Label:OOH-sounds
Cat-No:OOH039
Release-Date:03.05.2024
Genre:Alternative/Electronic
Configuration:LP
Barcode:5050580824638
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Genre:Alternative/Electronic
Configuration:LP
Barcode:5050580824638
1
Plethor X - Bet (Feat. Muna Mussie)
2
Plethor X - Kifu
3
Plethor X - What U Mean
4
Plethor X - Negro
5
Plethor X - Fendika (STILL x Plethor X) (Feat. STILL)
Multidisciplinary artist Jermay Michael Gabriel and producer Giovanni Isgrò team up as Plethor X to present a debut EP of anti-colonial resistance, an unfolding experiment in self-determination.
Colonial trauma has no linear trajectory, and neither does memory. It seeps and sinks into the fibres without a temporal pattern, crossing generations, back and forth between past, present and future. Plethor X channel the multifaceted dimensions of such phenomena, exorcising trauma through sound, embracing cultural legacies and collective memories as a form of healing.
The driving force behind the record is the Habesha musical tradition, distinctive of Jermay's childhood - samples of the masinko, an Ethiopian and Eritrean one-stringed instrument, are used extensively - transposed into rhythmic structures onto which Isgrò playfully grafts elements of footwork, ghetto house, as well as gqom and singeli—a space-time gateway of complicity and experimentation.
Plethor X's soundscapes are Afro-futurist ecosystems of explicit messages—'Don't use the N word' is distinctly heard in 'Negro'—coalesced with frenzied percussive textures built through destruction. With 'Bet' we experience Muna Mussie's hypnotic recitation of Tigrinya words drawn from a set of nursery rhymes and words emblematic of Eritrean culture. The voice of Mussie, who shares the same origins as Jermay, serves here as a vehicle to express a certain identity melancholia, the repetitive mode sounding like a soothing process of reconciliation. PAN-affiliated producer STILL makes his own contribution by reworking Plethor X's material in 'Fendika', raising the rhythmic tension with his signature colourful, plugged-in dancehall style.
That with Europe is a bridge to an indefensible continent, with a predatory, plundering nature, sold as 'civilisation'. In 'What You Mean', Isgrò and Jermay conspire against their own Eurocentrism, regurgitating it from within.
?Mastered by Giuseppe Ielasi, cover-art by Jermay Michael Gabriel, photo by Jim C. Nedd, layout by incepBOY.
?Limited Edition of 100, 140gr. black vinyl, Includes instant download code. More
Colonial trauma has no linear trajectory, and neither does memory. It seeps and sinks into the fibres without a temporal pattern, crossing generations, back and forth between past, present and future. Plethor X channel the multifaceted dimensions of such phenomena, exorcising trauma through sound, embracing cultural legacies and collective memories as a form of healing.
The driving force behind the record is the Habesha musical tradition, distinctive of Jermay's childhood - samples of the masinko, an Ethiopian and Eritrean one-stringed instrument, are used extensively - transposed into rhythmic structures onto which Isgrò playfully grafts elements of footwork, ghetto house, as well as gqom and singeli—a space-time gateway of complicity and experimentation.
Plethor X's soundscapes are Afro-futurist ecosystems of explicit messages—'Don't use the N word' is distinctly heard in 'Negro'—coalesced with frenzied percussive textures built through destruction. With 'Bet' we experience Muna Mussie's hypnotic recitation of Tigrinya words drawn from a set of nursery rhymes and words emblematic of Eritrean culture. The voice of Mussie, who shares the same origins as Jermay, serves here as a vehicle to express a certain identity melancholia, the repetitive mode sounding like a soothing process of reconciliation. PAN-affiliated producer STILL makes his own contribution by reworking Plethor X's material in 'Fendika', raising the rhythmic tension with his signature colourful, plugged-in dancehall style.
That with Europe is a bridge to an indefensible continent, with a predatory, plundering nature, sold as 'civilisation'. In 'What You Mean', Isgrò and Jermay conspire against their own Eurocentrism, regurgitating it from within.
?Mastered by Giuseppe Ielasi, cover-art by Jermay Michael Gabriel, photo by Jim C. Nedd, layout by incepBOY.
