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Press / Retail 2015

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Welcome to the press and retail section for Ubiquity's family of labels including Cubop, Luv n' Haight, and Ubiquity Promotions releases.  If you have any questions, or need anything that isn't available on this page, please contact Press at (949) 764-9012 ext. 104 or reach via email at press@ubiquityrecords.com
- For sales contact sales@ubiquityrecords.com

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Upcoming Releases:

+ Warsaw Afrobeat Orchestra : Wëndelu

+ Bosq ft. Nicole Willis : Bad For Me

+ The Electric Peanut Butter Co. : Trans-Atlantic Psych Classics Vol.1

+ The Mighty Sceptres : All Hail The Mighty Sceptres!

2007-2014 Releases:

+ Afrodesia - The Afro-Soultet
+ Bei Bei & Shawn Lee - Beauty And The Beats (EP)
+ Bei Bei & Shawn Lee - Into The Wind (CD x LP)
+ Betty Padgett VS. Arthur Foy 12'' (Luv N' Haight)
+ Betty Padgett - Betty Padgett (CD x LP) (Luv N' Haight)
+ Nobody Presents Blank Blue - Dive EP w/ Flying Lotus Remix
+ Nobody Presents Blank Blue - Western Water Music Vol. II
+ Bobby Matos - Best Of (Cubop)
+ The Clonious - Adroit Adventures  (EP)
+ The Clonious - Between The Dots (CD x LP)
+ Clutchy Hopkins - The Story Teller (CD x LP)
+ Clutchy Hopkins - Walking Backwards
+ Clutchy Hopkins Meets Lord Kenjamin - Music Is My Medicine (CD x LP)
+ Connie Price and The Keystones - Tell Me Something
+ Damon Aaron - Highlands (CD x LP)
+ The Echocentrics - Echoland : A Tribute To Timbaland
+ The Echocentrics - Esclavo Y Amo 7''
+ The Echocentrics - Sunshadows
+ Eric Lau - New Territories
+ Eugene Blacknell - We Can't Take Life For Granted (Luv N' Haight)
+ Greyboy - 15 Years Of West Coast Cool (CD x LP)
+ Georgia Anne Muldrow - King's Ballad (CD x LP)
+ HOKIS POKIS: The Magic Of Hokis Pokis
+ Ikebe Shakedown - S/T

+ Ikebe Shakedown - Tujunga/No Name Bar 7''
+ James Hardway - L.A. Instrumental (CD)
+ Jimi Tenor & Kabu Kabu - Joystone
+ Jed and Lucia - Apostrophe/April Showers 10''
+ Jed and Lucia - Super Human Heart
+ Jed and Lucia - Helium EP w/ Letherette Remix
+ Johnny Blas - Indestructible Spirit (Cubop)
+ Lanu - This Is My Home
+ Lord Newborn & The Magic Skulls (CD x LP)
+ The Lions - Jungle Struttin'
+ Mike James Kirkland - Don't Sell Your Soul
+ MIGHTY SCEPTRES: Siren Call 7"
+ Malone & Barnes - Freedom Serenade (Luv N'Haight)
+ Nino Moschella - Boom Shadow (CD x LP)
+ NOMO & Shawn Lee - Upside Down 7''
+ NOMO - Ghost Rock
+ NOMO - Invisible Cities (CD x LP)
+ Nostalgia 77 - Everything Under The Sun

+ Ohmega Watts - Watts Happening
+ Ohmega Watts - Eyes And Ears Single (Digital Only)
+ Orgone - Killion Vaults
+ Orgone - Time Tonight (12'')

