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Bosq’s aptly titled third full-length effort “Love & Resistance” is a collection of songs that reflect a producer’s continuing emergence by diving deeper into his influences. The strains of Afro and Latin flavors are interwoven and still heavily permeate but the underlying groove and rhythms have taken on a more modern, jazz-funk and disco-soul vibe with nods to Bobby Caldwell, Roy Ayers, the Mizell brothers and Nile Rodgers’ Chic.

Originally based out of Boston, MA but now calling Medellin, Colombia home, Bosq's new surroundings have inspired him to create his most diverse and creative album to date. Already featuring the top tune “Can’t Seem To Hide” with Megan Doherty that made a splash off the gates as the first single from the album (10/10 rating from Mixmag), the whole album is soldered together with each track being a single-worthy release in it’s own right. Featuring guest vocalists on all but one of the tunes including frequent collaborators Kaleta, and Nicole Willis, along with Ray Lugo who’s known for his work in Kokolo and Boogaloo Destroyers. LA based singer Induce and new duo Lucid Paradise (E da Boss & Ishtar) along with vocalist Bruno Morais whose classic Brazilian voice is reminiscent of Jorge Ben round out the cast of Bosq’s most vocally varied album work to date, reflecting both his growth as an artist and his willingness to push his own sonic boundaries.

A relentless work ethic fused with a broad and varied music palette all attuned to the groove and a focus on making folks move has led to numerous remix projects, most recently with legendary Benin-based Orchestre Poly-Rythmo De Cotonou. With a steadily growing fan base and reputation amongst fellow artists and musicians, Bosq’s immediate future is already laden with releases lined up for Fania and his collaborative effort Body Music alongside The Rapture’s Vito Roccoforte.

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"‘Can’t Seem To Hide’ will be a bona fide classic of 2017 thanks to its combination of a party-time keyboard line over a relentless groove and Megan Doherty’s hypnotic vocal. Nicole Willis can do no wrong, either, as she steps up to deliver further damage on the flip." -Mixmag 10/10 March 2017 Tune Of The Month

Bosq’s new single sees him diving deeper into funky disco, creating songs that are more musical but maintain the rawness that translates to a feeling on the dancefloor.

The A-side features a collaboration between Bosq and vocalist Megan Doherty from Social Lovers which has already garnered a “tune of the month” feature and a 10/10 rating from Mixmag. Mark Usher’s funk-laden rhythm guitar attack punctuates the song while Megan’s silky smooth vocal delivery glide on top of the Bosq-crafted groove with an understated cool and sexiness that permeate the entire track.

The featured vocalist on the flip of this double A-side disco burner is none other than soul-highness herself Nicole Willis, who was featured on Bosq’s previous single “Bad For Me”. Her powerful vocal style reminiscent of disco divas past along with Mark channeling his inner “Nile Rodgers” delivers yet another future dancefloor classic.

Calling Medellin, Colombia home for the time being, these 2 tracks were the last songs Bosq made in his US studio. Seeking inspiration and surrounded by a new landscape literally and musically while finding new partners to collaborate with on projects such as Body Music with The Rapture’s drummer Vito Roccoforte he continues to hone his craft. Along with dropping the Tumbala EP on Soul Clap, the full-length album San Jose 51 recorded in Puerto Rico with the Candela All-Stars and his various remix work for Fania, and Cultures Of Soul to name a few, Bosq’s relentless work ethic, output and openness to further develop his sound can only mean good things for Latin, Afro, Disco, Funk, and Soul aficionados alike.

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Baast returns with a follow-up to their cosmic jazz funk opus “Dimensions”, with another set of esoteric “Kosmiche Musik” on their new offering “Bazaar.” Channeling the same energy filtered through a more “worldly” vibe, the heavy focus is on polyrhythmic percussion producing a decidedly Middle Eastern flavor in a similar vein to Krautrock standouts Embryo and Passport.

The brainchild of R. Scott Dibble and DJ Johnny Basil, Baast’s live performances are a mix of theatrical rock, jazz improv, and extended funk sojourns once they lock into a groove. 2016 has been a coming out party of sorts for once-underground hero DJ Johnny Basil. After a 20 year hiatus from producing music, hunkering down and delving deep into his esoteric studies while amassing one of the more impressive record collections focused on library music, his ascension has been ignited by his exposure to a young and eager audience as a tour DJ for cult surf-rock crusaders The Growlers. Leaving crowds mesmerized throwing down hard Disco and Funk while exploring the groove alongside them gyrating and slithering shirtless on stage. Drawing a visually striking resemblance to Iggy Pop, and sartorially decked in ‘70s vintage regalia, he’s inspired a write-up from Vice outlet Thump dubbing him “The Man You Wish You Were”, putting him in the running as a real-life “Most Interesting Man In The World”.

Fresh from being named by the OC weekly staff as “Best Local Celebrity of 2016” and loaded with several new projects outside of Baast including his recently released excursion into Nu-Disco with the aptly named Basil & Rogers and Sleaze/Glam Rock outfit Kandi Jones, as well as several upcoming appearances in music videos and fashion shoots, DJ Johnny Basil’s long-overdue “shine” is only destined to burn that much brighter.

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Photo by
Ben Sklar
300 DPI | 72 DPI

Photo by
Ben Sklar
300 DPI | 72 DPI

Luv N’Haight is proud to re-issue Sweet Maya’s self-titled album. A midwest jazz-funk classic with elements of folk, jazz, soul, funk and rock combining to create a heady blend reminiscent of ‘70s work by French band Cortex and songwriting maestro Terry Callier.

The music of Sweet Maya is an extension of each member. As individuals they bring together diverse backgrounds, as a group they blend it all into a sound that is exciting and full of warmth. The six-piece group of multi-talented instrumentalists has five lead singers, four songwriters and four arrangers. The music that grows from the contact of such persons is evidenced in this album. It is Sweet Maya (the Illusion) that flows through and shapes the many idioms of their music. It is Rob Hayes, Tom Davis, Janice Lakers, John Chamberlin, and Mark Bowen who convey the experience. (excerpt taken from original LP liner notes)

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After dropping his album "Coils" and it's remix counterpart "Uncoiled" this year, Evan returns with another 4 track left-field beat excursion. Setting aside Ableton and his laptop for production and going the hardware route using a combo of the OP-1, Machinedrum UW, PO-12 and a Korg Minilogue, his shift in gear also results in a slight shift in direction with flavors of house and dance music filtering through the sound.

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Austin’s Brownout unleashed the Brown Sabbath Vol.I project garnering acclaim from outlets such as NPR (50 Best Albums of 2014), Pitchfork, hardcore Black Sabbath fans and most important of all Ozzy Osbourne himself, while staying true to their Latin Funk roots. Brown Sabbath Vol. II cranks up the level, rocking harder than the original with a brew of ballistic horns, pummeling guitar-riffs underscored by a funky, driving rhyhm section. Ghostland Observatory‘s Aaron Behrens makes a guest appearance sharing vocal duties with Brown Sabbath lead vocalist Alex Marrero.

Hitting harder than it’s predecessor and keeping closely in line with the original Sabbath material, Brown Sabbath Vol. II crosses over more to hard rock territory. Brownout’s powerful, signature full horn section, dual-guitar attack, funked-up drums and latin percussion return with a vengeance, adding even more weight and texture to create a dark hybrid sound that resonates with groove-laden intensity unique to their interpretation of Black Sabbath’s tome.

An 8-piece outfit formed ten years ago by members of Grammy Award-winning Latin revival orchestra Grupo Fantasma, Brownout has evolved into a musical force all its own. With a succesful tour of Brown Sabbath under their belt including Bonnaroo and Austin Psych Fest while earning their third Austin Music Award, the band has continued to produce music that is unflinchingly progressive, while evoking the classic influences of artists such as WAR, Cymande and Funkadelic.

Brownout now has four albums under their belt including Brown Sabbath Vol.I (Ubiquity 2014), Homenaje (Freestyle Records 2008), Aguilas & Cobras (Six Degrees 2009) and Oozy (Nat Geo 2012). Tour dates to support Brownout Presents Brown Sabbath Vol.II, will be announced shortly.

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Hollywood Spritz is a soundtrack to a police television drama from the '70s that doesn't exist, including a Jazz Funk rework of the Charlie's Angels theme. Italian DJ, composer and producer Federica Grappasonni, aka Mistura Pura, looks to the 70’s Golden Age of Hollywood TV and the accompanying music for inspiration.

Combining Jazz, Funk and Latin elements with Afro percussion, Mediterranean harmonies, minimal electronic effects, Hip Hop and Nu Jazz beats, Mistura Pura focuses her sound on the "action" element from these ‘70s soundtracks: scenes depicting danger or tension but also making sure to round it out with moments of love and fun. The presence of percussion in all the tracks with Afro, Latin American as well as Middle-Eastern and Hawaiian polyrhythms round out the album’s edges giving it a languid feel. "Hollywood Spritz" with it’s abundant Latin vibes would be a perfect accompaniment to a police drama set in LA, New York, Miami or any major metropolis with a vibrant Latino community. Another important aspect contributing to this musical work comes from Federica’s extensive, decades-long experience as a DJ digging and spinning rare grooves from Be Bop, Funk, Soul and Bossa Nova. Her familiarity and connection with notable players in the scene gave her acces to record with a talented group of musicians such as pianist Jessica Lauren (Hollywood Spritz, LA Sound 1976, Nuevo Jungo) known for her work in the London Acid Jazz scene, Cuban multi-instrumentalist Lorenzo Patrix Duenas (Looking For The Angels, Intro - The Angels Connection, Charlie’s Angels Theme), Italian Jazz pianist Alessandro Gwis (Angels On A Cruise, Jill Is Dancing In The Dark), Mediterranean flutist Carlo Nicita, the king of the Latin rhythms Hector Barez from Puerto Rico, the cool trumpet of Josh Evans (Nuevo Jungo), volcanic percussion work from Gennaro Scarpato (High Tide At Waimanalo beach), Nu Jazz drums from Lorenzo Tucci (Angels On A cruise, Jill Is Dancing In The Dark (with milonga drums)), with the combination of Lorenzo Feliciati (Angels On A cruise) and Marco Siniscalco (Hollywood Spritz) on Jazz bass, oud musician Jean Pierre Smadj (The Arab Connection), and young Italian pianist Alberto Napolioni (Sunset at Venice beach) rounding out the cast.

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Basil & Rogers is a sleazy, California disco duo made up of Heru (DJ) Johnny Basil and Body Rogers.

Basil, a multi-instrumentalist, long-time record collector, and energy healer is a man that's been making music for a long time under many different guises and in many different styles.

Heru Avenger (Acid/Psych Rock), Non Stop (Electronic/Free Jazz), Baast (Kraut Rock/Jazz Funk), and Kandi Jones (Slut Rock) are just a few of his projects, past and present. Most of this music has been around for the entirety of the 90's and 2000's without being heard because despite Basil's outspoken appearance (described by many as looking like Iggy Pop's twin brother and would never be caught wearing a t-shirt no matter the location) he's very quiet about his musical output.

Body Rogers is also part of the Non Stop group and is a master of electronics and engineering. On the Basil & Rogers project the two have made a disco 12"that is influenced by classic-era dance music while still being completely unique and far from conforming.

It's crazy, it's sexy, and it's sleazy. 'Tune In'.

Links of Relevance https://www.ocweekly.com/best-of/2015/arts-and-entertainment/best-club-dj-6783268

https://thump.vice.com/en_us/article/meet-dj-johnny-basil-the-man-you-wish-you-were

https://johnnybasil.com/bio/

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Long overdue for a vinyl pressing, Kenny Dope’s extended mix of “Shy As A Butterfly” by The Mighty Sceptres is now available on a proper 7in. The B-side features a killer dance floor-ready cumbia rework of “Nothing Seems To Work Right” by Spark Arrester.

With a well-received debut album under their belt and notable song placements in shows such as Ray Donovan on Showtime, The Mighty Sceptres drop a new 7in single featuring Kenny Dope’s extended mix of “Shy As A Butterfly”, previously only available as a bonus on their digital album. With collectors, record shops, and fans alike clamoring for a vinyl version, the 7in was hands down the preferred format of choice. Hailing from Blacksburg VA where he’s been a mainstay of the local music scene and purveyor of all things funky, Spark Arrester’s cumbia rework is a perfect fit on the B-side rounding out a single that’s sure to keep bodies moving on the dance floor all summer long and beyond.

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Shawn Lee’s classic Ping Pong Christmas album is now available for the first time on colored vinyl and just in time for Record Store Day!

Late one cold winter night, our Little Drummer Boy found himself alone in his chilly recording studio. Busting out the Jingle Bells he decided to break the unseasonably eerie Silent Night and play himself a song or two. “Some of My Favorite Things,” he muttered to himself as he stared at his vast collection of musical instruments strewn throughout the room. “O Come All Ye Faithful” he sung to his horn section as he mustered the musical muscle to Deck The Halls. Old Saint Mick joined him on the black and whites and the two of them knew that as long as they had tunes, they would not be alone this Holiday season.

Across the street and Away In A Manger, a baby stirred and it’s mother and father said “Do You Hear What I Hear?” Curious as to the origin of the festive musical mayhem the father trudged his slippered feet through the snow and knocked on the studio door. As it creaked open, the father extended a cold but firm handshake “We’ve never met, have you always been here? Where are you from? What A Wonderful World of music I hear!” he said. “O, (a) Little Town of Bethlehem,” chuckled the drummer boy and Old Saint Mick. “Of course, where else!” said the father. “Sorry am I keeping you up?” apologized the drummer boy. “No, it’s no bother,” said the father. As they were speaking the local police officer happened to stroll by and enquired “Everything ok here fella’s?” “Oh no problems here,” they replied. “Well, God Rest Ye Merry Gentlemen, then,” said the police officer.

After a few more pleasantries the father decided to ditch the mother and child and join the Little Drummer Boy and Old Saint Mick for an all night sherry-fueled funked-up jam session. They left the tapes rolling and the CD in your hands might be the result of this session. It might equally just be the latest album from Shawn Lee’s Ping Pong Orchestra, done psychedelic Santa style. Either way, Christmas has never been so funky!

Features: Mick Talbot (Style Council, Paul Weller, Dexy’s Midnight Runners)

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Photo by
Ben Sklar
300 DPI | 72 DPI

Photo by
Ben Sklar
300 DPI | 72 DPI

Photo by
Ben Sklar
300 DPI | 72 DPI

Photo by
Ben Sklar
300 DPI | 72 DPI

"I got a little more work for you to do."