?Limited Edition of 100, 140gr. black vinyl, Includes instant download code. More
More records from OOH-sounds
Label:OOH-sounds
Cat-No:OOH037
Release-Date:02.02.2024
Genre:Electronic
Configuration:LP
Barcode:5050580818552
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Cat-No:OOH037
Release-Date:02.02.2024
Genre:Electronic
Configuration:LP
Barcode:5050580818552
1
Shit & Shine - Joy_14
2
Shit & Shine - Joy_12
3
Shit & Shine - Joy_15
4
Shit & Shine - Joy_09
5
Shit & Shine - Joy_04
6
Shit & Shine - Joy_05
7
Shit & Shine - Joy_08
8
Shit & Shine - Joy_02
9
Shit & Shine - Joy_03
10
Shit & Shine - Joy_06
11
Shit & Shine - Joy_13
12
Shit & Shine - Joy_10
13
Shit & Shine - Joy_07
14
Shit & Shine - Joy_01
15
Shit & Shine - Joy_11
Craig Clouse has devoted the past several decades to exploring a wide range of avant-garde avenues for his brainchild Shit & Shine. The monolithic riffs of raw and powerful psych'n'roll hysteria, the freeform dance miasma, sub-heavy electronica and the blissful stupidity crafted for ecstatic ascension: all perfectly-placed in the idiosyncratic world of Shit & Shine. There's also fertile soil for twisted noises in their lowest form, often obscured by groovier comrades in S&S releases yet vitally important for the substance of Clouse's compositional carcass and OOH-sounds has given him the required space to stretch out his longtime interest in developing loose structures and crackling landscapes to transcend his rhythmic comfort zone. Making an enthusiastic transgression into noisy tones, "Joy Of Joys" has a friendly way of presenting difficult material. The rough and ready cheapo electronics sparkle in full electrifying mode, welding an ascetic gamut of aural hypnotics with a wormhole of uncompromising loop brut. Clanks, bangs, twangs and creeping, ragged globs of sound bloom on the bones of repetition to focus on the swinging stream of dirty anarchy. Stepping out of any context and genre disciplines, S&S finds new sonic trajectories in "Joy Of Joys" which perfectly sit in-between a wobbly cabal of international sub-underground acts: the idiot-avant strategies of LAFMS, early Mego bad digitalia, no-brow enthusiasm of Wolf Eyes family, micro-DIY ethos of Chocolate Monk and the sheer hellish nonsense of US noise circa '00s. Clouse was already established as a landscape painter with a series of faux naïf paintings charmingly accompanying his releases. With his heart full of passion for abstract minimalism, he continued these narrative forms but was always in search of the confidence to paint non-figurative art. The first step into the chaotic abyss is coming from his sonic side by abandoning the beat and riff layers of his previous works to complete nakedness and reductionist courage. At once Clouse makes an evolutionary lurch into extremes as well as taking us back to basic forms in "Joy Of Joys". He creates an entire new parallel world to Shit & Shine with his maverick imagination presenting us with one of the most mutant releases to bear his name. [Arthur Kuzmin]
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Label:OOH-sounds
Cat-No:OOH-026
Release-Date:09.07.2021
Genre:Electronic
Configuration:12"
Barcode:5050580763784
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Label:OOH-sounds
Cat-No:OOH-026
Release-Date:09.07.2021
Genre:Electronic
Configuration:12"
Barcode:5050580763784
1
Scott Young - Tuck (feat. Joe Beedles)
2
Scott Young - Playing God
3
Scott Young - Post Peace
'Peace is where the real chaos begins…..we've been "normalised" for so long' (SY) An entanglement of sound, embodying euphony and noise, control and disorder. The conventional practice of producing and listening to music often tends to conceal and immobilise the multiplicity, the deviations, and the more unusual aspects of acoustic phenomena, in order to preserve an economical artistic perception. But what if we were to fuel spontaneity and embrace a pluralistic vision, by accepting the impossibility of absolute creative competency? Perhaps we would produce material that not only confronts the prospect of failure but actively accommodates it, as a viable aesthetic framework. dScott Young's work is an attempt to unlearn certain 'normalized' approaches to sound, representing a jolt to the system, a wild construction of invention and misdirection, one that reconnects us with the value of disarrangement. The non-hierarchical layering of sound and image on 'Post Peace' defies linearity and rationality. On the collaborative composition 'Tuck', written with Manchester based artist Joe Beedles, the two create music in reverse, inspired by a fictitious review written about the self-same piece. This sense of freeform originality is mirrored by the intimate portraits that Italo-Australian visual artist Rebecca Salvadori has produced for the artwork. A series of autonomous forms that transcend straightforward classification. Unerringly raw yet mature, Young's music evolves as an organic cycle, encompassing spry, cerebral, dub-inflected dynamics. Full of duality and enterprise, never conclusive. On 'Post Peace', there's freedom in forgetting what you know.
