Groove Attack Pressenewsletter 3/2019

Promotion über Groove Attack

Jah Cure
Royal Soldier (Digipak)


VP2642 2019-08-30


Die Wiederkunft mit einem erstklassigen Longplayer!

Nach dem Motto ‘Gut Ding will Weile haben’ hat sich Reggaestar Jah Cure für die finale Veröffentlichung seines neuen Albums mehr als vier Jahre Zeit gelassen. 
Im Gegensatz zum Vorgänger “The Cure”, bei dem der Singer/Songwriter – mit dem äußerst seltenen bürgerlichen Namen als Siccaturie Alcock in 1978 geboren – noch komplett ohne Gäste auskam, sind bei “Royal Soldier” von insgesamt 14 Tracks gleich bei acht Songs illustre Gäste dabei: die Sängerin Phyllisia Ross (Topact aus Haiti), Bob Marleys jüngster Sohn Damien “Jr. Gong” Marley (bei der aktuellen Single “Marijuana”), die beiden aus Kanada stammenden Künstler, R&B Star Melanie Fiona sowie Rapper Tory Lanez, die jamaikanische Dancehall Sensation Popcaan (u.a. Kollaborationen mit Jamie XX und den Gorillaz). Plus zwei ganz spezielle Songs im Multifeature-Style: “Street Kings” in Kombionation mit Yami Bolo, Junior Reid & Capleton sowie “Eyes On Your Body” mit den drei Künstlern Dru, Sketch Carey & Alx, während auf sechs Songs die begnadete Stimme von Jah Cure in Reinkulter zu genießen ist. 
“Royal Soldier” ist schon jetzt ein Kandidat für das Reggaealbum des Jahres mit Grammy Nominierung, mit der Zielgruppe der Fans des zeitgenösssichen Reggae, R&B und Modern Soul. Der Longplayer erscheint als CD-Digipak mit zusätzlichem 8-Seiten Booklet und als LP-Vinyl Kastentasche. 


The return of Jah Cure! – Jah Cure is the musical adventurer, exploring rhythms, moods and meaning with his latest album “Royal Soldier”, his first longplayer since “The Cure” in 2015. Jah Cure writes songs about love and consciousness and reality. His music moves between classic roots and smooth R&B and often challenges the boundaries of the reggae genre, his presence and influence among Caribbean fans has reverberated around the globe and earned him top status among reggae artists internationally. The music videos for set-up tracks “Telephone Love”, “Risk It All” and “Marijuana” are all +1 million streams on YouTube. Guest appearances on “Royal Soldier” include several big stars like Phyllisia Ross (top act from Haiti), Damien “Jr. Gong” Marley (in combination tune “Marijuana”), both canadian R&B star Melanie Fiona and renown rapper Tory Lanez, dancehall sensation Popcaan, plus two special multi-feature tunes with Yami Bolo, Junior Reid & Capleton (“Street Kings”) and Dru, Sketch Carey & Alx (“Eyes On Your Body”).

Packaging: CD Digipak with 8-page booklet / LP Black Vinyl Standard Jacket

Videos for selected album tracks
 “Marijuana” feat. Damian “Jr. Gong” Marley
“Telephone Love”
“Risk It All” feat. Phyllisia Ross

Audio for selected album tracks
 “Pretty Face”
“Life Is Real” feat. Popcaan

Extended interview and album pre-view:

For fans of: Reggae, Carib-Pop, Jah Cure, Damian Marley, Popcaan, Tory Lanez

Facebook 688k | Twitter 76.5k | Instagram 714k | YouTube 818k | SoundCloud: 2.77m Kingston, Jamaica New York, Miami

- LIVE 1 hour broadcast of album launch over RETV Jamaica/ VP Records YouTube – Wednesday, September 4th
 - Latest single “Pretty Face” serviced to music video outlets in July 10
 - Social media and digital advertising roll out begins August 10 with album pre-order
 - Spring/ summer tour dates will include Caribbean and European cities

Reggae Gold 2019


VP2699 2019-07-26


Mit 19 aktuellen Hits für den Sommer und die Festivalsaison!

Wie jedes Jahr, präsentiert VP Records auch in 2019 die heißesten Tracks, die Dancehall & Reggae zu bieten hat! Top-Tunes mit all den Szenestars – sei es in Kombination: Jah Cure an der Seite von Damian “Jr. Gong” Marley, Nicki Minaj & Vybz Kartel in einer ganz speziellen Session mit UK Star Stylo G, Stefflon Don’s Überhit “Hurtin’ Me” featuring French Montana, Agent Sasco mit Popcaan, Tarrus Riley im Duett mit Michael “Mykal” Rose – oder sei es in Solowerken der Ladys Estelle, Jah9, Naomi Cowan, Queen Ifrica und die Gents Busy Signal, Bitty McLean, Beres Hammond, Christopher Martin und Alborosie mit seiner großartigen Version der Metallica Ballade “The Unforgiven” mit Kumar (Ex-Raging Fyah). Selbestverständlich wird auch in unseren Breitengraden eher unbekannten Künstlern eine Plattform geboten: Noah Powa, Teejay, Chronic Law, Squash und Davey Magnum wissen mit ihren lokaken Hits zu überzeugen.


Reggae Gold 2019 presents 19 of today’s hottest dancehall-reggae music hits, with all big names and features like Jah Cure alongside Damian “Jr. Gong” Marley, Nicki Minaj & Vybz Kartel in a special combination with Stylo G, Agent Sasco alongside Popcaan, Stefflon Don with French Montana, Tarrus Riley alongside Mykal Rose, plus exclusive tracks for real from Dovey Magnum, Squash and Chronic Law! There are of course as well great solo-tunes by the ladies of Jah9, Naomi Cowan, Estelle, Queen Ifrica, and the gents of Busy Signal, Bitty McLean, Beres Hammond, Christopher Martin, Noah Powa, Teejay and Alborosie with his magnificent version of Metallica’s ballad “The Unforgiven” feat. Kumar (ex-Raging Fyah).