That's what the late Reverend Gean West sings—or rather testifies—on the opening track of Goodbye World, the new and deeply emotional album from the triumphantly unlikely gospel funk band the Relatives. The group started working on the record in the summer of 2014, but Gean was able to lay down his signature gravelly vocals on only two songs before he became ill and fell into a coma. He remained unconscious for twelve days, and it was during that time he heard God's voice telling him to get back to work. "Don't let me down, son," the voice commanded.

Gean took that admonition to heart. He and the band returned to the studio in January 2015, where he incorporated a riveting spoken-word account of his near-death epiphany into the band's reworking of Tim Maia's “Rational Culture.” Over the course of two nights, he managed to cut all his remaining vocals on the album, except for its last song, “Forgive Me Now,” which he proved too weak to perform. He was rushed to the hospital two days after the second session. A week later, after guitarist and producer Zach Ernst had done some overdubs and mixing, fellow band member Earnest Tarkington brought an early version of “Rational Culture / Testimony” to Gean’s bedside. Gean listened to its swirling psychedelic guitars, the impassioned vocals of his brother Tommie singing “He gonna rule the world, don't you know, don't you know.” And he heard his own powerful preacher's voice—with no hint of weakness or illness in it—bearing witness to the epiphany he had experienced in his coma. It was a rough mix but all the elements were there, all the righteous energy and joyful passion that had been the Relatives' trademarks since Gean formed the group in 1970. Gean asked Earnest to play the track twice. He smiled all the way through as he listened to it. Gean—or God, or both—must have thought his work was finally done, because he died the next day

The Relatives’ long career non-path has become one of the more improbable stories in contemporary popular music. Gean West grew up in a musical family in Dallas that was well known within gospel circles. Because legends such as Sam Cooke, Aretha Franklin, Tina Turner, and the Staple Singers were denied rooms in all-white hotels in the pre-integration south, they often used Gean’s mother’s house as a layover stop. As a young boy, Gean preached door-to-door for nickels and quarters. When he became a guest of the Texas Prison System in the mid-1950s, serving a five-year sentence for car theft, he combined the preaching with singing, so effectively that the warden at the Clemens unit in Brazoria nicknamed him “Songbird.” After his release, following the warden’s advice to “get on out of here and do yourself good,” he returned to Dallas determined to follow a righteous path. He began touring with the Sensational Golden Knights in 1958, and, as leader of the Shreveport Southernaires, even cut a 45 with Houston hitmaker Don Robey... more

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Photo by
Ben Sklar
300 DPI | 72 DPI

Photo by
Ben Sklar
300 DPI | 72 DPI

Photo by
Ben Sklar
300 DPI | 72 DPI

Photo by
Ben Sklar
300 DPI | 72 DPI

“Can’t Feel Nothin’” is the lead single from Texas‘ legendary psychedelic gospel soul group The Relatives’ forthcoming album, “Goodbye World”, with a searing and heartfelt rendition of “No Man Is An Island” on the B-side.

The Temptations-style vocal group is best known by crate-diggers for their 1971 single "Don't Let Me Fall,” which is also the title of a collection, released by Heavy Light Records in 2009, that documents their complete 1970s output. The psych-funk pioneers reunited in '09 and have been active ever since, touring the world and releasing their first proper full-length The Electric Word in 2013.

The new record, Goodbye World set to drop in early 2016 is an elegy of sorts, since it showcases the final recordings of the Relatives' founder and leader Reverend Gean West, who died in February 2015 at the age of 78 in the midst of working on the album. His signature vocals can be heard on the A-Side along with his brother Tommie West on top of a slow-rolling, bottom-heavy funk groove. The B-side finds their take on the classic “No Man Is An Island” with haunting guitars and combination of bass-to-falsetto vocals courtesy of their original guitarist Charles Ray “Gypsy” Mitchell.



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“Love Is A Hurtin’ Thing” is the lead off single from Gloria Ann Taylor’s upcoming anthology with the ultra-heavy psychedelic soul burner “Brother Less Than A Man” on the B-side.

Originally released on Gloria and her husband Walter Whisenhunt’s label Selector Sound as a 7in single, “Love Is A Hurtin’ Thing” features her soaring vocals backed by luscious strings, orchestral horns and a searing guitar. On the flip is “Brother Less Than A Man” which sounds like a proto Funkadelic /Parliament psychedelic funk bomb. Pressed as a 7in single on the House Guests label, it highlights a grittier side of her singing that matches the song’s depth and intensity. Backed by a rhythm section featuring Bootsy Collins and brother Catfish who along with Gloria and her husband founded the label after leaving James Brown’s band.

Look for the similarly titled anthology of Gloria’s ouput on the Selector Sound label to drop later in 2015.



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Amidst much anticipation from collectors, record stores, DJ’s and producers alike Gloria Ann Taylor’s musical output on Selector Sound have been compiled and will be presented in a deluxe triple-gatefold double LP package complete with photos and extensive liner notes.

Soul singer Gloria Ann Taylor has no rags to riches tale to tell. Her story is one of personal sacrifice, failed relationships, and missed opportunity. She was leading a hard knock life before being swept-up by the flash and promise of a marriage and business partnership with a successful record producer. She would be nominated for a Grammy, rub shoulders with James Brown and Bootsy Collins, and turn heads from Motown. But in the end she rejected professional singing, the music business, and the lifestyle that came with it. Thankfully for music lovers, before Gloria closed the doors on her singing career, she left us with some amazing soul songs. Deeply shaded by gospel roots, her haunting sound clearly comes from the gut. Gloria did not fake the funk.

Gloria was a partial owner of the Selector Sounds label, along with her husband/producer Walter Whisenhunt (previously a right-hand man to James Brown), and her brother Leonard. They released five Gloria Taylor singles between 1971 and 1977. They also released the three-song Deep Inside You EP, under the name Gloria Ann Taylor and Walter Whisenhunt’s Orchestra. In the studio Whisenhunt would work up a unique musical brew that mixed northern soul with exotic percussion and fuzzy psychedelic guitars. He moved Gloria through a range of tempos and stylings from ballads to disco. Her gritty vocal performance was set to orchestral arrangements creating a juxtaposition of grandeur and solace. The pinnacle of their collaborations has to be the jaw-droppingly epic EP version of “Love Is a Hurting Thing”; a chugging, string-laden disco track, that sounds like proto-Theo Parrish. (excerpt from liner notes by Andrew Jervis)



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“Each song on Lengua transports you into open air fields of imagination and space. Listening to this lets you know life is softer” - Osunlade

Simple soulful songs from Santa Ana. Reminds me a little of Beck. Just avoid Evan when he has the blender. - Andrew Jervis, Bandcamp Head Curator

Born and raised in Santa Ana, CA Evan Geesman has been writing and recording songs since his early teens. From folk songs recorded on a 4 track in his parents’ garage to recent collaborations with electronic beat collective GRN+GLD, Evan’s unique and prolific musical output have established him as both a singer songwriter and electronic/new beat producer.

Lengua was originally released on Bandcamp and a few select digital outlets as a 5 track EP, it now includes 2 remixes from fellow GRN+GLD producers Dirty Merlin and Technocrat. Having reached a number 1 spot on Bandcamp by way of a vigorous Reddit and 4chan campaign and catching the attention of head curator Andrew Jervis, Evan chose not to rest on his laurels but jumped head-first to record what will be his sophomore effort. Dropping in late 2015, Coils finds him continuing his growth as an artist and serves to further establish him as a talent to keep an eye on in the future.

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Coils is the latest offering from Santa Ana, CA native Evan Geesman. Fresh from the success of his previous digital-only release Lengua, with co-signs from Bandcamp’s Head Curator Andrew Jervis and Osunlade, his new work finds him delving deeper into his production palette interspersed with his songwriter‘s aesthetic, resulting in a decidedly denser sonic soundscape than its predecessor.

Born and raised in Santa Ana, CA Evan Geesman has been writing and recording songs since his early teens. From folk songs recorded on a 4 track in his parents’ garage to recent collaborations with local electronic beat collective GRN+GLD, Evan’s unique and prolific musical output have established him as both a singer songwriter and electronic/new beat producer.

While Evan’s previous material crossed several genres and had more of an experimental bent with influences varying from Aphex Twin, Wu-Tang, Mahavishnu Orchestra and world folk music, Coils represents a natural synthesis of his beat heavy electronic compositions and strong songwriting sensibilities. Many of the songs recorded over the last year began as guitar compositions, which were then painstakingly recreated electronically, building layers of arrangements consisting of electronic instruments, field recordings and his own vocals over an acoustic foundation. When asked to describe the album’s underlying theme, he cites how suffocating life in the modern world can be with the internet, TV, technology and the increasingly overwhelming speed of communication. Using music as a medium to convey this accurate yet unfortunate depiction of living in modernity, Coils doesn’t succumb to the dourness, it finds a way to remind those who listen that life can be softer.

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Lavashark’s debut offering comes with their reinvisioning of two Rock classics; Bruce Springsteen’s “State Trooper” and “Susie Q” made famous by Creedence Clearwater Revival. Anchored by their use of vintage analogue synths, and drum machines the pulsating electronic soundscape they create is tempered by Theo De Gunzburg’s moody haunting vocals. Brighton UK producer Antenna Happy lends his hand to a more driving and dance-floor friendly remix and dub version of “State Trooper”.

Channeling a live analogue sound that borrows from the Illinois blues of Muddy Waters, as much as it does to the maverick electronica of Aphex Twin. At the heart of the group lies their live performance, a place where raw synth lines and brooding vocals form a safe haven away from the digital age. An LA based trio comprised of Theo De Gunzburg, Matthew O’Malley and John Barnes, the group were drawn together by a shared affection for David Attenborough. Working out of a converted garage in Venice, Lavashark craft a nomadic sound that when played live, forcefully raises you to your feet and questions whether this is old or very new.



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Nearly two years after his debut album, Bosq Y Orquestra De Madera, burst onto the scene with its varied rhythms and moods, Bosq is unleashing another batch of music for the dancefloor. Slated for an October release, Celestial Strut is extending summer well past the autumnal equinox.

Not content to produce one style of music, Bosq takes you through disco ("Bad For Me". "Celestial Strut"); Latin rhythms ("Ella", "Cumbia En Bahia"); and Afrobeat ("Bounce And Pull Up", "Take Over", "Pay The Price") with ease. Thinking of each album like a DJ set, he's always determined to inject many flavors but still keep a cohesive sound.

Helping to craft the album, collaborators such as Nicole Willis, Jesus Pagan Y Conjunto Barrio, and Kaleta chipped in with lyric writing, vocal duties, and riveting soundscapes. Recalls Bosq, "Jesus and the Conjunto Barrio helped me to re-record all my parts into live ones which gives it a greater authenticity and better musicianship. I then took those parts to rework and modernize them." Bosq even co-wrote lyrics, a first for him, with his girlfriend on "Found Your Love." To add even more flair to the album, Caserta, someone Bosq greatly admires for being able to bring so much sonic depth, mixed several tracks on Celestial Strut.

Having already received extensive coverage through outlets like Wax Poetics, OkayAfrica, Remezcla, and Sound Color Vibration as well as DJing around the country at nightclubs and even Boston's Museum Of Fine Arts, he's traveled extensively to locales such as South America and Puerto Rico since his last album to find new inspiration and perspective. "Everything influences you consciously or subconsciously. So this album definitely has a sense of my travels and spending time in other cultures, whether on the road or with my girl and her family. All that Latin culture immersion has opened up my cold Northeast heart a lot!" he openly expresses. Expanding outside of the Boston metro area has opened his eyes to a greater appreciation for his music when he plays his tracks in his DJ sets.

Celestial Strut is a confident record based on musical and life experience that finds Bosq less constrained and focusing more on musical textures than genre conformity. Although he contends that there is so much more musically that he wants to learn, his love for creation and the learning process continues to push him to produce some of the most exciting dance and internationally-flavored wax dishes this decade.



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Music with a message and for community. That's what United Vibrations has brought to the table their entire career. Various writers and reviewers have tried their best to categorize the sound of London's United Vibrations using terms like Afrobeat or jazz. However, this unique group may be best described by the feelings their music instills instead of through a genre classification. Call it spiritual, or call it vibrations, for that matter. Vibrations for the sound waves produced by their instruments and voices as well as for the emotions that it stirs from within. Ubiquity is proud to be a part of this band's unique vision with the release of The Myth Of The Golden Ratio coming late Fall 2015.

Comprised of three brothers - Ahmad, Kareem, and Yussef Dayes - alongside close friend Wayne Francis II, the group prescribes to the mantra, "Out of many must come one." Over the course of two EPs and a full-length album previously released independently, they have worked tirelessly to channel their ideas into soundscapes enriched with beauty and meaning. While their early material was developed by busking and each song created separately, on The Myth Of The Golden Ratio they fused the process for writing and recording according to Kareem Dayes. Citing access to more instruments in the studio, the band has felt even more creative freedom to enhance their sound. The bulk of the album was written over six months, while two older tracks ("Far Far Away" and "Grow") were treated with new arrangements for this project.

In listening to their Ubiquity debut, their passion for creation is clearly felt and heard. That same love has been admired by audiences and critics alike for their live performances. While many acts perform for or to their audiences, United Vibrations relishes in their ability to perform among and with theirs. In fact, they consider the crowd the most integral part of the experience, with the energy becoming cyclical - the crowd feeding the musicians feeding the crowd. Oftentimes they utilize call-and-response to elicit participation that helps to create and maintain a musical and divine space. People from different life experiences and demographics have become a united force through this creative space at festivals and concerts across the UK and Europe.

Kareem shares, "The Myth Of The Golden Ratio is a story that tells the tale of us and our journey in this world. It has been written for children and anyone with children or a childlike mind. We are inviting people to join us in the search for the Golden Ratio." There are stylistically similar artists in the annals of music, but United Vibrations shoot through your soul with originality and conviction.



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Photo by
Sylvain Norget
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Photo by
Sylvain Norget
300 DPI | 72 DPI

Photo by
Sylvain Norget
300 DPI | 72 DPI

"Full Moon Wizard” by Massive Suits Quartet (MSQ) is a personal journey by it’s creator Grégoire Marty (aka Dandy Teru) delving into his love of original movie soundtracks and various composers. Crafting a sonic and aural odyssey for a movie that exists only in his mind and imagination.

Similar to his other projects such as his debut album Adventures as Dandy Teru or the Wonderland EP as MSQ, this new opus was roughly composed in a very short time, in about a week or so while also working on collaborations and releases with other artists. The busy schedule and loads of studio time provided the necessary inspiration and state of mind to construct the LP properly.