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Label:Turbo Recordings
Cat-No:turbo233
Release-Date:14.06.2024
Genre:Techno
Configuration:12" Excl
Barcode:4062548083484
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Label:Turbo Recordings
Cat-No:turbo233
Release-Date:14.06.2024
Genre:Techno
Configuration:12" Excl
Barcode:4062548083484
1
Gregor Tresher feat. Sven Väth - Flashback
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Gregor Tresher feat. Sven Väth - I See You
GENRE/S: Techno
Tracklist:
A1 / Flashback
B1 / I See You
Key Selling Points
- The legendary techno icon Sven Väth makes his debut on Montreal's titanic Turbo Recordings, alongside his longtime collaborator Gregor Tresher.
- When it comes to foundational figures of electronic music, few are more impactful than Sven. Through his label Cocoon, and his widely respected DJing and parties over the last 30+ years, Väth has tremendously influenced of the global techno scene.
- Sven Vath almost never releases on labels other than his own (Cocoon). This is a rare treat to have him on another imprint.
- Sven performs vocals on both tracks, which is also a rare & special occurrence. More
Tracklist:
A1 / Flashback
B1 / I See You
Key Selling Points
- The legendary techno icon Sven Väth makes his debut on Montreal's titanic Turbo Recordings, alongside his longtime collaborator Gregor Tresher.
- When it comes to foundational figures of electronic music, few are more impactful than Sven. Through his label Cocoon, and his widely respected DJing and parties over the last 30+ years, Väth has tremendously influenced of the global techno scene.
- Sven Vath almost never releases on labels other than his own (Cocoon). This is a rare treat to have him on another imprint.
- Sven performs vocals on both tracks, which is also a rare & special occurrence. More
Label:Outlaw
Cat-No:OUT013
Release-Date:14.06.2024
Genre:House / Techno
Configuration:12"
Barcode:
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Label:Outlaw
Cat-No:OUT013
Release-Date:14.06.2024
Genre:House / Techno
Configuration:12"
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1
Matthew Oh - Unseen
2
Matthew Oh - Submerged
3
Matthew Oh - Transition
4
Matthew Oh - Voices
After a long hiatus from the imprint over the past six years, white label Italian imprint Outlaw delivers welcomes the return of its label boss, Matthew Oh. Comprised of four originals with the labels dub-tinged aesthetic.
300 copies vinyl only! hand made stamped. More
300 copies vinyl only! hand made stamped. More
Label:Tessellate
Cat-No:TESS019
Release-Date:10.05.2024
Genre:House
Configuration:12"
Barcode:5050580825239
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Label:Tessellate
Cat-No:TESS019
Release-Date:10.05.2024
Genre:House
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1
Fantasy Traxx - Let Me Show You
2
Fantasy Traxx - My Paradise
3
Fantasy Traxx - Take You Higher
4
Fantasy Traxx - Total 90
For the first Tessellate record of the year label owners The Trip are returning with another EP, this time taking inspiration from 90s rave and 00s dance. Featuring four high energy nostalgia inducing tracks, expect big pianos, euphoric keys and rolling basslines that will take you back to the golden era of house.
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Label:RZ
Cat-No:RZ02
Release-Date:10.05.2024
Genre:Electronic
Configuration:12"
Barcode:5050580821491
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Cat-No:RZ02
Release-Date:10.05.2024
Genre:Electronic
Configuration:12"
Barcode:5050580821491
1
Rezzett - Plum Duff
2
Rezzett - Sticky Toffee
3
Rezzett - Spotted Dick
4
Rezzett - Treacle
Rezzett offer up a little something for afters on their new self-released EP
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Label:Jalapeno Records
Cat-No:JAL451V
Release-Date:21.06.2024
Genre:Pop
Configuration:LP
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Label:Jalapeno Records
Cat-No:JAL451V
Release-Date:21.06.2024
Genre:Pop
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1
Flevans - Rekindle
2
Flevans - Every Little Bit Of Love
3
Flevans - Impossible
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Flevans - Say Yes (Feat. Laura Vane)
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Flevans - Carry Them
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Flevans - Wild Shadows
7
Flevans - Dreamer
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Flevans - Where I Hide
9
Flevans - By Your Side
10
Flevans - What We Do
'Stand Tall' is the latest album project from eclectic south coast producer and multi-instrumentalist Flevans. Never one to get too embedded in a particular sound or genre, 'Stand Tall' showcases Flevans' ear for a hook whilst traversing genres including disco, soul & electronica with a closing nod to drum & bass!
