Frankie Paul Taking Over

These are very limited Studio One 12" pressings (worldwide 1000) that sell out on the day they are released. So don't miss out here!

BRAND NEW LTD. EDN. 12" All-time Studio One party ANTHEM. 100% ESSENTIAL MONSTER TUNE - ROCKS ANY DANCEFLOOR!

'Greedy G’ is the ultimate reggae/funk/hip-hop party tune.

The all-time epic sample for Boogie Down Productions’ seminal ‘Jack of Spades’ based on James Brown’s funk bomb ‘Get on the Good Foot’.

The flipside is another Brentford Road All Stars essential cut, ‘Granny Scratch Scratch’, the heaviest, funkiest dub monster ever with bass to shake more speakers than a juggernaut lorry!

Boom!

12" Picture Sleeve

Balaeric MONSTER MONSTER TUNE!

Recorded on the very same day as Earl Sixteen's People Music, here comes Junior Murvin cut crying for his brothers in the homeland. On flip side a Delroy Smart vocal on the same rhythm.

The midtempo version of 'I Knew It Wouldn't Last,' - a truly wonderful piece of soulful excellence. On the flip Ourra version of 'How I Feel For You,' debuts on a 45!

Superb U.K. roots from the early 80s produced by Aston 'Familyman' Barrett & Brent Clarke.

Deeply experimental set Ryuichi Sakamoto and David Toop that spans mediative moments to the more challenging and dissonant.

The tough bassline, symbolizing Jammys' real sound, perfectly fuses with the young Wayne Smith's high key voice to create another killer tune.

Superb update of the old skinhead fav from the Room In The Sky posse with Pioneer singer George Dekker on fine form whilst on the flip mighty DJ Oxman moving things forward! Nice.

Redman has versioned one of the most popular dancehall rhythms of the 80's, the 'Stalag', to create another unique sound. This track allowed Wayne Palmer to pass the listeners his tender lyricism and melancholic melodies.

As a band, The Cobbs are virtually unknown but its members were in fact the Revolutionaries i.e. the 1970s CHANNEL ONE studio band!

Check this line-up: Sly Dunbar: Drums, Rad Bryan: Guitar, Ranchie McLean: Bass, Ansel Collins: Keyboards!

Initially released separately on Trojan‘s Amalgamated label in 1969 and never repressed since, these two organ driven wild instrumentals were produced by Joe Gibbs. These two rare tracks exemplify the Skinhead reggae style and are a prime example of the very best Boss Reggae instrumentals of the time.

CHOICE RESTOCKS 7" IN STOCK ON MERRITONE , STUDIO 1, CRYSTAL, MOVE & GROOVE, COXSONE, LIMITED reissues from Dub Store...Minor chorded and wicked organ instrumentals by Crystalites. in this song listeners can experience the rare toasting of Ramon The Mexican who was the resident deejay at Harriott's Musical Chariot Sound System and later changed his name to Ambelique. Both sides are the two of the best Early Reggae tunes.

Just in..don't delay limited stock.

The Kingstonians were a relatively short-lived Jamaican band whose greatest work was produced by Derek Harriott between 1968 and '70. It was at the tail end of this period that they recorded their sole album, "Sufferer", an early reggae classic featuring a swathe of sought-after cuts. It's from that set that these two tracks are taken. For the record, both have appeared on 7" singles before, but are so hard to find that collectors are willing to spend up to 500 Euros to find original copies. A-side "Hold Down" is particularly potent, with the vocal trio's fuzzy vocals rising above a killer early reggae rhythm much in Hammond organ stabs, warm bass and clipped guitars. "Nice, Nice" meanwhile is a more up-tempo affair that gives a little more prominence to a typical early reggae guitar riff. Together the two tracks make for a suitably scintillating package.

SABA developed ‘world music’ beyond its jazz label remit, the eclectic ‘Jazz Meets The World’ series brought together artists from Japan, India, Tunisia, Indonesia and Brazil. Producer Joachim-Ernst Berendt travelled to Rio in 1966 to create SABA’s first Brazilian release with a giant of the scene, guitarist Baden Powell. The resulting album, one of Baden’s greatest, bore two deeply rhythmic, spiritual titles found on this 45. ‘Sarava’ is a trance-like ritualistic number designed to whip dancers into frenzied possession. ‘Canto De Ossanha’ is another offering to the gods and an equally hypnotic dancer.