The end goal was to pay tribute to the compositions of various soundtracks of both old and more recent movies, and to show the producer's love for composers such as Umiliani, Piccioni, Goraguer, Legrand, Cliff Martinez, H.Zimmer, Danny Elfman, and Alexandre Desplats to name a few. With sci-fi cinema as the main foundation, and using his fascination for astronomy along with personal existential queries about life's origins, one's purpose and our place and scale in the universe as building blocks, a story emerges sketched out of rough compositions and surreal mindscapes.

In his own words: "Technically, I wanted it to sound dusty and ethereal. I like to say that I try to make MSQ's sound something in between Madlib and Portishead signatures...

Full Moon Wizard is the story of the creation of a world from the largest scale of its complexity to its smallest. It's a route from the beginning of something we don't have the knowledge and skills to understand (yet) to things we are more familiar with today, trying to make the connections between the dots along the whole journey. Definitely an album for nightowls, for mood music and soundtrack lovers.”

I like it, reminds me of other projects like 40winks in this vibe, but more jazzy. But it's more like vibes, rather than real tracks from start to end... Perfect midnight soundtrack. and the artwork is nice too. -Lefto

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Side A of the single features The Twilite Tone’s original track “Lovin’ On High” inspired by Twilight‘s original “Love’s High” with his version taking on a decidely more sultry, smoke-filled and hazy quality replete with swinging off kilter drums, droney warbled syth bass and whispery vocals washing in and out of the groove. Tone’s take of “We’ll Be Special” on the flip showcases his talent in creating a classic dance remix, highlighting his roots in Chicago’s house scene. The mid-tempo 4 on the floor beat is backed by a rolling, seemingly reversed bassline and interspersed with the beautiful vocal melodies and acoustic guitar rhythm from the original.

Introduced and brought into the mix at Ubiquity by fellow Chicago native and noted House/Disco producer Zernell, Anthony Khan aka Twilite Tone has a long and varied music history and is accredited for bringing a wide variety of music to the Chicago club scene which bridged the gaps between musical genres in Chicago. A Grammy-nominated, BMI Award winning artist, he’s currently working with artists such as Kanye West, Cody Chestnutt, Pusha T, Justin Vernon (Bon Iver), Rainy Milo, Judith Hill, Common and others. Tone was recently featured in Billboard Magazine’s Back to Brill: New York's Top Publishers Unite to Bring Creative Buzz Back to the City and chosen by Downtown Music Publishing to lead their New York City based writers. He co-wrote 3 tracks on Kanye West’s & GOOD Music’s Cruel Summer including the lead single “Mercy” which reached No.1 on Billboard’s US Hot R&B/Hip-Hop Songs and US Rap Songs Charts and went 2x Platinum, “Don’t Like.1”, and “The One”. Tone contributed on the tracks “MILF” and “Mona Lisa” on Big Sean’s sophomore album, Hall Of Fame, released by GOOD Music and Def Jam Recordings. He also co-wrote “Who Do We Think We Are” and “What If I Told You (Interlude)” on John Legend’s Grammy-nominated album Love Is The Future. Tone’s most recent work comes via Pusha T “Nosetalgia” featuring Kendrick Lamar, a standout track on My Name Is My Name. Responsible for crafting Common's sound, and now working as his music director, Khan has clocked more than two dozen years in the music industry.

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Ohmega Watts
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Volume 8 of our ongoing Luv N’Haight Edit Series is our biggest one yet! Featuring another helping of Kon with co-headliner Ohmega Watts, taking turns remixing and reimagining another Twilight classic.

Supplied with the original stems culled from master tapes provided by Twilight’s own Lawrence Ross, Kon’s remix transforms the original into a mid-tempo boogie-house jam. The deep, minimal intro gives way to a swinging groove with the chorus interspersed in perfectly to sync with the tune. Also included is a dub version that’s a bit more stripped down giving the groove a bit more room to stretch out.

Ohmega Watts’ title for his remix is apropos as it’s the type of song to get a house party jumping. With a classic 4 on the floor house beat accompanied by a groovy driving bassline, it’s definitely guaranteed to shake your hips and move your feet!

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The latest installment from the highly acclaimed and sought after Rewind! series features covers of classics such as “Dreams” by Fleetwood Mac by Shawn Lee and Adrian Quesada’s Electric Peanut Butter Company, a rousing reggae funk take by The Lions and Noelle Scaggs of Lynn Collin’s “Think (About It)” and Monophonics’ hit single “Bang Bang”. It also includes previously unreleased covers of “Spill The Wine” and “Daytripper” by jazz-funk master Johnny Frigo that were not included on his Luv N‘Haight “Collected Works” release. Brownout Presents Brown Sabbath’s well-received cover of “Planet Caravan” and post-punk anti-hero Black Randy’s manic interpretation of James Brown’s “Give It Up Or Turn It Loose” rounds out the eclectic vibe of the compilation.

Although originally intended to be a digital-only compilation, fans everywhere of the Rewind! series demanded a vinyl release so we have them to thank for making Rewind! 6 available on wax!

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Staying true to their M.O. The Soul Surfers present another heavy 45 soul treat featuring Myron & E on the lead-off single from their much anticipated full-length album.

Make some more room in your 45 collection as the boys from Nizhny Novgorod, Russia have created another highly collectable 7in single, adding to their seemingly ever-expanding canon of sure-fire, raw soul and funk. This time around they brought along their good friends and fellow heavyweights Myron & E to lend their vocal talents. Inspired by classic 45’s from the People catalog amongst many others, the tune is split into a part 1 and 2 because one side simply isn’t enough to contain this much heat!

Look for the debut full-length Soul Surfers album to drop later in 2015 with a possible tour in the US.

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The second 12” off Bosq’s upcoming sophomore full-length takes on a darker and more agressive tone, enlisting the help of frequent collaborator Kaleta to get their powerful message across.

The A-side features the familiar pairing of Bosq and Benin born & Nigerian raised singer Kaleta (formerly of Fela’s Egypt 80) on their heaviest collaboration to date. Kaleta laments the struggle of the common man on the first half of the song before both the music and the lyrics strike back urging a “take over” of those oppressive systems. The incessant rhythm and driving groove laying the perfect foundation, echoing Fela’s “Music Is The Weapon Of The Future” mantra.

The B-side is another heavy slab of dense percussion and an afrobeat style horn section with a groove that falls somewhere between afro-latin, dancehall, and house. Horn genius Evan Laflamme handles the entirety of the section as well as ripping a Baritone solo that anchors the track in the middle and perfectly walks the line between musicality and groove. The 12” was envisioned and carried out during a time of immense frustration for the very politically minded Bosq and that emotion colors the sound of the record through both tracks.

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Uncut, Provocative, Decadent, Beautiful, Frenzied, Sensual. The culmination of sensory exploration. Initiates International presents you with a new collection of “Kosmiche Musiche” - a potent mix of hard rhythms, direct horns and spatial electronics.

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"If, in the mid '90s, when I first heard real “new” funk and soul music made by the likes of Poets of Rhythm and the Desco crew – that in 2015 some of the realest funk left to be recorded would come from Russia, I would have said you were out of your mind. But The Soul Surfers are sincere, and their geographic location matters little when it comes to chicken scratch guitar, syncopated drums, throbbing bass lines and overall attitude: this is funk for the universal get down."
-Eothen Alapatt aka Egon (Now-Again Records)

"One deeply impressive line-up of guests, and quite right too, as the Soul Surfers are one deeply impressive funk outfit"
-Craig Charles (Craig Charles Funk And Soul Show, BBC 6 Music)

"This album shows a great variety of styles and moods, given to the fact it enlists contributions from some of the top rulers of the contemporary raw soul scene. Yes, this record is killin´it!!!"
-JJ Whitefield (Poets Of Rhythm/Whitefield Brothers)

"What a fantastic album! Deep, rich authentic soul music made with real passion. This album could easily be mistaken as a rare nugget from the late 60's & early 70's."
-Smoove (Smoove & Turrell)

After releasing countless collectable and in-demand 7in singles and making a name for themselves in the contemporary “raw funk and soul” scene, The Soul Surfers drop their debut album “Soul Rock!”; a magnum opus of raw, gritty soul and greasy funk featuring eminent guests from the aforementioned scene that birthed their sound. Soul crooners Myron & E break out of their “smooth” vocal personas and deliver a decidedly more stripped down and visceral performance in the lead-off single “You Can Run (But You Can’t Hide) From My Love that also promises to be a dance floor filler. Co-collaborators JJ Whitefield from The Poets of Rhythm and Malcom Catto of the Heliocentrics add their signature touch on two of the album’s ”heavier” cuts “Raw” and “Stop Fooling Around.” Label-mate, multi-instrumentalist and studio genius Shawn Lee lends his vocal, guitar and mixing board talents to “Time Is A Gun” while noted producer Didier from the Soul Investigators gets in on the mix, vibes, and percussion on the heavy slow-burner “Astra”. Smoove & Turrell round out the album with the blue-eyed soul stomper “Straight Up”.

Formed while still in highschool and eventually releasing 20+ singles on Detroit’s “Funk Night Records” starting in 2011, The Soul Surfers are just getting started, led by Igor Zhukovsky who has this to say about their debut album, “we had a chance to collaborate and make this international album with so many cool guests from the best groups in the game all over the world. And there is no barriers with people worldwide - everybody can do what they love together, don't believe the shitty words of politicians!”

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Following up on their well-received single “Only Now” featuring a remix with label mate Bosq, Warsaw Afrobeat Orchestra deliver a knockout debut album full of heavy Afro and island-inspired tunes.

The album title Wëndelu means “Wanderer” in the native African Wolof language and is a fitting name for the album which explores the wide-range of sounds from the African diaspora and infused with their own traditional Polish folk, jazz and rock sensibilities. Tracks such as “No Such Thing”,“Let It Flow” and “Usurpation” reflect an obvious Reggae and Dub influence while the uptempo numbers on the album “Close To Far” and “Which Direction” veer towards Afro-Disco and Funk.

Formed in 2012, the 10-piece band consists of musicians that have worked and collaborated with each other in different projects ranging from rock, jazz, folk, reggae and funk in the ever-evolving and musically diverse underground music scene in Poland. Inspired by the masters of Afrobeat, world music, as well as African tribal music which is evident in their lyrics and choruses that repeat and weave in and out of deep, hypnotic grooves infusing it with a transcendental quality.

Be on the lookout for another 12in single from the album to drop soon featuring a remix from Tom Noble who’s recent work includes a killer disco version of Myron and E’s “Do It Do It Disco”.

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Bosq returns with none other than songstress extraordinaire Nicole Willis on the single “Bad For Me” with a killer house remix on the flip by the infamous Soul Clap crew.

In anticipation of Bosq’s second full-length album, “Bad For Me” paves the way for more of his signature dancefloor goodness that he’s been steadily cultivating from his work with Whiskey Barons to his full-length album debut “Bosq Y Orquesta De Madera”. This time around Nicole Willis lends her talents to the tune, revisiting her dance and house roots where she made a name for herself in the ‘90s.

Bosq originally reached out to Nicole to do a slow burning soul track he’d been working on, but after listening to his album she was set on doing a dance record. The result is the most straight up heavy dance floor disco in the Bosq catalog thus far. The track is dense with that afro-latin-disco percussion you would expect, bubbling with thick funky bass lines, rhythm guitar from "disco" Tom Noble himself, and a wide open piano driving it all. Nicole's perfectly nonchalant vocals sit just right in the groove effortlessly tying the track together and repeating the phrase we've all uttered at least a few times.

The late night dub version expands on the deep chorus groove and allows each piece of the track to really stretch out, highlighted by a killer solo from Boston’s piano wizard Yuki Kanesaka. In keeping with Bosq’s hometown crew love theme, he enlists the Soul Clap production duo to have their way with a remix that packs a punch with it’s pulsating drums and expertly placed synths complementing the vocals, percussion, hand claps, and keys from the original tune.

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Attracting much fanfare and garnering tons of plays by tastemakers, radio stations-in-the-know, and DJ’s alike, the first Electric Peanut Butter Company album was jar-full of ‘60s psychedelic goodness. But guess what? The dynamic duo of Shawn Lee and Adrian Quesada are back with Vol.1 of their Trans-Atlantic Psych Classics masterpiece!

Adrian Quesada is a man on a mission! He has been killing it in both the recording studio and on the live stage. While on his Brown Sabbath (Brownout) & Spanish Gold albums/tours he found stolen moments in hotel rooms whilst on tour to send musical compadre Shawn Lee tracks for the second Electric Peanut Butter Company album entitled Trans- Atlantic Psych Classics Vol 1 !!!!!

The band of brothers created the music in the same fashion as their debut but with a noticeably fuzzier more dirtier edge. The album starts with Flexi Funk. On this track the drums were recorded straight to Flexi disc on a 1950's tube machine which sounds other worldly and crusty as f#@k!!!

Other highlights include the psych pop gem Spread The Jam which declares the duos intentions. The album has a more heavy psych vibe than it's predecessor but deftly continues a logical progression for Los Hermanos Adrian Quesada & Shawn Lee. Two of the hardest working musicians in show bidness and from the looks of it, just getting started!

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The Soul Surfers return with another heavy psychedelic funk treat from their cosmic alter-ego Sputnik-1.

The boys from Nizhny Novgorod, Russia have created another collectable 45rpm 7in single, laden with cosmic goodness with plenty of tripped-out synthesizer grooves. Under their Sputnik-1 guise, they’re able to explore and embrace their more experimental side creating a distinct sound different from their Soul Surfers tunes but with the same underlying heavy funk foundation.

"The Whole Earth" is an exercise in instrumental, cosmic, psychedelic funk. Awash in organs, and synths backed by the heaviest of drums. The B-side "Outer Space Bossa" veers toward the Brazilian side as indicated by the title of the tune. The heavy drums are still there along with the organs and synths starting off as a mid-tempo Bossa Nova groove then building up to a spacier and decidedly more funk heavy sound.

Look for the debut full-length Soul Surfers album to drop later in 2014 with another 7in single prior to it’s release.


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All Hail The Mighty Sceptres! boldly announces the arrival of the band and is also the rightful title of their debut album. Nick Radford and Angeline Morrison have crafted an extraordinary collection of songs showcasing their love of all things “Soul”, from funk, R&B, jazz, and doo-wop with just a bit of rock, all informed by the sound and attitude of the ‘60s.

Already accomplished artists in their own right and having been guests on each others records, the “magic” between Nick and Angeline is fully manifested in “The Mighty Sceptres” as Angeline describes it,“The collaborative element of 'All Hail The Mighty Sceptres' has been really inspiring. Nick and I have had the chance to focus together on writing and arranging, and though we've co-written many songs previously, this was a new level of freedom and responsibility for us.”