+ Orgone - Cali Fever (CD x DLP)
+ Orgone - Duck Gravy / No More Gravy 7''
+ Orgone - I Get Lifted / It's What You Do 12''
+ Orgone - The Killion Floor
+ Peder - And He Just Pointed To The Sky...
+ PPP - On A Cloud 12''
+ PPP - Abundance (CD x LP)
+ Radio Citizen - Hope and Despair
+ RAMP - The Old One, Two 12'' (Luv N' Haight)
+ The SA-RA Creative Partners - Love Czars II 12'' w/ Serato Control Tone
+ The SA-RA Creative Partners - Nuclear Revolution, The Age Of Love (CD x LP)
+ Shawn Lee's Incredible Tabla Band - Tabla Rock
+ Shawn Lee's Ping Pong Orchestra - World Of Funk
+ Shawn Lee - Sing A Song (CD x DLP)
+ Shawn Lee Presents: Soul In The Hole (CD x LP)
+ Shawn Lee & Clutchy Hopkins - Fascinating Fingers (CD x LP)
+ Shawn Lee & Clutchy Hopkins - Clutch Of The Tiger (CD x LP)
+ Shawn Lee & Band Of Frequencies - Under The Sun OST (CD x LP)
+ Shawn Lee - Hooked Up Classics
+ Shawn Lee - Miles Of Styles
+ Shawn Lee's Ping Pong Orchestra - A Very Ping Pong Christmas
+ Shawn Lee's Ping Pong Orchestra - Hits The Hits
+ Shawn Lee vs. Nino Moschella - Kiss The Sky EP
+ Shawn Lee - Voices and Choices

+ SPUTNIK-1 - The Whole Earth b/w Outer Space Bossa
+ Twilight - Still Loving You (Luv N'Haight) (CD x LP)

+Tilight -w Pains Of Love (Luv N'Haight) (CD x LP)
+ Various Artists - Brasil do Brazil
+ Various Artists - Catch Action: The Sophisiticated Boogie Funk Of Sheridan House Records
+ Various Artists - LUV N' HAIGHT EDIT SERIES VOL.1
+ Various Artists - LUV N' HAIGHT EDIT SERIES VOL.2
+ Various Artists - LUV N' HAIGHT EDIT SERIES VOL.3
+ Various Artists - LUV N' HAIGHT EDIT SERIES VOL.4
+ Various Artists - LUV N' HAIGHT EDIT SERIES VOL.5
+ Various Artists - LUV N' HAIGHT EDIT SERIES VOL.6
+ Various Artists - LUV N' HAIGHT EDIT SERIES VOL.7
+ Various Artists - Save The Music: A Compilation For Record Store Day
+ Various Artists - These Are The Breaks
+ Various Artists - Groove Merchant 20
+ Various Artists - California Soul II
+ Various Artists - Choices EP 1

+ Various Artists - Choices EP 2
+ Various Artists - Gilles Peterson Digs America II (Luv N' Haight)
+ Various Artists - White Label Compilation (Digital Only)
+ Various Artists - On A Cloud - Best Of Ubiquity 2009 (Digital Only)

Something missing? Email press@ubiquityrecords.com




Shawn Lee's Ping Pong Orchestra
A Very Ping Pong Christmas
Ubiquity Records (UR224)
Release Date:
  December 25, 2014
Barcodes:  URLP224:  780661122418 
One-Sheet:  PDF


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Shawn Lee’s classic Ping Pong Christmas album is now available for the first time on colored vinyl and just in time for Record Store Day!

Late one cold winter night, our Little Drummer Boy found himself alone in his chilly recording studio. Busting out the Jingle Bells he decided to break the unseasonably eerie Silent Night and play himself a song or two. “Some of My Favorite Things,” he muttered to himself as he stared at his vast collection of musical instruments strewn throughout the room. “O Come All Ye Faithful” he sung to his horn section as he mustered the musical muscle to Deck The Halls. Old Saint Mick joined him on the black and whites and the two of them knew that as long as they had tunes, they would not be alone this Holiday season.

Across the street and Away In A Manger, a baby stirred and it’s mother and father said “Do You Hear What I Hear?” Curious as to the origin of the festive musical mayhem the father trudged his slippered feet through the snow and knocked on the studio door. As it creaked open, the father extended a cold but firm handshake “We’ve never met, have you always been here? Where are you from? What A Wonderful World of music I hear!” he said. “O, (a) Little Town of Bethlehem,” chuckled the drummer boy and Old Saint Mick. “Of course, where else!” said the father. “Sorry am I keeping you up?” apologized the drummer boy. “No, it’s no bother,” said the father. As they were speaking the local police officer happened to stroll by and enquired “Everything ok here fella’s?” “Oh no problems here,” they replied. “Well, God Rest Ye Merry Gentlemen, then,” said the police officer.