More Facts
 - CD cleartray jewelcase with 16-page full colour booklet
 - Posters for retail and supporter available
 - An exclusive Zine featuring articles on selected artists will launch with the longplayer in July
 - The annual release of Reggae Gold is a high point of the Caribbean calendar in the diaspora

 Naomi Cowan – Paradise Plum
Noah Powa – Keep The Same Energy
Stefflon Don – Hurtin’ Me feat. French Montana
Jah9 – Heaven (Ready Fi Di Feeling)
Tarrus Riley – Guess Who? feat. Mykal Rose
Estelle – Lights Out
Busy Signal – One Way
Teejay – Owna Lane
Jah Cure – Marijuana feat. Damian “Jr. Gong” Marley

Gregory Isaacs
Mr. Isaacs (Expanded Deluxe 2CD-Set)


VP4200 2019-08-09


Als “Mr. Isaacs” 1977 erstmals als LP-Vinyl erschien, war der Grundstein für die internationale Karriere zum Superstar des Reggae gelegt. 

Unter der Federführung von Produzent Ossie Hibbert und seinen Musikerkollegen von den Revolutionaries wurde der Interpret Gregory Isaacs zum Markenzeichen im Albumformat! – Mit einigen seiner größten Songs wie “Set The Captives Free”, “Slave Master” (im Kultfilm “Rockers” prominent vertreten), “Storm” (der Riddim kommt in über 75 Versionen zum Einsatz), “Smile”, “Get Ready” (Reggae-Cover des Rare Earth Hits), “Mr. Know It All” kommt der Longplayer dieser Tage als Kevin Metcalfe Remaster als Doppel-CD mit sieben weiteren Aufnahmen auf CD1 und dem dazugehörigen “Leggo Dub” plus Deejay Cuts von u.a. Dillinger, Clint Eastwood auf CD2 im ansprechenden 6-Panel Digisleeve und 16-seititgem Booklet zu neuen Ehren. Für die Vinyl-Liebhaber gibt es das 9-Track Originalalbum in einer Fan-Edition mit Sleeve Notes und bedruckter Innenhülle inklusive großformatiger Fotos.


First released in 1977 the “Mr. Isaacs” album established the template for Gregory Isaacs’ subsequent superstar status. Conceived by the artist and producer/musician Ossie Hibbert as an album project it contained three of the Cool Ruler’s greatest hits “Smile”, “Slave Master” and “Set The Captives Free”. “Mr Isaacs” status as one reggaes cornerstone albums was cemented when it was given full the Blood & Fire label reissue in 2001. Re-mastered by Kevin Metcalfe this deluxe 32 track 2CD set includes more Gregory Isaacs songs from the time, deejay cuts by Dillinger, Clint Eastwood, Big Joe, U-Brown plus the complete dub companion “Leggo Dub” album, plus the lethal “Mr Know It All” version entitled “War Of The Stars”. The musicians and backing bands are both The Revolutionaries and The Soul Syndicate in their prime, with The Heptones providing harmony vocals.

Packaging: 2CD-set in a 6-panel digisleeve with additional 16-page booklet including extended linernotes by Harry Hawke

Overview / Release Facts / Marketing
 - Among the most important full-length album works from one of reggae’s greatest singers, Mr. Isaacs shows the great Gregory Isaacs in the prime of his career in 1976/1977. Better known for his love songs, Isaacs was equally adept at cultural themes.
 - The tracks “Set The Captives Free” and “Slave Master” are among the most popular in his catalogue, the latter immortalized on film in the movie Rockers. The track “Storm” became an early dancehall favourite, its rhythm track reimagined no fewer than 75 times over the last 40 years. Isaacs love of rocksteady shines in his cover of the Silvertones’ “Smile” and his soulful side comes through on a cover of The Temptations/Rare Earth “Get Ready.” The breadth of material on “Mr. Isaacs” is the hallmark of a reggae classic.
 - One of the first titles ever distributed by VP Records, the “Mr. Isaacs” reissue coincides with the label’s 40th anniversary celebrations.
 - The pressing features the earliest known cover art and producer Ossie Hibbert’s original Earthquake labels, as found on the pre-release edition.
 - Two individual LP-vinyl albums will be released for vinyl lovers: “Mr. Isaacs” cat# VP4201 / 054645420112 and Ossie All-Stars “Leggo Dub” cat# VP4202 / 054645420211
 - Selected tracks from the album will be serviced to core media outlets
 - The album will be featured in advertising campaigns for VP 40th Anniversary celebrations in 2019.
 - Advertising for the project will target collectors and reggae specialists.
 - Companion title from Mr. Isaacs sessions titled Leggo Dub re-issue will coincide with album release
 - Social Media campaign: Targets across all platforms.

Cornell Campbell
I Man A The Stal-A-Watt (2CD Digisleeve)


VP42212 2019-07-19


Das amtliche Porträt aus der Blütezeit des Reggae!

Sei es als Gründungsmitglied von The Sensations (Treasure Isle), als Leadsänger von The Eternals (Studio One) oder als Solo Künstler – der Artist Cornell Campbell, der mit der einmalig anheimelnden Stimme gesegnete Sänger, hatte seine größten Erfolge für den Produzenten Bunny Lee, der King Tubby’s Studio zum Mix nutzte Mitte der 70er Jahre und “I Man A The Stal-A-Watt” (sinnbildlich für: I am the stalwart = “ich bin der größte Anhänger / Fan überhaupt”) würdigt diese Arbeiten in mehr als ansprechender Weise: mit 32 Tracks (remastered von Pete Norman / Finyl Tweek) inklusive den gesuchten 12-Inch Versionen von “Part Time Loving” und “I’ll Never Let You Go” auf 2 CDs im 6-Panel Digisleeve (Digipak ohne Plastiktray) und 16-seitigem Booklet inklusive eines Essays von Reggae-Koryphäe Noel Hawks aka Harry Wise. Für die Vinyl-Liebhaber gibt es eine spezielle 13-Track Edition zusammengestellt von Chris O’Brien. Tipp!


