'we comin'at cha''''/// massive funk mix, really chillin' ___ peace

Stompthaflo is taken from Soul Movement 2 this is  Slakah The Beatchild’s 4th release in as many years. Continuing the policy of the first album, Soul Movement 2 features the cream of Toronto’s contemporary black music crop. With Neo soul star Glenn Lewis, rapper Spek Won plus female vocalists Tanika Charles & Ayah all part of the movement. Having won a prestigious Juno Award for his production work on Sunglasses for Canadian pop singer Divine Brown (also a hit in the US) Slakah has also previously worked with Melanie Durrant, Art Of Fresh, Ray Robinson & superstar hip hop artist Drake.

Soul Movement Vol. 2

Stompthatflo

Slakah the Beatchild - Stompthaflo ft. Spek Won

Order on <a href="http://smarturl.it/wacgraef" rel="nofollow" target="_blank">Ninjashop</a> / <a href="http://smarturl.it/wacgraefit" rel="nofollow" target="_blank">iTunes</a>

Lovely remix from @max-graef ..

Released 8th September 2014 on Ninja Tune.

We Are Coming (Max Graef Remix)

Read more on THUMP: http://bit.ly/1pN7Ri2

https://soundcloud.com/munrost
https://soundcloud.com/xvi-records

Munro - BYOG (Crown Heights)

classic 303 acid workout from London DJ, Rremixer, Producer Leo Zero in his NEBULON SYSTEMS guise

Nebulon Systems 15 - Gamma Track

Order Custom White Vinyl 12" or Digital -> http://bastardjazz.bandcamp.com

Soundboard maestros Lord Echo and DJ Day link up across oceans to trade remix duties on each other's top tunes, flipping the pair onto a heavily dubbed out Double A-side single pressed up on frothing white vinyl.

California dance-floor champ DJ Day gives Echo's iconic "Bohemian Idol" a 1980s drum machine reggae vibe and lets the delay run wild, while New Zealand's analog maverick Lord Echo transforms Day's "Land of a Thousand Chances" into a live disco dub studio jam session.

Catch the limited 12" out worldwide May 12th on Bastard Jazz Recordings.

Buy White 12" / Digi

DJ Day - Land Of 1000 Chances (Lord Echo's Disco Mix)

Second track taken from the Omena LTD by Admin "Spirit Boogie"

OMLTD004 - Admin - Spirit Boogie

From the label that brought Jordan Rakei into the world, @soulhasnotempo presents a new EP from fellow Brisbanite @sampology. Weighty basslines, delicate Rhodes and satin vocals from @tianakhasi.  

Read more & buy: http://www.gillespetersonworldwide.com/worldwide-premiere-sampology-feat-tiana-khasi-thicker-than-water/
Listen on Youtube: bit.ly/sampology-water

Natural Selections (SHNT003)

Sampology feat. Tiana Khasi - Thicker Than Water (Worldwide Premiere)

Quadron - LFT (Leighton Hema Edit)

“Expectations” is an extended player from minimalist disco outfit Harvey Sutherland and Bermuda. The second release for Sutherland’s own Clarity Recordings brings his Bermuda project into sharp focus - six tracks spanning Harvey’s influences from the West Coast to West End Records. 

Recorded with bandmates Graeme Pogson (drums) and Tamil Rogeon (electric strings), Expectations follows last year’s stomping label debut single “Priestess/Bravado”. 

The EP includes a long-awaited studio version of live favourite “Clarity”, uptempo burner “Coast 2 Coast” and a moment of spiritual introspection with “Spiders”. The title track offers glimmers of the Doobies and the ‘Dan – a sign of things to come from the Melbourne producer and his unique trio. 

Expectations 12” and digital will be released worldwide 24 March 2017, via Clarity Recordings. Distributed by Monocarpic (AUS/NZ) and Above Board Distribution (ROW).

Harvey Sutherland and Bermuda - EXPECTATIONS (Clips) || CRC-02

Expectations

From the brilliant compilation Private Wax - Released September 2012

Poncho C. Saint Fingers - When I Come Knocking

Buy via Bandcamp

YSE Saint Laur'Ant - Warm Wind Brewing

Production heavyweight Rhys Adams returns with his second LP under the ‘YesKing’ moniker and his debut for the BBE label. Produced entirely by Adams, ‘Re-Record Not Fade Away’, marks a coming of age for the seasoned studio head and a sonic departure from the outfit’s 2008 debut ‘Rock This World’ (co-produced by Mark Rae of Rae & Christian fame). 

Borrowing it’s name from the strap line appearing in Scotch Video Tape’s 1980s TV adverts, ‘Re-Record Not Fade Away’ is both a metaphorical reference to the longevity of music produced with passion and a literal reference to Adams’ studio techniques - in particular his preference for recording live to a 1960s 1/4 inch ferrograph tape machine, a process which Adams describes as ‘integral’ to the album’s sound providing a ‘unique and authentic’ feel with a firm nod to the Dub and Reggae traditions which permeate the album. 

