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"This important album, Monk's first after a long absence from the recording studio, is a stunning reaffirmation of his power as a performer and composer. It is a brilliant and absorbing program of five Monk originals and three standards (and they might just as well be originals, so startling is their transformation at his hands). This is a beautiful album in every respect." - Pete Welding, DownBeat Magazine
Comprised of 11 tracks crafted from threads of '70s jazz and '90s neo-soul - the album is perfect for those that love Jill Scott, Solange, Shaolin Soul, Minnie Ripperton and Lauryn Hill. Produced by Inflo, who worked with Danger Mouse on Michael Kiwankua's last album Kiwanuka, he gives the record a similar nostalgic sophistication and soul.
Always a dancefloor friendly act, The Remixes (originally issued 25 years ago) is the sound of the Roses biggest tunes revisited by many of the foremost names in UK dance music at that time – including legends such as Paul Oakenfold and Steve Osborne and fellow Mancunians 808 State and A Guy Called Gerald.
Seminal album from cult Ghanaian musician Alhaji K. Frimpong, recorded in 1976 and considered to be one of the best highlife albums ever recorded. Features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. Backed by Vis a Vis - one of the most influential bands to come out of the Ghana Highlife / Afro Rock movement. Unique avant garde sound that blends traditional highlife percussion and horns with synthesizers. Original copies of the album are extremely rare. The album was reissued in limited quantities in 2011 and has been unavailable since - even reissue copies sell for high prices on the second hand market. Record Store Day exclusive pressing comes on Blue vinyl with heavyweight sleeve.
Ethereal, exceptional, beautifully orchestrated pop music from one of the late 20th century's most idiosyncratic artists, Scott 3 contains a series of lush, mesmerizing songs that typify the free-spirited, experimental late 1960s. in this third solo album, Scott Walker gives free rein to his more epic impulses on songs like the careening We Came Through, a prime example of the kind of marvelously over-the-top pieces that made him a byword for eccentricity, while 30th Century Man is almost the exact opposite, featuring only the mellow-voiced singer and an acoustic guitar.
This DJ-Kicks is the latest instalment in Quantic’s ever-evolving artistic trajectory, an accompaniment to those moments when the gloaming disappears into darkness. Will Holland’s longstanding dedication to a full range of melodic and percussive expression alongside continued musical collaboration is what makes his edition of DJ-Kicks such a rare beauty.
It’s a special, but also a strange sensation to be releasing an album of one of your early musical heroes. I first discovered The Movers on my very first “record safari” in 1996. My destination was Bulawayo, in southern Zimbabwe, and to get there I had to travel via Jo’burg. While in town I stopped at a store called Kohinoor, in search of Mbaqanga – also known as Township Jive – and found a few tapes which I listened to non-stop on the bus that carried me to the land of Chimurenga Music. One of these cassettes included the songs “Hot Coffee” and “Phukeng Special” which instantly became part of my daily life. Twenty-five years later I’m still grooving to them.
Sounds Beyond Barriers
One of the most politically charged terms of the 20th century, the Iron Curtain was a metaphor for political and cultural division. In a post-war telegram Winston Churchill referred to the fault line that ran through Europe between East and West as "an Iron Curtain is drawn down upon their front. We do not know what is going on behind".