Morning
". (Wikipedia)

Old School Education (2) - 'Talkin' All That Jazz'' by STETSASONIC

Taken From Stetsasonic's 12" on the Classic Tommy Boy Records.


A1 Talkin' All That Jazz (Extended Vocal) (7:00)
A2 Talkin' All That Jazz (Bob-ty-rodd-db-dad Dub) (7:34)
B1 Talkin' All That Jazz (Radio Version) (3:50)
B2 Talkin' All That Jazz (Dominoes Vocal) (3:50)
B3 Talkin' All That Jazz (Dominoes Instrumental) (4:30)


"Stetsasonic was an American hip hop group formed in 1981 (see 1981 in music) in Brooklyn, New York. It is remembered as one of the first hip-hop crews to use a live band, and their positive, uplifting lyrics have made the group forerunners of alternative hip hop and jazz hip-hop.

Stetsasonic was formed in 1981 in Brooklyn, New York and at the time were known as the Stetson Brothers, named after the Stetson Hats. The group consisted of 3 MCs, Daddy-O (who at the time was called Doctor ON), MC Delite and Crown Supreme. As time went by the group changed their name to STETSASONIC, which meant STYLISH SOUND. Soon the group was going through personal changes. Daddy-O and Delite were still with Stet, however, a change was made with the 3rd MC. As Crown Supreme exited the trio, a new member named MC Del D entered. Although the group was without a recording contract, they continued to perform and delight the audiences that they performed for.

In 1983, a new member was introduced to the group through a mutual friend, Wise the Human Mix Machine. On top of the 3 existing MCs, now there was a human beatbox. At this time he was no ordinary human beatbox, he had a lot to offer the group. He was not only the 1st latino human beatbox, but he had very unique sounds that not even Doug E. Fresh or Buff could produce. His human turntable technique made him very unique. This made any upcoming human beatbox want to get more creative with their sounds.

As time went by, personal changes continued. Soon Del D had exited the group and there were only the trio of Daddy-O, Delite and Wise. The latest trio continued on their journey to stardom in the hip-hop world. They entered in a rap contest that Mr. Magic from 107.5 WBLS was hosting. Out of 86 groups that entered the contest, the trio came in 1st place and won a recording contract with Sugarhill Records. The group never signed with Sugarhill Records due to contractual disagreements, however, the group were taken under Mr. Magic’s wing and became part of the Original Juice Crew with featured Roxanne Shante, MC Shan, Marley Marl, Debbie D (Us Girls), Mighty Mike Cee (Fearless Four), LA Sunshine (Treacherous Three) and a variety of other upcoming rap stars.

As time went by the group began to grow in numbers. Frukwan was the next to join, then came Prince Paul, then DBC and finally the Stet funky drummer, Bobby Simmons.

Mr.Magic introduced the group to Tommy Boy Records and the group or rather the band was on their way. In 1985, the band dropped their 1st single JUST SAY STET bw/ Rock de la Stet. Then in 1986 they dropped their debut album ON FIRE, which received mixed reviews. The follow-ups, In Full Gear and Blood, Sweat & No Tears were critically acclaimed. A 1988 New York Times article said that the group mirrored the rise of artistic, profound rap music: "While pop's political commentary often seems secondary to catchy melodies and commercial acceptability, rap's tough sound sharpens its commentary". [2] As a "hip hop band", dependent on instruments as well as turntables, the group was also known for live shows, though sometimes the "rap-show format prevented Stetsasonic from employing the band instrumentation and studio layering that make their records so distinctive."

Thursday, 11 December 2008

Old School Education (1) - 'Going Way Back' by JUST ICE

Taken from Just Ice's 12" on Fresh Records....

Credits: Co-producer - Just-Ice
Engineer: DJ Doc
Producer: KRS-One
Written: Just Ice and KRS-One. Engineered by Doc at Power Play


A1 Going Way Back (Club Version) (5:01)
A2 Going Way Back (Radio Version) (3:49)
A3 Going Way Back (Dub Version) (5:01)
B1 Lyric Licking (Club Version) (3:30)
B2 Lyric Licking (Dub Version) (3:35)

Biography (Discogs)

"Just-Ice (born Joseph Williams Jr.) A former bouncer at punk clubs, Ice was the first of the New York MCs to embrace hardcore rap (although he hardly used foul language), and when he burst out of Fort Greene, Brooklyn, as Just-Ice, he gained instant notoriety. Muscle-bound, tattooed, aggressive—he resembled Mike Tyson in more than just looks—and with a mouthful of gold teeth, which was the style in his neighborhood. His slickly produced debut single "LaToya/Put that Record back On" was an instant hit. However, a more down-and-dirty sound could be found on the 12" B-Side track, "That Girl is a Slut," which, for the time, was relatively profane and owed at least some inspiration to Doug E. Fresh and Slick Rick's "La Di Da Di." Released soon afterward, his debut album Back to the Old School proved he was more than just a pretty face. It came out on the independent New York label Fresh/Sleeping Bag label in 1986 and sounded like no other hip-hop album, thanks to his fast, forceful rhymes, Cool DMX's human beatbox (Not DMX of future emceeing fame), and the distinctive production of Mantronix's Kurtis Mantronik. Ice was also one of the first MCs to embrace the teachings of the Nation of Gods and Earths on a recording, as well as being a pioneer in incorporating dancehall-style toasting into hip-hop rhymes. The album is best known in Hip Hop circles for the single "Cold Gettin' Dumb"; the universally known beat can be found reworked on Redman's single "It's Like That" featuring K-Solo, from the 1996 album, Muddy Waters.

When he was held by Washington, D.C., police regarding the murder of a drug dealer in 1987 ("Murder, Drugs, and the Rap Star," read a Washington Post headline), it gave him an even greater notoriety (he was never charged with the murder). Declaring war on D.C.'s go-go scene and loudly criticizing Run-D.M.C. (very popular in New York at this time), Just-Ice set a pattern for many a future hip-hop feud. Little could halt Just-Ice's ascension to hip hop stardom, though the departure of Mantronik from Sleeping Bag was a bad omen. KRS-One stepped in to produce 1987's Kool & Deadly (Justicizms), an album that swapped Mantronik's hi-tech skills for raw, elemental beats and rhymes. The British and New York public that had so enthusiastically embraced Back to the Old School was indifferent about this one, and 1989's The Desolate One (with KRS-One back in the producer's seat) was no great improvement. Legendary turntablist Grandmaster Flash produced Ice’s fourth album and last for Fresh/Sleeping Bag, Masterpiece.