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Label:ATA Records
Cat-No:ATA034
Release-Date:03.05.2024
Genre:World Music
Configuration:7"
Barcode:5050580824454
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Release-Date:03.05.2024
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1
Orchestra Mambo International - Mambo Tel Llama
2
Orchestra Mambo International - Del Callejón
Label:LRK Records
Cat-No:LRK26
Release-Date:03.05.2024
Genre:Soul/Funk
Configuration:7"
Barcode:5050580824959
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Label:LRK Records
Cat-No:LRK26
Release-Date:03.05.2024
Genre:Soul/Funk
Configuration:7"
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1
Claire Davis - Intuition
2
Claire Davis - Get It Right
LRK are excited to announce their first coloured 7" vinyl.
"Intuition" and "Get It Right" are both taken from the album "Get It Right" By Claire Davis which was released back in April 23.. Both the songs did very well on the soul scene worldwide. "Intuition" even got played in a Bumble dating ad and there was a big demand to get it pressed onto a 45. So here it is!
"Intuition" A love song about trusting your gut, Davis' third single "Intuition" was a collaborative effort between Davis and her primary writing partner and producer, Scott McCannell. When McCannell brought the track to Davis to compose melody and lyrics, she translated the playful quality of the music into the push-and-pull feeling of a budding relationship. Davis explains: "I'm a big proponent of following your gut and not playing games with people. My theory is, you always know what the right move is but we can get in our own way by overthinking. Sometimes in relationships we're scared to say what we feel out of fear, but we always have the answers within us". Another trusted collaborator, composer/arranger La-Nai Gabriel, arranged the soulful background vocals, performed by Aphrose, Tegan Michelle Gordon, and Chynna Lewis. Staying true to soul music's analog roots, the song was recorded straight to a 1-inch 8-track tape machine and showcases some of Toronto's top-tier musicians. Davis continues: "This was a track that really came together fully in the studio once all the musicians were together. Particularly when my percussionist Juan Carlos Medrano felt like the groove could benefit from adding a guiro, we really found the pocket. It quickly became one of my favourite songs on the album because of its feel-good vibe, and I'm a sucker for a yearning love song.
"Get It Right" was the title-track of the album which began as a jam between Davis on guitar, producer Scott McCannell on bass, and drummer Chino deVilla. "The lyrics were inspired by my relationship with my partner and the intention that we both have to work on healing ourselves in order to make our partnership work More
"Intuition" and "Get It Right" are both taken from the album "Get It Right" By Claire Davis which was released back in April 23.. Both the songs did very well on the soul scene worldwide. "Intuition" even got played in a Bumble dating ad and there was a big demand to get it pressed onto a 45. So here it is!
"Intuition" A love song about trusting your gut, Davis' third single "Intuition" was a collaborative effort between Davis and her primary writing partner and producer, Scott McCannell. When McCannell brought the track to Davis to compose melody and lyrics, she translated the playful quality of the music into the push-and-pull feeling of a budding relationship. Davis explains: "I'm a big proponent of following your gut and not playing games with people. My theory is, you always know what the right move is but we can get in our own way by overthinking. Sometimes in relationships we're scared to say what we feel out of fear, but we always have the answers within us". Another trusted collaborator, composer/arranger La-Nai Gabriel, arranged the soulful background vocals, performed by Aphrose, Tegan Michelle Gordon, and Chynna Lewis. Staying true to soul music's analog roots, the song was recorded straight to a 1-inch 8-track tape machine and showcases some of Toronto's top-tier musicians. Davis continues: "This was a track that really came together fully in the studio once all the musicians were together. Particularly when my percussionist Juan Carlos Medrano felt like the groove could benefit from adding a guiro, we really found the pocket. It quickly became one of my favourite songs on the album because of its feel-good vibe, and I'm a sucker for a yearning love song.
