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Aptly titled, “1996 Beat Tape Vol. 1”, DJ Spinna’s latest instrumental album features 18 original beats all produced on the EMU-SP1200 & Akai S950 circa 1996. With over 25 years in business, the Brooklyn native is tied to nothing short of greatness and a legacy of diverse extensions since his beginnings as a house DJ in the late 80s. Many know Spinna for being in the elite group of seasoned party rockers where his resume includes collaborations with Stevie Wonder, Spike Lee, Michael Jackson & Prince (Soul Slam) tribute parties and several US/international bookings a month. Others regard him as one of house music’s best for his well orchestrated dance tracks that blend jazz, soul & funk, caribbean and latin themes into his trademark, “Intergalactic Soul”. Producing in the mid 90s with his underground duo, the Jigmastas, Spinna acquired national recognition for remixing Das Efx’s, Microphone Master single. He would gain larger recognition for his classic remix of De La Soul’s, Stakes Iz High single originally produced by the legendary Jay Dee aka J Dilla who became a friend in addition to being a contemporary. After a deal with Rawkus Records and producing some of Eminem’s early official appearances, Spinna achieved placements as a go to beat maker for legends, veterans and new MC’s. Though DJ Spinna has found continued success away from his roots, he has always satisfed his core audience whether producing for Homeboy Sandman, Phonte, The Jigmastas or his own solo projects.”1996 Beat Tape Vol. 1” is a rare peek into his deep archive. Much of the material was sourced directly from aged dat tapes and ?oppy disks from the year 1996. Don’t let the 20 year lapse mislead that these compositions are primitive to today’s standards. The 18 track fully instrumental LP proves the advanced production techniques and sampling ideas Spinna employed are still ahead of it’s time long before much of the resurgence of 90s revivalist themes from today’s artists. The “1996 beat Tape” is the “Real McCoy”. All music was produced before computers, before accessible home studios and before instrumental hip-hop was a category. Many of the beats were made with vocalists in mind. Constructed on turntables, the EMU-SP1200 and the Akai S950, historians will appreciate the album cover designed by Joe Buck which depicts intimate photos of Spinna in his studio with the actual gear used to create the album’s contents. This is only the frst volume and the debut venture between Redefnition Records and Spinna’s own Correct Technique Records. With 2 plus decades of unreleased material, who knows what the future holds, but history shows that when DJ Spinna releases an instrumental album, they sell fast.- LP pressed on orange vinyl- Limited edition vintage instrumental collection from legendary producer, DJ Spinna- Will be supported by video content of Spinna in his studio, discussing his career and production techniques

A Safe Place to Be Naked is S. Fidelity's debut longawaited debut record via Jakarta Records. "A Safe Place to Be Naked" is S. Fidelity's debut album, which will be released on May 5th via Jakarta Records. It features 12 tracks, capturing the producer’s quest for a fresh sound, which he elaborated over the last two years, locked in his tiny basement studio in Berlin. Evolving from there the he has also released an EP with Feelin Music in 2014, and “Sidekicks”, a joint project with long-term friend and collaborator Bluestaeb in 2016.By working with artists like Tru Thoughts singer Harleighblu and label mate JuJu Rogers as well as fellow producers Bluestaeb and Shuffle Jack, his LP “A Safe Place to Be Naked” plays with sampled vocals and even his own voice – often distorted, but still present.S. Fidelity was born in St. Gallen, Switzerland, mainly works in Berlin and currently resides in London. As a producer he developed a unique and always driving sound, combining sampling techniques and classic beat making with unusual drum patterns, modern synth and atmospheric sound effects. S. Fidelity’s laid-back eclecticism is marked by a deep knowledge and fascination for Pop culture as a whole. His idea of fresh HipHop references to various genres, including Jazz, Ambient, Disco and Electronica.The LP contains an A2 poster & metall sticker.