By 1990, both Just-Ice and Sleeping Bag appeared to be quickly fading as a new generation of MCs and labels overtook them. He continued to release albums at intervals across the 1990s, but they were on tiny independent labels—although one, 1993's Gun Talk, had major-label distribution and had five of the album's 10 cuts produced by Kurtis Mantronik—and were seldom noticed. This was in part due to Just-Ice's gruff exterior. In one instance at the now defunct Chicago hip hop radio station WJPC 950 AM, while promoting the album, Just-Ice went on an expletive-filled rant about the state of hip hop. The station abruptly cut off his mike, stopped the interview, had security escort Just-Ice out of the building, and took the lead single out of its rotation.

Just-Ice was a member of hip-hop super session the Stop the Violence All Stars, which released one single ("Self Destruction") in 1990, which promoted peace in the communities.

In recent years, Just Ice released several white label 12-inch singles with production by hip hop superstar producer DJ Premier

Wednesday, 10 December 2008

Shook Volume 4 (NEW)


Sound System Special – Shaka, Channel One, Coxsone… string up and dance
House Shoes – you can take a brotha out of Detroit…
Cumbiaton Explosion – Toy Selectah and Club Zizek
Manchester before the Hacienda – Greg Wilson and the Electro-Funk Bomb
Salah Ragab – Exploring the Magic System
Paul Beatty – The White Boy Shuffle
Clutchy Hopkins – Who Da F#@k is Clutchy Hopkins
Raymond Scott – The Name of the Game is Lightworks
Saut D’Eau – A Haitian Vodou Story
Morning Breath – Cover Me
Emory Douglas – The Art of the Black Panthers
Bomba: The Ruff Guide to Puerto Rico
Jazz Cats: The Harlem School of Jazz

plus… Q-Tip, Dâm-Funk, Onra, Crazy Couzins, The Invisible, Kaidi Tatham, London Jazz Festival, 45 Love, plus all ya regulars, reviews and raw vibes.

Subscribe now for 4 issues and get a free BBE CD… Click HERE.

Tuesday, 9 December 2008


Just got a heads up on this new Sound Obsession Mix Vol 29 available on RBMA Radio - Mixed by Kirk Degorgio (As One/Beauty Room)

Check Kirks Blog HERE.

And Catch The Show HERE.

Tracklisting Below......

Fatback - King Tim III (Personality Jock) - Spring
Sugarhill Gang - Rappers Delight (Intro) - Sugarhill
Younger Generation - We Rap More Mellow - Brass
Grandmaster Flash & The Furious Five - Superappin' - Enjoy
Eddie Cheba - Lookin' Good (Shake Your Body) - Tree Line
T.J. Swan - And You Know That - Express
Family - Family Rap - Sound Of New York, USA
Spoonin' Gee - Spoonin' Rap - Sound Of New York, USA
Scoopy - Scoopy Rap - Sound Of New York, USA
Paulett & Tanya Winley - Rhymin' and Rappin' - Paul Winley
Willie Wood Crew - Willie Rap - Sound Of New York
Funky Four - Rappin' and Rocking The House - Enjoy
Spoonie Gee - New Rap Language - Enjoy
The Jazzy Three - The Rappin' Spree - New City
Mr. Magic - Potential 1980 - Magic Records
Tanya "Sweet Tee" Winley - Vicious Rap - Paul Winley
Afrika Bambaataa - Zulu Nation Throwdown #2 - P. Winley
Afrika Bambaataa - Zulu Nation Throwdown - Paul Winley
Marvellous 3/Younger Generation - Rappin All Over - Brass
Nice & Nasty 3 - The Ultimate Rap - Holiday
Funky Four Plus One - That's The Joint - Sugarhill
Spoonie Gee & The Treacherous Three - Love Rap - Enjoy
Kool Kyle The Starchild - Do You Like...- Enjoy
Sugarhill Gang - 8th Wonder - Sugarhill
Little Starsky - Dancin' Party People - Golden Flamingo
Afrika Bambaataa - Jazzy Sensation - Tommy Boy
South Bronx - The Big Throwdown - Rissa Chrissa
Love Bug Star-Ski - Positive Life - TaySter
Harlem World Crew - Rappers Convention - Tayster

Monday, 8 December 2008


"Dam Funk’s Rhythm Trax Vol. 4 is the fourth installment of Stones Throw’s DJ friendly Rhythm Trax series (preceded by James Pants, DJ Romes, & Baron Zen), and the follow-up to his debut 12-inch release Burgundy City b/w Galactic Fun.

On Rhythm Trax Vol. 4 Dam maintains the instrumental theme, displaying his technical mastery of old school drum machines and early 80s analog synthesizers. The soundscapes of this Rhythm Trax contribution provide enough bass to rattle trunks while maintaining colorful melodies perfect for even the most intimate moments.


1. Red
2. Black
3. Silver
4. Sunset
5. Purple
6. Indigo
7. Gold
8. Chocolate

This is available on vinyl in the Stones Throw store and locations around the world that sell Stones Throw vinyl. We also exclusively have Rhythm Trax Vol. 4 in digital format and a limited number on CD packaged in slim “mini-LP” case.

The Stones Throw Rhythm Trax series is executive produced by Peanut Butter Wolf and is based loosely on the Jive Rhythm Trax series from the 80s. Each album is electro beat instrumentals. James Pants has done the art for all the series."
(Stones Throw Website)

Check this revised 'Outrun Theme' from Dam-Funk :- PROPER OLDSKOOL GAMING !!

Dam-Funk x Outrun from stonesthrow on Vimeo.

Wednesday, 3 December 2008

NEED THIS.......

So looking forward to the Vinyl release of this upcoming 12" to add to my two other 12s in this series.

"Sirius B is the final installment of the three vinyl-only EPs released in conjunction with The Heliocentrics debut album Out There. Featuring ex-Cannibal Ox MC Vast Aire on a new rendition of the title track – a remix of the version appearing on Out There - and a new psychedelic-funk jam session “Vibration Of The Fallen Angels,” this release follows DOOM and Percee P’s “Distant Star” and Guilty Simpson’s “Before I Die.”

This album collects the exclusive tracks from these three EPs. Three vocal tracks and five original instrumentals complete the collection.

Track list:
Distant Star feat. Percee P and DOOM
Distant Star (Instrumental)
The Oracle
Space Time Girl
Before I Die feat Guilty Simpson
The Gorn
Sirius B (Remix) feat. Vast Aire
Vibration Of The Fallen Angels

A 12-inch single for “Sirius B feat. Vast Aire” will drop in 2009
". (Stones Throw Records)

Tuesday, 2 December 2008

Bundle of Jazzman Coming my Way.....

Just filled my Shopping Cart with a few items from the Jazzman Website....mmmmmmmm

Ada Moore - The Devil is a Woman b/w Devil is a Woman (Take 1) (JM.070) 7 Inch

"A smooth and sultry jazz vocal gem made with class and style – a sublime and long-forgotten masterpiece from 1955.
Of Dinah Washington, Bessie Smith and Billie Holiday, Ada Moore wrote in 1970: "They were not just blues singers, they were innovators who took experience directly from the harsh and dynamic areas of life, refined it and gave it the form and beauty that moved us so much."

