US

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

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.

San Francisco native and modern funk wiz Diamond Ortiz makes his first appearance on Austin Boogie Crew Records with "Goodies", a sweet and enticing 12" EP of quality jams! Coming off the buzz of his acclaimed "Loveline" LP, Diamond takes a slightly more chill but equally party-centric approach on Goodies. This is the first 12" release on ABC and it's fire from front to back!

Most Excellent Unlimited's Danny Krivit re-edit series continues with more, erm, "most excellent" material. He begins with the heavy drum breaks, guttural funk guitars, bombastic bass and winding saxophones of "City", smartly emphasizing the densely layered percussion and the original track's various instrumental solos. On the flip you'll find the equally intoxicating and mind-altering "Sun, Sun, Sun", where chanted vocals - in tribute to that big orange ball in the sky - rise over a metronomic synth bassline and an African-influenced rhythm track. It's a chunk of genuine dancefloor voodoo just crying out to be played at sunset and sunrise.

Montreal's KenLo Craqnuques has been bubbling away in the underground for some time, but lucky for us Hot Shot Sounds took notice and now present his first outing on vinyl with the Wheeels EP. There is an irresistible funk to the sounds that Craqnuques conjures up, pushing fat, Moog-esque basslines and low slung machine beats rolling at an easy tempo that hark back to the golden days of boogie and electro funk. "Mollusque" indicates how his is far from a throwback sound though - this is up to the minute instrumental RnB that recognises the true roots of the genre while looking to the future, and it sounds utterly fresh.

Albuquerque's Plastik People continues to be the leading bastion for hard swinging garage house in the Deep South. This time label boss Marc Cotterell has linked up with Dominic Balchin as Tuff Vibes to bring the classically informed heat to the people who just can't get enough of that warm, soulful sound. "Leave Me Cold" does the absolute opposite of its title thanks to the oodles of piano, organ and more melodic flexing besides. "Jazzy '99" is a more accurate guide with its sassy sax licks and vibing chords, and then "Rhythm Of The Vibe" pushes the tempo up for a purely dancefloor minded workout.

NDATL Muzik continues, this time reaching out to Belgian duo FCL for this catchy tune 'Cherry Pie' first appearing on Defected's In The House series Croatia mixed by label owner Kai Alce

Awesome Tapes From Africa continues to unearth must-hear gems for a wider audience with its reissue of South African bubblegum music stars Umoja's 1988 EP 707.Bubblegum music was defined by its call-and-response vocals and catchy synthesizer-led melodies. Helmed by 'Om' Alec Khaoli, who turned to the pure pop form as an escape from apartheid in the mid-80s, Umoja's EP 707 was a chart-topping, radio-friendly hit for the genre in 1988 that achieved double-platinum status.Umoja translates as 'oneness' or 'unity' in Swahili. 'Bubblegum music was about escape', explains Khaoli in the press release. 'If you had grown up in South Africa at the time, there was nothing more in your life than oppression. It was even in your dreams. Anything that was a way out was welcome 'When this music was playing everyone just wanted to dance, just have a good time.'