Odion Livingstone present another essential reissue of a rare gem from the Nigerian archives, Grotto’s lost Afrorock classic from 1977, ‘At Last’.Formed at “Greg’s” (St Gregory’s college in Ikoyi, Lagos), Grotto came up at the same time as several other in?uential student bands based there, including Ofege. “As Grotto, we played a rock/funk fusion. We were probably aged 15, 16 or thereabouts and we were heavily into music, we listened to Jimi Hendrix, Carlos Santana and lots of rock bands,” explains lead guitarist Soga Benson.Their debut album is a heavyweight trip, drifting from psychedelic workouts to crunching breaks and funkier directions. “Odion Iruoje was the A&R manager at EMI at the time and he auditioned us, liked the material and signed us. He also produced our recordings,” continues Benson. “Most of us were boarders and the school encouraged music and had instruments so we had time to jam and really gel together. The group still continued after we left Gregs. We had to juggle A-Levels with gigs and we used to skip school whenever we had a show, rehearsal or a recording date.”While many Nigerian student bands were studio-based projects, Grotto was an active live unit during the ‘70s. “We played at The Shrine with Fela, with Tee Mac at Batakoto, with Sonny Okosun at Kakadu, Segun Bucknor at Granada Hotel.”This frst international reissue of Grotto’s debut album comes with a full interview with Soga Benson and producer Odion Iruoje + a selection of rare and previously unseen photos of the band. The album is fully remastered by The Carvery.

The denitive collection of funk beats from Nassau's The Beginning Of The End, this set is a comprehensive look at the family band's tight take on sizzling, sibling grooves soaked in Bahama night life, circa 1969. Includes the hit "Funky Nassau", plus 8 more cuts.

Molotov’ represents the best elements of its creators, Brooklyn rapper, Saga and Chicago producer, Thelonious Martin. The rhymes are potent and powerful, taking down everyone from cynics to haters, wack emcees, and inner demons. And the instrumentals serve to bring those words to life by way of head-nodding percussion, and slick sample flips.Because it was crafted by one rapper and one producer, ‘Molotov’ is especially effective, and have made it clear why their approach works so well, especially as a duo. The 12 tracks move in and out of each other seamlessly, while tackling a variety of sounds and subject matter, all with an effective supporting cast of notable features. Like the one-two punch of the straight-up banger “Karma,” which features a fired-up Freddie Gibbs, and the Fashawn-assisted lead single, “Yesterday.”“With Molotov, it was about maintaining the level of quality I'm known for,” the producer says, noting that it all started with the two sending tracks back and forth. “As the project was coming along, we started building the proper chemistry to make this special.”Saga agreed, calling the project’s conception “organic." It was that unrestrained vibe that he says “allowed me to be free with my thought process, and write for the moment.” As a result, he was able to explore new and intriguing ideas, like how “chaos is the end result of a long process of inner discontent within our own lives.” And you can hear him eloquently rhyme about this subject on "Misunderstood," his favorite cut on the 12 track LP.And the music doesn’t stop with ‘Molotov’’s release in February. The album will also be available on vinyl in April, courtesy of Coalmine Records. This falls prior to the duo’s departure for Europe, where they will embark on a multi-city tour in promotion for the LP, in late May/early June.

The mark that the late producer J Dilla left upon hip-hop during the 90s and early-to-mid 00s is undeniable, and his work with De La Soul, Busta Rhymes, The Pharcyde, and many more has long been cemented in the annals of hip-hop history. It was during his time as a member of seminal Detroit group Slum Village however that ranks as among his greatest. His work with rappers Baatin and T3 would be a strong influence upon modern rappers like Kanye West and Kendrick Lamar, and earn widespread critical praise, and comparisons to other legendary groups like A Tribe Called Quest. In speaking retrospectively on their most famous album "Fan-Tas-Tic Vol. 1", The Roots' drummer Questlove has said of the release that it "single-handedly birthed neo-soul." J Dilla has been gone for over 10 years now, and Slum Village has moved on from their time with the legendary beatsmith, recruiting new members along the way. Despite this, new Dilla compositions are still being discovered, and his legacy continues to be shared and celebrated with a modern hip-hop audience. Ne'Astra Music Group now presents a new compilation of rare Dilla material: Vol. 0. Ten tracks featuring the classic Slum Village lineup of Dilla on vocals and production, with Baatin & T3 also on the mic, collected by modern SV member Young RJ from unreleased material and demos recorded between 1994 and 1997. The knowledgable hip-hop head may recognize key tracks from the circulated EPHCY Sessions, while others have never seen the light of day. A piece of hip-hop history that would have otherwise wallowed in obscurity, until now.