Cornell Campbell, “I Man A The Stal-A-Watt” collects 32 tracks across two CDs, highlighting the singer’s prominence in the golden era of reggae from the early 70s to early 80s. The title is a boast from the early soundclash era when many of Campbell’s tracks, here produced primarily by Bunny Lee, would play first on King Tubby’s Home Town Hi-Fi in Jamaica. The songs run the range from clash-ready standards like “Mash You Down” and “The Gorgon” to cultural commentaries like “Jah Jah Me Horn Yah” and “Bandulu” to a lover’s masterpiece, “The Investigator” which leads off the set. Stretching into the early 80s, the collection includes two originals that would spawn countless re-interpretations, “Rope In” and “Boxing Around”. The 2CD-set comes in a 6-panel digisleeve packaging with an additional 16-page booklet with liner notes by Noel Hawks. Furthermore 13 tracks have been chosen to be release as LP-Vinyl.

Cornel Campbell aka Don Cornel or Don Gorgon (born 23 November 1945 in Kingston, Jamaica) is a reggae singer, best known for his trademark falsetto voice, and his recordings at Studio One in the late 1960s and his later work with Bunny Lee in the 1970s. Wikipedia:

The quote from Bunny “Striker” Lee
 “Then Cornell Campbell hit…..ruled the roost for a long time”

Tracklisting / Riddim Directory 
 1 The Investigator = unidentified or original
 2 Undying love = Undying Love 
 3 The Stal-A-Watt = Cherry Oh Baby
 4 Mash You Down = College Rock 
 5 No Man’s Land = Get In The Groove / Up Park Camp
 6 Have Mercy Oh Jah = My Conversation
 7 Hypocrite = unidentified or original
 8 Two Face Rasta = unidentified or original
 9 Boxing Around = Boxing
 10 Two Timer = Two Timer
 11 Bandulu = Late Night Blues
 12 Rasta Come From Jail = unidentified or original
 13 Conscious Rastaman = unidentified or original
 14 Rope In = Rope In
 15 Part Time Loving (12-Inch mix) = unidentified or original
 16 Never Let It Go (12-Inch mix) = unidentified or original

 1 The Gorgon = Conqueror
 2 The Gorgon Speaks = You Wrong
 3 The Conquering Gorgon = Conquering Gorgon
 4 Lion Of Judah = Conquering Gorgon
 5 Natty Dread In A Greenwich = Natty Dread In A Greenwich
 6 Forward Natty Dread = King Pharaoh
 7 Dance In A Greenwich Farm = Dance In A Greenwich Farm 
 8 Gun Court Law = None Shall Escape The Judgement
 9 Jah Jah A Go Beat Them = Freedom Blues
 10 Jah Jah Me Horn Yah = unidentified or original
 11 Girl Of My Dreams = Queen Of The Minstrel
 12 Natural Facts = unidentified or original
 13 Help Them O Lord = unidentified or original
 14 Jah Forgive Me = unidentified or original
 15 Give Me Love = unidentified or original
 16 I Shall Not Remove = I Shall Not Remove

Promotion über andere Ansprechpartner

Hannah Williams & The Affirmations
50 Foot Woman


RKX072CD 2019-10-25


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The highly anticipated album by Jay-Z’s 4:44 soul hurricane Hannah Williams & the Affirmations produced by award-winning composer and multi-instrumentalist Shawn Lee. Hannah Williams, the British soul hurricane who sensationally became part of Jay-Z’s chart-topping 4:44 album, is primed and ready for her own national and international breakthrough. Williams turned heads worldwide when the hip-hop superstar sampled her heart-stopping vocals on ‘Late Nights & Heartbreak’ for the title track, ‘4.44’ on his 2017 album. Now Hannah and her exemplary, Bristol-based band the Affirmations deliver a definitive career statement with the drop-dead soulful new album 50 Foot Woman which will be released October 18th on the Milan based imprint Record Kicks. The album captures all of the visceral power of the band’s increasingly legendary live performances. Shades of classic Soul and Psychedelic Funk blend uniquely with modern-day flavours on a record destined to set the soul agenda for 2019 and far beyond. “I’ve never been as proud of anything in my entire career” says Hannah. Born in High Wycombe in Buckinghamshire, Williams’father was a musically gifted minister, and her mother let her join the church choir at the age of six. Hannah could read music before she could properly read words, and when she discovered soul by listening with her mum to Motown and Bill Withers, there was no turning back. After a 2012 debut with her previous band the Tastemakers, it was 2016’s Late Nights & Heartbreak that announced the arrival of Hannah Williams and the Affirmations. But little did she know that Jay-Z was listening. One day, at her then-day job running the music department at the University of Winchester, he sent her a text. Once she’d established that it wasn’t a wind-up, and summoned the courage to call him back, she learned that JayZ’s producer, No I.D., had played him Hannah’s track to inspire his response to Beyoncé’s Lemonade, on which she sang of his infidelities. Williams was as in the dark about how ‘Late Nights & Heartbreak’ would be used until 4:44 dropped. But the substantial sample of her voice opened doors she never dreamed of. “It was an incredible catalyst,” she says, “as a change in our collective career, and getting a global audience. Suddenly, there were millions of predominantly American hip-hop fans listening to my voice, going ‘Is this from the ’60s? Is she dead?’” What followed was a year of the band’s widest-ever touring including an invitation to perform at Central Park Summer Stage NY, Toronto Jazz Festival and Brooklyn Bowl NY and expanded audiences in continental Europe where she and the Affirmations had already made a mark. Then came the burning determination to make the record of their lives. The captivating 50 Foot Woman is that album, produced by Shawn Lee, a respected presence on the funk/soul scene whose credits include Amy Winehouse, Lana Del Rey and Alicia Keys. Lee has released five solo albums as Shawn Lee’s Ping Pong Orchestra on San Francisco label Ubiquity Records and is also one half of the cool melodic pop duo Young Gun Silver Fox. Now the world will hear what the cognoscenti have known for a while: that Hannah Williams is the real deal, and sings from her very soul. “I feel like my performance comes from my solar plexus,” she says. “The emotional side of it is so intrinsic; I can’t take it away from what I do.” 