Getting the "right sound", from the writing through to the recording, engineering, production, mixing and mastering, is of paramount importance to the music of The Mighty Sceptres. By enlisting the help of Chris Pedley (The Baker Brothers) as a producer who in turn brought in Benedic Lamdin (Nostalgia 77) to help him with the final mix of the album, they were able to achieve just that. According to Nick “I think we were all on the same page as far as 'the sound' we were after was concerned, coming from a similar place musically. From the recording (where Kryzsystof Oktalski helped out with signal chains and mic’ing things up), mixing down to tape in the remarkably well equipped Fish Market studios (using the same MCI desk Willie Mitchell used at Hi Records, and an EMT140 plate reverb, among other equipment), through to the final mastering by the well respected Lewis Hopkin; I don’t think we have ever used so much authentic equipment, never mind worked with such talent, in the creation of an album!

Stand out tracks include the killer funk stomper "I Found The Letter" and the string-laden, R&B uptempo ballad "Shy As A Butterfly". .

Look for their debut full-length album dropping in 2014!

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Afro Latin Vintage Orchestra’s (ALVO) new album Pulsion delves deeper into spiritual jazz, library and film music. The result is a heavier, more progressive and darker sound albeit with their signature funk and groove remaining intact as the foundation.

As a collective with a rotating cast of members and ranging in size depending on the project, the core musicians on this record are the same as their previous effort “Last Odyssey” with the addition of a string quartet. Their designated ring leader Masta Conga remains the driving force behind the group, and cites library music by Vladimir Cosma, Michel Colombier, and Francois de Roubaix along with French progressive acts Magma and Zao as the main influence for the album especially in terms of the groove. Their spirituality is derived from the east with works by Yuji Imamura, Hozan Yamamoto, Masabumi Kikuchi and Hino Terumusa lending the more esoteric flourishes to the complexity of Pulsion’s sound. Contemporary classical music by Pierre Boulez rounds out the list of inspiration listed by Masta Conga in terms of constructing song structure and composition. Describing the album in his own words:

“On this fourth album, we tried a new approach by including various inspirations such as library music, spiritual and electric jazz funk, abstract hip-hop, with a touch of european groove and contemporary music. Always willing to create new and original rhythmic forms, we hope that it will satisfy you!! - Masta Conga”

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"Uk-producer and multi-instrumentalist Shawn Lee's latest effort hits the mark ... applying a sophisticatedly vintage vibe to a slew of current pop hits. Perpetually fueled by a sunny, feel-good groove, the tunes on Hits the Hits are commendable for Mr. Lee's arrangements and embellishments that often improve upon the original sources."
- Okayplayer

"He even manages to make a Britney Spears record listenable..."
- Prefix Magazine

"This cover of Outkast’s “Hey Ya!” is a must-hear collaboration with renowned pianist Mick Talbot (Style Council, Dexy’s Midnight Runners) that “sounds like vintage Ramsey Lewis,” according to the label.  It’s an accurate description, but what Ubiquity fails to mention is the harmonica that colors the track in place of the chorus vocals, which makes this an off- but still on-beat rendition and a rave-up of the highest order. Somewhere, Magic Dick is smiling."
- Audiversity.com

Shawn Lee is back with his Ping Pong Orchestra in tow, and goes completely pop!

On Hits The Hits he does tunes by Gwen Stefani, Amy Winehouse, Britney Spears, Blur, Badly Drawn Boy, Justin Timberlake, Outkast and many more in his own unique style.  The album opens with a collaborative joint featuring piano-master Mick Talbot (Style Council, Dexy’s Midnight Runners, etc.) on a version of Outkast's “Hey Ya!” that sounds like vintage Ramsey Lewis.

Putting his over-stuffed studio to the test Lee pulls out all the stops on an album that includes a surf guitar-driven cover of Missy Elliot's “Get Ur Freak On” (already selected by taste-maker producer/DJ Tom Middleton for one his compilations), a full-on psychedelic sitar flavored take on Britney’s “Toxic”, and stripped-down super funky versions of the Kelis hit “Trick Me” and Timberlake’s “Rock Your Body.”

Following on the success of Voices and Choices (from which “Kiss The Sky” was picked as an iTunes “Song Of The Day”) and his previous albums (three tunes from which were recently used in each of the three trailers for the Oceans 13 movie) is the second album from Lee this year, but not his last.  A Ping Pong Orchestra take on a Christmas album will follow in November.

Lee’s sound, which started as a take on old-school library albums and has grown into a sound of his own, it's made possible by his inability to stop making music in an insanely overpopulated studio.  A 1940's early proto-synth called a Clavioline, a 100 year old Marxophone zither, a 1950's Virginal Harpsichord, a 1950's Xylophone, a rare 1967 Vox guitar that has Fuzz, Tremelo and wah-wah built in, a 1930's Double Bass and an early 1900's keyboard called a Dulcetone all reside within the walls of Lee’s facilities.

As a multi-instrumentalist and singer Shawn Lee has played and recorded with a diverse range of artists including Psapp, Coldcut, Leeann Rhimes, Martina Mcbride, UNKLE, Tony Joe White, Chateau Flight, The Dust Brothers, St. Etienne, Jeff Buckley, Bomb The Bass, The Spice Girls, and Natasha Atlas - not to mention solo records for Talkin' Loud, Wall of Sound imprint We Love You and BBE.  He is also known to breaks n'beats collectors as the man behind "The Ape Breaks" and "Planet of the Breaks" series which were sampled by everyone from Guru to The Gorillaz.  Music by Lee has been used in commercials for BMW and Jaguar, in multiple TV shows, and in addition to the Oceans 13 movie, he has had music in The Break Up and Save Angel Hope.  He was also asked to score the entire soundtrack to the highly controversial Rock Star video game Bully for which he was nominated Best Original Video Game Score by Spike TV.

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A swinging set of Brazilian and Brazil-inspired tunes from the Ubiquity catalog featuring songs from Bosq, Tita Lima, The Echocentrics, Shawn Lee, Ohmega Watts, The Soul Sufers, and many others. It also includes classics from John Beltran, Snowboy and remixes from Tall Black Guy, Joe Claussell and The Superimposers. The compilation is an eclectic mix of styles from Batucadas with an electronic twist, Samba and Bossa Nova with hints of deep Funk (Girl From Sau Paolo) and Eastern Jazz (Bei’s Bossa) to psychedelic Tropicalia (Nao Vacila). This deep selection of tunes is the perfect soundtrack to sit back and watch the “beautiful game” with a few friends while enjoying a nice caipirinha.

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Brown Sabbath is the alter ego of Austin-based Brownout, delving into the catalog of the Hard Rock and Heavy Metal godfathers themselves Black Sabbath. “Hand Of Doom” featuring Black Angels singer Alex Maas on vocals is the lead-off single with “The Wizard” on the flip, pressed on limited colored splatter 10inch.

Remaining true to the darkness, bombast and fuzz of Sabbath's sound, Brownout reinvents the music with their trademark flavors of Latin-Funk and Psychedelic Rock. Powerful horns combined with Alex Maas’ haunting vocals, funked-up drums and percussion transform Hand Of Doom into a Rock and Funk juggernaut that clocks in at almost 8 minutes long. On the flip Alex Marrero takes his turn on the vocals and channels his inner Ozzy Osbourne with the band’s full horn section taking place of the harmonica in the original and once again adding funky sensibility and Latin flourishes to make it their own.

Look for the full-length Brownout presents “Brown Sabbath” LP to drop early Summer 2014.

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Brown Sabbath is the alter ego of Austin-based Brownout, delving into the catalog of the Hard Rock and Heavy Metal godfathers themselves Black Sabbath. The album features several covers of Sabbath classics including “Iron Man”, “N.I.B” and “Hand Of Doom” with Black Angels singer Alex Maas.

Remaining true to the darkness, bombast and fuzz of Sabbath's sound, Brownout reinvents the music with their trademark flavors of Latin-Funk and Psychedelic Rock. Powerful horns combined with Alex Maas’ haunting vocals, funked-up drums and percussion transform “Hand Of Doom” into a Rock and Funk juggernaut that clocks in at almost 8 minutes long. Alex Marrero takes his turn on the vocals and channels his inner Ozzy Osbourne on “The Wizard” and “N.I.B”. Deep, hypnotic percussion combined with a full horn section and Adrian Quesada‘s heavy yet groovy lead guitar layered on top adds a funk sensibility and Latin flourishes to the originals throughout the album.

An 8-piece outfit formed ten years ago by members of Grammy Award-winning Latin revival orchestra Grupo Fantasma, Brownout has evolved into a musical force all its own. After garnering their third Austin Music Award last year, the band has continued to produce music that is unflinchingly progressive, while evoking the classic influences of artists such as WAR, Cymande and Funkadelic.

Brownout has released three albums including Homenaje (Freestyle Records 2008), Aguilas & Cobras (Six Degrees 2009) and Oozy (Nat Geo 2012). Tour dates to support the release of their fourth studio effort, Brownout Presents Brown Sabbath, will be announced shortly.

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With Darondo’s sudden and unexpected passing last year, the world truly lost a singular and unique talent. “Didn’t I” was undoubtedly his most beloved and well-known song making the rounds in Soul collectors’ circles for some time and reaching a much wider audience with numerous placements on TV and movies including the iconic show “Breaking Bad.” Three producers from across the globe have paid him homage by adding their touches and flavor to the classic tune.

French producer GUTS remix was previously included on a limited double 7in EP called “Brand New Revolution”. His take on the tune became a summer time favorite with it‘s laid back groove and Darondo’s emotion-tinged vocals layered on top. Florent F also from France, adds some heavier live drums to create a harder-hitting version on his mix. Hailing from Montreal, Canada, noted edit and remix producer Dave Allison’s version picks up the tempo, highlighting the groovier elements of the track transforming the soul tune to a dancefloor mover.

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Kent Harris
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Ty Karime
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Towana Hill
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Something Unique
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Deborah Foster
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Janette Renee
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Beverly Cason
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Tammy Hanson
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Luv N’Haight along with Shane “DJ Sureshot” Hunt presents “Catch Action: The Sophisiticated Boogie Funk of Sheridan House Records.” With a total of 27 tracks allocated over 6 x 12”s along with a booklet and housed in a slipcase, the boxset compilation provides a comprehensive story of Kent Harris’ Los Angeles based label releasing obscure yet timeless gems from the golden-era of modern soul, boogie and funk.

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Ikebe Shakedown’s powerful instrumental soul takes “big unison horns, slinky bass lines, tight little guitar licks—and blends them with tasty grooves culled from '70s-style horn-driven funk (WNYC Soundcheck).” The Brooklyn-based collective is set to follow up their well-received self-titled debut album with the heavier, more mature sound of their second full-length Stone By Stone.

The self-produced album was recorded at the famed “House of Soul” Daptone Studios in Bushwick, Brooklyn. Notes bassist Vince Chiarito, "Thinking of all the great music that has come out of the Daptone Studio really pushed us to refine our songs and grow as a band. It was really inspiring to record there." The band adds that, “Stone By Stone is a much more layered and arranged album. The self-titled debut captured the raw energy of us playing live and the new record is much more of a studio effort. Psychedelic textures weave in and out of the grooves while the horn section offers an explosive response. The songs are heavy and danceable and show our moodier, more melodic side.”

The seven-piece band—named after a favorite Nigerian boogie record and pronounced “ee-KAY-bay”—formed in 2008 and has developed a mighty horn section anchored by tight, deep-pocketed grooves. Following 2009’s debut EP Hard Steppin', the band released their self-titled debut full-length LP on Ubiquity Records in 2011 that Okayplayer called “an adventurous trip through time” and “one of the best releases of the year.” Their music has also been featured on a number of television shows and commercials including HBO's Eastbound and Down, Mini Cooper and Vans.

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Formed in 1970, Hokis Pokis was a seminal band in the New York disco scene with a handful of underground local hit singles including the highly-sought after “Nowhere” “Find What You’re Looking For” and “City Rhythm”.

Releasing several singles from the mid ‘70s all the way to the ’80s, Luv N’Haight has compiled all of Hokis Pokis’ musical output into an album which also includes 2 previously unreleased tracks. Remixed and remastered digitally from the original master tapes, the versions on the album are elevated from the already amazing originals with a cleaner sound and harder-hitting bottom end, bridging the gap between dancefloor fanatics in disco’s heyday to their modern day counterparts. Never before seen photos along with corresponding liner notes from DJhistory.com’s Bill Brewster are included in the deluxe double-LP package, telling the story of a group of friends that embark on a musical journey that continues to this day. From the beginning of disco’s rise to its inevitable decline, hitting a low point with the “Disco Sucks” movement, to its eventual resurgence in popularity with today’s dance-culture, Hokis Pokis has remained together bonded by friendship first, coupled with a shared musical vision that continues to endure.

Look for Under the Influence of Hokis Pokis album later in the year featuring heavyweight producers Kon, DJ Spun, Citizen Kane, Al Kent, DJ Day and others who all take their turn creating new, original dancefloor classics from the original multi-tracks.

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Fresh from the success of the Soundsational album, Soundsci are back with the instrumentals from their album, which will also include instrumental versions of two new remixes from their upcoming Soundsci Styles b/w Coastin’ Remixes 7in. single.

Inspired by songs from Mike James Kirkland's "Don't Sell Your Soul" anthology from his earlier days as part of "Mike And the Censations", the Soundsational album pays homage to the amazing source material that's been sampled, chopped and reconstructed while preserving the soul of the originals. The result are 10 songs that delve deep into Hip-hop's Golden Era with the boom-bap sound and soul samples combined to create an instant classic.

The Soundsational Instrumentals came about due to a massive demand for the instrumental counterpart of the album. With its well-produced beats, impeccable samples and overall production that scream “Classic Hip-Hop”, fans will not be disappointed.

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300 DPI | 72 DPI

Soundsci returns with two new remixes off their Soundsational album on a limited 7in single!

With their Soundsational album dubbed as “one of the finest full-fledged hip hop records from Ubiquity in years!” (Dusty Groove), the crew is back to deliver more boom bap for your buck, crafting 2 new remixes with a decidedly different flavor than the originals.

The “Styles Dub” remix explores Hip-Hop’s roots in Reggae and Dub, complete with echo delays, effects and vocals that are both parts rapping and toasting. Inspired by the opening tune from the classic film “Day of The Condor”, “Coastin Reblessed” is transformed into a library and soundtrack styled groove with Audessey, U-George and Oxygen’s buttery smooth vocals layered on top.

Instrumentals for both tracks are included with the digital download and are also available on the upcoming Soundsational Instrumentals album.

