It’s a meeting of maverick musical minds as the genius of Wiley’s Step 20 is rebuilt from scratch by none other than Zomby. Zomby grew up listening to Wiley, and that shows in this thrilling production that harks back to OG grime whilst nudging the template a step or two forward. Wiley is one of the all time great MCs, and here Zomby lets that show by keeping the fired-up-and-then-some vocal always at the forefront. It doesn’t get better than this.
Hooked up and pumped by BDP in 1987, this hard-to-come by single should not be slept on. The Brothers were down with Boogie Down Productions and had a few singles come out on the notorious B Boy Records label in the late 80s, this one being “You Can’t Win” backed with “Memories”. Both of the selections on this record are pure, raw Hip Hop from the golden era. Layered beat boxing and drum programming with the B Boy posse sounding hungry make this 12” single definitely not one to miss.
N.C.M. is the independent production company/label Napoleon Cherry has been working under since the late ‘80s with releases as Cool Waters and Station To Station. “When You Had The Chance” is from an unreleased slojam session from a few years back.
“It’s well known that People’s Potential Unlimited boss Andrew Morgan has some serious crate digging skills. Even so, he continues to amaze with the obscurity and quality of the releases he chooses to reissue. Serious collectors have long sought out “Let’s Ride” by guitarist Willie Lee Jnr under his occasional Junei alias. Originally released on 7” back in 1987, it’s a killer chunk of synthesizer-heavy electrofunk blessed with some serious eyes-closed guitar solo action. Flipside “You Must Go On” - originally the A-side of the ‘87 release - is fantastic, too, offering a near perfect blend of sun-kissed Balearic attitude and smooth ‘80s soul grooves.” - Juno Records
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‘My Way Home’ is sample driven, Israeli born DJ/producer Obas Nenor's debut on Moodymann's Mahogani Music label. The title track is a mindful house jam based on samples of Gil Scott-Heron's ‘Home Is Where The Hatred Is’, which might upset die hard GSH fans if it wasn’t for the beautifully detailed arrangements, contagious bass lines and innovative use of the sample.
The third installment in the series containing a collection of the most sought after and hard to find disco/boogie breaks, drum loops and sounds. This selection of ready-to-use samples from electro- funk and post-disco records offers a pack of in-demand kicks, snares, clapping sounds, horns, vocals, guitar riffs, percussion, drums, synthesizers and slap bass loops, digitally remastered for your beat making pleasure. The third volume contains under-discovered samples you will never find on any other break records and strictly focuses on vinyl that’s hard to find at your local stores, flea markets or record shows. This comprehensive slice of 80’s club joints is a celebration of evolution from disco and funk to hip-hop and modern deejay dance music. Disco & Boogie: 200 Breaks And Drum Loops is a must-have library for producers and a guide to vivid disco/boogie collectors.
In the world DJ battles, there's only a few brands that constantly resonates with battle records; DJ QBert and Dirtstyle Records in the 90s and Le JAD with the Scratch Science camp within the past decade. Without stepping into the actual DJ battles, Le JAD quickly established himself as the "winning sound" and the most in-demand producer in the DMC Championships by working with countless DJs (Rafik, Unkut, etc.) that have gone on to win the prestigious title. Stereotor Break is Le JAD's first collaboration with Dirtstyle. And for the first time , he brings his unique production style to the USA with a flurry of Stereophonic skratch samples; carefully picked and meticulously edited into the future sounds that battle DJs know him for. This is a must-have for any DJ looking for a piece of Le JAD's production brilliance - the future of turntablism. Limited to 1000 copies worldwide.
Following on from his Nymphs II 12" and a free album Pomegranates, Nicolas Jaar continues to make up for lost time on his solo work with Nymphs III, a 12" comprised of two (lengthy) tracks 'Swim' & 'Mistress' which were both recorded between 2011 and 2015 in New York, released on his Other People imprint. Swishing ambience and gently plinking keys glide over the thumping dance beats on 'Swim', whilst on 'Mistress' the piano moves to centre stage and the dance beats take a step back.
Features extended takes on two highlights off of Jamie xx's debut solo album, In Colour. The lead track `Girl' is a moody mid tempo groover something along the lines of Flume. With the flip sounding like Jamie doing his thing with stuttery drums, deep bass, and sparkling synths sitting on top. The sleeve is also beautiful with pastel hues and Young Turks trademark cut out.
