The Sinners

Oldies, Old School vibes

Loungin

Snoozin

up in the stars

Presenting Penrose Records

Lower East Side, Manhattan. Living room show. 


Recorded by Lucy Krakow for Sofar Sounds.

Plastic (Live in New York)

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Meditate (REEL STREET JAZZ)

Written by: Isabella Du Graf

Produced by: Isabella Du Graf 

Additional Production by: Nick Crespinel

Guitar: Andy Coe

Bass: Evan Flory-Barnes

Additional Mixing: Justo of The Physics and Parker Joe at Slap, Crackle, Pop Studios

Mastered by: Barry Corliss, Masterworks (Seattle, WA)

Artwork by: Slvstr©

So Beautiful

The Very Best Of Rose Royce

Love Don't Live Here Anymore

Puppy Love ft. Rome Castille (Prod. Croosh)

Lover Is A Day

jride (demo)

ha ha (demo)

hi everyone, love u all, so much

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Lo Que Siento

I do not own original song. https://www.youtube.com/watch?v=uvxagNIBVLU

Put Your Head On My Shoulder - Paul Anka (Floreyyyy Remix)

Solitude

Whatever They Want

Off of James Hunter Six's upcoming album 'Whatever it Takes' out on Daptone Records February 2nd.

Stream/Download: http://dapt.one/idontwannabewithoutyou

Whatever it Takes

The James Hunter Six - I Don't Wanna Be Without You

Producer Victor “Ticklah” Axelrod is back with another supple Reggae delight. After the success of The Inversions' last collaboration with Bob & Gene, Axelrod once again takes a seat in the Producer’s chair, this time with a tune a little deeper in the catalogue. Originally tweezed from the beautiful MO DO tape boondoggle, back in ‘05 - ‘06, this single has been a long-time favorite of the Daptone family.

One night in 1971, frustrated by their lack of the success, Bobby Nunn and Gene Coplin sat in the basement of 50 Orange Street and put together a record expressing said frustration. Equipped with only a guitar, bass, and piano - no drums (though you don’t even notice) - the two crafted an immaculate slice of Soul, aptly titled “It’s Not What You Know (It’s Who You Know)”. Fast forward 46 years, and now accompanied by the rocksteady rhythms of The Inversions - the vocal stylings and poignant lyrics are reborn, sounding as fresh today as it did when it was crafted down in that magical basement. The VERSION flip is a delay laden masterpiece produced and arranged by Axelrod. A must for fans of Dub and Reggae alike. A truly gorgeous record!

Get yours at http://dapt.one/shop

Bob & Gene ft. The Inversions - It's Not What You Know (Version)

AnimeVibe

XXXTENTACION - "17" (Ocean Remix)

Don't Tell Me

It Was Only a Dream / I Don't Mind

I Don’t Mind

It Was Only a Dream

Live recording of an excerpt from Do Make Say Think's appearance at 2010's Toronto International Film Festival Lightbox events, performing a live score to Eric von Stroheim's 1924 silent film 'Greed.'

Do Make Say Think • "Greed Waltz"

What better way to christen Daptone’s fledgling imprint Penrose Records than with “Can I Call You Rose?,” a sumptuous and serendipitously titled mid-tempo premier by San Diego’s blossoming young soul serenaders, Thee Sacred Souls. Stepping off the stage after their very first club date, Josh, Sal, and Alex were tugged aside by producer Bosco Mann whose seasoned ears had been tickled by their set. Backs were patted, hands were shook, and three days later heads were bobbing in Mann’s Riverside studio, as the Souls laid their first notes to tape.

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Can I Call You Rose b/w Weak For Your Love

Thee Sacred Souls - Can I Call You Rose

Since exploding onto the scene with his debut 45, “Rosegold” and it’s anthemic follow-up, “I Don’t Care," Jason Joshua has built a dedicated following for his distinctive latin-soul sound and his notoriously titillating live performances. Following a string of homegrown Miami recordings with the Beholders on his own Mango Hill Records, Jason hopped the plane to Riverside to gather the Penrose Scholars for a session with his friend Bosco Mann, where he was eager to prove that just like a record, there’s more than one side to a man: “Language of Love” finds an ebullient Jayjo bubbling over an uptempo, guiro-laced latin-soul groove, while on the flip, “La Vida es Fría” slows to a dark crawl over which his Bataan-esque bilingual croons of cold-world sadness intertwine with mournful violins. But there is a glimmer of hope in the end as he enjoins us, We can work it out / If you know what I’m talking about...

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Fria b/w Language Of Love

Jason Joshua - Language Of Love

It’s about time someone put this cut on a 45!  As one of the most popular groups on today’s So-Cal soul scene, Thee Sinseers need little introduction. Their performance of “Seems Like” live at the Recordium went viral to the tune of over a million views, making them thee in-demand group for souldies parties up and down the coast. I heard they even played one party where the crowd wouldn’t let them leave the stage before playing “Seems Like” for the third time. When asked what song they wanted to cut for their Penrose session, singer, songwriter, and man-who-can-play-any-instrument, Joey Quiñones didn’t hesitate to answer, “We need a proper recording of that song.” And so it was done. In the candle-lit studio, the band delivered unto us a starkly intimate rendition, stripping the tune down to its underthings, and laying bare Joe Q’s euphonious exhortations.

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Seems Like b/w Seems Like (Instrumental)

Thee Sinseers - Seems Like

Though Bryan Ponce and Adriana Flores share the stage with Joey Q as part of the East LA souldies outfit Thee Sinseers, they really step into the spotlight with The Altons, a group they themselves founded along with drummer Caitlin Moss and bassist Gabriel Maldonado . On this their debut single on Penrose, Bryan sings the lead with a smoky-sweet falsetto that bends tenderly from growl to howl and back again. The group takes a turn through a classic Miracles-style mid-tempo groove on the A-side, leaving you helplessly addicted to their sweet eponymous refrain, When you go that’s when you’ll know…

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Penrose Records Vol. 1

The Altons - When You Go (Thats When You'll Know)

Los Yesterdays originated in an Altadena garage when Gabriel Rowland teamed up with his old friend Victor Benavides. Rowland, a long time drummer and eccentric creator of multitudinous soulful things, took charge of recording as well as playing all the instruments, while Benavides wrote and cut vocals. The project pretty much stayed in their garage for a few years until a mutual connection brought them to the attention of Tom Brenneck and Gabe Roth, who both dug the songs and offered to join in on guitar and bass respectively so that the duo might be able to perform their music live. The four soon found a handful of gigs behind them and a Penrose recording date in front of them. The latter from which sprang the celestial reverie of “Tell Me I’m Dreaming,” a full-throated pop-souldie complete with orchestral percussion and co-ed chorus, as well as “Time,” a dark psychedelic meditation with a rawness that betrays the garage in which it was conceived. Though the production rings with the high-ceilinged echoes of the Penrose studio, the songs retain in whole the idiosyncratic architecture that could only have been hatched by two mad geniuses in a garage.

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