"Get It Right" was the title-track of the album which began as a jam between Davis on guitar, producer Scott McCannell on bass, and drummer Chino deVilla. "The lyrics were inspired by my relationship with my partner and the intention that we both have to work on healing ourselves in order to make our partnership work More
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Label:Lovemonk
Cat-No:LMNK81LP
Release-Date:17.05.2024
Genre:Pop
Configuration:LP
Barcode:8437019516536
1
Daga Voladora - Cristinópolis
2
Daga Voladora - Ceniza Plateada
3
Daga Voladora - Quise Ser
4
Daga Voladora - Lejos De La Multitud
5
Daga Voladora - Me Pasará Contigo
6
Daga Voladora - Fosforito
7
Daga Voladora - Diamante
8
Daga Voladora - Me Vi Penando
9
Daga Voladora - Catedral
Daga Voladora's last album came out in 2016. To alleviate such a long wait, only a couple of celebrated singles. Now, finally, Cristina Plaza (identity gracefully hidden under the Daga Voladora name that was before Gran Aparato Eléctrico and also a quarter of Los Eterno and half of Clovis) releases an album and does it, for the first time, in vinyl format. "Los manantiales" is the title of the happy and long-awaited return of an artist that never completely left.
"Los manantiales" ("The Springs") refers to all those sources from which I drink to make my songs: Stereolab, Broadcast, Galaxie 500, Cate Le Bon... And also some of the flamenco language. Flamenco in my own way, of course," explains Plaza. "Los manantiales" will also bring echoes of acts that the artist has not practiced as much such as Esclarecidos, Vainica Doble, Ana D or Kikí d'Akí. Deep voices for songs with substance.
But there is also that other idea of the spring that gushes forth when it can no longer be contained. "It has taken me so many years to make this album because I had a prejudice related to the previous one ["Primer segundo"] in which there was a coherence. Not finding that concept or thinking that this or that wasn't Daga Voladora, I couldn't get into it. Until I decided that maybe I didn't have to impose such a rigid direction on myself..."
Sketched in a town bordering Ávila where Plaza decided to get lost in the summer of 2022 and then finished off in a basement in Madrid for several months, the nine songs of "Los manantiales" make up a short album, premeditatedly short ("I don't like the songs to be longer than 2:50") but, above all, varied. Because, as can be sensed in the song Quise ser ( "I wanted to be a fictional hero, an expressionist painter, a promising actress"), here are all the imagined Cristinas and their different lives ("The song Lejos de la multitud is that longing of mine to be a vagabond"), an unmistakable sign that, as the artist confesses, "I am my own spring". And all this joyful dispersion comes from the premise with which Plaza approached the album: "I said to myself: 'Let's play'. I set out to have a good time. Suddenly, I wanted to do a dub track and I came up with Fosforito or a rock song like Lou Reed in the 80s and there was 'Me vi penando'. I wanted a rock record, an experimental record, something like Broadcast, and a musical! I wanted to do a thousand things!"
The result is a playful album, very enjoyable; but above all elegant and extremely precise. In both form and substance. Thus, the melodies are so rounded at first listen; the music would work perfectly on its own, stripped of lyrics that respond to the maxim, so often ignored, that there is really only one way to say things. "I have tried to refine the texts a lot. There are some phrases taken from Steinbeck, other things that emerge in a somewhat magical way. There's also Gary Snyder, Kerouac and his Dharma Bums, echoes of California..."
It's an album made, as usual with her, in the most absolute solitude (except for the collaboration of Andrés Arregui on sax and the final mix by Fino Oyonarte). Bareback. "I recorded everything with my computer, with my instruments, my analog keyboards, my rhythm boxes, little noises I make around... I don't make demos. I just do it. In a rough way. What I do do is repeat. The good thing about this method is that many things happen spontaneously and that's where they stay".
An album that, for all of the above, responds to the best notion of caprice. A whimsical whim, signed and finished off by the splendid cover designed by Beatriz Lobo, which feartures a painting ('La chica del King Creole') by the legendary artist Javier de Juan.