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300 DPI | 72 DPI

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The Mighty Sceptres sound like a lost musical treasure from the vaults of soul. Featuring the combined musical imaginations of collaborators Nick Radford (Frootful) and Angeline Morrison (Freestyle Records / The Ambassadors of Sorrow), The Mighty Sceptres cut heavy beats with soulful yearning and shots of funky sensibility.

“Siren Call” is the duo’s first single as “The Mighty Sceptres” and is the perfect introduction to their sound. The song itself is rich with significance. Its heritage is firmly in the minor blues tradition, exemplified by tracks like Rose Mitchell's 'Baby Please Don't Go'. Angeline is heavily influenced by Alan Lomax's recordings of prison songs and spirituals, and also by Emily Bronte's classic 'Wuthering Heights'. The eerie music seemed to lend itself to the development of a story around a little lovelorn ghost returning to its beloved, hiding shyly and tapping on the window when it felt its confidence surge. The song evolves into a swinging tempo as the ghost realises the futility of her endeavour...

With influences as diverse as Sam Cooke, Jackie Wilson, Irma Thomas, The Impressions and The Soul Brothers Six, getting the "right sound", from the writing through to the recording, engineering, production, mixing and mastering, is of paramount importance to this sort of music. As such, The Mighty Sceptres are careful to work with people who understand where they are coming from, while using suitable vintage instruments and analog equipment that will help achieve an authentic sound. Kryzysztof Oktalski, who co-produced the debut single is himself a big Northern Soul collector, with an encyclopedic knowledge of recording, engineering and mixing techniques from the best studios and labels of the 60s.

Look for their debut full-length album dropping in 2014!

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Volume 7 of our ongoing Luv N’Haight Edit Series is our first on a 7 inch and features heavyweight digger, edit-master and producer Kon with his take on Twilight’s Modern Soul and Boogie classic “You’re In Love”. He stays true to the original but packs a bit more punch into the groove while keeping the focus on the catchy vocals and chorus on the A-side, and doing it Dub-style with minimal vocals and plenty of echo on the flip.

2013 was definitely the year of Kon with a remix released in March via On The Prowl's Party Mix Vol.7, his “All About You” EP dropping in May on Soul Clap’s newly formed record label and his first solo all-original album “On My Way” released on BBE this past July. In between studio-work, touring in promotion of his new releases and djing parties as one of the world’s most highly sought-after DJ’s, Kon couldn’t pass up the opportunity to add his name to our growing list of venerated producers that have blessed the Luv N’Haight Edit Series with their work. Supplied with the original stems culled from master tapes provided by Twilight’s own Lawrence Ross, Kon takes full-advantage and crafts a classic remix and dub version of the song guaranteed to get any dancefloor jumping.

With a career spanning decades and first brought to prominence as one half of Kon and Amir and their work on the legendary “Off Track” and “On Track” releases as well as remixes of luminary artists Cerrone, Kool And The Gang, Bee Gees, Slave and Chic amongst many others, has allowed him to transcend his moniker as “King Of Nothing”. Counting noted taste makers such as Gilles Peterson, Danny Krivit, John Morales, Jazzanova and Dam Funk as fans of his work, Kon’s prominence is steadily on the rise with it’s apex still unforeseen on the horizon.

Look for another Twilight remix from Kon on a Twilight Remixes release with Ohmega Watts, Twilight Tone and other surprise producers coming in 2014!

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300 DPI | 72 DPI

Bosq’s “Paciencia De Jo,” off his well-received Bosq Y Orquesta De Madera album was arguably its most played and talked about track. The Tropicalia-inspired sound backed by Brazilian chanteuse Tita Lima was the perfect song for the summer. Looking to keep the fall season at bay, Tall Black Guy drops a Brazil-by-way-of-Detroit remix ensuring a few more days of sunshine. Instrumentals for both original and remix are also included.

As the first song on the record “Paciencia De Jo” is the perfect introduction to what the album has in store for the listener; a mélange of African, Latin, and House music bound together by Soul at it’s foundation. A beautiful and infectious keyboard line ushers in the driving Batucada rhythms punctuated with soaring horns all tied in together by Tita Lima’s exquisite vocals. DJ’s, tastemakers and critics alike were enthralled garnering a front-page feature on Wax Poetics.

Tall Black Guy’s love for Brazil is evident on his “Brazilian Chronicles” digital album from 2012 where he chops, remixes and flips classic tunes, creating his own versions that are altogether fresh and new. He fashions the beginning of his remix much in the same way as the original but replaying the keys with a more subdued feel and jazzier flavor. Once the percussion hits, the song takes on it’s Brazilian persona followed by the boom bap Detroit-styled drums, adding a little bit of grit and bottom-end punch balancing out perfectly with Tita’s airy vocals buoyantly floating on top.

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300 DPI | 72 DPI

300 DPI | 72 DPI

300 DPI | 72 DPI

Warsaw Afrobeat Orchestra (WAO) scorches with their sound, rooted in Lagos while adding their own unique flavors.“Only Now” is the first-single from their upcoming full-length album which also includes a remix by Bosq from Whiskey Barons.

Formed in 2012, the 10-piece band consists of musicians that have worked and collaborated with each other in different projects ranging from rock, jazz, folk, reggae and funk in the ever-evolving and musically diverse underground music scene in Poland. Inspired by the masters of Afrobeat, world music, as well as African tribal music which is evident in their lyrics and choruses that repeat and weave in and out of deep, hypnotic grooves infusing it with a transcendental quality. “Only Now” is crafted in this fashion and is one of the band’s first compositions. The rhythm and groove of Afrobeat is the foundation with what the band describes as “folk” styled vocal arrangements layered on top that blur the distinction between background and lead vocals. The resulting sound cannot be classified as strictly Afrobeat especially with the infectious vocals that are an amalgamation of ‘80s female pop groups, Indie-rock and contemporary Afro-Soul groups.

On the flip we have Bosq of Whiskey Barons turning up the dancefloor quotient level to 10 with his remix. Supplied with the original track stems while also replaying and recreating some of the arrangements, Bosq infuses his signature hybrid sound of Afro-Funk, House and Soul and creates his own unique interpretation of WAO’s music as a producer and DJ whose sole purpose is to keep the dancefloor movin’.

Look for the full-length album debut from Warsaw Afrobeat Orchestra in 2014.

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The sixth volume in our Luv N’Haight Edit Series featuring 2 hard-hitting tracks from Turner Brothers is a throwback to the classic edits sound courtesy of Sun Sound Records owner, edit master and renowned record collector Paolo Scotti.

With several recent edits under his belt including classics by Touch of Class, Joe Thomas, and Ultrafunk as well as a compilation of Rare Disco and Soul from his Sun Sound Records label imprint based in Italy, the time was right to tap him as the next producer for our ongoing series of edits from the Luv N’Haight catalog.

Running In The Rain lends itself perfectly to Paolo’s aesthetic giving the amazing groove of the original room to breathe, focusing on the luscious driving rhythm and killer horns, taking the original that clocks in at just under 4 minutes and stretching it out almost hitting the 5 1/2 minute mark. His treatment of Cause I Love You is another example of “less is more” as the intro is spaced out as if to perfectly sync with the DJ as he drops the track allowing for a seamless transition. Paolo takes an already perfect track and gives the dancefloor and the listener an additional treat with an extended edit over 7 minutes long!

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The sound of "The Electric Peanut Butter Co. is spreading across the nation!" With this proud declaration Shawn Lee and Adrian Quesada’s collaboration album is on it’s way so get ready to JAM!

As mutual fans of each others work, both Shawn and Adrian always looked for a way to work with each other and after meeting in Adrian’s hometown of Austin in 2010 for SXSW it was decided it was time to get to work once their respective schedules freed up. Inspired by ‘60s freaky psychedelic folk, rock, soul and all funky tidbits in-between and bands such as Los Angeles Negros, Federal Duck, US69 and El Chicano the duo set forth on their task to create “Trans-Atlantic Psych Classics Vol.2.” The album’s name references the recording process behind it’s creation. Both heavily steeped in studio experience and amazing multi-instrumentalists in their own regard, partial songs and sometimes single tracks were recorded and sent back and forth across the pond. Shawn’s signature monster drums along with Adrian’s slinky basslines are the main ingredients in all the songs, creating a layer of rhythm that’s crunchy and buttery smooth throughout. They then took turns with guitars, percussion, keys and various other instruments in Shawn’s studio pantry to complete the songs. The spontaneity, freedom and fun both had in making the record is evident by the relatively short two month period it took to finish.

Lead-off track “The Rain” sets the tone with it’s driving beat and ‘60s flavored pop-psych-folk-funk-rock amalgamation that permeates the entire record. The more sinister side of psychedelia is also explored with songs such as “Back Street Wall” about the end of the world and “The Devil” which is their take on the classic tales of fire and brimstone with “El Diablo” personified as the metaphor of all that is evil. A rendition of Fleetwood Mac’s “Dreams” filtered through flavors and stylings of “The Dramatics” and “El Chicano” as described by Adrian balances out the dark with a bit of cheer and light. Shawn steps out of his “Ping Pong Orchestra” instrumental persona to do all the lead vocals throughout, providing the final, essential ingredient to the mix. Fans of both Shawn and Adrian’s instrumental excursions need not fret as a spoonful’s worth of dusty, cinematic, soulful and heavy grooves are blended in for good measure to round out this tasty treat!

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Ubiquity's founder Michael McFadin spent most of his youth on the burgeoning Southern California punk rock scene. Later when he became a DJ during the rare groove era there was one record from his past that was a quirky staple in his sets "Down At The Laundry Mat" by Black Randy and The Metro Squad.  "Whenever I play it someone asks me about it and I've never grown tired of it" says Michael "so we decided to rerelease it". Most commonly known for its inclusion on the single-sided, clear vinyl Yes LA compilation that was released on the Dangerhouse label and also included songs by The Germs, The Bags and others. The flip "Give It Up Or Turn It Loose" was on the only album by Black Randy and The Metro Squad "Pass The Dust, I Think I'm Bowie" and is a freaked out, garagey, ritalin-infused version of this JB classic!

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300 DPI | 72 DPI

300 DPI | 72 DPI

300 DPI | 72 DPI

300 DPI | 72 DPI

On the heels of “The Beast b/w Road Song” 7in release, we revisit Ikebe Shakedown’s back catalog and tap renowned remixer and House producer extraordinaire Brennan Green to do a proper remix of “Tujunga” which flew off the shelves and sold out as a 7in single prior to Ikebe’s self-titled debut album release in 2011.

Brennan’s “Disco Acido” treatment of Tujunga transforms the original afrobeat stomper into a hypnotic, acid house heater similar to his classic acid treatment of the 40 Thieves' Don't Turn It Off. Heavy, warm analog bass permeates the whole track with Ikebe’s stabbing horns punctuating the groove; adding depth to an already DEEP and soulful masterpiece. “Disco Acido Stripped” has Brennan stripping away all the original elements of the track, leaving only his additional remix production. Keeping it in the spirit of the oldschool tribes he’s gathered a selection of analog synths and drum machines including the MKS-80, MC202, RS202, TB303 and TR707 all from the Roland family of synths built in the ‘80s.

The B-side features the original “Tujunga” track for those who missed out on the original 7in and a remix by production duo Meridian-West (Ubiquity’s own Thomas PM and Wes “The Mes” Osborne) that keeps the dance-floor grooving with a driving rhythm, thumping bass and spaced-out horns and effects added for good measure.

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300 DPI | 72 DPI

300 DPI | 72 DPI

Bosq Y Orquesta De Madera is the much anticipated full-length debut album by Bosq from Whiskey Barons. On the heels of his three well-received 12” singles, the album delivers on the promise of a well-rounded and killer collection of Afro, House, Latin, Soul and Disco tracks with the intention of keeping bodies moving on the dancefloor.

As the name of the album suggests and it’s literal translation to “Bosq and the Wooden Orchestra” Bosq aka Ben Woods has played as many parts as possible himself (piano, organ, rhodes, percussion, drum sequencing, synth & bass work, etc) and brought in a wide range of experienced session musicians where needed, including guest vocalists on most every track and in essence creating a “makeshift orchestra” to suit his musical needs. Benin born & Nigerian raised singer, producer & guitarist Kaleta appears on three tracks that can also be found on the singles, while Mendee Ichikawa (Free Moral Agents) lends her vocal talents to two gritty soul numbers. Brazilian chanteuse Tita Lima appears on the Tropicalia-infused “Paciencia De Jo”, while Soundsci MC U-George, gets down and does a little bit of “toastin” on the rugged Dub and Reggae tinged “Wuk Up”. Jesus Pagan on “Pura Candela” which seems like a long lost Salsa single from Fania round out the musical cast. Ben finishes up his musical tour de force with a couple of classic instrumental House tracks with some modern flavor.

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300 DPI | 72 DPI

What do you get when you combine the best bits of Mike James Kirkland, a dynamic duo of well respected producers in Jonny Cuba (Dynamic Syncopation) and Ollie Teeba (The Herbaliser) and round out the cast with 3 dope MC's in Audessey, U-George, and Oxygen? Soundsci is the name of the crew and "Soundsational" is the fruit of their collective labors!

Inspired by songs from Mike James Kirkland's "Don't Sell Your Soul" anthology from his earlier days as part of "Mike And the Censations", the album title itself pays homage to the amazing source material that's been sampled, chopped and reconstructed while preserving the soul of the originals. The result are 10 songs that delve deep into Hip-hop's Golden Era with the boom-bap sound and soul samples combined to create an instant classic.

Fresh off finishing Soundsci’s independently released first album Formula 99, Ollie Teeba reached out to Jonny Cuba about how great the music was from Mr. Kirkland’s anthology and they started work on crafting an EP with no certain plans for release. Before any of the beats were finalized Audessey hears one of the tracks and immediately wants to “get down”. The four track EP was then sent to Ubiquity with some background on the project and based on the quality and potential of the demos, four songs were definitely not enough and a full album needed to happen. “Soundsational” is the culmination of all this inspiration and effort and is a worthy addition to the classic albums that fueled it’s creation.

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Bosq from Whiskey Barons is back with more heat for the dancefloor in the form of a double 12” release. Both feature songs that will be on the upcoming full-length album but also include alternate takes and exclusives to the singles.

“Up & Down” continues the formula of classic sounding dance grooves with heavy Afro Latin influences throughout on this special all instrumental offering and features the reunion of Bosq with Nigerian composer / producer / singer Kaleta, who this time around remains an instrumentalist, handling guitar and the horn arrangements. The track - "Up & Down" went through so many revisions and mixes that it could only be properly represented with 2 very different versions. The NYC 91 mix focuses on the dance floor with pulsing afro house drums and a scorching horn section, while the NIgeria 76 mix keeps it organic and funky with a live kit taking over for the drum machines and a new arrangement.