No doubt Ada herself would have been delighted to be mentioned in the same breath as such established jazz greats, especially with the self-penned ‘Devil is a Woman’ as her theme. Though with just one album to her name it wasn’t to be, though it’s not altogether clear why she wasn’t recorded more.

Click here for Track Snippit.

The album itself was a 10” LP recorded for the Debut label. In the studio were jazz legends Charlie Mingus, Oscar Pettiford and Tal Farlow, and each song displayed her low, charismatic and melancholy style. Her voice has an idiosyncratic yet warm tone that is well suited for jazz, so you’d have thought that more records would be on the way. But it seems she was destined to be more of a stage performer than a studio artist, as she was known to sing at many jazz and supper clubs in and around her birthplace of Chicago, and at theatres on the East Coast such as the Apollo in New York.

Other than that there is little more information on the life and music of Ada Moore. Like Harper Lee, she has left one sole document of her art. Perhaps it’s best that way, then nothing can spoil the music. Ada Moore died in 1991
". (Jazzman Website)

Lenny Williams - I Couldn’t Find Nobody/Lisa’s Gone (SOUL45005) 7 Inch

"Another super rarity that has dancefloor potential written all over it! Sixties soul and Northern fans went crazy not too long ago with bids flying way over $2000 for an original copy, such is the demand by discerning DJs, listeners and collectors alike. As usual this SOUL45 reissue is FULLY LICENSED and restored from the ORIGINAL MASTER TAPES so it SOUNDS GREAT – unlike what you get from SHODDY BOOTLEGS! And in keeping with the spirit of collecting the pressing run is limited to ONLY 500 COPIES worldwide!
Like so many good soul singers, Lenny Williams was a product of the gospel choir, where as a child he excelled in many church groups around the Bay Area of San Francisco. Indeed, Lenny had originally planned on being a minister before switching up to pursue a career as a secular singer.

Click here for Track Snippit.

Lenny went on to join funk super group Tower of Power, but prior to that he cut a couple of low profile singles for the Fantasy label. The pick of the pair was this awesome double-sider, which as so often is the case slipped beneath the radar of the RnB pickers of the day. Both sides were recorded in ’68 but feature a production style which sounds some years later – with key use of synths and a smooth feel coupled with an assured, confident delivery from the young Williams. “I Couldn’t Find Nobody” has recently been picked up on the Northern scene and demand has now sky-rocketed for this upbeat funky soul stomper. For many others though, the real action was always on the flip – the deep-as-you-like ballad “Lisa’s Gone”, which showcases Lenny’s distinctive soaring falsetto perfectly. Now that we’ve reissued both sides, you can be the judge, and without having to dig into your pockets for the megabucks the original 45 recently fetched at auction. The likelihood is that both sides will find themselves on heavy rotation, they certainly are over here
!" (Jazzman Website)

Milton Wright - Spaced LP (JMANLP.025) Limited Edition 1000 Only

"This is the second release in our new Jazzman ‘Holy Grail’ reissue series. ’Holy Grails’ are those super-ultra rarest-of-the-rare albums that everyone wants – but nobody can find! We aim to find and re-release these desirable and coveted soul, funk & jazz LPs on CD and limited edition numbered vinyl.

Click here for Track Snippit.

Rarely on eBay and extremely hard to find, Milton Wright’s 2nd album ‘Spaced’ is an ultra-rare LP that soul and rare groove collectors often talk about - but never get to hear. Recorded by the same enigmatic soul singer who gave us the immortal club classic ‘Keep it Up’, the album ‘Spaced’ was overlooked by his record company and the public because it was released just as superstar status was dawning on fellow label mates KC & the Sunshine Band. Overshadowed by the ensuing fame of their sidekicks, the album was suspended in a commercial no man’s land. Adding insult to injury, the piles of unsold copies were subsequently destroyed in a warehouse fire.

A few copies escaped the flames, and a few intrepid collectors have managed to track them down. Those lucky enough to hear one have been astounded that such a quality album of beautiful, soulful music has been allowed to remain unheard and unloved for so long. We’re here to put that right.


1 She Can Have Anything She Wants
2 Dance Have Fun
3 Magic Music
4 All I Know Is That I Have You
5 Let's Take a Break
6 You Like To Dance
7 You Don't Even Know Me
8 Leave Me Alone
9 Be With Me
10 Job

A lost masterpiece of ‘70s soul that will delight all lovers of soul music whether for listening or dancing.
All songs fully licensed and restored from original sources.
Original album artwork.
Never before reissued – previously only available as a highly collectable LP valued at well over $1000.
Deluxe LP LIMITED and NUMBERED, only 1000 copies worldwide!
The Rarest of the Rare – only with Jazzman because WE DIG DEEPER!!!"
(Jazzmnan Website)

Tommy Stuart - Bump & Hustle Music/Harlan County Line (JM12.016) 12 Inch

"A stone cold classic funky disco floor filler that’s stood the test of time. FIRST time ever on 12”!!!

Taken from the hard-to-find self-titled LP by Tommy Stewart, ‘Bump & Hustle Music’ is the definitive disco funk party anthem. It was recorded in 1976 in Atlanta, Georgia, and since then the LP has found itself in the play-boxes of soul, funk and jazz DJs alike. However, it’s not until NOW that this amazing song has finally made it onto the preferred format of dance DJs the world over - the 45rpm 12” single.

Click here for Track Snippit.

In 1976 Tommy Stewart was a busy man, working as an arranger, producer, performer and writer for a host of soul and RnB artists. The LP made for Abraxas Records was the first to go directly under his name, and although it failed to take off locally, the LP soon became known by DJs across the world primarily for the club smash ‘Bump & Hustle Music’.

As it happens that song in particular almost didn’t exist but for Tommy needing to come up with something quick in order to fill in a gap in the album. Conceived and recorded on the spur of the moment, and with backing vocals by Isaac Hayes’ singers Hot Buttered Soul overdubbed later, it’s a superb example of rhythmic simplicity blended with soulful, catchy harmonies. It’s just impossible to listen to ‘Bump & Hustle Music’ without a broad smile coming to your face, and when played loud in a club, It's impossible not to dance
!" (Jazzman Website)

Mayer Hawthorne Podcast from Stones Throw Records.....Its An Early Christmas Cracker

Download Podcast Stones Throw Records Here....

Mayer Hawthorne debuted on Stones Throw recently with “Just Ain't Gonna Work Out”, printed on a red, heart-shaped 45. His next single is “Maybe So, Maybe No” coming in 2009.