In "Los manantiales" there are many possible worlds, as many dreamed ones. Of course, those of Daga Voladora (not in vain, the album opens with a song titled Cristinópolis), but also those of any curious and sensitive listener who, by the way, will find more than one musical wink along the way. You just have to be attentive. More
"Los manantiales" ("The Springs") refers to all those sources from which I drink to make my songs: Stereolab, Broadcast, Galaxie 500, Cate Le Bon... And also some of the flamenco language. Flamenco in my own way, of course," explains Plaza. "Los manantiales" will also bring echoes of acts that the artist has not practiced as much such as Esclarecidos, Vainica Doble, Ana D or Kikí d'Akí. Deep voices for songs with substance.
But there is also that other idea of the spring that gushes forth when it can no longer be contained. "It has taken me so many years to make this album because I had a prejudice related to the previous one ["Primer segundo"] in which there was a coherence. Not finding that concept or thinking that this or that wasn't Daga Voladora, I couldn't get into it. Until I decided that maybe I didn't have to impose such a rigid direction on myself..."
Sketched in a town bordering Ávila where Plaza decided to get lost in the summer of 2022 and then finished off in a basement in Madrid for several months, the nine songs of "Los manantiales" make up a short album, premeditatedly short ("I don't like the songs to be longer than 2:50") but, above all, varied. Because, as can be sensed in the song Quise ser ( "I wanted to be a fictional hero, an expressionist painter, a promising actress"), here are all the imagined Cristinas and their different lives ("The song Lejos de la multitud is that longing of mine to be a vagabond"), an unmistakable sign that, as the artist confesses, "I am my own spring". And all this joyful dispersion comes from the premise with which Plaza approached the album: "I said to myself: 'Let's play'. I set out to have a good time. Suddenly, I wanted to do a dub track and I came up with Fosforito or a rock song like Lou Reed in the 80s and there was 'Me vi penando'. I wanted a rock record, an experimental record, something like Broadcast, and a musical! I wanted to do a thousand things!"
The result is a playful album, very enjoyable; but above all elegant and extremely precise. In both form and substance. Thus, the melodies are so rounded at first listen; the music would work perfectly on its own, stripped of lyrics that respond to the maxim, so often ignored, that there is really only one way to say things. "I have tried to refine the texts a lot. There are some phrases taken from Steinbeck, other things that emerge in a somewhat magical way. There's also Gary Snyder, Kerouac and his Dharma Bums, echoes of California..."
It's an album made, as usual with her, in the most absolute solitude (except for the collaboration of Andrés Arregui on sax and the final mix by Fino Oyonarte). Bareback. "I recorded everything with my computer, with my instruments, my analog keyboards, my rhythm boxes, little noises I make around... I don't make demos. I just do it. In a rough way. What I do do is repeat. The good thing about this method is that many things happen spontaneously and that's where they stay".
An album that, for all of the above, responds to the best notion of caprice. A whimsical whim, signed and finished off by the splendid cover designed by Beatriz Lobo, which feartures a painting ('La chica del King Creole') by the legendary artist Javier de Juan.
In "Los manantiales" there are many possible worlds, as many dreamed ones. Of course, those of Daga Voladora (not in vain, the album opens with a song titled Cristinópolis), but also those of any curious and sensitive listener who, by the way, will find more than one musical wink along the way. You just have to be attentive. More
Label:On High Records
Cat-No:OHR006
Release-Date:17.05.2024
Genre:Dub/Reggae
Configuration:LP
Barcode:671891332800
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Label:On High Records
Cat-No:OHR006
Release-Date:17.05.2024
Genre:Dub/Reggae
Configuration:LP
Barcode:671891332800
1
The Heptones - Cool Rasta
2
The Heptones - Black On Black
3
The Heptones - Peace And Harmony
4
The Heptones - Do Good To Everyone
5
The Heptones - Dreadlock
6
The Heptones - Suffering So
7
The Heptones - Autalene
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The Heptones - Baga Boo
9
The Heptones - Wah Go Home
10
The Heptones - Over And Over
Cool Rasta is an album by The Heptones, which consisted of Earl Morgan, Barry Llewellyn, and Leroy Sibbles. Brought up in the Trench Town area of Kingston, their first successful record was Fatty Fatty, first released in 1966. Since then, they have had several hits including 'Country Boy,' 'Mama Say,' and 'Book Of Rules.' At the guiding hand of top producer, Harry Johnson they recorded Cool Rasta, which came out in 1976. The title track of the album is a typical example of The Heptones at their brilliant best.