Be on the lookout for Bosq’s full-length album debut on Ubiquity in the summer.

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Bosq from Whiskey Barons is back with more heat for the dancefloor in the form of a double 12” release. Both feature songs that will be on the upcoming full-length album but also include alternate takes and exclusives to the singles.

“Movin On” continues the formula of classic sounding dance grooves with heavy Afro Latin influences throughout on this special all instrumental offering. The first track "Movin On" is a deep latin disco funk tune with a hypnotic rhythm track, lush strings, percussive piano montunos and a horn section riffing somewhere between Fela and early 90's house chops. On the flip, "Keep Movin" is an extended mid tempo disco bonus beat grown out of outtakes from the a-side and 3 days stuck inside during a Boston blizzard. A bubbling rhodes line rolls over raw drums and percussion with a bouncy synth bass line on this head nodder.

Be on the lookout for Bosq’s full length album debut on Ubiquity in the summer.

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300 DPI | 72 DPI

300 DPI | 72 DPI

300 DPI | 72 DPI

300 DPI | 72 DPI

Ikebe Shakedown are back with a brand new bag of hard-hitting tunes recorded at Dunham Studios. This limited single is a precursor to their much anticipated sophomore full-length album.

“The Beast” finds the band in fine form, with their signature multi-layered horns featured front and center on top of an underlying slow-burning groove. “Road Song” is a slight departure from their sound with a haunting piano melody in place of the horns, floating over a sinister bassline driven by tight drumming throughout. This version of the song is going to be exclusive to this 7”in single.

Ikebe Shakedown’s self-titled debut in 2011 garnered the band wide acclaim with features on Okayplayer’s affiliate blog The Revivalist and highly influential site Paris DJ’s. They’ve also shared the stage with acts such as fellow label-mates Orgone, and most recently with Lee Fields and the Expressions. Look for one of Brooklyn’s finest on the road this spring as they do a limited run of show’s through the East Coast and Canada and be on the lookout for the full-length album set to drop later in the Summer.

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“Adventures” is the debut full-length album by French producer Dandy Teru. His opus is chock-full of notable guest vocalists and MC’s and also includes remixes by Tall Black Guy, Belgian production duo Monkey Robot and his partner-in-crime Quiet Dawn.

In Dandy Teru’s own words: “Adventures is a journey. On every side of the project, this opus is an incredible journey into a thema, a group of people (guests and co-directors) and friends, and a travel alone inside my own psychology. It’s a witness testimony of a global state of mind, with the thema as the first stone of it: dreams.” The album is an eclectic mix of downtempo, Nu Jazz, “Beat” music, Soul, House and Hip-Hop. Featuring up and coming talent such as Sami K who laces the track Burned with his blues-inflected vocals, Chicago MC Rita J on Wake Up Now and Sarah Gessler on Fragile Things, alongside renowned and well-known MC’s Moka Only, Ty and Count Bass D.

Hailing from Toulouse, France, Dandy Teru wears many hats; multi-media artist, artistic director, radio host and selector on Laid Back Radio, but foremost as a music producer. He’s been slowly making a name for himself yet still somewhat working in the shadows, with connections and contributions to a slew of young and burgeoning French artists in the Hip-Hop scene such as Tchad Unpoe, Pumpkin, Supafuh, and fellow producers Monkey Robot and Quiet Dawn. His production aesthetic however hasn’t gone unnoticed with his inclusion in TBG’s (Tall Black Guy) Tempo Dreams compilation for Bastard Jazz featuring new producers of note as well as a track on the Do The Dilla 2012 album.

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Luv N’Haight presents Lost Soul; a comprehensive collection of material recorded by Geater Davis for the House Of Orange label. The name of the album is an accurate description of the life and career of the legendary blues and soul singer who passed away at age 38 while on the verge of breaking through.

Geater Davis’ career began in Texas but with the success of a few regional hits he was able to go to Shreveport and all throughout the South. He was always on the move looking for a better chance, keeping his career alive and the “big break” so many artists look for. Just weeks after moving to Dallas he suffered a heart attack and a few weeks later died from heart failure on the day he was supposed to record a session. Although he didn’t find the success he sought while he was alive, his legacy is secure as one of the finest blues-soul singers of the 1970’s.

Lost Soul features the highly sought after single “My Love Is So Strong For You” along with all the tracks from his “Sweet Womans Love” album and a few other singles that he cut for Allen Orange’s House Of Orange label including different versions of his classics “Cold Love” and “I’ll Play The Blues For You.”

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The fifth volume in our Luv N’Haight Edit Series is a certified “BANGER” with re-works of Luv N’Haight’s legendary Darondo by beat wunderkinds Tall Black Guy and Dandy Teru.

Producer Tall Black Guy is already well-known in the “beat scene”, gaining notoriety for his remixes of James Brown, Al Green and the Jackson 5 being the most notable. With tons of followers and love from tastemakers such as Gilles Peterson, TBG was the perfect pick to edit Darondo. His take on “Sure Know How To Love Me” is reminiscent of his work on James Brown’s “I Feel Good”, taking the slightest of vocal and melodic samples from the original and crafting a backbeat and bassline that can be best described as “bangin”. The result is a head-nodding, classic, soul-sample hip-hop tune.

Dandy Teru’s remix of Darondo’s “True” showcases a similar ability to TBG in the sense that they both take absolutely minimal parts from the original and use them as “texture” and craft the essential rhythm on their own. Teru’s smooth style is “dirtied up” a bit as he uses drums taken from the original and adds Darondo’s sparse vocal samples to create a hip-hop tune that’s more “new beat” than classic but bangin’ nonetheless. With his “Fragile Things 12” and a full album on it’s way from Ubiquity Records, 2013 will be Dandy Teru’s year so be on the lookout!

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The fourth volume in our Luv N’Haight Edit Series features a re-work of Harry Whitaker’s Black Rennaisance classic “Magic Ritual” by GB (Gifted & Blessed). The deep spiritual vibe of the original is present in the edit/remix but is transformed into an electronic, percussion-heavy beast.

Harry Whitaker’s Black Rennaisance "Body, Mind, and Spirit," album is considered a holy grail amongst collectors of soul-jazz and rare groove, and an album so rare it's virtually a myth to many. Luv N’Haight’s re-issue of the album in the early 2000’s brought much needed attention and focus to this legendary piece of work.

Widely known for his work using the pseudonym GB, Gabriel Reyes-Whittaker is a producer, composer and electronic musician with a particular enthusiasm for analog electronics. Though his music ranges wide stylistically, he classifies his work under the umbrella term technoindigenous studies; the integration of the technological with the spiritual and ancestral. Armed with this concept, he transforms “Magic Ritual” into a brooding, techno-afro dance tune that borders on meditation with it’s repetitive, hypnotic percussion.

GB finds himself in the unique position of being an early champion of the Los Angeles beat movement as well as being at the forefront of the current underground house and techno scene, all while keeping a low profile.  Reyes-Whittaker has collaborated with a long list of creative minds, among them J*DaVeY, Spacek, Airto and Flora Purim, Jody Watley and many others.

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The third volume in our Luv N’Haight Edit Series features a re-work of the Spiritual Jazz classic “The Healer/Don’t Break” by E.W Wainwright’s African Roots Of Jazz by Carlos Niño And Friends.

The original track was featured 12 years ago on a three song Luv N’Haight Special Edition 12” that also included tracks from Joe McPhee and Earl Moseley. World-renowned producer and arrranger Carlos Niño (along with his friends Alan Lightner, Dexter Story and Yaakov Levy) takes the intro from the percussive-heavy original and crafts an afro-jazz dance onslaught and drops a surprise drumbreak at the end for those that survive the initial sonic assault.

Carlos Niño is an internationally celebrated producer, arranger, composer, musician, radio host, DJ, music consultant, writer, poet, and event organizer, based in Woodland Hills, California. He has been an important force in the contemporary independent music scene for nearly 20 years. A prolific artist, Niño has been involved in the production of more than 100 records and has toured with various bands and as a DJ throughout Europe, Japan and the United States. He’s been involved in and participated in the following groups and projects: Ammoncontact, Build An Ark, Carlos Niño & Friends, The Life Force Trio, The Sound Of L.A., Spaceways Radio, Suite For Ma Dukes, Turn On The Sunlight.

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300 DPI | 72 DPI

300 DPI | 72 DPI

“Fragile Things” is the Ubiquity debut by French producer Dandy Teru. As part of the burgeoning “Beat Scene”, in France, and with inclusion in fellow beatmaker Tall Black Guy’s “Tempo Dreams Vol.1” for Bastard Jazz, Dandy Teru’s signature, cinematic production style has established himself as a producer to take note of, and one that’s to be “watched”. Featuring British rapper Ty (Big Dada) and vocals by Sarah Gessler (Beatspoke) as well as a remix by his production partner Quiet Dawn, this limited 12” single provides a great “taster” of what’s yet to come.

Hailing from Orleans, France, Dandy Teru wears many hats; multi-media artist, artistic director, radio host and selector on Laid Back Radio, but foremost as a music producer. With connections and contributions to a slew of young and upcoming French artists in the Hip-Hop scene such as Tchad Unpoe, Pumpkin, Supafuh, and fellow producers Monkey Robot and Quiet Dawn, he’s been slowly making a name for himself yet still somewhat working in the shadows. His production aesthetic however hasn’t gone unnoticed with his inclusion in TBG’s (Tall Black Guy) Tempo Dreams compilation for Bastard Jazz featuring new producers of note as well as a track on the Do The Dilla 2012 album.

With a full-length album release due early next year featuring Moka Only, Count Bass D, Rita J and remixes by TBG, Monkey Robot and Quiet Dawn as well as another collaboration with TBG on our next installation of the Luv N’ Haight Edit Series, Dandy Teru will complete his emergence from the shadows and into the spotlight.

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Bosq from Whiskey Barons and singer Kaleta join forces on this limited release. Deeply rooted in Afro-Disco with “heavy” grooves as the title track suggests, Bosq’s production complements Kaleta’s vocal stylings bringing the past and the future together to create modern dance-floor classics.

Bosq (once upon a time known as Amphibious) has released countless edits and remixes as one half of the Whiskey Barons (and was the sole producer on the Tumbao EP & Enferma Nocturna 7”), assisted in the production of all of the Kon & The Gang releases (including the Hooked On You and Feel Reel 12”s on Basic Fingers) and also makes up one half of the group Nitetime with Kon. That duo’s debut EP “Jive Talk” was released earlier this year on the prestigious AU imprint Future Classic. More of his recent work include contributions to the Fania Hammock Lower East Side Series.

Amidst all of these projects Bosq had been amassing material for a record of solo works that were somewhere in-between all of these sounds and would be completely original instead of sample based. Bosq has played as much as possible himself (piano, organ, rhodes, percussion, drum sequencing, synth & bass work, etc) and brought in a wide range of experienced session musicians where needed, including guest vocalists on most every track. The results are an amalgamation of afro-latin, rock, disco & house, reggae & hiphop, all geared towards dancefloors with a dj’s perspective & the input of veteran musicians from around the world.

For this afro disco geared 12” Bosq enlisted Benin born & Nigerian raised singer, producer & guitarist Kaleta. Kaleta brings years of experience playing with Fela Kuti himself, as well as King Sunny Ade and many more. Kaleta’s chops on guitar, his animated vocal style, and genius for horn arrangements shine through on these tracks and perfectly complement the heavy grooves of Bosqs production style.

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Hard-hitting and prolific producer Grant Phabao flips up Don Alejo and Dudar with a serious roots reggae treatment on this new single by The Echocentrics. Also included is an all-new original track featuring Tita Lima with two additional remixes by Max Tannone and McPullish available as an exclusive on the digital version.

After dropping their debut album Sunshadows and their tribute to Timbaland The Echoland EP which both garnered critical acclaim, The Echocentrics enlists the help of Grant Phabao to add some “skank” by filtering the southern-fried, psychedelic funk of the originals through Jamaica. The results are dance-hall worthy versions that are sure to keep the crowd moving. To call Grant Phabao a “prolific” producer would be an understatement with original tracks and remixes for the likes of Alice Russell, Lone Ranger, Carlton Livingston, Brownout, Nostalgia 77, and George Clinton to name a few.

The B-side on the 12” is Pioneira, a brand new original track featuring Brazilian chanteuse Tita Lima and is a return to the “classic” Echocentrics sound. As an exclusive to the digital version of this release Max Tannone and McPullish take turns remixing “It’s Not Too Late”. Famous for his Jay-Z and Radiohead mashup “Jaydiohead” and more recently Ghostfunk, where he remixes Ghostface Killer tracks with vintage African Funk, Highlife and Rock music, Max Tannone’s remix veers into heavy electronic bass territory with Natalia Clavier’s vocals keeping the delicate balance between aggression and beauty. McPullish’s remix crosses into bass-heavy territory as well but with a more understated, blissfully-dubbed out sound.

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“Magic” by the Circle City Band was a well-known single in the 80s, loved by roller skaters and fans of BET alike which used the track as it’s theme song. Almost thirty years later, Luv N’Haight presents the complete full-length album of the Circle City Band including unreleased tracks!

Paul Thomas, the man behind Circle City Band began his career in the seventies performing professionally with various R&B, Pop, Rock, Jazz and Gospel acts, while also working as a live sound and effects engineer for acts such as Manchild, Ebony Rhythm Funk Campaign and Amnesty.

In 1979 Paul was introduced to multi-track recording, using the creative control it provided to spend more time writing and recording, ultimately working both as a session musician and composer. Two years later this led to a two-year road tour with LTD, the legendary late 70s Disco and R&B band.

At the end of the tour, Paul returned to Indianapolis, where the independent gospel label Tyscot Records, had started a secular R&B record division called Circle City Records. Between 1983 and 1985 Circle City Records released three 12 inch singles. Magic by the Circle City Band, received excellent reviews in Billboard, Cash Box and Record World music trade magazines and from national DJ record pools. It made the Top 10 list in several states and was used as the theme song for the station ID on the BET cable channel.

This is the first release of the full album and will be available on CD and LP. Six of the nine tracks are unreleased featuring a great mix of modern soul, boogie funk and a few downtempo love songs.

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Arguably the best album legendary jazz musician Wendell Harrison cut in the 80s “Organic Dream” features the classic track “Love Juice”. The album’s quite a departure from the spiritual jazz he’s well known for, instead dipping into modern soul and R&B territory.