After a few more pleasantries the father decided to ditch the mother and child and join the Little Drummer Boy and Old Saint Mick for an all night sherry-fueled funked-up jam session. They left the tapes rolling and the CD in your hands might be the result of this session. It might equally just be the latest album from Shawn Lee’s Ping Pong Orchestra, done psychedelic Santa style. Either way, Christmas has never been so funky!

Features: Mick Talbot (Style Council, Paul Weller, Dexy’s Midnight Runners)

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  01. Little Drummer Boy
02. What A Wonderful World
03. O Come All Ye Faithful
04. Do You Hear What I Hear
05. Jungle Bells
06. Deck The Halls
07. O Little Town Of Bethlehem
08. My Favorite Things
09. Silent Night
10. Carol Of The Bells
11. God Rest Ye Merry Gentlemen
12. Away In A Manger

Warsaw Afrobeat Orchestra
Ubiquity (UR342)
Release Date:
March 10, 2015
Barcodes:  URCD342:  780661134220  x  URLP342:  780661134213
One-Sheet:  PDF


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Following up on their well-received single “Only Now” featuring a remix with label mate Bosq, Warsaw Afrobeat Orchestra deliver a knockout debut album full of heavy Afro and island-inspired tunes.

The album title Wëndelu means “Wanderer” in the native African Wolof language and is a fitting name for the album which explores the wide-range of sounds from the African diaspora and infused with their own traditional Polish folk, jazz and rock sensibilities. Tracks such as “No Such Thing”,“Let It Flow” and “Usurpation” reflect an obvious Reggae and Dub influence while the uptempo numbers on the album “Close To Far” and “Which Direction” veer towards Afro-Disco and Funk.

Formed in 2012, the 10-piece band consists of musicians that have worked and collaborated with each other in different projects ranging from rock, jazz, folk, reggae and funk in the ever-evolving and musically diverse underground music scene in Poland. Inspired by the masters of Afrobeat, world music, as well as African tribal music which is evident in their lyrics and choruses that repeat and weave in and out of deep, hypnotic grooves infusing it with a transcendental quality.

Be on the lookout for another 12in single from the album to drop soon featuring a remix from Tom Noble who’s recent work includes a killer disco version of Myron and E’s “Do It Do It Disco”.

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  01. Stop
02. Signs
03. Empty Words
04. No Such Thing
05. Only Now
06. Usurpation
07. Close To Far
08. Which Direction
09. Your Way
10. Let It Flow
11. Your Way (Remix)

Ubiquity (UR343)
Release Date:
February 24, 2015
Barcodes:  UR12343:  780661134312
One-Sheet:  PDF


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Bosq returns with none other than songstress extraordinaire Nicole Willis on the single “Bad For Me” with a killer house remix on the flip by the infamous Soul Clap crew.

In anticipation of Bosq’s second full-length album, “Bad For Me” paves the way for more of his signature dancefloor goodness that he’s been steadily cultivating from his work with Whiskey Barons to his full-length album debut “Bosq Y Orquesta De Madera”. This time around Nicole Willis lends her talents to the tune, revisiting her dance and house roots where she made a name for herself in the ‘90s.

Bosq originally reached out to Nicole to do a slow burning soul track he’d been working on, but after listening to his album she was set on doing a dance record. The result is the most straight up heavy dance floor disco in the Bosq catalog thus far. The track is dense with that afro-latin-disco percussion you would expect, bubbling with thick funky bass lines, rhythm guitar from "disco" Tom Noble himself, and a wide open piano driving it all. Nicole's perfectly nonchalant vocals sit just right in the groove effortlessly tying the track together and repeating the phrase we've all uttered at least a few times.

