SEALED

Two cuts taken from the Black Sun 2 LP, originally released in 1980 by the US Panache Records, now remastered and available on a special 12 inch disco version via Omaggio, courtesy of Philippe Walter!

Comes with an A3 insert that features an extensive interview with Dj Meo.

Limited LPMoon B takes a step out of his comfort zone with ‘Udaya’, giving a lesson on how it isn’t the tools at your disposal, but rather how you use them. A stalwart of vintage analogue gear under normal circumstances, he’s harnessed the full power of his iPad to conjure up 8 cuts of slick, lo-fi boogie that emanate with a smoky warmth. Gone are the genre-hopping sensibilities of earlier releases, replaced with a renewed focus on what really counts: the funk.Gliding on thick, queasy basslines, woozy synths, sampled instruments and iOS-powered FX, it’s a “navigational soundtrack through life's mysteries,” velvety and fuggy in equal measure right to the final beat. Roughly translating to ‘ascension’ in Sanskrit, ‘Udaya’ is a deeply affecting record at times: a sample of Jordan Peterson reciting philosophy on the ‘individual’ provokes reflection on behalf of the listener, while ethereal pads hint at the idea of heightened experience through music.There’s something outward looking and contemplative about the album too, in a wistful, heavy-hearted sort of way - the sort of feeling evoked when man considers the vastness of the universe and his place within it. It isn’t often you find a record simultaneously offering transcendent moments and evoking imagined memories of late night cruises through dimly lit suburban streets and while contemplating humanity’s cosmic insignificance.

Atlanta-based rapper/DJ/chef, Dillon is perhaps best known for his collaborations with acclaimed beatmakers, Diamond D (Black Tie Affair), Supa Dave West (Studies in Hunger), Paten Locke (Food Chain) & Batsauce (On Their Way), but that might change when Lobsterdamus washes up.'The Tails of Lobsterdamus' is Dillon's self-produced solo debut, a deep dive into the origin of his bottom-dwelling evil alter-ego, Lobby Dom. Half man, half lobster and 100% jerk, Lobsterdamus was sent to Earth (unwillingly) from his home planet of Lobtropolis on a quest to save humanity from itself. More importantly, he's looking for Lobby Dame!

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.” Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.” Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’. Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over. ‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.- First definitive Patrice Rushen compilation released on vinyl since the ‘80s- Includes all of her chart hits, DJ favourites and sample sources- Official release featuring full interview with Patrice Rushen about her career and music- Features rare photos from her personal collection + some of the photographers she has worked with during her career- Fully remastered by The Carvery from the original ¼” tapes- Start of full Patrice Rushen reissue programme from her Elektra era- 3LP IN SINGLE SLEEVE + 8PP 12” BOOKLET

The Time For Peace Is Now compiles fourteen songs that, while recorded over four decades ago, speak now more than ever. The tracks are a subset of 1970s-era gospel, not directly talking about Jesus or God, but instead tackling how we live with ourselves and each other. These are undeniably soulful, passionate, and urgent songs from obscure 45s, dug up from a long dormancy in attics, sheds and rated across the American south. Compiled by Gospel guru Greg Belson. “The Gospel bands heard on The Time For Peace Is Now were comprised of musicians who played both church and secular music. The church borrowed—or rather commandeered—the guitar, bass, drums, and other instruments used to backup Motown, Stax, and other popular labels—to give power to the songs they supported. Musicians who sang at ‘the club’ on Saturday night were often leading solos or singing in the choir on Sunday mornings. Saturday night and Sunday morning music began to interweave, which was especially felt when the church choirs sang Gospel. It was Gospel’s influence that made Aretha Franklin, Sam Cooke, and many others the voice of the 1960s and 1970s. Gospel was the soul of America. This album is reflective of the dichotomy of the sacred and the secular. The music here is in some sense the same as the music of the club. “Keep Your Faith To The Sky” could have you singing “Keep Your Head To The Sky” by Earth, Wind and Fire. Listening to “It’s Hard To Live In This Old World” and “That’s A Sign Of The Times” imbues the pessimistic/realistic sense of what was happening. Like many Blues songs, the problem must first be named before it can be solved. At the end of The Time For Peace Is Now, hope is still present. The problem is named in the beginning and a possible solution is presented. -Pastor Keith L. Whitney-Featuring a 36-page booklet in the CD with extensive notes by Jonathan Lethem (“Fortress of Solitude) and Robert Darden. The LP has a church pamphlet by Pastor Keith L. Whitney. Both physical releases come with an exclusive track that won’t be available digitally.-The release will be complemented by a 15 minute documentary that highlights three of the artists, as well as an album trailer and animated music videos.

Strut continues its essential compilation series of Indian Ocean sounds with ‘Alefa Madagascar’, the first compilation to document the unique culture of salegy, soukous and soul on the island during the ‘70s and ‘80s.Originating as far back as the 15th Century through folkloric ceremonial music and an a cappella chanting style called antsa, salegy emerged as a fast-tempoed local dance style based on 6/8 and 12/8 rhythms. By the ‘60s, radio was bringing in new sounds from the Congo, Mozambique, South Africa and Kenya and Jean Francois de Comarmond’s Discomad label championed a new generation of artists breaking the mould with their own new fusions of styles as electric instruments replaced the traditional. The strong call-and-response dialogues, rich vocal choruses and rolling triplet feel in the rhythm sections all boasted a unique Malagasy sensibility and singles started selling tens of thousands of copies, rivalling any foreign music at the time. Local pop was sometimes referred to as tapany maintso (half-green) a reference to the stickers on singles from the other key label in Madagascar, Kaïamba, many of them produced by Charles Maurin Poty whose work was crucial in shaping the emerging genre. ‘Alefa Madagascar’ showcases the rich variety of sounds during this heyday of Malagasy music: Roger Georges’ ‘Mama’ and Jean Kely et Basth’s ‘Andosy Mora’ bring the raw energy of salegy, influential band Los Matadores drop military drums and Hammond soul in the classic ‘Andeha Hanarato’; Mahaleo’s ‘Izahay Mpamita’ showcases the band’s powerful folk sound, a crucial voice emerging from the Rotaka farmer and student protests of 1972, while Terak’Anosy Group work around a stomping Congolese guitar groove. The era paved the way for many of the household names of Malagasy music today including Jaojoby, D’Gary and Lego. Mastered by The Carvery and featuring cover artwork by top illustrator Lewis Heriz, ‘Alefa Madagascar’ is released on 16th August 2019 and is compiled by Réunionese DJs La Basse Tropicale and Percy Yip Tong (Mauritius). Physical formats feature sleeve notes by influential producer Charles Maurin Poty and Banning Eyre of Afropop Worldwide.-First ever compilation documenting the heyday of Malagasy mus ic during the 1970s and 1980s-All tracks officially licensed in conjunction with the Discomad and Kaïa mba labels-Includes sleeve notes by legendary pr oducer Charles Maurin Poty and writer Banning Eyre-Latest instalment in Strut’s ongoing series documenting some of the best original music from the Indian Ocean region