Hawthorne Radio Tracklist
01 Berry Gordy Intro
02 Martha & The Vandellas - In My Lonely Room
03 Brenton Wood - I Think You've Got Your Fools Mixed Up
04 Bobby Bland - Hands Small But Mighty
05 The Marvelettes - You're The One For Me Bobby
06 The Steelers - Get It From The Bottom
07 Marvin Gaye - Stubborn Kind of Fellow
08 Brothers of Soul - I Guess That Don't Make Me A Loser
09 Belita Woods - Magic Corner
10 Dee Edwards - Why Can't There Be Love
11 The Escorts - By The Time I Get To Phoenix
12 The 21st Century - I Just Can't Forget Your Name
13 The Whatnauts - Trouble Making Fool
14 The Superlatives - I Don't Know How
15 Smokey Robinson and The Miracles - Baby Baby Don't Cry
16 Shirley Lawson - One More Chance
17 The Montclairs - Hey You!
18 The Precisions - If This Is Love

Mayer Hawthorne debuted on Stones Throw recently with “Just Ain't Gonna Work Out”, printed on a red, heart-shaped 45.

Mayer Hawthorne and The County's debut release. Hawthorne’s hanging-by-a-string falsetto and breakbeat production on the a-side, "Just Ain't Gonna Work Out," are simultaneously Smokey Robinson and J Dilla – equal parts “The Tracks of My Tears” and “Fall in Love.”

Download 'Just Ain't Gonna Work Out' From Stones Throw Website Here....


His next single is “Maybe So, Maybe No” coming in 2009.

Artist Bio :- "Mayer Hawthorne grew up in Ann Arbor, Michigan, just outside of Detroit, and vividly remembers, as a child, driving with his father and tuning the car radio in to the rich soul and jazz history the region provided. “Most of the best music ever made came out of Detroit,” claims the singer, producer, and multi-instrumentalist, who counts Isaac Hayes, Leroy Hutson, Mike Terry, and Barry White among his influences, but draws the most inspiration from the music of Smokey Robinson, Curtis Mayfield, and the legendary songwriting and production trio of Lamont Dozier, Brian Holland, and Eddie Holland Jr.

The “retro” tag is added to almost any contemporary work that sounds like it was originally recorded between 1966 and 1974, and Hawthorne, among the newest contributors to the genre, is aware of how trends come and go. After being introduced to Stones Throw label head Peanut Butter Wolf by mutual friend Noelle Scaggs of the Rebirth, even his current boss was skeptical. “He showed me two songs and I didn’t understand what I was listening to,” Wolf recalls. “I asked him if they were old songs that he did re-edits of – I couldn’t believe they were new songs and that he played all the instruments.”

And after meeting in person, it was even harder for Wolf to believe that Hawthorne was also the lead vocalist. Few expect such heartfelt sentiment to come from a 29-year-old white kid from Ann Arbor, but he has caught the ear of his family at Stones Throw, as well as BBC Radio 1 host Gilles Peterson and producer/DJ Mark Ronson. Expectations are high for the admitted vinyl junkie who never planned on taking his crooning public.

Hawthorne’s hanging-by-a-string falsetto and breakbeat production on his first recorded effort, the tender “Just Ain’t Gonna Work Out,” are simultaneously Smokey and J Dilla – equal parts “The Tracks of My Tears” and “Fall in Love.” “It’s soul,” he explains, “But it’s new.”

Hawthorne has produced and played instruments for much of his life, but never intended to become a singer. He isn’t formally trained, and never sang in the church choir or in any of the bands he was in before founding the County (formerly the County Commissioners). But here he is, new school soul sensation, who has taken the Motown assembly-line production model and eliminated nearly every element but himself and a few hired hands. “I think Mayer is the only artist in the history of the label that I’ve signed after hearing only two songs,” says Peanut Butter Wolf. “Sometimes, you just know it’s the right thing to do.”

And for those willing to believe anything is possible, be grateful to have Mayer Hawthorne on the scene. It’s not just throwback music anymore – this revival is all about progression.

Saturday, 29 November 2008

FLYING LOTUS - Massive 2 hr Mix (291108)

Fly Lo did a 2 hour mix for national radio...HIGHLY RECOMMENDED


Alice Coltrane 'Galaxy In Turiya'
Charlie Hayden+ Egberto Gisomonti / Gonjasufi 'Testament'
Flying Lotus 'Massage Situation (Stripped)'
Dimlite 'Sun Sized Twinkles'
Flying Lotus 'Robertaflack Ft. Dolly'
Flying Lotus 'Robertaflack (Mike Slott Reflunk)'
Ahu 'I Know All The Bitches (Bullion Remix)'
Heralds Of Change 'Amuse'
Carlos Y Gaby 'Happy Summer Solstice'
Pudge 'Yung Infamous'
Dorothy Ashby 'Myself When Young'
Nosaj Thing 'Bach'
LL 'Turf Day'
Flying Lotus 'Infinitum (Dimlite Remix)'
Clark 'Springtime Epigram'
Burial 'Shutta'
Blank Blue 'Blank Blue (Flying Lotus Remix)'
Daedelus 'I'm String Struck'
MHE 'Untitled'
Daedelus / Madvillain 'Experience/Accordion (Flying Lotus Live
Hudson Mohawke 'Zoo0000oom'
Rustie 'Black Block Remix'
Teebs+Jackhigh 'Idea 1 (Clutch)'
Matthewdavid 'Tallahassee Tapes'
Martyn / Flying Lotus 'Vancouver+Pet Monster Shotglass'
Fulgeance 'Chico (Dorian Concept Remix)'
Joker 'Solid State'
Rusko 'Moanerz'
Daddy Kev 'Invite8'
Ras G 'Star Messenger'
Madlib 'Unreleased Gem'
SAMIYAM 'Cheesecake Backslap'
Knowledge 'Dawn'
Flyamsam 'Princess Toadstool'
Sa-Ra 'Hollywood'
Muhsinah / Flying Lotus 'With Me/ Melt'
Flying Lotus 'Dissecto'
Flying Lotus 'Breathe'
Mike Slott 'Home'
Flying Lotus 'Sangria Spin Cycles (Ambient Mix)'
Danny Breaks 'Cosmic Dust'
Flying Lotus 'Beginners Falafel (Free The Robots Remix)'
SAMIYAM 'Falafel Cannon'
Flying Lotus 'Beginners Falafel'
Slum Village 'Players (Instrumental)'
Flying Lotus 'Cackle'
Flying Lotus 'Raise It Up'
Osborne 'Definition Of A Breakdown'
Baron Zen 'Burn Rubber (Dam-Funk Remix)'
Mono/Poly 'Needsdeodorantbitch'
Chocolate Star / Nelly Furtado 'Stay With Me/Promiscuous'
Gonjasufi 'Suzie Q'
Kiing Midas 'Lost (Flying Lotus Live Remix)'
Rusko / Flying Lotus 'Terminal3' / 'Tea Leaf (Dancers Live Remix)'
Daedelus 'Hours Minutes Seconds (Beat Invitational Version)'
Kode9+Flying Lotus 'Kryon'
Zomby 'Spliff Dub (Rustie Remix)'
Busta Rhymes 'What Up'
SAMIYAM 'Crystal Lake'
Weather Report 'River People'
SAMIYAM 'Flintstone Car'
Flying Lotus 'Backpack Caviar'
Radiohead 'Reckoner (Flying Lotus Remix)'
Bjork 'All Is Full Of Love'
Broadcast 'Winter Now'
Portishead 'Elysium'
Linda Perhacks 'Hey Now Who Really Cares'
Flying Lotus 'Infinitum (Exile Remix)'
Flying Lotus 'Live Set Practice Run'

Orbital to Headline The Big Chill 2009

It has just been announced that Orbital are to reform for a headlining gig at next years Big Chill Festival (2009)......I didn't go last year, as my wife and I had a baby son.....but now i'm thinking this could be his Baptisim into the world of festivals......and what a baptism !! Original Ravers....bring on Chime.