The late night dub version expands on the deep chorus groove and allows each piece of the track to really stretch out, highlighted by a killer solo from Boston’s piano wizard Yuki Kanesaka. In keeping with Bosq’s hometown crew love theme, he enlists the Soul Clap production duo to have their way with a remix that packs a punch with it’s pulsating drums and expertly placed synths complementing the vocals, percussion, hand claps, and keys from the original tune.

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  01. Bad For Me
02. Bad For Me (Late Night Dub)
03. Bad For Me (Soul Clap Remix)

Ubiquity (UR341)
Release Date:
February 24, 2015
Barcodes:  URCD341:  780661134121  x  URLP341:  780661134114
One-Sheet:  PDF


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Attracting much fanfare and garnering tons of plays by tastemakers, radio stations-in-the-know, and DJ’s alike, the first Electric Peanut Butter Company album was jar-full of ‘60s psychedelic goodness. But guess what? The dynamic duo of Shawn Lee and Adrian Quesada are back with Vol.1 of their Trans-Atlantic Psych Classics masterpiece!

Adrian Quesada is a man on a mission! He has been killing it in both the recording studio and on the live stage. While on his Brown Sabbath (Brownout) & Spanish Gold albums/tours he found stolen moments in hotel rooms whilst on tour to send musical compadre Shawn Lee tracks for the second Electric Peanut Butter Company album entitled Trans- Atlantic Psych Classics Vol 1 !!!!!

The band of brothers created the music in the same fashion as their debut but with a noticeably fuzzier more dirtier edge. The album starts with Flexi Funk. On this track the drums were recorded straight to Flexi disc on a 1950's tube machine which sounds other worldly and crusty as f#@k!!!

Other highlights include the psych pop gem Spread The Jam which declares the duos intentions. The album has a more heavy psych vibe than it's predecessor but deftly continues a logical progression for Los Hermanos Adrian Quesada & Shawn Lee. Two of the hardest working musicians in show bidness and from the looks of it, just getting started!

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  01. Flexi Funk
02. Beer Good
03. Spread The Jam
04. Stealio
05. Mary’s Chair
06. Go Go Go
07. Tennis Elbow
08. Mister Pink
09. Damn Skippy
10. Austin City Limiter
11. Jenn Wu
12. Fat Budda

Ubiquity (UR339)
Release Date:
October 7, 2014
Barcodes:  UR7339:  780661133919
One-Sheet:  PDF


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The Soul Surfers return with another heavy psychedelic funk treat from their cosmic alter-ego Sputnik-1.

The boys from Nizhny Novgorod, Russia have created another collectable 45rpm 7in single, laden with cosmic goodness with plenty of tripped-out synthesizer grooves. Under their Sputnik-1 guise, they’re able to explore and embrace their more experimental side creating a distinct sound different from their Soul Surfers tunes but with the same underlying heavy funk foundation.

"The Whole Earth" is an exercise in instrumental, cosmic, psychedelic funk. Awash in organs, and synths backed by the heaviest of drums. The B-side "Outer Space Bossa" veers toward the Brazilian side as indicated by the title of the tune. The heavy drums are still there along with the organs and synths starting off as a mid-tempo Bossa Nova groove then building up to a spacier and decidedly more funk heavy sound.

Look for the debut full-length Soul Surfers album to drop later in 2014 with another 7in single prior to it’s release.

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  A1. The Whole Earth
B1. Outer Space Bossa


Ubiquity (UR338)
Release Date:
February 24, 2015
Barcodes:  URCD338:  780661133827 x URLP338:  780661133810
One-Sheet:  PDF


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All Hail The Mighty Sceptres! boldly announces the arrival of the band and is also the rightful title of their debut album. Nick Radford and Angeline Morrison have crafted an extraordinary collection of songs showcasing their love of all things “Soul”, from funk, R&B, jazz, and doo-wop with just a bit of rock, all informed by the sound and attitude of the ‘60s.