Late '70s Deep Miami Disco Remixed by Kenny Dope. Includes Download Card For Remixes AND Original Versions. This is the first official reissue of Pazazz's deep disco two sider, originally released as an obscure, promotional-only 7" single in South Florida circa 1980. And, while it took nearly two years, this 12" contains the excellent Kenny Dope's remixes of both tracks. Naturally, Kenny brought the funkiest parts of each track to the fore and, while they're DJ friendly, they're now our preferred way to listen to these tunes. We're using this as an excuse to relaunch our Soul Cal series (though fans of our physical releases will note that there was a Soul Cal logo on the Split Decision Band 7" we recently issued). Hopefully we'll have more of these types of records to reissue in the future. Tony Castellanos (guitar and vocals) and Tim Boynton (bass and vocals) founded the Zanzibar band in Miami, Florida, in 1974 for gigs at the Bahia Cabana Hotel in Ft. Lauderdale, with the addition of Rick Gritz (drums and vocals). Inspired by the likes of Bill Withers and Steely Dan, Zanzibar played a soulful series of club dates and private parties as well as a their requisite beach hotel gigs at Miami area staples like the Fontainebleau, the Eden Rock and the Marco Polo hotel. In the late 70s, Castellanos changed the name of the band to Pazazz and, while the band was working for the Norwegian Cruise Line, he penned the band's first single "So Hard To Find." This and "The Right One," written by interim drummer Al Varon, who played on the single, were recorded and readied for release on a silver Pazazz label, complete with picture sleeve. It wasn't until Castellanos received five hundred copies of the single that he realized that the record was flawed. He demanded a second press run – this time issued on a red Pazazz label – but it too was, in Castellanos opinion, flawed. So the band decided against any sort of release, opting to gift copies of both versions to fans at their gigs. The band split in 1981 and forgot about their single until Los Angeles record collector Mike Vegh found a random copy of the record and, impressed by the steady funk of Pazazz's soulful disco, tracked down Castellanos and brokered the purchase of the last remaining copies of his records. Vegh connected us with the man and we're happy to represent Pazazz's small, but great, catalog on this special 12".
Following a time spent working for Kanye West and collaborating with Lunice on the TNGHT project, Hudson Mohawke returns with a long-awaited solo EP on Warp. The EP includes massive new banger 'Chimes', a 'Hardstyle' remix of the track, as well as two more new productions titled 'Brainwave' and 'King Kong Beaver'.
Even more rare drums from around the globe!
Two brand new Mr. Hyde Tracks on Necro's Psycho+Logical Records! Artwork by incredible Ink-A-Zoid!
Wu-Tang Clan’s first ever 12” presented in a split yellow & black colored vinyl pressing. In 1993, an unsuspecting – and some might say dozing – hip-hop world was bumrushed by a force that would dominate its consciousness for the rest of the decade: the nine-member Wu-Tang Clan. This is the song that started it all. Originally self-released on cassette and vinyl (with producer and group patriarch The RZA’s Staten Island home address on the label), the song blew up in a way that has rarely been equaled in the hip-hop world. The grass roots groundswell it created is part of what built the Wu-Tang legend and kept it strong. The song, beat-wise, is a driving, dusty musical assault. That description holds true lyrically as well, thanks to eight out of nine group members attacking the mic (Masta Killa was absent), one by one – each showing their unique flow and methodic madness, from GZA’s even keel to Ol’ Dirty Bastard’s manic train of thought. Within months of first exploding on college radio, the song was dominating mainstream hip-hop shows around the world. Eventually picked up by Loud Records, it remains one of the most explosive hip-hop posse cuts of all time, full of intelligence, righteous indignation (at record labels who had dropped and dissed various members of the crew) and raw power. This limited edition 12-Inch is pressed on split yellow and black vinyl for the first time ever, with a reproduction of the original cover art and a plastic Get On Down-branded outer sleeve.
Recorded in New York City between 2011 and 2015.
The new single “The Return” taken from Blu’s latest full length Good To Be Home - featuring the non-album bonus track “Thriller” feat. Sene, Co$$, & Definite.