"The Big Chill are delighted to announce that Orbital, the grandmasters of English electronica, are reforming to headline The Big Chill festival in August 2009. Celebrating 20 years of roof-raising rave anthems and cinematic techno symphonies, the fraternal duo of Paul and Phil Hartnoll will play one of their legendary live sets at Eastnor Castle next summer.

Contemporaries of the Chemical Brothers and Underworld, Orbital enjoyed a dazzling 15-year stint before bowing out gracefully four years ago. Raised in suburban Sevenoaks, near the M25 orbital motorway which inspired their name, Paul and Phil began honing their unique brand of homegrown electro long before the acid house boom gave British pop a much-needed kick up its baggy trousers. In their secret sound laboratory, these twin Timelords of techno produced gleaming machine-music classics that sounded like Blade Runner on a Grange Hill budget.

Between 1989 and 2004, Orbital released a string of addictive, eclectic singles including Chime, Style, Belfast, The Box and Satan. Many became evergreen club anthems. Some even became top three hits. During their seven-album career they also worked with an impressively diverse range of collaborators including electro-folk siren Alison Goldfrapp, soundtrack maestro Angelo Badalamenti and Metallica guitarist Kirk Hammet.

Meanwhile, Orbital developed an enviable live reputation, playing knockout mega-shows to huge crowds from Glastonbury and Woodstock, to the Royal Albert Hall. Their music featured on high-profile film scores including The Saint, Event Horizon and The Beach. They also remixed superstar artists including Madonna, Queen Latifah and their all-time robo-pop heroes Kraftwerk.

Chime Live at Glastonbury....

Since releasing their swansong Orbital opus The Blue Album and disbanding in 2004, both Hartnoll brothers have ventured into new musical territory. Paul took a more orchestral direction with his 2007 solo album The Ideal Condition, while Phil launched his short-lived collaboration project Long Range and carved a thriving career as a DJ. But they never closed the door on Orbital, and demand remains high for their fabled live shows.

“We’ve never said never,” Paul explains. “It’s something I suspected would happen, which is why we kept hold of certain key bits of odd equipment. We know Guy and Pete and various people from the Big Chill, we’ve both played there in our solo capacities and both liked it. There have been slight rumblings about getting back together before but it didn’t feel good. This time it just felt right.”

Orbital’s live comeback will coincide with the 20th anniversary of their debut single Chime, a rave-era classic recorded for less than £100, which cracked the Top 20 and earned Paul and Phil the first of many Top of The Pops appearances - wearing Anti Poll Tax T-shirts, naturally. But the brothers insist the Big Chill show has nothing to do with nostalgia for the Summer of Love.

“It’s not an exercise in nostalgia at all, the time just seems right,” says Phil. “They came to us with the offer, and everything just seemed to fall into place. I’ve played at the Big Chill before, I DJed there and played with Long Range, and had a really good time. It’s a lovely festival. Also the timing seems good: 20 years of being together.”

Headlining a musically adventurous outdoor festival like the Big Chill makes perfect sense for Orbital, whose magical Glastonbury appearances in the mid 1990s dazzled dance and rock fans alike. Their 1994 Glasto show even earned a Q magazine rating as one of the Top 50 gigs of all time.

Always leaving room for improvisation on stage, unlike many electronic acts, Paul and Phil are world-class experts at building up large crowds into a frenzy of excitement. Their offstage manner may be deadpan and low-key, but their live performances are orgies of sensory overload and revved-up euphoria. Their perfectly placed samples of Bon Jovi, Belinda Carlisle, The Darkness and Ian Dury always raise loud cheers too. Even at their triumphant peak, Orbital never forget their sense of humour.

“Audience reaction is part of the process,” Paul explains, “It really becomes like a friendly football match between you and the crowd. That was always one of our strong points - and for people to say that about an electronic band is a real honour, because it’s the one genre of music that’s normally crap live.”

Paul and Phil are still working out the details of their Big Chill performance, but they guarantee their trademark torch glasses will make an appearance. Innovative video visuals, another Orbital strong point, will also be part of the mix. The musical selection, meanwhile, will be wall-to-wall anthems. No new tunes, no jazz odysseys.

“We’ve got 15 years of active service, making songs,” Paul says. “If you boil that down to a 90-minute festival set you should get something thoroughly good from beginning to end. Let’s put some fun back into it.”

As their 20th anniversary looms, the time feels right for Orbital to reclaim their techno-pop throne. During their short sabbatical, the musical pendulum has swung back towards their electronic sound, with the rising tide of so-called New Rave artists helping to inspire a younger generation of glowstick-waving club kids. Bands like Klaxons and Hot Chip, says Paul, “have rekindled an interest in all things fluorescent and ravey.”

There’s New Rave, there’s Old Rave, and then there’s Orbital. Get ready for a legendary comeback....."
(Big Chill Website)

Sunday, 23 November 2008

New Purchases November

The Invaders - ‘Spacing Out’ b/w ‘Latin Lips’ (Jazzman Records JM.069)

"Rough n’ wild funk jam loaded with insane psychedelic effects – all the way from sunny Bermuda!

When the island of Bermuda is mentioned you think of the affluent north Caribbean paradise with its tourism, pink sandy beaches - and the mysterious Bermuda Triangle. But the only mystery we’re concerned with here is not the loss of ships and planes to extraneous forces, but how such incredible music as that recorded by The Invaders ever got to be recorded in such an exotic location?