1. 50 Foot Woman
 2 . I Can’t Let This Slip Away
 3 . The Only Way out Is Through 
 4 . Tablecloth
 5 . Sinner 
 6 . What Can We Do?
 7 . How Long? 
 8 . I Feel It 
 9 . Please Be Good to Me
 10. Hourglass
 11 . Worrying Mind

album teaser
 Nov 20 2019 DE, Berlin, Club Gretchen 
 Nov 21 2019 DE, Hamburg, – confirmed 
 Nov 22 2019 DE, Munster, Gleiss22 
 Jan 29 2020 DE, Bielefeld, Forum
 Jan 30 2020 DE, Dortmund, FZW
 Jan 31 2020 DE, Erfurt, Franz Mehlhose
 Feb 01 2020 DE, Dresden, Beatpol
 Feb 02 2020 DE, Leipzig, Nato


Noch nicht verfügbar

JuJu Rogers
40 Acres N Sum Mula


JAKARTA146-2 2019-09-27


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Berlin rapper JuJu Rogers presents his highly anticipated sophomore LP „40 Acres N Sum Mula“ feat Sampa the Great and productions by Farhot (Isaiah Rashad, Talib Kweli), Like (the producer behind Kendrick Lamar’s „Sing About Me”), Crada (Drake, Kid Cudi) and more…
Coming a long way – from his widely acclaimed debut (“Although we don’t usually bestow the ‘future classic’ title to an album (…) we are just ready to call it what it is!”; Music is my Sanctuary) „From The Life Of A Good For Nothing“, supporting DMV’s veteran Oddisee on tour throughout Europe, being the 2nd artist to ever be featured on COLORS, the successful Bluestaeb collabo „LIT – Lost In Translation“ and his regular appearance at Splash Festival – JuJu Rogers teams up with Jakarta Records again to finally return to the big screen presenting his highly anticipated 2nd LP „40 Acres N Sum Mula“ providing nothing but bangers with an attitude and bringing back that ‘Real Shit’!
The Schweinfurt born and bi-lingual & multi-culturally raised JuJu Rogers comes from an army family. His father, a GI who owns an extensive Soul and Jazz collection of records and a German mother with Austrian roots. After moving to Berlin in 2012 he soon set his mark in the local scene by joining the group Man of Booom. His solo debut „From The Life Of A Good-For-Nothing“ was released by Jakarta Records (The Berlin based label behind critically acclaimed releases by artists such as Anderson .Paak, Kaytranada, Mura Masa, Akua Naru or Ta-Ku) and displayed himself as a searching soul & Eichendorff fan in the most lyrical sense. The Coming-Of-Age-Story behind it oscillates between capitalist bottom lines and free creativity as higher ground. 
JuJu has no problems telling it like it is: "After talking about depression, temptation, the craving for money in a capitalist world with all its possible consequences, after asking questions of identity with the clear answer: “Babylon” represents the outlook and possible perspective, the break away moment of the album. It’s a song of strength and progress. It also creates a very positive vibration as the last song of the album which made a lot of sense to me as the whole album holds a more mystical vibe to it.“
The new Album “40 Acres N Sum Mula” unifies the mind state of an Afro-German with the power of observation with German political landscape of Berlin. Heavy sampled beats from his debut album are replaced by contemporary musical landscapes, productions by outstanding musicians and producers from all over the world.
JuJu Rogers about his album title: “»40 Acres N Sum Mula«! — Forty acres and a mule refers to Special Field Orders No. 15, a promise made by the United States government for agrarian reform to aid formerly enslaved black farmers. Approved by president Abraham Lincoln, the field orders were written 1865, and specifically allotted each family a plot of land no larger than 40 acres (16 ha) plus a mule for the agrarian reform effort. I changed »a mule« into »sum Mula« in order to place the legitimate struggle for equal rights and reparations into the context of our current capitalist world and underline the historic connection to the very beginning of today’s society.
Sound, lyrics and vibrations on this album represent a mixture of ancestral spirit and contemporary characteristics and lead you through the self-reflecting and rebellious thoughts of a black man born and raised in Germoney.” – JuJu Rogers.

 01. Intro
 02. 89
 03. Real Shit
 04. Black Thurzday (feat. SANÓ)
 05. Follow Me
 06. Mula
 07. 10 Yas
 08. Identity
 09. God (feat. Sampa The Great)
 10. Babylon (audio stream:

Online PR by Josh C. Yeomans



JAKARTA152-1 2019-08-30


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Louisville’s finest, Beatmaker Dr. Dundiff presents his very first band project called SGJAZZ…

After last year’s very successful collaboration “Cool” with Otis Jr. and his standalone project “Muneybeats”, Dr. Dundiff and Jakarta Records team up once more for the beatmaker’s next project called SGJAZZ, a supergroup formed and crafted by Louisville’s finest musicians.