Reissue from this soul/jazz-funk fusion album originally released in 1982 on Poet Records. 500 copy LTD edition!This sought-after album is an amazing and unique creative project produced and composed by David Eric Tillman including outstanding performances by some of the highest-level musicians whose common thread was their ability to kill up tempo and modal bop and excel in this jazz-funk/fusion style thanks to their up bop think quick knowledge.This gem contains nothing but brilliant tracks like “…Space…Rapture”, “Love Is How”, “New Anniversary Waltz”, “It Must Be E.S.P.” and “(Sing) A Simple Song Of Praise”. Incredible golden lead and backing vocals, a super tight rhythm section, forward thinking arrangements, and an amazing combination of piano, Rhodes and various remarkable synthesizers makes this recording timelessly fresh. The beautiful “Time Is Love”, a tune of positive outlook written during her jazz composition studies, is performed by the one and only Carmen. Killer from the beginning to the end, one of our all-time favorite soul/jazz-funk LPs.Drummer, percussionist, producer and composer Andrew Scott Potter started playing jazz with Malauwi, Fred Anderson and Bill Brimfield in 1968. In addition to his collaboration with David E. Tillman, he has also played with Minnie Riperton, Michael Wolff, Alex Foster, John Scofield, Chip Jackson, Walter Bishop Jr., and Marcus Miller.Pianist, vocalist, composer, producer and arranger David Eric Tillman, notably played with Dadisi Komolafe being featured on his highly sought after Hassan’s Walk LP. He also worked with Malauwi which is how he met Andrew Potter. Together they formed the Poet label and prior to this offering released the sublime “N.Y. To L.A.: Coasting” LP in 1980.Jazz vocalist and composer Carmen Lundy is one of today's most talented and respected jazz singers having performed and recorded with musicians such as Kenny Barron, Ray Barretto, Courtney Pine, Roy Hargrove, Ron Carter, and Robert Glasper. In Harlem NYC in the late 1970s she was also part of a group of emerging young musicians formed by Walter Bishop Jr. with Marcus Miller on bass, Mayra Casales on congas, Ricky Ford on sax, and Kenny Washington on drums who was later replaced by Andrew Potter. Potter fell in love with Carmen’s work and decided to include “Time Is Love” on this album.The rest of the band is no less a dream team: bass player, producer, arranger, composer & vocalist Brad Bobo who wrote & arranged for the Notations, Willie Williams, the Procedures and The Lost Family, also recorded with Eddie Harris, Wilton Felder, The Crusaders and Natalie Cole. Vocalist Lillian Tynes recorded with Donny Hathaway, D.J. Rogers, Norman Connors, Jean Carn and Bobby Womack. Adam Rudolph went on to play and record with Yusef Lateef & Pharoah Sanders. Gary Bias on sax, went on to play with Earth Wind and Fire.

His very last name, Dinleten, means 'listen'. So back to Anatolia once more and hear the unhinged guitar and electric baglama behind Turkish psychedelia's charismatic singer Ersen. He was discovered by Cem, was connected to Mogollar and 3 Hür-El, and even switched backing bands with Cem before finally hitting the charts with his own group Dadaslar. There's loads of B-sides and burly moves on these 70s singles which make his second LP, released in 1978. Wicked funk drums, fuzzy guitars,organs and the poweful voice of Ersen. Includes "Zalim", the killer psych-funk track made famous by the Gaslamp Killer's edit.

Debut album, released in 1977, by one by one of Anatolian Rock's most sheerly talented vocalists.Turkish psych-rock with some amazing funk drums and fuzzed out guitars. Ersen spent time in Mogollar, 3 Hür-El, and Cem Karaca's Kardaslar before cementing his reputation as the frontman of Dadaslar. His voice can range from one that has a soft edge (where he swallows his notes a bit, like a muezzin would), to growling belt-outs that could have fronted any 80s metal act.Ersen and his ever-changing backup band wore Slade haircuts and loud jackets with rainbow pants or silver platform shoes, and they grew their moustaches just as long as the Beatle bangs of their Western counterparts.Get the synth-wizz, funk breaks and fuzzed-out prog riffage behind one of Anatolian Rock's best vocalists!Original gatefold artwork, insert with liner notes by Angela Sawyer (Weirdo Records), remastered sound.