"Psychedelic funk is not the first thing that springs to mind when the subject of Caribbean music comes up. With the nearest land mass to Bermuda being North Carolina, perhaps it was the raw funk of Carleen & the Groovers or The Soul Drifters that found its way over the airwaves to infuse itself on the minds of the local musicians? Either way, back in the early ‘70s producer Eddy Demello heard what he remembers as “the hottest group on the hotel circuit. They were way ahead of their time”. He told me he wanted to “try something different and give them a chance”, and so he got the band together and recorded a couple of 45s and a long player. The band obliged and put down ten songs in total, all of them hard and heavy funk pieces and drenched in a loud, psychedelic reverb. The guys were very happy with the result - Demello pressed 3000 copies of the LP, and apart from some which were shipped to a small distributor in Paramus in the US, they were all destined for sale only in Bermuda. However, despite initial sales being bright, few people were interested in buying vinyl records, and so Eddy had to get rid of them, selling them on the street and at church bazaars. He even left some in a box on his doorstep with a “FREE” notice to anybody who wanted one!

So with LP sales all at sea, the album was eventually all washed up like lost driftwood on the beach. However, always on the lookout for salvaging lost gems, we at Jazzman spotted the SOS and launched a rescue party – let’s all welcome back The Invaders!
" (Jazzman Records)

Byard Lancaster - Funny Funky Rib Grib LP (Kindred Spirits)

"Originally released in 1974 via Jef Gilson's Palm Recordings, Funny Funky Rib Grib may be something of an obscurity, but it's most deserving of its reissuing by Dutch label Kindred Spirits. You'd have a job categorising this one. While ostensibly it's a jazz record, Lancaster and his ensemble are hardly ones to fixate on a single genre, and so in addition to encountering the straight up swing and flailing funk of 'Dogtown' there's a quality to 'Loving Kindness' that's at once suggestive of George Gershwin and old-time spirituals. Also, there are some truly mindblowing guitar licks on 'Work And Pray' - a real technical tour de force accompanying a contrapuntally languid, bluesy vocal". (Boomkat Records)

Hudson Mo - 'Star Crackout/Root Hands' (All City 7x7 Beatstrumental Series #6 7 Inch)

Picked up the 6th release in the 7x7 series from All City Records in Ireland.

"His 6x7 release is an odd mix of tracks. "Star Crackout" is a beat-less psychedelic adventure full of crackles and pops. While these tracks may seem out of the ordinary, the strong amount of creative energy and forward thinking that Hudson Mohawke displays through each is quite exciting. Watch out for his Warp release as well as a new Heralds of Change album due out early '09." (themusiclobby.com)

"Yet more astral beat projections from the mind of one half of Heralds of Change, with Hudson Mohawke offering up one his most sublime productions to date for the sick All City 7" series. 'Star Crackout' initially sounds like the decimated love child of Kraftwerk and Daedelus, before slowly burning into an insanely smart shoegaze vibe with what could be a campfire crackle, or possibly the march of a thousand penguins swamping the whole thing into a psychedelic mush worthy of Paavoharju. This is spine tinglingly brilliant stuff, check the samples and get the feeling. 'Root Hands' dips deeper yet with a throbbing bass lead groove that sounds like Theo Parrish jamming with Boards Of Canada and mixed by Moritz von Oswald, high praise in anyone's books, but final track 'Everyone Else is Wrong' manages to fly off on yet another unique tangent with a purest mind trip into 2030 electro funk, and a place where robots smoke pure THC and eat liberty caps for breakfast. Absolutely essential, next-level gear." (Boomkat Records)

Sharon Jones - "How Long Do I Have to Wait" (Ticklah Remix) (Daptone Records DAP-1040)

"This reggae version of a Dap-Kings' favorite is really TERRIFIC! Reggae mastermind TICKLAH (AKA Victor Axelrod, AKA Earl Maxton) has re-cast Sharon's vocals to the beat of his own drum, and it feels So Right! He's taken the original raw tracks from the Dap-Kings' "Naturally" sessions down to his basement laboratory and put some of his Classic-Reggae-Evil-Genius shit all over it. Oh, he played it all on this one: drums, bass, echo-plex. He's got his hooks hitched, his pockets stitched, his mind switched, and this mix is fixed! It's RAW. It's HEAVY. It's RIGHT NOW. So spark that doobie and put your red, black, and green beanie on your turntable, cause this record is going On Your Head!" (Daptone Records)

Friday, 31 October 2008

Gotan Object: The Limited Edition Boxset

The Gotan Project......which have hooked me, ever since I heard their first release - The Triptico 10" back in 2000..are about to release a Limited Edition Boxset....which contains the following....

Just placed my order........ FROM HERE.

Double live CD “Gotan Project live” (exclusive recordings from La Revancha del Tango & Lunático tours”).

La Revancha del Tango tour CD

01 Live Intro 1:32
02 Queremos Paz 4:14
03 Vuelvo al Sur 6:02
04 El Capitalismo Foráneo 5:47
05 La del Ruso 6:29
06 Santa María (del Buen Ayre) 8:26
07 Nocturna 2:48
08 Tríptico 9:36
09 Chunga:s Revenge 5:17
10 Last Tango in Paris 6:19
11 Sola

Lunático tour CD

01 Diferente 6:28
02 La Vigüela 5:36
03 Amor Porteño 5:23
04 Época 4:57
05 Notas 4:29
06 Lunático 3:16
07 Che bandonéon (interlude) 1:21
08 Una Música Brutal 4:01
09 Santa María (del Buen Ayre) 4:56
10 Arrabal 4:51
11 El Norte 5:13
12 Criminal 3:45
13 Tríptico 9:25

Photobook “Carnet de viajes” (152 pages).

DVD/video projections “Visiones”.

01 Amor Porteño
02 El Capitalismo foráneo
03 La vigüela

Previously unreleased 7” vinyl.

01 track Santa María (del Buen Ayre) version orquestal 2:56
02 track Diferente version orquestal 3:59

Exclusive puzzle poster.

Thursday, 16 October 2008

The Cinematic Orchestra played their albums 'Man With A Moviecamera' and 'Ma Fleur', live at The Roundhouse on 10th October and Concert Live were on hand to record the show and make this CD available.........

This strictly limited edition live CD also includeS an exclusive 3rd photo disc featuring 20 intimate instant photos taken on the night of the show. The photos are exclusive to this release and will include intimate back stage shots of the band, their performance and the venue. Get yours today from HERE

Just orderded mine.....nice


Footage of Fat Freddy's Drop performing their upcoming single ' Pull The Catch' Live At Matakana, New Zealand 2008.....loving this, can't wait for the new album to drop.... and their upcoming European tour......Bring on the Roundhouse on 4th/5th December 2008.

Tuesday, 7 October 2008


Here's a short video (Part 1) from MC Search radio show......Part 2 coming soon.....

Doug E. Fresh Interview (Video) Hip-Hop Memory Lane

Check Doug E. Fresh's biography HERE.

For those who don;t know.....Check the track "Slick Rick & Doug E. Fresh - La Di Da Di" which Doug. E refers to in the interview.

I first came across Doug E. Fresh on the Street Sounds Electro Volume 6....purchased on the proper old school format of cassette.... this volume included 2 tracks - Just Having Fun (Do The Beat Box) and The Original Human Beat Box....