Dr. Dundiff (done different) is a Hip-Hop/Neo-Soul producer based out of Louisville, KY. Producing music since 2010, Dundiff has released a lot of music. Most known for his ongoing collaboration with Otis Junior and their their debut EP “1moment2another” on Jakarta Records receiving wide daytime airplay and recognition from French tastemaker Radio NOVA, as well as 1.500.000 Mio. Streams via Spotify. 
 SGJAZZ however is a Neo-Soul/Jazz project: All single members and particpants play together as well as they have their own projects. The group spent off days at Dr. Dundiff’s studio in Louisville, KY, playing around and creating the first foundations of the record. Idris Frederick laid down multiple chord progressions over a course of a few days. Dundiff then chopped and arranged these progressions and played drums over them. From there on everyone else wrote their parts to rest of the music. This process was quite quick and efficient and the album was recorded within a few months already. Dundiff then reached out to up and coming vocalists J.Lamotta and longtime collaborator K.Raydio to each write to a song. Though this album is primarily instrumental, these two features further establish the vibe SGJAZZ effortlessly creates.

 01. Make Me Feel (feat. J.Lamotta) 
 02. Monday
 03. Hide N’ Seek 
 04. The Forest Fire 
 05. Like Glue 
 06. Summerlude1
 07. On My Mind (Feat. K.Raydio) 
 08. Wishing Well 
 09. Summerlude2
 10. Last Sunset

Attarazat Addahabia & Faradjallah
Al Hadaoui


HABIBI011-2 2019-07-12


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Habibi Funk is back with another album from Casablanca. Completely unreleased album which was recorded in Morocco in 1973 by three generation family band. A unique blend of Gnawa, Funk and Rock. Traditional Moroccan music meets electronic guitars and dense layers of percussion by a band that used to run in the same circles as Fadoul (And actually wrote one of his songs).

Attarazat Addahabia & Faradjallah’s album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Faradjallah” was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of “Jeunesse Societe One”. His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called “Moroco Sportive Union”, which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips. Yet the majority of the instruments they could not afford to buy were build by Faradjallah and Abderrazak, Faradjallah’s brother who passed away early. For instance they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves.During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including “L’gnawi” in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. “Sidi darbo lalla – lala derbo khadem…” came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the “Al Massira Show” at Velodrome Stadium in downtown Casablanca. Their first album “Al Hadaoui” (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album’s title track also served as the basis for Fadoul’s “Maktoub Lah”, who frequented the same circles as the band for some time. Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: “Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s’hor’ (a kind of local Moroccan version of “black magic”). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily.” So they waited four years for Zaki to “get back on his feet” before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid 1990s. Some members from the younger generations formed a new band and still play frequently to this day. Faradjallah runs a television repair shop coupled offerings beverages and snacks in the Belevedere /Ains Sbaa district of Casablanca. While Faradjallah was primarily a musician, he would work for the local cinema and paint their posters for new movies by hand and he designed all artworks and cover posters of the band. And this eventually led to him participating actively in our first exhibition dealing with Habibi Funk’s work in Dubai 2018. He helped us by creating calligraphic complementations on large photo prints for that show.

1. Al Hadaoui
 2. Albaki 
 3. Moulate Salef
 4. Taali 
 5. Aflana 
 6. Chama’a
 7. Kaddaba

CD Digipak w/12 page booklet
 LP w/ 8 page vinyl size booklet & mp3 download coupon

DJ Gigs by label co-owner Jannis Stuertz
 09.08.2019: uk, ldn, jazz cafe
 13.07.2019: be, dour, dour festival
 02.07.2019: ch, montreux, montreux jazz
 22.06.2019: fr, paris, java
 25.05.2019: pt, lisbon, anjos70


Take A Look Outside


SONOL111 2019-09-27


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Dies ist das vierte und bislang unveröffentlichte Album von Kapingbdi, einer sechsköpfigen Band aus Westafrika, die ihren Stil als “African Jazz-Funk-Rock from Liberia” bezeichnete. Es enthält eine exzellente Mischung aus afrikanischen und westlichen Elementen, mit spirituellem Herzen und dynamischen Grooves. Im Januar 1985 und unmittelbar vor ihrer Auflösung nahm die Gruppe neun Tracks für ein abgebrochenes LP-Projekt im Masterpiece-Studio in Detroit/ USA auf. Erst 2019 wurde die Musik sorgfältig vom Original-24-Track-Tape überspielt und remastered. Musik hat für Kapingbdi keinen eigenen Zweck, sondern dient zur Übermittlung einer Botschaft, geboren aus der Erfahrung und Perspektive Afrikas und für alle Menschen bestimmt. 

File under: Afro Funk, Afro Jazz, Afro Rock

1.Africa-I-Deh 4:00
2.Take A Look Outside 4:53
3.Yakundé 6:08
4.Don`t Mess With The Music 3:42
5.Matumba 3:25
6.African Locomotion  5:12
7.Times So Hard 4:52
8.The Prayer (23rd Psalm) 8:34
9.Mama Africa 2:39

Recorded 1985 on 24 tracks at Masterpiece studio in Detroit/ U.S.A., 
all music and lyrics by E. Kojo Samuels, except “Yakundé” (lyrics by Richard 
“Papa Jah”  Addison and Samuel I. “Sam Kay” Kamara Foday)

E. Kojo Samuels (Liberia): saxophone, lead vocals, flute, horn/ elephant tusk, drums, congas, shekere, ballaphone, kalimba, Joseph Kieh Blamo (Liberia): lead & rhythm guitar, shekere, vocals, Oliver Mensa (Ghana): bass, vocals, Nana Boachie -Yiadom (Ghana): drums, vocals, Richard “Papa Jah” Addison (Ghana): congas, sangba drum, vocals, lead vocals on “Yakundé” (Twi language), Samuel I. “Sam Kay” Kamara Foday (Sierra Leone): bamboo drums, kongoma, vocals, lead vocals on “Yakundé” (Mende language), Augustus “Daddy Boy” Fuller (Liberia/ guest): clavinet, piano, organ, synthesizer, Eric K. Paasewe (Liberia/ guest): kelen. 

