Soul singer Charles Bradley’s star has been on the rise since the release of his widely praised 2011 debut album No Time For Dreaming, and his ascent has continued long after the release of his triumphant second album, 2013’s Victim of Love. Dubbed “The Screaming Eagle of Soul,” the singer is proud to present his highly anticipated third album Changes, on Daptone imprint Dunham Records. The album is named for his popular, “smoldering” (SPIN) cover of the Black Sabbath track. "I think about the lyrics very closely when I sing ‘Changes’ and get emotional,” notes Bradley. “It makes me think of my mother and the changes in my life since she passed away.” By now, Charles Bradley’s remarkable, against-all-odds rise has been well documented: how he transcended a bleak life on the streets and struggled through a series of ill-fitting jobs before finally being discovered by Daptone's Gabriel Roth. The documentary Charles Bradley: Soul of America, directed by Poull Brien, follows Bradley’s extraordinary journey during the electrifying and transformative months leading up to the release of debut album No Time for Dreaming. The year following the release of No Time For Dreaming was one triumph after another and Victim of Love saw Bradley emerging from his past heartaches stronger and more confident, overflowing with love to share. Victim of Love went on to receive overwhelming praise and was included on "Best of 2013" lists by SPIN, MOJO, Paste, BuzzFeed, Rough Trade & more. The album’s title track was also named one of Rolling Stone’s "Best Songs of 2013." Charles Bradley has also made a name for himself as a riveting live performer. He’s taken his show to venues and festivals across the globe including Coachella, Glastonbury Festival and Primavera Sound. Bradley’s also performed on famed stages including the Apollo Theater—the same place he saw his idol James Brown perform when he was 14 years old, and the Beacon Theatre where he’s separately supported The Tedeschi Trucks Band and the Afghan Whigs.
The Budos Band return with Burnt Offering; a wild, booze-fueled ride of hazy riffs, take-no-prisoners horn lines and relentless percussion that summons the occult – an evolved sound for this mighty 10-piece band sparked by their love of Black Sabbath and Pentagram. Burnt Offering was recorded live in the studio, engineered and produced by Thomas Brenneck, a founding member and guitarist in The Budos Band who runs Dunham Records and Studios. It was written at the band's longtime Staten Island studio, where they've gathered for weekly rehearsals for over fifteen years. The haunting album cover was created by drummer Brian Profilio, a NYC public school art teacher. The new album is dripping with the psychedelic sounds of early heavy metal fused with the tight-knit propulsion of Fela Kuti. "The Sticks" kicks off with a snarling riff seamlessly doubled on bass and guitar and unfurls into sludgy breakdowns and searing guitars.
A - MAELSTROM Much like the infamous weather phenomenon the song is named after, MAELSTROM swirls and surges; drenching the listener in psych feedback while pulling downward, ever downward, into a sonic abyss. The bass provides the current, a pulse that pushes through the waves of feedback before the crashing storm of horns furiously hammers the listener. There is nothing pretty here, nothing safe; this is the Budos unhinged. They’re pushing their audience into uncharted waters and plotted a course into the eye of an electric storm. B - AVALANCHE The guitar’s hypnotic fuzz-laden intro builds to a peak before dropping the weight of the full Budos sound upon the listener. Horns slash and dive, the drums thunder downhill, the organ wails like winter wind while the combination of bass and guitar rumble and soar around you. This is the Avalanche of sound; the wrath of The Budos delivered through a combination of driving power and snarling menace. All before it Is crushed beneath the AVALANCHE.
Within the House of Soul, the Daptone Staff is affectionately referred to as “The Hate Crew,” a name they have earned from their years of ruthless evisceration of anything which doesn’t meet their impossibly idealistic expectations. Armed with rolling eyes and barbs of sarcasm, they are the true guardians of the Daptone Sound. The problem is, this new James Hunter single has turned them all into adorable little kittens. They spend all day mewing to the ballads and scampering about to the uptempo cuts instead of selling records. In an effort to save the company, label Boss Neal Sugarman declared a “Hunter Free Zone,” but when he tried to pry the test pressing of Hunter's latest single from the office turntable and replace it with something a bit more hate-able, the needle slipped and dropped back into the grooves of “Something’ s Calling,” irreversibly morphing him too into a small playful kitten. Meow, James Hunter. Meow.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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