Founder of spiritual jazz imprint and jazz collective Tribe Records along with Phil Ranelin, Wendell Harrison has well over 30 releases and is featured on numerous others by other jazz greats such as Grant Green, Hank Crawford and the great Sun Ra.

As a label Tribe spearheaded a growing black political consciousness. The group also included drummer and composer Doug Hammond, pianist Ken Cox and trumpeter Charles Moore. They performed together live and on one another's recordings releasing them on the label. Tribe also published a magazine, a quarterly monthly publication dedicated to musical and political revolutionaries and political issues. Tribe had pretty much disbanded by 1975 but through Wendell and Phil’s efforts the catalog has found a new audience through reissues from various labels including “Searching For Soul” also on Luv N’Haight which was a collection of soul, funk, and jazz from Detroit.

Organic Dream is always high on collector’s lists as a must-have from Wendell Harrison’s catalog. Electric keyboards and vocals add to the usual mix of modern soul jazz with a sound closer to R&B. Other stand out tracks include “The Wok”, “Ginseng Love”, and “Peace of Mind”. This is the first time the full album has been reissued and available on CD. The deluxe LP will be housed in a tip-on jacket with liner notes and photos and only available in limited quantities.

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The second volume in our Luv N’Haight Edit Series feature re-works of two tracks from the classic self-titled album by Tommy Stewart. The heavyweight Chicago duo of Zernell aka Grimy Edits and Rahaan collaborate on this limited release.

Although it can be argued that Tommy Stewart’s “Practice What You Preach” is about as perfect a dancefloor filler as you could get in it’s original form, Zernell and Rahaan take it a step further by stretching out the groove and layering the best elements to create a proper disco edit.

“Bump And Hustle Music” is the most-well known track off the album and is another classic that most folks don’t want to touch. Zernell and Rahaan come correct and do justice to the tune by expanding it’s original 5 minute length to a solid 9 minute re-work. All the elements are taken up a notch with the result being a certified burner of an edit and gives new meaning to the “Bump And Hustle” title of the song.

Zernell and Rahaan, two of Chicago’s finest DJ’s and producers have both been at it since the ‘80s and are certified veterans in the disco and house music scene. With several releases under his belt including Rahaan Edits Vol.1 and 2 on Stillove4music and remixes for KAT as well as music production for Australian singer Christine Eva and Atlanta based singer Ozara Ode’, Rahaan still finds time to rock parties worldwide from Japan, Australia, the UK and various points in between. With his well-known and already established edit label Grimy Edits, Zernell maintains his status as a well-known mover and shaker in the dance scene. With countless mixes on websites such as Deep House Page and Bring The Heat and playing parties worldwide like his partner Rahaan, Zernell’s definitely keeping busy moving things along.

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COSMIC..HEAVY....SPACE.......FUNK...EXPERIMENT from Russia.

“50,000 Lightyears” is an exercise in minimal, raw, psychedelic funk. Awash in organs, and synths backed by the heaviest of drums with a track intro that recalls early Silver Apples electronic experiments mixed with James Brown Band arranger David Matthews’ excursions with the Grodeck Whipperjenny.

The B-side "Space Race" ups the tempo and dials up the drums even more with a banging breakbeat that continues and doesn‘t let up through the whole song. Organs, synths and heavily effected guitars filter in and out of the track to keep it on the “spacey” and “experimental” side of things.

Not much is know about Sputnik-1 other than they originated from the remains of what was formerly the U.S.S.R. and their recordings were all done using vintage Soviet gear and instruments.


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Heavy Funk 45 specialists, The Soul Surfers drop a new 7in single “Doin’ The Rasklad b/w Girl From Sao Paolo”. It will be pressed in limited quantities and is prepped to be another highly collectable and sought-after 45 from the Russian collective.

“Doin‘ The Rasklad” literally translates to “Doin’ The Strut” or “Doin The Thang” is a drum and bass heavy track with a grooving organ and plenty of chicken-scratch guitar. It has all the elements to be a dance-floor burner and a bonafide deep funk bomb.

On the flip side we have The Soul Surfers playing Jazz, "Girl From Sao Paolo" is their take on a latin and Brazilian styled groove with deft piano playing throughout. But it wouldn‘t be a proper Soul Surfers release without some heavy drums which weaves in and out of the song and keep’s things “funky”.

The Soul Surfers have released numerous limited singles through Detroit’s Funk Night Records with each becoming highly collectable in the “45 Funk Community”. Formed in Nizhny Novgorod which could be argued as Russia’s own version of Detroit with the Volga automobile plant as its main source of industry. Heavy “Detroit” style funk made 30 years later in Russia’s own Motor City couldn’t be more fitting. The gritty, industrial sound emanates from the music and is aided by vintage Soviet mics, amps, and instruments. All songs are recorded live in one take creating the “rough”, “garage”-like feel of the tracks that only add to their uniqueness and authenticity.


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Afro Latin Vintage Orchestra’s new album Last Odyssey finds the French band in fine form, creating music with Jazz as it’s foundation laced with strains of Ethio and Nigerian Funk combined with Latin Percussion and rhythms. By taking the “heaviest” elements from each genre and distilling it down to it’s most potent form, the band’s true identity is revealed and sets them apart from their influences.

Founded in 2007 with a rotating cast of members and ranging in size from a 20 piece band to 12 that contributed to this album, the core musicians consists of 6 members: Masta Conga (perc), Benjamin Peyrot Des Gachons (keyb), Elvis Martinez Smith (guitar), Philipe Vernier (sax), Jb Feyt (trumpet) and David Battestini Quadri (double bass). At it’s heart is Masta Conga who’s the designated ring leader and primarily responsible for the concept and production of this album. “ALVO is not a classic group which repeats, It is a space of creation all around of various revolving musicians according to projects.” says Masta Conga.

Having released 2 well-received albums previously, Definitely Roots in 2009 and Ayodegi in 2011, which were both primarily live recordings, ALVO took a different approach to the creation of the new record with Masta Conga recording the rhythm base for the tracks then adding each element in the studio as each musician came in for their session, “This method consists of a new shape of writing music for me. Less spontaneous, more thought....We have a clear rythmic base but we do not know what we are going to create. The result is a surprise”



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The Tiger is back with more instrumentals, laced with cinematic, library-style funk, soul, jazz, rock and all groovy things in between that you can shake a stick at. “Reel To Reel” showcases Shawn Lee’s Ping Pong Orchestra in fine form with a return to the library sound that‘s made him a sought-after musician and producer.

Here’s a few words from the “Tiger” himself describing his new album: "I love making records. Music is my drug and I'm a junkie. A Funky Junkie"! I once again return to my Ping Pong Orchestra guise making more cinefunk jams. From Blaxploitation ("Daylight Robbery) to Spaghetti Western ("Song for Ennio) and Motorcycle psych rock ("Biker Chick") it's all in there. Reel to reel uses some of my favourite instruments and sounds ie: vibes,double bass ,waterphone,alto flute,Marxophone and fuzz guitar. Analog film And Analog tape- Reel to reel and keeping it real for real!

Famous for his musical chops as well as his wizardry in the studio, Shawn’s music has been featured in countless TV programs such as Breaking Bad and most recently in HBO’s “Eastbound and Down”as well as the big screen in the comedy “The Sitter”. As much time as he spends in the studio you can catch him on tour with AM promoting their “Celestial Electric” album out on ESL.


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What initially started as a plan to travel for the summer turned into a temporary move and change of location to New York. With the studio stripped down and left only with a laptop and a mic, inspiration hits and they start work on what would eventually become the album. “We were just messing around and it turned into this record, which we're really psyched on, best thing we’ve done in our opinion.” With diverse influences ranging from beatheads Letherette and Shlomo, psych-rockers Acid Mother’s Temple, label-mates NOMO, and experimental, electronic world-music by Beats Antique, the duo further expands their sound but keep their sonic aesthetic intact.

The title track It’s A Wonder is a blissfully dubbed out tune riding on a steady skanking beat with handclaps thrown in for good measure. Smoke Signals hearkens back to a more familiar sound with washed out vocals, acoustic guitar and electronic sounds floating in the background. Faith Will Stay Forever and Spins Against The Wall share sonic sensibilities with a heavier dose of electronics and a steady build up of tempo and energy throughout the song. S. Maharba’s remix of Faith Will Stay Forever dials the song down a few notches and turns it to a slow burner tinged with psychedelia, bumping along to a heady beat. Smoke Signals gets a bossa-beat courtesy of Superimposers, turning the track into a mid-tempo tune bringing to mind warm summer weather and sunshine. Rounding out the 7 new vocal tracks is a cover of Skrillex’s Scary Monsters And Nice Sprites. An acoustic, stripped down version of the dubstep track turns the tables on a genre that’s known for spawning numerous remixes of well-known tunes.

Be on the lookout for more Jed And Lucia releases in the future including a few songs on the upcoming Letherette EP on Ninja Tune and a collaboration with S. Maharba on a 12” single from BTS Radio.


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Firstly Ronn Forella did not make the music. And secondly, those tights just don't do the tunes justice! Forella was, in fact, a respected Broadway dancer who taught the Forella technique at the Farnworth Hauer School. He passed away in 1989.

The man behind the tunes is composer, performer, and sculptor Thom Janusz. He and Forella collaborated on network TV shows and a Broadway production called "Wild and Wonderful." Also, Janusz was musical director for the first national stage production of Grease. But don't let all this talk of dance-wear, Broadway, and Grease deter you. There's a reason that this album is sought-after by beat heads and funk fiends.

  If you are buying Moves just to sample the drums you will get your money’s worth. The drumming is really snappy throughout. However, the record is also a great listen for fans of soul, funk and jazz. The percussion is backed by slick bass playing, dirty wah wah guitar and dreamy rhodes keyboards. The mood sways from reflective yacht funk, to percussion-driven dance-floor-moving jams. Part porno-soundtrack, part Blaxploitation thriller.

At the heart is the prized-track “Crystals.” Launching with the nastiest of synchopated drum breaks the tune develops into a cinematic epic that could easily be mistaken for a long-lost Love Unlimited Orchestra joint. Made with dancers in-mind "Mithra Plane 2" is another percussion-driven nugget that wastes no time getting into gear. "Sculptures" and "Memories of Georgia" are slowed down and more bugged-out, while "Wild and Wonderful" jumps from frantic to mellow, and back to frantic again.

Originally released on the now-defunct Hoctor label, this is the first time that the "Moves" album has been re-issued.

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Monophonics drop a 7in single with an exclusive B-Side not available on the upcoming full-length album. “There’s A Riot Going On b/w High Off Your Love” will be pressed in limited quantities with a digital download and packaged in a picture sleeve.

“There’s A Riot Going On” starts with a snare fill that’s reminiscent of Jimi’s “Machine Gun” and displays what becomes a consistent theme on each Monophonics track: hard drums, catchy bass lines, dirty horns, organs mixed with vibraphones, fuzz guitar and soulful vocals sitting on a sheet of echo & slap back.

On the flip side and only available on this 7in, "High Off Your Love" is an uptempo skull snapper that takes a heavy dose of Norman Whitfield produced Temptations records and blends it with the dark creeping sound of soundtrack minded Isaac Hayes. Driven by a "Pusherman" groove and anchored with layers of bass, electric harpsichord, wurlitzer electric piano, fuzz & wah guitar's and heavy orchestrated horns. Sitting on top of this soundscape is a gritty soul vocal coated in tape echo that preaches about a love that's so good it can make a man gotta have it like a bad habit.

“In Your Brain”, the full-length album also on Ubiquity Records drops on May 15, 2012. It sits on the fuzzy psych side of soul and funk and pays homage to innovators such as Sly Stone, Norman Whitfield and Funkedelic’s George Clinton. The 6 piece outfit displays their ability to put a moody stamp on each composition. Touching on everything from cinematic soul, heavy funk, 60’s rock and spaghetti western laced with yellow sunshine acid, the album is sure to leave you tuned in and turned on!

Monophonics will embark on an extensive tour through the US & Canada so look out for them at a venue near you!

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The new record from San Francisco based band Monophonics entitled “In Your Brain” sits on the fuzzy psych side of soul and funk. Paying homage to innovators such as Sly Stone, Norman Whitfield and Funkedelic’s George Clinton, the 6 piece outfit displays their ability to put a moody stamp on each composition. Touching on everything from cinematic soul, heavy funk, 60’s rock and spaghetti western laced with yellow sunshine acid, the album is sure to leave you tuned in and turned on!

With a new sound and a do it yourself attitude towards making records, Monophonics’ guitarist Ian McDonald and keyboardist/vocalist Kelly Finnigan took on the duties of engineering and producing. Finding influence and gear advice from Orgone’s Sergio Rios as well as articles from Daptone’s Gabe Roth and Shawn Lee, they purchased an 8-track ¼ inch tape machine, vintage microphones, spring reverbs and tape delays and dug into Finnigan's basement in SF. “Half the battle making records in this genre is tone and vibe, we have figured out over the years that it might be the simplest written song but with the right production it can become timeless” explains McDonald.

  Jumping right out of the gate is the single “There’s A Riot Going On”. Starting with a snare fill that’s reminiscent of Jimi’s “Machine Gun.” Riot displays what becomes a consistent theme on the whole record: hard drums, catchy bass lines, dirty horns, organs mixed with vibraphones, fuzz guitar and soulful vocals sitting on a sheet of echo & slap back. The title track “In Your Brain” sounds like something straight off of Funkadelic’s “Maggot Brain”, riding on the funk box and Bohlman’s snare snaps is a blaring guitar line that brings back thoughts of Eddie Hazel. In the tradition of 60’s soul label Brunswick comes the heart wenchers “Deception” and “They Don’t Understand.” One a dark 6/8 slow groove that catches your ear right away and the other a boom bap driven ballad that confronts the human fears of dreams and love lost.

  “Bang Bang” is one of the three meticulously chosen covers. The band approaches the famous 60’s pop song with a no holds barred attitude inspired by various versions from Betty Chung to Stevie Wonder to Nancy Sinatra.  “Mirage,” is a tip of the hat to brilliant producer/composer David Axelrod and his innovative records on Capitol.“Temptation” a Cadillac riding classic, plays out as if John Berry wrote for blaxploitation films.

Collaborating with talented friends was another consistent theme on this record featuring a dozen or so different musicians, but the stand out feature are the vocals of that soulful crazy queen Fanny Franklin (Orgone, Get Wet) on “All Together” and tapping Sergio Rios to do the mix at Killion Sound. Killion has become a highly respected studio because of Rios’s dirty tones and soulful style as evidenced by the various Orgone releases plus recordings from artists like Jack Splash (Cee-Lo & Alicia Keys) and Ikebe Shakedown.