Kapingbdi – Take A Look Outside (unveröffentlichtes Album) :
Ende 1984 reisten Kapingbdi aus ihrer Heimat Liberia in die U.S.A., um dort eine Tournee zu spielen. Ihre LP “Hey Brother” war kurz zuvor auch in Amerika erschienen. Innerhalb von 16 Tagen absolvierte die Band sieben Konzerte in kleinen Clubs wie der Maple Leaf Lounge in New Orleans oder der Motor Bar in Detroit. Im Januar 1985 gingen die Musiker einige Tage ins Detroiter Masterpiece-Studio und nahmen neun neue Songs für ihre vierte LP auf. Anschließend gab es eine vierwöchige Pause, bevor Kapingbdi auf Japan-Tournee gehen sollten. Kojo Samuels reiste zurück nach Liberia, während die anderen Musiker ihre Freizeit in den U.S.A. verbrachten. Als der Bandleader zurück kam, um mit seinen Musikern nach Japan weiter zu reisen, erlebte er eine böse Überraschung. Vier der fünf Afrikaner hatten sich eine “Green Card” besorgt, um dauerhaft in Amerika leben zu können. Der Fünfte wurde unfreiwillig im Lande festgehalten. Er saß wegen Drogenhandels hinter Gittern und drei andere hatten im Handumdrehen die nächstbesten Amerikanerinnen geheiratet. Der Letzte war zunächst unauffindbar, begegnete Kojo aber wenig später als Angestellter eines Chicken Wing-Imbiß. Nach neun Jahren und drei LP-Veröffentlichungen waren Kapingbdi am Ende. Ihre Japan-Tournee und weitere Auftritte in Europa wurden abgesagt, genau wie die abschließenden Arbeiten am vierten Album der Band. Kojo Samuels rettete das 24-Spur-Tonband aus Detroit und nahm es mit nach Deutschland, wo es über Jahrzehnte hinweg im Keller verschwand. Zu schmerzhaft waren seine Erinnerungen an den Vertrauensbruch der Musiker, weshalb er versuchte, die Aufnahmen zu vergessen. Fast 35 Jahre später erscheint das “verschollene” vierte Kapingbdi-Album nun doch noch, direkt überspielt vom Masterband in der Tonmeisterei in Oldenburg und gemischt sowie gemastered im Audiomoto-Studio in Berlin. Bis heute sind es die letzten Aufnahmen der Band überhaupt. Auch das Cover-Foto stammt aus Detroit und sollte schon damals für die Gestaltung der vierten LP verwendet werden. “Take A Look Outside” ist, wie auch Kojo heute findet, Kapingbdis bestes Album. (Ekkehart Fleischhammer, Sonorama Records 2019)

Rückblick auf ein Kapingbdi-Konzert 1984 in Detroit / USA:
Verlierer während des letzten Montreux-Detroit Festivals war die liberianische Band Kapingbdi. Ein Sanitär-Mißgeschick im Book-Cadillac-Hotel erforderte zur Wochenmitte den lebhaften Austausch von Auftrittsorten. Kapingbdis Auftritt musste deshalb gestrichen werden. Doch das Sextett, das seinen Stil als „African Jazz-Funk-Rock from Liberia“ bezeichnet, war am vergangenen Wochenende wieder in der Motor Bar des Hotels. Mundpropaganda brachte eine Auswahl von Neugierigen und Insidern zusammen. Die Reaktionen auf Kapingbdi (Ka-Ping-Gee) waren enthusiastisch. Sie werden voraussichtlich auch dieses und nächstes Wochenende im Hotel auftreten. Danach hängen ihre Pläne in der Luft, mit Ausnahme von Konzerten Mitte Oktober im liberianischen Pavillon der New Orleans World`s Fair. Kapingbdis Musik? Tatsächlich sind einige Kapingbdi-Stücke ausschließlich afrikanisch und werden auf akustischen Instrumenten gespielt, die so traditionell sind wie ein Horn aus einem ausgehöhlten Elefantenstoßzahn. Der größte Teil ihrer Musik ist eine gekonnte Mischung aus traditionellen und zeitgenössischen afrikanischen Elementen, die mit Jazz, amerikanischem Pop und Reggae verschmelzen. „Es ist ganz Afrika, in gewisser Weise drücken wir die Dynamik aus. Es ist immer noch eine Art Root“, sagt der 40-jährige Kojo Samuels, der innerhalb der Gruppe singt und mehrere Instrumente spielt. Kapingbdi erlangten 1980 in Europa einen guten Ruf, als der gewaltsame Militärputsch die liberianische Zivilregierung stürzte. Eines der deutschen Alben der Gruppe kam damals heraus und Songs wie “Why I can`t get no Pay” bekamen Airplay. Laut Samuels trug dies dazu bei, eine neue Welle des originären liberianischen Pops zu etablieren. “Die Masse verlangte nach Originalität und begann zu genießen, was wir taten”, sagt Samuels. Gerade sieht es so aus, als ob das Gleiche in Detroit passieren wird. (aus der Detroit Free Press, 13. September 1984) 

