The album showcases the trademark instrumental prowess of the duo and their ease with the loose but hard-hitting drum style brought to the fore by Jay Dee's influential productions, but goes well beyond basic boom bap bread and butter, with singer-centered R&B and uptempo bumps sharing the stage

Kofi Flexxx is the latest addition to Native Rebel's vibrant roster, proudly joining Chelsea Carmichael, The Brother Moves On, CoN and KwAkE and the recently reissued 10th anniversary edition of Sons Of Kemet Burn.

Stretchin' Out in Bootsy's Rubber Band(1976) is the first album by American Funk and Soul band Bootsy's Rubber Band, led by James Brown & Parliament Funkadelic alumnus, bassist and vocalist William "Bootsy" Collins.

Australian 9-piece Spiritual Jazz group Menagerie announce their highly anticipated fourth album 'The Shores Of Infinity' - representing the 3rd LP to be released by Freestyle Records from the Melbourne-based Jazz ensemble, founded by producer, songwriter, guitarist, DJ and recording artist Lance Ferguson (The Bamboos, Lanu, Rare Groove Spectrum, Machines Always Win).

Love, fronted by the charismatic Arthur Lee, was the first rock band signed to the '60s folk label Elektra, and their wild, enigmatic sound was a big part of their unique appeal.

By any measure, 1970 was a high-water mark for the Grateful Dead. Hot on the heels of the incredible success of Workingman’s Dead that summer, the band returned in the autumn with the equally stunning American Beauty. 

In 1966, Bertrami went back into the studio, but this time stripping the format back to a trio set up. 

In an attempt to apply this logic Red Ant Records maestro Pete Bones decided to recruit the talents of a bunch of cool cats he had met whilst traveling the globe and put a band together.

In the aftermath of their commercial resurgence in 1994 with ‘Ill Communication’, Beastie Boys decided to return to their punk rock roots with the following year’s ‘Aglio E Olio’ EP. Mike

It was produced by the group's production team The Bomb Squad, who sought to expand on the dense, sample-layered sound of Public Enemy's previous album, 'It Takes a Nation of Millions to Hold Us Back' (1988).