J Dilla’s classic, out of print for over a decade, has been remastered from Dilla’s original mixes and issued on Pay Jay Productions as a badge-shaped 9“ picture disc single. Both the vocal and instrumental come straight from mix-downs that Dilla himself created. This limited edition 9″ badge-shaped picture disc single features Jeff Jank’s ironic take on Dilla’s message and comes in a thick, custom-made pocket fold-over, inserted into a Japanese-style, resealable clear plastic sleeve.
Underground electronic talisman Kutmah doesn’t often release new music. That’s an approach that runs counter to the paradigm; unedited, under considered, unfinished songs being constantly flung up onto blogs and Soundclouds - and that alone makes him stand out. More so though, the quality of his music does. Remember that first, visceral thrill you felt at hearing music made electronically? The sort of thing that came out Germany in the late ‘70s and early ‘80s, the weird, hypnotic, gripping meld of soul and machine? That’s the sort of shock of the new you hear in Kutmah. Our Mannequin conjures up the spirit of early electronic music in more ways than one. His funk-ridden drums and bass, synths that drench over the ear like waves, and filtered, robotic vocals hark back to German synth-wave and post-punk. The difference is the in the tempo, which clearly demarcates Kutmah's roots in the LA-via-London, leftfield beat scene. The first clubs Kutmah went to were goth industrial nights, where he heard "weird shit that you can dance to." That clearly shows on this latest EP. It’s easy to forget the funk you could hear in early industrial music; can still hear in the long-living pioneers like Richard H Kirk. "No one was chatting, they were just dancing" Kutmah says of clubs such as Kontrol Factory in Hollywood. If he loved the music, he was less keen on the scene. His early musical axis ran between Suicide and NWA, influences that go some way to representing the originality you hear in his music. It was after he was deported back to the UK from LA that he "locked himself in a room and made this dark record." He brought the EPs collaborators into the shadows with him. "Zackey Force Funk usually make’s thug dance music," Kutmah says, "and Seven Davis JR will never do a record like this again." The EP "represents the third member of a relationship," he says, cryptically. One thing is for certain, this is music of rare quality, and it entrances the ear from a first listen. Kutmah’s inspiration may have been darkness, but that locked room was vibrantly fruitful.
Dwight Sykes & Jahari 12” featuring two unreleased demos versions of “Fire and Desire” and the remastered studio version of “Situations”. 30 years overdue!
Following a wide-ranging series of collaborations from Duck Sauce’s disco romp Quack to the genre-twisting Low Pros project with Lex Luger, “Push” announces a new chapter of solo material from DJ hero A-Trak. Timeless but still timely, “Push” melds festival-tested power with anthemic, emotional synth pop (courtesy vocalist Andrew Wyatt of Miike Snow fame), resulting in one of this year’s most unforgettable tunes.
In anticipation of Large Professor’s forthcoming fifth solo LP Re:Living, Fat Beats Records presents the album’s first single, In The Scrolls. Featuring a guest verse from G-Wiz (of Bravehearts fame), “In The Scrolls” finds Large Pro in top form, nodding to Nas’ seminal classic Illmatic over a booming, self-produced beat.
‘Crystal Caverns 1991′ is the first single to be taken from the new Lone album ‘Galaxy Garden’ which is without doubt his most complete body of work to date. The album makes varied excursions into his many inspirations and talents, and unearths new corners in his productions whilst maintaining his signature sound and cinematic overtones. ‘Crystal Caverns 1991’ continues his journey through early 90′s London rave/hardcore sounds with revival stabs, hardcore remnants and a frenetic cadence. Vulcan Mill Acid, which is exclusive to this single, sees Lone tease some acid house styles into a trademark heady percussive jam. The ‘Galaxy Garden’ album is going to be one to treasure, and this single gives you just a little taster of what to expect.
"Do It, Do It Disco" released in the form of a classic disco 12-inch. Side A has two remixes of the original album track, one by Tom Noble, the second by J Rocc. Side B features the original, unreleased extended version of the track which runs over 12 minutes.
Following up Freddie Gibbs & Madlib’s Pinata – this EP contains exclusive tracks not available on the album. “Knicks,” in remixed form, now features a new verse by Gibbs alongside Action Bronson, Joey Bada$$ and Ransom. The b-side, “Home,” features BJ The Chicago Kid – the velvet voiced vocalist from the duo’s earlier “Shame” – and Madlib’s two-part soul-flip carries Gibb’s narrative about a traveling man’s disregard for his woman at home. Both sides are completed by previously unheard Madlib instrumentals.