For me though it was always "The Show" that hit the spot...check it below.....

Bring On Part 2.....Doug breaks down his early memories of working with Slick Rick on Hip-Hop classics “The Show” and “La-Di-Da-Di”.

Thursday, 25 September 2008

New Gaslamp Killer Mixtape.......Enjoy

Just came accross this new mixtape by the one of my favourite emerging DJ/Producer's of the moment - The Gaslamp Killer....ENJOY


Many thanks to 'wemakeitgood.com' website.....

For more info, click HERE.


Wednesday, 24 September 2008


Just watched this award winning documentary about the state of music in today's climate, featuring contributions by Erykah Badu and ?uestlove, amongst others.....HIGHLY RECOMMENDED.

"Narrated by Academy Award® Winner Forest Whitaker, BEFORE THE MUSIC DIES is an unsettling and inspiring look at today’s popular music industry featuring interviews and performances by Erykah Badu, Eric Clapton, Dave Matthews, Branford Marsalis, ?uestlove and a wide variety of others. The documentary film has built a passionate following as “the most important film a music fan will ever see” (XM Radio) by providing “a balanced overview of the state of the rock scene of America” (The Wall Street Journal) and adding “passion to the eternal debate about the industry” (The New York Times). Last year, BEFORE THE MUSIC DIES filmmakers Andrew Shapter and Joel Rasmussen walked away from traditional Hollywood distribution to instead pursue a large-scale grassroots release with B-Side Entertainment. Since its release in November 2006, the film has screened over 200 times in over 130 North American markets with hundreds of additional events anticipated worldwide during 2007".

Tuesday, 16 September 2008

Public Enemy's.... It Takes A Nation of Millions To Hold Us Back LP

Check out this 3-part video series from Pitchfork.TV which focus's on, what I believe to be one of the greatest Hip Hop Albums ever....... Public Enemy's..."It Takes A Nation of Millions To Hold Us Back LP"

In this three-part series, Chuck D, The Bomb Squad, and others bum-rush memory lane to give us an in-depth look at the building blocks that shaped Public Enemy's classic LP, It Takes a Nation of Millions to Hold Us Back. This clip incorporates footage from the documentary Copyright Criminals.

Part 1

Part 2

Part 3

Tuesday, 9 September 2008

New Podcast.....MODULAR LOVEDRUM SAFARI prod. by Georgia Anne Muldrow

Check this.....A new ePistrophik Peach Sound Podcast

I'm lovin' these beats, all prodcued by Georgia Anne Muldrow. If you haven't heard of this producer, Muldrow is an artist on the Stones Throw rosta.....

Click HERE for further artist details.

Click HERE for her discography.

Click HERE for artists BLOG.

Monday, 8 September 2008

New Madlib Coming Soon.........

Madlib The Beat Konducta - WLIB AM: King of the Wigflip

Madlib's long-anticipated addition to BBE's Beat Generation series will be released on Rapster/BBE this September 30th. Fitting comfortably into a series whose previous contributors include the late J Dilla, DJ Jazzy Jeff, and Pete Rock, Madlib will deliver one of his most straight forward neck snapping hip-hop albums to date.

"WLIB AM:King of the Wigflip marks the end of an era. “As Dirty Harry said, ‘a man has to realize his limitations’” is how Barely Breaking Even (BBE) co-founder and current label head Peter Adarkwah explains the successful Beat Generation series coming to a close. “Evolution is [the] key to all survival.”

And few artists represent such evolution like Madlib The Beat Konducta. The Oxnard, California native has become what writer Amiri Baraka (nee Leroi Jones) once referred to jazz immortal John Coltrane as – “a more fixed traveler…a peace idiom, and time, placement of himself.” Madlib is a fitting piece in the Beat Generation puzzle, which has run the spectrum of top-flight producers with legends (Marley Marl, Pete Rock, Jazzy Jeff), young lions (DJ Spinna, King Britt, Will.I.Am), and the incomparable Jay Dee aka J Dilla, whose Welcome to Detroit was the first artist album to be commissioned by BBE.

But Dilla was not the first artist to be considered by the label for its inaugural Beat Generation release. That distinction would initially go to Kenny Dope of Masters At Work, then to Jazzy Jeff, yet both were hesitant at the time. “It was very different, for the first time in your life, someone giving you the opportunity to basically say who you are as a producer,” Jeff told Wax Poetics magazine in 2006. “Because a lot of us are under the hypnotism of the industry, I had no idea what to do. He [Adarkwah] gave me complete freedom, and as much as I begged for that, I got scared because it’s kind of, like, ‘What do you do when somebody gives you complete freedom?’”


Madlib The Beat Konducta: The Ox (805) - MED feat. Poke

Short answer: You become Madlib – maverick, prolific, and tirelessly uninhibited. WLIB AM: King of the Wigflip plays like the days when AM radio ruled the airwaves, transmitting a crackling, low-fi mélange of endless sample fodder, vocal snippets, and sonic intuition, turning singles into stars and flipping wigs with each twist of the dial. Starting with the ominous, tribal overtones of “The New Resident,” its spiritual spank followed by the customarily aggressive Guilty Simpson on the brassy, stabbing “Blow the Horns On ‘Em,” WLIB AM: King of the Wigflip finds Madlib venturing away from the deconstruction of world rhythms on recent projects and returning to his Western hemisphere roots in hip-hop and R&B.

1 - The New Resident - The Beat Konducta
2 - Blow The Horns On ‘Em - Guilty Simpson
3 - The Plan Pt. 1 - Georgia Anne Muldrow / Tension - The Beat Konducta
4 - Gamble On Ya Boy - Defari
5 - The Ox (805) - MED feat. Poke / All Virtue - The Beat Konducta
6 - Blindfold Test 10 (He Don’t Play) - J-Rocc
7 - The Thang-Thang - Prince Po
8 - Heat - Madlib / Smoke Break - The Beat Konducta / The Plan (Reprise) - The Beat Konducta
9 - Life - Karriem Riggins
10 - Parklight - The Beat Konducta
11 - Yo Yo Affair Pt. 1 & 2 - Frezna
12 - I Want It Back - The Professionals (Oh No & Madlib)
13 - Disco Dance - The Beat Konducta
14 - What It Do - Liberation / Take That Money - Roc C feat. Oh No
15 - Drinks Up! - Frank N Dank
16 - The Way That I Live - Stacy Epps
17 - Ratrace - Murs
18 - Go! - Guilty Simpson
19 - Stop - The Beat Konducta

And in getting back to basics, lyricism is in full effect, courtesy of Cali cohorts such as Defari on the driving, speed-limit bass funk of “Gamble On Ya Boy,” MED and Poke’s ode to home stance with the fury of “The Ox (805),” and Murs doing what Murs do in addressing the “can’t live with ’em, can’t live without ’em” state of male-female relations over the electro-pulse minimalism of “Ratrace.” Beat Konducta The Younger, Oh No, teams up with big brother Madlib as The Professionals on “I Want It Back,” while the maestro himself steps away from his helm at the beat machine and drops into the vocal booth on the audacious “Heat.”