Already accomplished artists in their own right and having been guests on each others records, the “magic” between Nick and Angeline is fully manifested in “The Mighty Sceptres” as Angeline describes it,“The collaborative element of 'All Hail The Mighty Sceptres' has been really inspiring. Nick and I have had the chance to focus together on writing and arranging, and though we've co-written many songs previously, this was a new level of freedom and responsibility for us.”

Getting the "right sound", from the writing through to the recording, engineering, production, mixing and mastering, is of paramount importance to the music of The Mighty Sceptres. By enlisting the help of Chris Pedley (The Baker Brothers) as a producer who in turn brought in Benedic Lamdin (Nostalgia 77) to help him with the final mix of the album, they were able to achieve just that. According to Nick “I think we were all on the same page as far as 'the sound' we were after was concerned, coming from a similar place musically. From the recording (where Kryzsystof Oktalski helped out with signal chains and mic’ing things up), mixing down to tape in the remarkably well equipped Fish Market studios (using the same MCI desk Willie Mitchell used at Hi Records, and an EMT140 plate reverb, among other equipment), through to the final mastering by the well respected Lewis Hopkin; I don’t think we have ever used so much authentic equipment, never mind worked with such talent, in the creation of an album!

Stand out tracks include the killer funk stomper "I Found The Letter" and the string-laden, R&B uptempo ballad "Shy As A Butterfly". .

Look for their debut full-length album dropping in 2014!

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  01. Siren Call
02. I Found The Letter
03. Shy As A Butterfly
04. Just Didnt Mean It
05. Jerk Chicken
06. Nothing Seems To Work
07. Sting Like A Bee
08. You're Nothing But A Pack of Cards
09. Gentle Refrain
10. Land Of Green Ginger
11. Krazy Kat
12. That Ol' Feelin'
13. We Got A Problem

Ubiquity (UR327)
Release Date:
  August 26, 2014 (CD / DIGITAL)
Vinyl Release Date:  September 16, 2014
Barcodes:  URCD327:  780661132721  x  URLP327:  780661132714
One-Sheet:  PDF


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Afro Latin Vintage Orchestra’s (ALVO) new album Pulsion delves deeper into spiritual jazz, library and film music. The result is a heavier, more progressive and darker sound albeit with their signature funk and groove remaining intact as the foundation.

As a collective with a rotating cast of members and ranging in size depending on the project, the core musicians on this record are the same as their previous effort “Last Odyssey” with the addition of a string quartet. Their designated ring leader Masta Conga remains the driving force behind the group, and cites library music by Vladimir Cosma, Michel Colombier, and Francois de Roubaix along with French progressive acts Magma and Zao as the main influence for the album especially in terms of the groove. Their spirituality is derived from the east with works by Yuji Imamura, Hozan Yamamoto, Masabumi Kikuchi and Hino Terumusa lending the more esoteric flourishes to the complexity of Pulsion’s sound. Contemporary classical music by Pierre Boulez rounds out the list of inspiration listed by Masta Conga in terms of constructing song structure and composition. Describing the album in his own words:

“On this fourth album, we tried a new approach by including various inspirations such as library music, spiritual and electric jazz funk, abstract hip-hop, with a touch of european groove and contemporary music. Always willing to create new and original rhythmic forms, we hope that it will satisfy you!! - Masta Conga”

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  01. Kagemusha
02. Pulsion
03. Rituel
04. Resurrection
05. La Traque
06. Homo Analog
07. Audio Synthèse
08. La Blanche
09. Complot
10. Shaman
11. Drama
12. En Sursis
13. Chroniques Marxiennes
14. French Connexion
15. Code Panthera
16. Kung Fu

Shawn Lee's Ping Pong Orchestra
Hits The Hits
Ubiquity Records (UR220)
Release Date:
  October 9, 2007 (Original release date)
Vinyl Release Date:  September 2, 2014
Barcodes:  URCD220:  780661122029  x  URLP220:  780661122012
One-Sheet:  PDF


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"Uk-producer and multi-instrumentalist Shawn Lee's latest effort hits the mark ... applying a sophisticatedly vintage vibe to a slew of current pop hits. Perpetually fueled by a sunny, feel-good groove, the tunes on Hits the Hits are commendable for Mr. Lee's arrangements and embellishments that often improve upon the original sources."