Featured artists provide a wealth of variety to the album’s underlying themes: Guitarist for The Soothsayers and Jerry Dammers’ Spatial aka Orchestra, Patrick Hatchett plays on much of the album also co-writing several tracks becoming, in Adams’ words, ‘central to the Yesking sound’. Togo born singer Kodjovi Kush adds afrobeat flavour to ‘One More Time’ with a vocal performance which displays his musical journey to East London via Ghana, Israel and ‘90s Central London cultural hotspot, the Africa Centre. ‘Rock This World’ collaborators make a welcome return in the form of Kenny Knotts, a UK dancehall vocalist with a string of top ten hits to his name and rapper Mystro, a seasoned veteran with a list of collaborations under his belt that reads like a who’s who of the UK scene. Representing the new generation of UK dancehall artists is Toddla T and Sticky collaborator Lady Chann providing unique sound system swag on ‘Secret King’. Decca signing Annie Bea adds a sweet summer feel to ‘Just Like Me’ and new voices Mel Uye Parker, Rioghnach Connolly offer accomplished vocals to lead single ‘Hardground’, a track which Adams is happy to describe as one of his proudest productions.  All in all a rich mix thrown in to the sonic melting pot via that all important tape machine mixdown! 

[The very tape machine to which the album owes so much is central to the album’s cover art produced by Adams together with artist Paul Curtis.]

 


Re-Record Not Fade Away - Instrumentals

Devil Inside

Yesking Devil Inside

Take a caravan across the Sudan, Sahara visage is just a mirage.

Flights Over Egypt [FREE DL]

The record label Muggsy is not related to Muggsy Spanier, the legendary jazz
cornettist. Nor is it connected to the tiny terror of the NBA, Muggsy Bogues.
Neither, for that matter, is it linked to Cypress Hill DJ and producer DJ Muggs.
Nope. It is, however, entirely related to the Brooklyn house firmament, Henry
Street.
The man behind Henry Street is Johnny De Mairo, known among New York
industry heads simply as Johnny D; ergo he is also the chap responsible for
Muggsy, which is why we are here.
For those of you who are not familiar with the oeuvre of Johnny D – and where
ya been if not? – let’s step to one side for the moment and run through the CV.
Born and bred in Brooklyn (and proud of that fact), Johnny D has been a DJ,
record and autograph collector from the moment he had some spare cash. He
got his first break in the music industry working for Vince Pellegrino’s S.I.N.,
before moving on to work for Atlantic Records, with whom he was associated for
many years. 
Among the many projects he’s been involved with there (and there
really are too many to mention) were the Bucketheads, with his longtime friend
and associate Kenny ‘Dope’ Gonzalez, the remix for Tori Amos’ ‘Professional
Widow’ which wound up at number one in the UK pop charts, and the remix and
campaign for Everything But The Girl’s ‘Missing’, which he took from indie nohopers
to the upper echelons of the Billboard Hot 100. “Johnny D spotted the
potential of this record early,” writes Tracey Thorn of ‘Missing’ in Disco Bedsit
Queen, “and refused to give up on it long after it might have seemed reasonable
to admit defeat. He made us realize that the song was taking off in a big way.”
As well as his major label manoeuvres, Johnny also had his ear to the ground at
street level. He first launched Henry Street in 1993, followed a few years later by
Muggsy. “I was looking at the house market and thinking a lot of the labels were
hitting a wall. I felt as a record fan and a collector, I wasn’t interested in a lot of
the shit that was out. I’d go to Vinylmania and around and I wasn’t interested.
I’d find myself tilting towards imports and I thought, you know, ‘I know how to
make records, I should start my own label’. Masters at Work was just starting
to kill things and Wednesday was their night at Sound Factory Bar night, which
is where we all were. One night, I said to Tommy Musto, who was one of my
close friends, I was thinking about doing a label. He said, “Well listen, I got all my
distribution through Northcott, if you wanna do it, we’ll do all the pressing and
distribution and you do the A&R.”
Henry Street became known for a sound deeply rooted in the disco that Johnny
De Mairo loves and collects while still taking care of dancefloor business. 
Muggsy was his chance to branch out into other areas. “After years of Henry Street music being predominantly a soulful house label, I wanted to have another outlet to
release different types of records,” recalls Johnny. “Initially, I had intended for
Muggsy to be the harder more ‘tribal-type’ label and keep the soulful stuff for
Henry Street. So when Chris ‘TKC’ Staropoli came to me with ‘Back Jack’ I figured
that was the best time for Muggsy to begin as it was a bit tribal but, more than
that, pushed the envelope a bit more than my regular releases on Henry Street.”
With a collection of like-minds gathered around the De Mairo table recording
for the label, some of them New York cohorts (Kenny Dope, Brutal Bill), with
Chicago’s Ralphi Rosario, Robbie Rivera from Puerto Rico and Miami’s Mike ‘Da
Mooch’ Mucci, Muggsy released a string of tracks that ploughed a different
furrow to big daddy Henry Street. But the Muggsy groove still retained the
sample-based ethos (and disco roots) of its proprietor Johnny D (who also found
time to released tracks under the Sopranos pseudonym with studio partner
Nicky Palermo).
“After Chris’s TKC, I was getting some tracks that were more in the pop/rock
category than the soulful/black style that pretty much was the Henry
Street Music sound,” remembers Johnny. “So Muggsy went from initially a harder
sound, to more of a rocky feel added to the tribal sound. But it still had its own
sound and the roster was a good extension of Henry Street Music in the way that
the name and brand power was there with artists like Brutal Bill, Kenny Dope
and others.”
The Muggsy Story is a document of a special time in New York history, before the
gentrification of New York made party-throwing a guerilla activity, rather than
the core of its musical soul. Muggsy, we salute you.



We Are Coming (Max Graef Remix)

Mr Scruff

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