MINT

Barcelona based Alma's 3rd hearkens back to the root of Afrobeat, extended, elegant arrangements, socially & politically charged lyrics, & irresistible grooves. B side f/ remixes from DJ Farmo, DJ Quiet, DJ Phader, Los Kalakos, & Ray Lugo.

Limited edition black 12" vinyl housed in a black paper polylined sleeve. B-side 'Together' is exclusive to the 12"

Gatefold 180 gram vinyl 3xLP + 2xCDOriginal Ghanaian Highlife & Afrobeat Classics 1967-1981 ?Ghanaian highlife master and “The Golden Voice Of Africa”, Pat Thomas,returns with his first full career retrospective on Strut this Autumn, covering his late ‘60s big band highlife recordings through to the “burger highlife” movement of the early ‘80s. Growing up with music around him (“my uncle, King Onyina, was an important highlife musician”), Thomas was inspired to become a singer after hearing vocalist Joss Aikins: “He sang with Broadway Dance Band and Decca in Ghana chose him to sing with any group that came into their studios.” When a new incarnation of Broadway Dance Band was created in ‘67, led by Ebo Taylor, Thomas received his first big break. “Ebo started to write new songs. I added the lyrics and sang them and it worked well.” The partnership with Taylor would become one of the enduring forces in Ghanaian music during the ‘70s, creating a fresh, progressive new highlife sound. They played with the Blue Monks band before, in 1974, forming Sweet Beans with the backing of Ghana’s Cocoa Marketing Board: “The album, ‘False Lover’, was the first under my own name and my first for Gapophone,” Pat reflects. “Reggae was “on” at that time - Jimmy Cliff was the guy - so I tried reggae fusions and brought in some soul.” The album established Thomas across Ghana. Sweet Beans disbanded but the musicians stayed together as Marijata. “The guys initially used Jewel Ackah as their vocalist but they involved me and I re-vocalled the album. This became the ‘Pat Thomas Introduces Marijata’ LP. At that time, I would go to George Prah at Gapophone to ask for money and he would say, ‘if you want me to pay you, go and write a song!’ So, tracks like ‘Coming Home’ came about that way, written on the spot.” A second Marijata album followed before a damaging coup in Ghana in 1979. “Jerry Rawlings’ “house-cleaning” was designed to stop corruption but it seriously damaged our country’s music culture.” Thomas left for Berlin and stayed true to his highlife roots, becoming the first Ghanaian to record highlife there. “In Ghana, people ex-pats living in Germany called themselves ‘burgers’, so the scene became ‘burger highlife’.” Thomas travelled to Togo and London, before settling in Canada: “I ended up there for ten years playing for universities, Ghanaian societies and festivals.”Pat is now back with Kwashibu Area Band and touring worldwide: “Today, highlife has become the world’s music and I am proud to still bring it to so many people.” ‘Coming Home’ is released on 2CD, 3LP and digital and features exclusive photos and a full interview with Pat Thomas.First ever career retrospective of key Ghanaian highlife figureCovers ‘60s highlife to heavy ‘70s Afrobeat and later highlife disco periodfull official release, produced in conjunction with Pat Thomas. Many tracks released internationally for the first timeincludes two previously unreleased tracks: ‘No Money, No Love’ and ‘Sack The Devils’ recorded with Ebo Taylortouring around album globally with Kwashibu Area Band during 2016-7

Boutique French house label Vibes And Pepper come through with a Various Artist outing that pairs the new school talents of Tomska and New Jack City with the old school and enduring qualities of James Duncan and Jeremiah. James Duncan goes first with 'Track #2', a soulful affair with lazily jazzy chords and muffled vocals bottled up into a teasing house groove. The drums feel alive and the repeated melodic phrasing brings some nice tension to proceedings. Tomska's 'Stolen Moments' is a typically thick cut track with solid kick drums underpinning spoken word musings and colourful little melodies. It's physical and will make you dance without losing the important human connection. Jeremiah's 'Keep On' is much the same: this one has a classic feel to it, with warm pads softening the effect of busy, live sounding percussion. Some firing vocals help set the groove alight and re-call the classic days of 90s house with relying on the same tried tropes. Finally, 'Slow It Down' does not slow it down, but instead invites you to move your body with huge rubbery kick drums and shuffling claps. Dulcet vocal tones and garage-inflected percussion make this a hugely vibey affair to finish off another timeless house EP.

After recently launching the D3 recordings label to a great reception, the man behind Vibes And Pepper is ready to launch his second new label, D3 Elements. The artist behind the three track EP is Raymond Funnye aka Strong Souls, who back in the mid-nineties released on still much mythologised Chicago label Dance Mania as well as the UK's Black Market, which also saw him work with the legendary Larry Heard. The music he offers here is of a high pedigree from start to finish. "The Beast" opens the EP with a stripped out percussive hook running right up its core as widescreen pads extended out around it in all directions. When the humming bassline and pronounced kick drums drop into the mix result is pure and propulsive house heaven. Following this, "Remember When" goes a little deeper and less direct, with well swung drums stretched beneath golden chords and delightfully rough percussion. Simple yet effective, it's both classic and relevant at the same time. Finally, "Don't You Know" is the most intimate and romantic, with delicate and subtle keys, far off percussion jacking ever so slightly and spiralling pads adding a sense that you are constantly in free fall. It's gimmick free deep house of the highest order and closes out a classy EP.

Brought to you from the people over at Vibes & Pepper. The first EP on D3 Recordings, called D3 One, kicks off with 'Track 1'. It's a smooth deep house jam with warming pads and a subtle drive to its kicks. The ticking percussion and bobbling bassline adds to the kinetics but never detract from the heady mood, whilst 'Track 2' is slightly more upbeat thanks to the soft chord stabs and more broken kick drum pattern. Again it's simple but effective, expertly produced and no nonsense deep house for the underground heads. Finally, 'Track 3' ups the ante with a more propulsive groove but pads that are just as soft focus and humid, with deft little celestial synth patterns add a sense of scale and sci-fi-ness to proceedings.

After kicking off with a delightfully classy deep house EP from Chicago's Strong Souls, D3 Elements presents its second EP from Brian Harden. This long anticipated EP is reminiscent of his upbeat, melodic style that is his trademark after releases on Relief Records, Underground Therapy, NiteLife Collective, Moods And Groove and House 4 Life records.The Black 3 EP opens with "Qunu", a rhythmic homage to South Africa's Nelson Mandela. A complex piece filled with tribal percussions and vibrant melodic sounds that will keep you dancing. "Qunu" creates an addictive rhythm of warmth and color. "Days of Days" is a euphoric affair with lush chords, enticing percussions with a rising bass line. Light and airy with a compelling groove, it's a masterful example of genuine house. "Chicago To Detroit" closes out the release and lives up to it's title, touching on what makes house music from the two Mid West cities so very compelling.