Lo-fi, basement style Chicago house music from Jamal 'Hieroglyphic Being' Moss operating as JAI/MAHL!

Nathan Davis recorded ‘The Hip Walk’ in 1965 alongside his school mate, trumpeter Carmell Jones (who a month later went on to record the Song for My Father album with Horace Silver). The quintet is backed by the tightest of rhythm sections: Francy Boland on piano, Jimmy Woode on bass and Kenny Clarke on drums. One of the most beautiful, swinging jazz pieces ever captured on tape, ‘Carmell’s Black Forest Waltz’ is presented in all-analogue richness on 45 single format for the first time. On side 2, ‘B’s Blues’ finds Davis on soprano trading fours with Jones, driven irresistibly by the Clarke-Boland rhythm section, a highlight of the Hip Walk date.

Tape Hiss jams the box for Axe On Wax offshoot, Axe Traxx. Four cuts of lo-fi house music switching from NJ swing to deep, deep techno vibes.

Original created by Roland Kovac’s studio band for an industrial commercial, Hans Georg Brunner Schwer, an admirer of Kovac’s work, released the recordings as a full length SABA album in 1968 under the title ‘Trip To The Mars’. The recording has a sound somewhere between atmospheric soundtrack, library and modal jazz. Sort after for the modal waltz dancer ‘Blue Dance’, presented here in it’s ultimate sonic form – AAA analogue mastered and cut to 45rpm. Side 2’s ‘Milky Way’ is a heady trip mixing jazz elements with floating brass harmonies and sensuous horn solos.

STEVE POINDEXTER and JAMAL MOSS return as THE FACES OF DRUMS banging those classic GHERKIN style vibes and deep chaotic sound motions with a twist of off-kilter acid to finish you off!

Although considered to be the greatest jazz singer the world has ever known, Mark Murphy remained underground with a cult status. Perhaps the pinnacle of his recording career was Midnight Mood released by SABA in 1968, aligning his unique vocal skills with the Clarke-Boland Octet. With the arrangements of Francy Boland, Kenny Clarke playing offbeats and between-beats, and individualists like Sahib Shihab and Ake Persson, the backing on this date provided a unique dialogue for Murphy. After the latin touch of Jimmy Woode’s ‘Sconsolato’, the mood switches on side 2’s ‘Just Give Me Time’ – a hot, uptempo jazzy bossa dancer, with a rich sound and room-filling low end on this all-analogue 45.

Gloriously deep, melodic house!

Simoncino is back on L.I.E.S. with his old school sounds nodding to the innovators of the past via process of working arcane rhythms on primitive drum machines!

Another highly collectable Nathan Davis release on SABA, also recorded in 1965, ‘Happy Girl’ has remained unissued on vinyl since the 1960s. The date gathers together another top drawer line-up, with Woody Shaw on Trumpet and Larry Young, the Coltrane of the organ, uniquely found on piano for this session. Jimmy Woode again supports on bass, with a furious Billy Brooks on drums. ‘Theme From Zoltan’, a fierce modal original by Shaw, was recorded by Young the following year on his classic Blue Note album ‘Unity’. Side 2 maintains the unstoppable tempo with ‘Mister E’, penned by Davis, featuring blistering solos by Davis, Shaw and Young.

R-Zone is a new label launched by Global Darkness. Who is involved isn't exactly a secret, those who feel so inclined can piece the information together quite easily. It is however irrelevant to the concept of R-Zone, which would like to shift the focus away from namedropping and perception based on hype around individual artists and bring it back where it belongs; in the lap of the music.

The 1st and superior deeper roots cut from Paul Hurlock originally released in the early 80s on Gorgon records in Jamaica with dub on the flip. Clean & loud pressing.

A killer remix of Soul Jazz's recent acid house smash by San Franciscan techno pioneer turned dirty deep south 'Crunk' style producer, KIT CLAYTON. Like Phuture meets the Ying-Yang Twins!!!

One of his best tunes from the mid 70s recorded at The Black Ark with Mikey Chung & The Generation Gap, check b-side for rare dub instrumental cut.