Rückblick auf ein Kapingbdi-Konzert 1983 in Bonn:
“Kapingbdi” ist ein Wort aus der Sprache “Mende”, das “in der Nacht geboren” bedeutet. Und tatsächlich spielen die sieben Mitglieder der Touring-Band eine Musik, die sprichwörtlich “aus der Nacht des ehrwürdigen Kontinents” zu ertönen scheint. Die schier überlaufende Menge im „Kulturforum“ in Bonn wird zwei Stunden lang mit verschiedenen Kombinationen aus Bongos und Congas, einem jazzigen Saxophon und mehreren Rhythmusgitarren beschallt. Bandleader Kojo Samuels singt auf Englisch. Er verbrachte mehrere Jahre in der Bundesrepublik Deutschland und studierte Musik in Köln und Frankfurt. Der aktuelle Auftritt beendet die vierte Tournee der Gruppe in Deutschland seit ihrer Gründung im Jahr 1978. Alle Bandmitglieder leben in Liberia. Für sie ist Musik kein eigener Zweck, sondern dient Samuels zufolge dazu, eine Botschaft zu übermitteln, geboren aus der Erfahrung und Perspektive Afrikas und für alle Menschen bestimmt. Obwohl sich viele ihrer Stücke mit dem afrikanischen Leben befassen, vermitteln sie alle den dringenden moralischen Ruf nach mehr Menschenwürde, mehr Menschlichkeit und mehr Einsicht auf der ganzen Welt. Die liberianischen Musiker zeigten eine vollständige Beherrschung ihrer Instrumente. Schnelle Rhythmen, ständiger Austausch der Instrumente und eine melodiöse Vielfalt führten zu einer Mischung aus Jazz, Rock und Reggae, die das elektrisierte Bonner Publikum von ihren Sitzen fegte. Viele junge Zuhörer begannen vor der Bühne zu tanzen. Die Performance war auf ihrem Höhepunkt, als Bandleader Samuels das Elefantenhorn in die Hand nahm, um liberianische Volksmusik mit aufwühlenden Trommeln zu präsentieren. Es war, als ob die Seele und Kraft der afrikanischen Musik enthüllt würde, in dieser faszinierenden Serenade aus Trommeln und Hörnern. (aus dem liberianischen “Daily Observer”, 10. November 1983)

Photo on frontcover: Kapingbdi in late 1984 in Detroit. 
From left to right: Kojo Samuels, Nana Boachie-Yiadom, Joseph Kieh Blamo, Richard “Papa Jah”  Addison, Samuel I. “Sam Kay” Kamara Foday, Oliver Mensa. 
All photos from the collection of Kojo Samuels. 
Final production in 2019 by Roskow Kretschmann, Kojo Samuels and Ekkehart Fleischhammer at Audiomoto studio in Berlin, final mastering by Roskow Kretschmann, cover artwork: Patrick Haase.
Thanks to Kojo Samuels, Petra Gerstung, Axel Ehlers, Fabian Stephenson and the great musicians of Kapingbdi.

Innov Gnawa


DAP056-2 2020-04-24


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Daptone Records is honored to announce the release of Innov Gnawa’s forthcoming full length, Lila. Hailing from Morocco, but based in NYC, Innov Gnawa have been making waves locally and abroad with their hypnotic live shows – which is why producer, Bosco Mann invited the group to come record at the Legendary Daptone House of Soul. Gnawa is a music and spiritual tradition rooted in Morocco and dates back many centuries. Over the years, the liberated slaves of Northern and Western Africa integrated their musical rhythms and religious beliefs into the culture of Morocco creating a unique style of music and dance called Gnawa. It’s not religious music, but rather music and rhythms that promote healing through trance and spirituality. The infectious rhythms of Gnawa songs are invocations for saints and spirits of freedom and liberation. 

Gnawa groups consist of a Ma’Alem, or master, who plays the Guembri(or Sintir) – an ancient three stringed bass that later evolved into the modern day banjo, accompanied by a brotherhood of musicians playing the karkabas, which are metal castanets, representing the shackles and chains of slaves. The title of this album, Lila, literally means Night, and is a traditional Gnawa ceremony in which the Ma’Alem and his karkaba ensemble dedicate an evening of healing through music. A traditional Lila has many parts with a very extensive repertoire, and can last anywhere from a few hours to few days, and even weeks in some cases. The hypnotic poly-rhythms, along with incense and ceremonial ambiance induces states of trance in the musicians and guests. This all night rhythm fest is a spiritual ritual that cleanses the body, mind and spirit. It would be impossible to capture an entire Lila on on LP, but what Innov Gnawa delivers is a concise glimpse into this ancient Moroccan tradition. We invite you to immerse yourself into Lila. Experience freedom, liberation and the power of healing through music. You are not alive if this music doesn’t move you.

Key Selling Points
 Standard Vinyl Is Black with Download Code in tip on jacket with liner note insert.
 Indies Only LP Is ‘Sahara Dune’ Coloured with download code in tip on jacket with liner note insert.
 CD comes with two bonus tracks.


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Bad Education Vol.1


DAP059-2 2019-07-19


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For the better part of 15 years Helsinki’s own Timmion Records has released some of the most exciting soul sides happening today. To help spread the Timmion love, Daptone staffers and brass made a list of their favorite Timmion tracks from the past couple years. Presented here is Bad Education, Vol. I, the culmination of weeks of deliberation and infighting (mainly due to their unusually high batting average) – 10 tracks that best represent the eclectic wealth of soulful riches Timmion Records has to offer.

Side 1 one gets cracking with “This is What Love Looks Like”, a mid-tempo, breezy dancer by NYC’s own Carlton Jumel Smith whose recent album, 1634 Lexington Ave, is poised to be one of the top Soul releases of 2019. Johnny Benavidez, the Texas-born, California-raised balladeer showcases his heartfelt falsetto with “Tell Me That You Love Me” – a beat ballad of the highest order, and a must for fans of Texas giants The Commands. Pratt & Moody, a vocal duo who have been making waves for sometime in their native Finland, serve up another heart-wrenching, head-bobbing ballad with “Lost, Lost, Lost”. Picking up the tempo we have the undisputed queen of Finnish Soul, Miss Nicole Willis! The New York native is already a household name on the UK Northern Soul scene, but now it’s time for this expat to make some noise Stateside. Closing out the side we have the leather-clad-fringed flute phenom know as Ernie "Scorpio Man’ Hawks. The Scorpio Walk’s deep groove laced with murmuring fuzz bass and surf guitar rushes the listener like a maniacal villain in an art house spy movie.

