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STUDIO is Benny's 5th studio album. Not just casually called by its name. No, there is something else happening here. The word 'STUDIO' originates from the Latin word 'studium', which stands for 'studying'. The studio is the place where painters, artists and musicians learn, study and create. It's the place where Benny is most comfortable.Benny's Amsterdam based studio has an amazing view of the canals. STUDIO is an ode to this place, which he built 4 years ago, and everything it has brought him. Because it brought him more than just the music he produced there. It gave him his place in the world and with it so many other things. All of which is to be heard on his new album. You find him exposing true love, follow his search for a home, he opens up about settling down and he speaks of breaking through old patterns in which he found himself being stuck for years.Thanks to the co-operation with the young BEA1991 Benny is introduced to instruments that are new to him, after which he found himself coming out of the warm analogue world of the 70's and 80's and go straight into the icy digital world of the 90's.And with that the album STUDIO is born. The result is interesting. The record is not at all icy. The warm sound of Benny, which we have come accustomed to, is yet again prominent on this album. STUDIO is an album, full of color, beats and melancholy, but with songs that go much deeper than we are used to from Benny. It's remarkable that he has worked with far more people on this album than he did on previous records. Mayer Hawthorne (America's number 1 blue eyed soul singer) sings on one of his tracks, we hear Rick Rubin's protégée GoldLink rapping and we find Stone Throw's golden boys The Stepkids in a surprising role of mixing the album. Even though Benny has been crossing borders with his work for years, he only seems to really get the full effect of it just now. STUDIO is a record with international allur.

Detroit rapper/singer/songwriter & brother of the late great J DIlla & member of Slum Village, steps forward w/the able assistance of Potatohead People for a brilliantly-produced, diverse, & long overdue solo effort.

"Tap Water" is XL Middleton's first full-length LP in the modern funk mode. As with his previous single releases such as "Keep It Funkin" & "Press Play" (with Zackey Force Funk & Eddy Funkster), Middleton seeks to continue building on the links between 80's boogie funk & 90's g-funk, drawing heavily from both wells to create a fresh new sound that pays homage to its blueprints while continuing to progress and innovate at the same time.For the most part, the songs on "Tap Water" avoid the instrumental-only ethos of much of today's funk, instead opting for more traditional song structures, resulting in music with easily relatable content. Whether it's a love song ("I'm Ready"), a lust song ("Psychic"), speaking out on the disposable, trend-obsessed culture of the modern day ("Do Me Like That"), or simply declaring his funk dominance ("Bumpin'"), "Tap Water" is a well-rounded album designed to appeal to anyone from the most discerning funkologist to the more casual purveyor of all things on the one.All songs written by XL Middleton except for "Do Me Like That" written by XL Middleton & Moniquea.All keys, vocoder and programming by XL Middleton.Guitar on "Bumpin'" & "I'm Ready" by Damon Aaron.Guitar on "Sunshine & Power Lines" & "High On Your Love" by Mike Kobayashi.Guitar & talkbox on "You Know It's True" by Diamond Ortiz.