Remastered and pressed on audiophile virgin vinyl for your listening pleasure. More
Remastered and pressed on audiophile virgin vinyl for your listening pleasure. More
Label:On High Records
Cat-No:OHR007
Release-Date:07.06.2024
Genre:Jazz
Configuration:LP
Barcode:5050580825673
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Label:On High Records
Cat-No:OHR007
Release-Date:07.06.2024
Genre:Jazz
Configuration:LP
Barcode:5050580825673
1
Leroy Vinnegar - Twila
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Leroy Vinnegar - Funny Time
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Leroy Vinnegar - Glass Of Water
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Leroy Vinnegar - Damn! Somebody Stole My Pants
5
Leroy Vinnegar - My Romance
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Leroy Vinnegar - Muffin Man
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Leroy Vinnegar - Hey Mon
Bassist Leroy Vinnegar has gone down in history as the person who popularised the "walking bass" style in jazz. He was worked with Chet Baker, Eddie Harris, Les McCann, Lee Konitz, and Stan Getz. His milestone 1973 album 'Glass Of Water' featuring Dwight Dickerson on the rhodes and wurlitzer slipped into obscurity shortly after release. However, in recent years it has been rediscovered and has become highly coveted as a grail for crate diggers and jazz collectors worldwide.
On High is proud to present the first ever reissue of this long forgotten classic. Remastered and pressed on audiophile virgin vinyl to fully capture the wonderful spacey emotion of Vinnegar's classic LP. More
On High is proud to present the first ever reissue of this long forgotten classic. Remastered and pressed on audiophile virgin vinyl to fully capture the wonderful spacey emotion of Vinnegar's classic LP. More
Label:On High Records
Cat-No:OHR005LP
Release-Date:22.03.2024
Genre:Soul/Funk
Configuration:LP
Barcode:671891332817
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Last in:07.05.2024
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backorder
Last in:07.05.2024
Label:On High Records
Cat-No:OHR005LP
Release-Date:22.03.2024
Genre:Soul/Funk
Configuration:LP
Barcode:671891332817
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Ray And His Court - La Senorita Lola
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Ray And His Court - Lo Sabia
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Ray And His Court - Venimos Acabando
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Ray And His Court - El Alacran
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Ray And His Court - La Pena Pa'Goza
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Ray And His Court - Cookie Crumbs
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Ray And His Court - De Eso Nada Monada
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Ray And His Court - Sunny
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Ray And His Court - Soul Freedom
The King of Miami's Cuban music scene, the late Ray Fernandez, is featured here fronting his enormously talented family band on an album that first brought him into the spotlight.
Heavily influenced by deep funk and Latin music, their psych-tinged creations also incorporated many other kaleidoscopic sound infusions, including soul, calypso, Afro-Cuban and salsa. Fronted by Ray Fernandez, his band included his very talented wife and two sons and proved to be a highly influential group on Miami's Latin music scene in the late 70's. What also made them stand out was their versatility; this group could easily shift from Cuban funk to Reggae in a blink. Their instrumentation was also different to the 'norm', and where a lot of similar sounds were saxophone-led, this band used a bass clarinet. Instead of bongos, Ray and His Court played with the unique Osi drums from Africa.
Sampled heavily by DJs worldwide (including DJ Shadow) On High presents a must have piece of music for any serious Latin, funk, or rare groove collector. Remastered and pressed on audiophile virgin vinyl for your listening pleasure. More
Heavily influenced by deep funk and Latin music, their psych-tinged creations also incorporated many other kaleidoscopic sound infusions, including soul, calypso, Afro-Cuban and salsa. Fronted by Ray Fernandez, his band included his very talented wife and two sons and proved to be a highly influential group on Miami's Latin music scene in the late 70's. What also made them stand out was their versatility; this group could easily shift from Cuban funk to Reggae in a blink. Their instrumentation was also different to the 'norm', and where a lot of similar sounds were saxophone-led, this band used a bass clarinet. Instead of bongos, Ray and His Court played with the unique Osi drums from Africa.
Sampled heavily by DJs worldwide (including DJ Shadow) On High presents a must have piece of music for any serious Latin, funk, or rare groove collector. Remastered and pressed on audiophile virgin vinyl for your listening pleasure. More