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Record Store Day is synonymous with exclusive and limited releases and this year is no different. Featuring our first volume in a series of re-edits from our Luv N’Haight catalog starting off with Mike James Kirkland. Nico Jaar’s edit “What My Last Girl Put Me Through” on his excellent “Bluewave Edits” previously released by Wolf+Lamb Records is featured on the A-side with a deep rework of the classic “What Have We Done” by prolific and talented producer 78 Edits on the flip.

Nico Jaar’s highly sought after “Bluewave Edits” release in 2011 contained some radical re-takes and treatments to tracks by Missy Elliot and The Blow but his re-vision of The Mike And The Censations track “There’s Nothing I Can Do About It” was arguably the highlight. Originally released as a “promotion only” single, this release is an official collaboration between Wolf+Lamb and Ubiquity Records with a follow up edit of another Mike And The Censations track by Nico in the works to be released in the near future as Vol.2 of the Mike James Kirkland re-edit series.

UK producer Jamie Buchanan aka 78 Edits is a veteran in the 12” re-edit scene with releases on Giant Cuts, Audio Parallax, and Editorial. His take on Mike James Kirkland’s “What Have We Done” from the legendary “Hang On In There” album transforms the original from a conga and vocal driven song to a stretched out, 8 minute, mid-tempo dance tune.


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Record Store Day is synonymous with exclusive and limited releases and this year is no different. Featuring a collaboration EP with Adrian Younge from Venice Dawn and Black Dynamite fame and Adrian Quesada from The Echocentrics, Ocote Soul Sounds, Brownout and grammy-winning Grupo Fantasma.

A first name is not all Adrian Younge and Adrian Quesada share, they also both have an equal love of the psychedelic, the cinematic and at the root of it all, soul music. So it was inevitable that a collaboration would eventually come to fruition. Mutual admirers of each others work, they first met at the SXSW music festival while on the same bill. Both began their production careers on MPC and taught themselves various instruments to further capture the symphonies heard in their heads.

Fresh off his current solo project “Something About April” under the moniker Venice Dawn, Adrian Younge found time to create all new tracks with Adrian Quesada who just released his “Echoland” tribute to Timbaland with the Echocentrics. Although both are distinct artists in their own right, they are cut from the same cloth with a signature sound that’s equal parts Morricone, early Portishead, Wu-Tang and 60’s psychedelic cinema soundtracks. Their combined efforts on this EP guarantees a double dose of the sound we have come to expect from these talented individuals


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Echoland is a tribute to the inimitable hip-hop producer, Timbaland, featuring live instrumental (with one vocal tune) reinterpretations of classic Timbo tracks. Brazilian chanteuse, Tita Lima, lends her sultry voice to a cover of Aaliyah's "We Need A Resolution", sang in Portuguese and the ubiquitous Todd Simon (Mayer Hawthorne, TVOTR) provides a horn arrangement for Jay Z's "It's Hot". Recorded at Adrian Quesada's Level One Studios in Austin, TX with some help from Spoon's Jim Eno at Public Hi-Fi.


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Jake Wade and The Soul Searchers (Searching For Soul) Searching For Soul Part 1 - Sampled by both Rich Harrison for Beyonce’s “Suga Mama” and Madlib for Percee P’s “Legendary Lyricist”

Mike And The Censations (Don’t Sell Your Soul) There’s Nothing I Can Do About It - Sampled and re-edited by Nicolas Jaar for his track “What My Last Girl Put Me Through” on his Bluewave Edits

The Propositions (Funky Disposition) Africana - Sampled on the “Outro” of the classic Souls of Mischief album ‘93 Til’ Infinity. Do Whatever Turns you On Pt.2 - Sampled on the Lupe Fiasco track “Gold Watch”

Eugene Blacknell (We Can’t Take Life For Granted) Getting Down - Sampled by DJ Shadow on his track “Influx”. We Know We Have To Live Together - Sampled by Beck on “Black Tambourine”

Turner Brothers (Act 1) Sweetest Thing In The World - Sampled by legendary Hip-Hop group Mobb Deep on their track “We Up” and the track “Back To Basics” by newcomers Diamond District

Gap Mangione (Gilles Peterson Digs America Vol.2) Boys With Toys - used by Talib Kweli on his track “Shock Body”

Perfect Circle (Inner City Sounds) Spread The News - Waajeed lifted the horns from this track and used it on PPP’s Shotgun Intro which also featured J Dilla

Mike James Kirkland (Hang On In There) Hang On In There - The intro from this classic was sampled by Ugly Duckling on their track “I Did It Like This”

Soft Touch (Bay Area Funk 2) Plenty Action - Another DJ Shadow sample, this time on his track Monosylabik that features the bass and drums from the intro to this tune.

P’Taah (Staring At The Sun) Hold You Close - J Dilla’s Ruff Draft Alternate Intro uses the haunting vocals from the original on the background of his track


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Produced and Arranged by Shawn Lee. Recorded by Pierre Duplan at Trans Yank Studio London. Mixed by Shawn Lee & Pierre Duplan at T.Y.

Featuring Prithpal Rajput on Tablas. Also featuring Dom Glover on trumpet, Andy Ross on saxes & flute, and Mick Talbot on Hammond organ on Apache. All other instruments played by Shawn Lee. Artwork by Kei. Mastered by George Horn at Fantasy


The original Incredible Bongo Band’s “Bongo Rock” is firmly cemented into musical history having provided the oft sampled (and completely irresistible) “Apache” drum break for a million and one producers to cut up. Also known as Michael Viner's Incredible Bongo Band, the project was born in 1972. Viner, a record artist manager and executive at MGM Records, was making use of MGM recording facilities in down-time, recruiting whichever studio musicians were on-hand. Ringo Starr is rumored to have played on some tracks. They made two albums of funky, instrumental music filled with covers of popular songs of the day and heavily relying on bongo drums, conga drums, rock drums and brass.

Over 3 decades after its inception UK producer, and avid record collector, Shawn Lee was marveling at the fact that there had never been an Indian style, sitar and tabla-heavy, version of the Incredible Bongo Band masterpiece “Apache.” “Such an obvious track, I still find it hard to believe that one doesn't already exist. (It is hella’ obscure if it does…) “Apache” is one of the greatest and most famous drum-breaks of all time,” says Lee. Not content with covering just “Apache,” Lee decided he’d take on the entire Bongo Band debut album; and also two of his favorite tracks from their second album for good measure. “Why cover a song when you can cover a whole album? This is the road to madness my friend, and it is my preferred route!” he adds.

Lee has attempted to replay, recreate, and capture all of the sonic characteristics of the original recordings. Viner left Lee with simple tunes to cover, but the Bongo Band used sophisticated arrangements and his all-star line-up of guests played killer performances throughout the album. Lee couldn’t find any Beatles to recruit and record, instead he called on the talents of tabla player Prithpal Rajput aka Cyber of the Asian Dub Foundation, and Style Council keyboard-man Mick Talbot to help realize his eccentric vision. With the utmost respect in mind Lee has re-thought Viners drum-driven masterpiece, presenting it in an Indian-funk style that could easily be confused with the vintage release Lee was bemused to never have previously found. Lee had such a blast covering all the songs he’s thinking about other favorite albums to tackle, tabla style.


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Ikebe Shakedown, the self-titled album from the Brooklyn-based band, plays with elements of Cinematic Soul, Afro-funk, Deep Disco, and Boogaloo in all the right ways. After spending a few years together the group, named after a favorite Nigerian boogie record (and pronounced “ee-KAY-bay,”) delivers a driving set of tunes featuring a mighty horn section anchored by tight, deep-pocketed grooves.

“Right now in cities across the globe, there are plenty of great Afrobeat revivalist bands aping the sound and groove of Fela Kuti’s legendary sound. Yet, surprisingly few of the new groups have strayed from an orthodox interpretation of the genre or done much real innovation. ..Ikebe Shakedown is here to change that. The band takes signature Afrobeat elements—big unison horns, slinky bass lines, tight little guitar licks—and blends them with tasty grooves culled from '70s-style horn-driven funk”.
- Marlon Bishop, WNYC

The Echocentrics is a new band from Austin-based two-time Grammy nominated producer Adrian Quesada, a member of Grupo Fantasma, and one of the minds behind bands Ocote Soul Sounds and Brownout. Teaming up with Argentinean singer Natalia Clavier and Brazil-based Tita Lima, he has carved out a southern-fried, laid back, and psychedelic-tinged album to be released in late spring 2011.

Quesada plays an interesting cross-cultural game of musical ping pong mixing multiple languages (songs are sung in a mix of English, Portuguese and Spanish) and influences from the likes of Tim Maia and Rita Lee, Serge Gainsbourg, and David Axelrod. Buckets of spring reverb, huge doses of psyched out farfisa and electric harpsichord, and super-heavy drums back soulful vocals. Quesada recalls classic American funk and low-rider soul, but shades everything with a South American twist. As the Austinist blog said, this is “World music for people who tend to blanch at the very idea of it, maybe.” At times the music sounds like the lost Morricone soundtrack to a sun scorched Tarantino movie scene dosed in peyote. But the Sunshadows album also reaches breezier heights as Quesada weaves in exotic elements of Afrobeat, Latin funk, and Brazilian folk.

While perhaps best known as one of the minds behind Grupo Fantasma, Brownout and Ocote Soul Sounds, Quesada was also one of only twenty musicians (worldwide) nominated for the 2010 Rolex Mentor and Protege Arts Initiative to be mentored by the legendary Brian Eno. The Echocentrics is his first project where he is solely in the driving seat as producer and band leader. “The Echocentrics project is something I have been working on mostly alone for the last 5-6 years. I have about 50-60 sketches of funky and psychedelic soul songs. It is a vision I "heard" and working on them became an excuse to simply make something I would personally listen to, to fill a void.”

To complete his outernational vision he called upon the talents of guest singer Natalia Clavier. She is wife of Frederic Aubele (ESL recording artist) and has appeared on his music, and on records by ESL-owners the Thievery Corporation. Her vocal partner on the album is Tita Lima who has appeared on the Ubiquity-released Ohmega Watts “Watts Happening” album and is the daughter of Liminha, bass player for Os Mutantes.  “They helped expand the vision and created a sound that was sensual and soulful but still somewhat dusty and raw,” explains Quesada. “I speak Spanish fluently and I sometimes prefer non-English lyrics as its less oratory and the voice becomes more of an instrument,” he adds.

It’s no surprise that Quesada picked Southern Americans as vocalists as it was a little known Peruvian band, Los Pasteles Verdes, and in particular their bolero (ballad) “Esclavo Y Amo,” that were a big inspiration for the album. Quesada discovered the track nearly a decade ago and it set the vision for Sunshadows. The original is a catchy psychedelic soul obscurity that takes the form of an American soul ballad and spits it back-out dripping in lo-fi South American charm, “The minute I heard it I was so inspired,” says Quesada. “It was so funky and tripped out yet, simultaneously tragic sounding. The tape delay on the vocals intensified the sadness and I actually thought the singer was female at first which is what inspired me to write for a female voice.”

On “Sunshadows” The Echocentrics weave through ballads and cinematic instrumentals building steam to reach the faster tempo Latin-funk of “Dudar” and the hybrid Afro-beat/Brazilian flavored “Mundo Pequeno.” On “Don Alejo” they deliver a spaghetti western style head-nod-inducing instrumental, while the string-laden “Crescent Sun” is cruise-ready, top-down, Austin funk. “I would say the sound we’re going for is bigger than just a reflection of the sound of Austin,” says Quesada. “It's also the sound of Buenos Aires, Rio de Jaineiro, Brooklyn, Barcelona, etc etc.”

Echocentrics shows are already in the works, with a kick-off at SXSW 2011:

- Tues March 14th - Art Disaster 12  @ Beauty Bar - 8:30 PM
- Wed March 15th - Falkin+Sachse 7th Annual SXSW Day Party @ BD Riley's - 2 PM
- Wed March 15th - Official SXSW Showcase Presented by Waxpoetics @ Scoot Inn - Time TBA
- Sat March 19th @ Thunderbird Coffee - 5 PM

Quesada promises that the live show will be “a stripped down affair that is all live and organic - a little more aggressive than the record and so far, in practice, it sounds like a mix of early 1970s Curtis Mayfield and Bill Withers running through a PA that's hooked up to a Roland Space Echo.”


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Save the Music - A compilation for Record Store Day features exclusive new music from: AM, Princess Superstar, The Incredible Tabla Band, S.Maharba, Letherette, Dibiase, Jed & Lucia, NOMO, Shawn Lee, Magnetite, and a re-issued folky funk joint from Pats People. The compilation is available on 3 limited edition, hand-numbered, 12” singles and on a limited edition compilation CD. A digital version of the compilation will follow shortly.

The track list was put together with the help of our musical friends Shawn Lee, The Groove Merchant record store, and the influential radio show/podcast BTS Radio. The idea behind the compilation was to make a musical collection that was as eclectic, fun, and deep as our favorite record stores…

Shawn Lee chose to include a slamming new track from his forthcoming collaboration album with the soulful melodic pop crooner AM, a funky hip hop joint with NY vocalist Princess Superstar and a sneak peak at his new Incredible Tabla Band covering the ultimate breaks n’beats favorite Apache (originally by the Incredible Bongo Band.) Lee’s connections extend further into the comp with the highly sought-after NOMO collaboration “Upside Down” that was released on limited edition 7” and sold at NOMO shows earlier this year. He also remixes Jed and Lucia’s “Apostrophe,” into an impossibly infectious breezy bossa.

Jed and Lucia make a second appearance, dropping a brand new sunny-styled chill wave-goes-Brazil cut called “This is Why,” as selected by BTS radio. Since 2003, Andrew Meza’s BTS radio has presented some of the most original and progressive music podcasts and is credited with spearheading the worldwide beat movement, and introducing acts like Flying Lotus and Hudson Mohawke. BTS-partner Charles Munka designed the album and 12” art for Save the Music. BTS other picks for the comp come from Dibiase who was crowned the Red Bull-LA Big Tune 2010 Champion and has received nods and praise from DJ Premier and Flying Lotus. S.Maharba, who hails from Ipswich in the UK, creates infectious, haunting, boom-bap inspired pieces and features a ghostly vocal from Jed and Lucia. Letherette are becoming one of the most hotly tipped acts in electronic music having presented their first official EP, a feature on Gilles Peterson’s “Brownswood Electric” comp and a remix for Solar Bears Planet Mu debut in the last 12 months.

To round out the compilation Groove Merchant owner “Cool” Chris Veltri picked a brand new track from Magnetite (top secret project from the Clutchy Hopkins camp) to partner the music of super-obscure Irish band Pats People.


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