Original Rio beach boy Marcos Valle returns with a Brazilian masterpiece. Evoking his Carioca sound - where expansive orchestral sweep meets beautiful melody and complex harmony - Valle mixes perfect romantic bossa-pop with cinematic brass and strings. This new recording explores a six decade career that has swung between pop, bossa nova, delicate psychedelia, jazz, and funk. Responsible for bossa classic 'Summer Samba (So Nice)' Valle has collaborated with Leon Ware, Sarah Vaughan, & Chicago, seen his track 'Ele E Ela' sampled by Jay Z for Blueprint 3, and his songs recorded by the likes of Frank Sinatra and Bebel Gilberto.EstaticaMany of these tracks sound strangely familiar, as if you've always known them, fresher and more immediate than ever in Valle's modern renaissance on Far Out Recordings. This album ' Valle's fourth original recording for Far Out ' features standout compositions including the instant classic 'Vamos Sambar', the infectious jazz of 'Bai'o Maracat', and the stunning duets and brass of 'Papo De Maluco'. Valle's cinematic orchestral 'Novo Acorde' and the rich psych incidentals show that Valle is as creatively inspired "by Rio, music, and a lifetime of travel touring the globe" as he ever was as the original Ipanema beach poet. Produced by Daniel Maunick (son of Bluey, Incognito), recorded, mixed, and co- produced by David Brinkworth (Harmonic 33), and with Marcos' unparalleled arrangements, aided by horn and string arrangements by Jesse Sedoc Vocals, Valle is brought back with a widescreen bang.Partnership with Far Out RecordingsJoe Davis' flagship UK based Brazilian record label brought together Valle and a host of famous Brazilian musicians in the early '90s for the legendary Friends From Rio series of albums, which breathed new life in to Valle's career. Working with producers Joe Davis and Roc Hunter he recorded three acclaimed albums 'Nova Bossa Nova' ('98), 'Escape' ('01) , and 'Contrasts' ('04) and saw his music remixed and by the '90s drum 'n' bass explosion & the hottest DJs & producers from Bugz In The Attic to Jazzanova, Valle has always 'stayed abreast of the times without compromising the spirit of bossa.'Marcos Valle's Extraordinary Six Decade CareerOne of the second-wave of early bossa nova composers, following in the footsteps of Gilberto and Jobim, he is 'the man who punched Marlon Brando and made millions'. Responsible for the bossa classic 'Summer Samba (So Nice)', written by the 21-year-old Valle as a tribute to the joys of life as a Rio surfer, it is the one bossa nova tune apart from "The Girl from Ipanema" that everyone knows. Made into a hit by Walter Wanderley in 1967, the song has been covered by hundreds of artists. Born in Rio de Janeiro in 1943, Marcos began writing songs with his brother Paulo Sergio (who wrote lyrics to two tracks on 'Est'tica'). As his reputation grew, he released his debut album 'Samba Demais' for EMI Brazil. It was his first release on Verve however that brought him well-deserved fame, 'Samba '68' becoming a Brazilian musical landmark thanks to tracks such as 'Batucada' and 'Crickets Sing for Anamaria'. The early-seventies spawned two Valle masterpiece's, 'Garra' and 'Vento', which combined the 'cosmic expansion of Pink Floyd with the orchestral sweep of Ennio Morricone' MOJO. From there Valle has written brilliant album after another and was even commissioned to provide the equivalent of the USA Moss/OZ magic for the Brazilian edition of Sesame Street.

Ivan Ave & Fred Fades are back on the map with another Norwegians finest collabo. Ivan Ave can't do wrong. After dropping his critically acclaimed "Low Jams" EP with Mndsgn (Stones Throw), he now is back with another project to hold you over till his solo LP entirely produced by Mndsgn will drop early spring 2016. "Frutiful" though, was entirely produced by his Norwegian partner in crime Fredfades, who has been making noise in his own & has a handful of releases under his belly. Proving norwegian HipHop is cool as Norwegian outdoor temperatur, his versatile sound largely incorporating his incredible collection of rare modern soul and boogie is the perfect backdrop for Ivan Ave's poetic tales about urban life, relationships and daily observations. Just like his project with MNDSGN, Ivan seems to have a gift in finding producers with which he manages to create coherent projects that don't sound thrown together...Follwoing their "Brains" from 2009 & "Breath" EP 2014 by Fred and Ivan, the "Fruitful"LP was a just the next logical step, after Ivan moved to Oslo. The two started to hang out more and started recording new music. Fred took care of the mixing and tried to make a red line sound wise. The combination of these two is so fresh and brings a new, whilst still classic, sound to the game with a little help from guests such as Jakarta's own JuJu Rogers and Fresh Daily. Ivan Ave's solo album, entirely produced by Mndsgn will drop early in 2016.