Side 2 two packs even more soulful punches, starting with the unreleased track “Until You’re Mine” by Wanda Felicia. Equal parts slick, Big City street harmony and raw, southern soul, the track evokes the ver y best of Fame-era Candi Staton. Next up, we have Bobby Oroza whose featured track “This Love” took the Soul scene by storm upon its release in 2016. His understated, earnest vocal let’s the sparse arrangement and heavy beat take you to a place where the sun shines bright and the low-riders shine brighter where the Sunday afternoon sun dances off the gold flecks of custom paint jobs. “Bad Education” the funky, afro-latin soul monster with a message (whose title graces the cover of this album) tips the hat to legends like Joe Bataan and Ray Barreto. The debut single by Bardo Martinez, already known for his work with Chicano Batman, lays down a fier y indictment of the educational system defining it as a mouthpiece for the militar y industrial complex. A heavy tune with a heavier message! From top to bottom Bad Education, Vol. I is a feast for discerning funk & soul freaks alike!

 • Comes W/ Download Code.
 • Features the exclusive, unreleased track by Wanda Felicia “Until You’re Mine”
 • Also features tracks by Emilia Sisco, Willie West
 • Includes Timmion’s most sought after 45 singles, Bobby Oroza “This Love”, Pratt & Moody “Lost, Lost, Lost”, & Carlton Jumel Smith “This Is What Love Looks LIke”

 1. Carlton Jumel Smith and Cold Diamond & Mink – This is What Love Looks Like!
 2. Jonny Benavidez and Cold Diamond & Mink – Tell Me That You Love Me 03:45 
 3. Pratt & Moody – Lost Lost Lost 02:59 
 4. Nicole Willis & The Soul Investigators – Paint Me In A Corner 03:52 
 5. Ernie Hawks & The Soul Investigators – Scorpio Walk
 6. Wanda Felicia and Cold Diamond & Mink – Until You’re Mine
 7. Bardo Martinez & The Soul Investigators – Bad Education 03:50 
 8. Emilia Sisco and Cold Diamond & Mink – Don’t Believe You Like That
 9. Willie West – I’m Still A Man


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Tuxedo (Mayer Hawthorne & Jake One)
Tuxedo III


FOS100CD 2019-07-26


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Bonding over a shared love of Chic, Parliament and the other signs in the greater funk Zodiac, Mayer Hawthorne (Aquarius) and Jake One (Taurus), collectively known as Tuxedo, return with their third studio album, Tuxedo III released on the Tuxedo-owned and newly launched label, Funk on Sight,. Their powers combined have yet again yielded a bevy of absolute slappers that are packaged perfectly for dance floors in 2019. The album includes features from MF DOOM, DaM-FunK, Leven Kali, Benny Sings, Gavin Turek and others. Tuxedo is back to remind you that the dance floor will always be there to welcome you, whoever you are.

 1. The Tuxedo Way
 2. You & Me
 3. OMW (Feat. Leven Kali & Battlecat)
 4. Dreaming in the Daytime (Feat. MF DOOM)
 5. Extra Texture (Feat. DaM-FunK)
 6. Gabriel’s Groove (Feat. Gabriel Garzón-Montano)
 7. Vibrations (Feat. Parisalexa)
 8. If U Want It
 9. On A Good One
 10. Toast 2 Us (Feat. Benny Sings)
 11. Close (Feat. Gavin Turek)


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Little Ghost


TRUCD383 2019-09-06


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Little Ghost (out 6th September) marks the return of LA-based trio Moonchild with their fourth album to date. Led by first single “Too Much to Ask” (out 19th July), the release sees multi-instrumentalists Amber Navran, Max Bryk, and Andris Mattson channel boundless sonic energy as they explore some of the most personal aspects of human relationships.

With a unique style of soul and new-school jazz that has cemented their spot in the LA music scene, Moonchild continue to intertwine lyrical concepts with expansive glistening melodies, harmonies and irresistible interludes. Taking its name from the most emotional of celestial bodies (in the eyes of the band), ‘Little Ghost’ follows the widely-praised ‘Voyager’ 2017, ‘Please Rewind’ 2015 and ‘Be Free’ 2012 which were shown love by DJs like Gilles Peterson, Don Letts and Huey Morgan (BBC 6Music) to Jamie Cullum (BBC Radio 2), Jamz Supernova (BBC 1XTRA) and Anthony Valadez (KCRW) alongside Jazz FM who named the band Soul Act Of The Year 2018.

The releases garnered press and online praise from The Fader, Echoes Magazine, Saint Heron, Kick Mag, KCRW and Okayplayer and racked up 8.5+ million streams on Spotify for ‘Voyager’’s “Cure” and 4.5 million streams on Spotify for “The List” – for which the video has also reached 7+ million views on YouTube – taken from the same LP. Moonchild have collaborated and toured with highly-respected names in the soul-jazz crowd including Stevie Wonder, Jill Scott, India.Arie, Leela James, The Internet, and built up a host of iconic supporters from Robert Glasper (who collaborated with Navran on his latest release with R+R=Now) and Laura Mvula to James Poyser, Jazzy Jeff, Jose James, 9th Wonder and Tyler, The Creator.

- Last European tour included a sold-out date at London’s Jazz Café and Boiler Room session.
 - Collaborated or toured with Stevie Wonder, Jill Scott & The Internet
 - Further press support from DJ Mag, The Evening Standard and LA Weekly, as well as online praise from NPR, The Fader, Bandcamp (who featured the album in their top ‘100 albums of 2017’).
 -30 million combined streams on their last album “Voyager”
 -Jazz FM Soul Act of the Year

 1 Wise Women
 2 Too Much to Ask
 3 The Other Side
 4 Sweet Love
 5 Strength
 6 Everything I Need
 7 Money
 8 Nova
 9 Get To Know It
 10 What You’re Doing
 11 Come Over
 12 Onto Me
 13 Whistling
 14 Still Wonder


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