World Famous Beat Junkie J.Rocc heralds the return of the DJ with cuts on “Blindfold Test #10 (He Don’t Play),” before the proceedings venturing eastward with Detroit’s party hearty Frank N’ Dank riding the humming, percussive “Drinks Up!” like Motor City madmen. Another Motown-born MC, former Common and Kanye West sideman, Karriem Riggins, provides a glimpse into the Madlib-Riggins Supreme Team pairing on the melancholy “Life,” while veteran Prince Po provides a standout cameo with the vibrant buoyancy of “The Thang-Thang.”

Talib Kweli, Georgia Anne Muldrow, Roc C, and the songbird styling of Frezna (“Yo-Yo Affair, parts 1 & 2) and Stacy Epps round out WLIB AM: King of the Wigflip, which is woven together by dusted interludes and instrumentals like few but The Beat Konducta can. “Madlib was not consciously meant to be last in the series,” says BBE’s Adarkwah, but when considering the producer to which he is most often associated – the late J Dilla – it is without question the proper closure. “Blacktronica should be the future,” Adarkwah declares, and he should know best, for it is Blacktronica that has already helped define his storied label’s past and present
". (Published in Press Releases)


Friday, 5 September 2008

September Purchases.....


"Jazzman Records creates the finest, most comprehensive and exhaustively curated CD and LP collections of Soul, Jazz and Funk in the world. No expense is spared in tracking down artists, producers and master tapes to provide the highest quality product that can be done. If you're into funk or soul music - you need it!"

"Kicking off a new series of Jazzman Reissues, our Holy Grail series will include the rarest and most coveted soul, funk & jazz LPs ever released on CD and limited edition numbered vinyl".

"The CD booklets will contain pictures, interviews and information on the making and history of the record, while the LPs will be exact copies of the original, with a unique number denoting the limited issue on the back".


" And that's what Uncle Funkenstein is all about. Never before on eBay and impossible to find, this is an ultra-rare LP that funk collectors talk about but never see. One of the ultimate private press funk/jazz LPs, with just a handful of known copies. The original album bears all the hallmarks of the local, private press album - black and white budget cover, home-made "conceived on a kitchen table" sleeve design, self-produced and on a shoe-string budget. Some of these kind of records are over hyped and have all kinds of amazing things said about them - only for the MUSIC itself to disappoint. Not so with Uncle Funkenstein - you'll know that from the moment you hit Track 1 and the awesome bass blows you away…"
" 12 page colour cd booklet with in-depth liner notes interviews and previously unpublished photographs"
" Never before reissued - previously only available as a privately pressed and highly collectable LP valued at well over $1000

MARY LOU WILLIAMS - Credo/It Ain't Necessarily So 7" (JM068)

"Since 1998 Jazzman Records has led the way in reissuing the rarest and best soul, jazz & funk 45s".

7" singles offer no hiding place for lame, goofy or weak music. The music is naked and one side of a disc for all to hear. Just 3 minutes of sound. No extended edit, no remixes, no acapella, no versions - just the song on its own as it was always meant to be heard".

"Always on premium vinyl, and always with warm, rich, analogue sound! " With the belief that jazz was the only true art form and Catholicism the only true faith, pianist, composer, arranger, author and philanthropist Mary Lou Williams headed to the studio in 1964 to record her album Black Christ of the Andes. Ten years previously she had turned her back on the 'devil's music', and this was her first recording session in all that time. During those years she had been involved in the church, and spent much of her time and money personally helping drug-addicted jazz musicians back to health. But with the civil rights movement in full swing and the growing conflict in Vietnam, she felt an even greater calling for her talents, and the recording studio beckoned".


"The album included a much slowed-down version of the Gershwin classic It Ain't Necessarily So. Built upon a melancholy bass figure in 6/8 time, there is a clarity and purity about the arrangement, with single notes from her right hand picking the melody out of the blues, with the left hand adding subtle chords. As captioned on a Williams pic in Life magazine - 'Cool as the smoke off dry ice'. Spiritual jazz indeed! In 1971 the instrumental version of Credo was recorded, having been recorded with a vocal accompaniment the previous year. During this period in her life Williams was primarily engaged in the writing and recording jazz for performance in church, and most notably for singing at Mass. In Credo we can hear influence from the street, as the funk rhythms of the day were omnipresent, permeating even the church and its hallowed walls". (JAZZMAN RECORDS)

TOLBERT - I’ve Got It 7" (SOUL45003)

"Another NEW 7” Reissue from From SOUL 45 / Jazzman Records – WE DIG DEEPER!

The 7” label dedicated to the sounds of soul gets an official re-release of the rare and hugely in-demand modern soul gem ‘I’ve Got It’ by Tolbert. They’ve mastered this one good n loud from the original tapes for DJ use!

Lauded by soul collectors all over the world as a true gem that could single handedly define the term ‘modern soul’, Tolbert’s ‘I Got It’ is a mid-tempo clubber from ’82 that has recently approached anthemic status. The ultra-rare status of the original 45 means only a select few DJs such as Ian Wright and Soul Sam have been able to give it plays, as the $4000 price tag has been a stumbling block for many soul fans


"It’s taken them three years to organise the release of ‘I’ve Got It’, including a special trip to NYC to meet songwriter Bill Mersey and collect the precious master tapes in person" (JAZZMAN RECORDS)

ROOTS MANUVA - Again & Again 7" (BDS 122)

"A dinky little slab of summer soundsystem niceness from roots Manuva with the radio and Matt Helder of Arctic Monkeys versions of lead single 'Again and again' from his new album. The radio version benefits from a little beefing up from Shy FX, making for a solid and uplifting dancehall ditty, while Matt Helder has a crack at a GarageBand version, adding a heavy guitar chops and shuffling the beats into a dubstep compatible effort". (BOOMKAT RECORDS)

1. Again & Again (Radio Edit)
2. Again & Again (Arctic Monkeys Remix)

ROOTS MANUVA - Again & Again 12"(Moody Boyz Remix)(BD 122)

"Bouncing soca-basment versions of 'Again and again' from The Moody Boyz, with a vocal version refitting Manuva' vox over a kinetic riddim developing into hi-end staggered delays and sinister synthlines for a killer and effective DJ tool, while the B-side dubs Manuva's voice into a croaked mutterance and swings the delays and FX into wild styles for an even more effective floor version". (BOOMKAT RECORDS)

1. Again & Again (Moody Boyz Remix)
2. Again & Again (Moody Boyz Remix Dub)