'Acabou Chorare' is the second album from 'Novos Baianos', or 'New Bahians', who formed in Bahia, Brazil in the 1960's. They are considered to be one of the most important and revolutionary groups in Brazilian music.'Acabou Chorare' - translated as 'Stop Crying' - was originally released in 1972 by Som Livre after the success of their first LP 'É Ferro na Boneca’ in 1970. It is considered to be one of the most important and influential albums of all time, charting at number one in a Rolling Stone Brazil's 'Top 100 Brazilian Albums Ever' chart. 'Preta, Pretinha’ placed 20th in the same publications list of the greatest Brazilian songs of all time. Upon release, 'Acabou Chorare' stayed near the top on the album charts for more than thirty weeks, and received huge radio support across the country. It also became very popular in Europe shortly afterwards.The unique sound of this record is a result of the fusion of samba, MPB, rock 'n' roll and bossa nova, and strong influences from Joao Gilberto, who frequently played with the group, and bossa nova legend Gilberto Gil.The album was written by Moraes Moreira, Luiz Galvão, Jorginho Gomes, Assis Valente, Pepeu Gomes and Paulinho Boca de Cantor. After recording, the group moved to a communal house outside Rio, where Galvão apparently shot video footage of the group on his Super-8 video recorder, some of which is featured in this documentary https://www.youtube.com/watch?v=m6J0bg9MdMo. Baby Consuelo was a member of the group - she went on to have a very successful solo career.In 1969, Gilberto Gil and Caetano Veloso invited Pepeu to accompany them in their farewell show before their exile, the emotional 'Barra 69' concert.Gatefold single LP including replica 8-page, full size booklet.

Here's something of a treat for disco diggers: an essential collection of little-known, hard-to-find and downright essential Brazilian disco and boogie. Put together by Brazilian digger Junior Santos, Brazilian Disco Boogie Sounds is full of must-have material, from the familiar bounce and punchy horns of the Teena Marie-ish "Moral Tem Hora" from Cristina Camargo, to the sweet shuffle and carnival-friendly swing of Carlos Dafe's "Escorpiao". With quality material throughout picking highlights is tough, though we're particularly fans of the jazz guitar-laden boogie of Famks' "Labrinto" and Sandra De Sa's thrilling "Negra Flor".

This is the Dub version of the previous album of Blundetto « World of ».In the largest Jamaican tradition, Blundetto decided to revisit the songs from his latest album "World of" in dub. With his partner and producer, Blackjoy, they locked themselves in the studio with delay chambers and a multitude of effects for tweaking sounds and extract the substance of dub.The result offers a variety of sound and atmosphere for the greatest pleasure of the ears.

8 rare & obscure gems from the Caribbean territories, selected by Waxist !It’s now pretty obvious that Disco influence has not only been powerful in western clubs. It has also influenced musicians all around the world, from France to Brasil, as Favorite Recordings proved it with the previous volumes of the "Disco Boogie Sounds" compilations. West-Indies islands are no exception to the rule.Indeed, at that time in the Caribbean territories, local musicians and producers seized the sound of their US counterparts, and make it their own, melting-up disco, funk, and boogie (even early rap) elements with some more traditional or local styles. Besides, the important size of the Caribbean diaspora in the US, Canada, or in the UK, has certainly played a huge role in making those two musical worlds meet. At the end, West-Indies Islands have not only tried to reproduce US dance hits locally, they also bred their own version of Disco.Apart from some obvious titles which made it to the charts ("Trinidad" by John Gibbs to name one), very few was known on these productions until recently. Most of it has remained obscure, being only played by a handful of record collectors & DJs. Having grown up for most of my childhood and teenager years in a small island from the Indian Ocean, I was immersed in the “sun & sand” vibes at an early age, which helped molding my musical tastes. If the sound of the Caribbean Islands is very different from the Indian Ocean's one, it’s anyway no surprise that I have been attracted quickly by the West-Indies’ 70s music productions, as a DJ and record collector.From an initial pre-selection of 40 tracks, Favorite Recordings and I teamed up to narrow down the actual tracklist. With no pretention to be exhaustive, this selection represents a tiny sample of a broader ocean of quality Caribbean Disco/Boogie tunes. It will take you to various places like Virgin Islands, Jamaica, or Trinidad, as well as a couple of Western major cities, where West-Indies diaspora is strong (New York, London).The soundtrack of this journey goes from Disco/Rap sounds, with the obscure "Macho Man" by Eddie & The Movement, to weird Afro-Disco/Funk influenced songs, such as “My African Religion” by Jamaican singer Paul Hurlock. Also featured here are a couple of personal secret weapons such as instrumental "Bermuda Triangle" by Musicism, or "Going to the Party" by Barry Bryson.Favorite Recordings & Waxist are very happy and proud to bring back lights on some of these rare tunes.

NICE US ORIGINAL LP IN GREAT SHAPE.VERY NICE PLAIN SLEEVE WITH VERY LIGHT CORNER WEARS.OPENED ON THE TOP ON OF THE MIDDLE EDGE (8CM)...