"He even manages to make a Britney Spears record listenable..."
Prefix Magazine

"This cover of Outkast’s “Hey Ya!” is a must-hear collaboration with renowned pianist Mick Talbot (Style Council, Dexy’s Midnight Runners) that “sounds like vintage Ramsey Lewis,” according to the label.  It’s an accurate description, but what Ubiquity fails to mention is the harmonica that colors the track in place of the chorus vocals, which makes this an off- but still on-beat rendition and a rave-up of the highest order. Somewhere, Magic Dick is smiling."

Shawn Lee
is back with his Ping Pong Orchestra in tow, and goes completely pop!

On Hits The Hits he does tunes by Gwen Stefani, Amy Winehouse, Britney Spears, Blur, Badly Drawn Boy, Justin Timberlake, Outkast and many more in his own unique style.  The album opens with a collaborative joint featuring piano-master Mick Talbot (Style Council, Dexy’s Midnight Runners, etc.) on a version of Outkast's “Hey Ya!” that sounds like vintage Ramsey Lewis.

Putting his over-stuffed studio to the test Lee pulls out all the stops on an album that includes a surf guitar-driven cover of Missy Elliot's “Get Ur Freak On” (already selected by taste-maker producer/DJ Tom Middleton for one his compilations), a full-on psychedelic sitar flavored take on Britney’s “Toxic”, and stripped-down super funky versions of the Kelis hit “Trick Me” and Timberlake’s “Rock Your Body.”

Following on the success of Voices and Choices (from which “Kiss The Sky” was picked as an iTunes “Song Of The Day”) and his previous albums (three tunes from which were recently used in each of the three trailers for the Oceans 13 movie) is the second album from Lee this year, but not his last.  A Ping Pong Orchestra take on a Christmas album will follow in November.

Lee’s sound, which started as a take on old-school library albums and has grown into a sound of his own, it's made possible by his inability to stop making music in an insanely overpopulated studio.  A 1940's early proto-synth called a Clavioline, a 100 year old Marxophone zither, a 1950's Virginal Harpsichord, a 1950's Xylophone, a rare 1967 Vox guitar that has Fuzz, Tremelo and wah-wah built in, a 1930's Double Bass and an early 1900's keyboard called a Dulcetone all reside within the walls of Lee’s facilities.

As a multi-instrumentalist and singer Shawn Lee has played and recorded with a diverse range of artists including Psapp, Coldcut, Leeann Rhimes, Martina Mcbride, UNKLE, Tony Joe White, Chateau Flight, The Dust Brothers, St. Etienne, Jeff Buckley, Bomb The Bass, The Spice Girls, and Natasha Atlas - not to mention solo records for Talkin' Loud, Wall of Sound imprint We Love You and BBE.  He is also known to breaks n'beats collectors as the man behind "The Ape Breaks" and "Planet of the Breaks" series which were sampled by everyone from Guru to The Gorillaz.  Music by Lee has been used in commercials for BMW and Jaguar, in multiple TV shows, and in addition to the Oceans 13 movie, he has had music in The Break Up and Save Angel Hope.  He was also asked to score the entire soundtrack to the highly controversial Rock Star video game Bully for which he was nominated Best Original Video Game Score by Spike TV.

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  01. Hey Ya
02. Out Of Time
03. Trick Me
04. Rock Your Body
05. One Around The Block
06. One Thing
07. Millionare
08. Clint Eastwood
09. Let Me Blow Your Mind
10. Get UR Freak On
11. Toxic
12. By The Way

13. Rehab
14. Can't Get You Out Of My Head

Various Artists
Brasil do Brazil
Ubiquity (UR337)
Release Date:
November 25, 2014
One-Sheet:  PDF


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A swinging set of Brazilian and Brazil-inspired tunes from the Ubiquity catalog featuring songs from Bosq, Tita Lima, The Echocentrics, Shawn Lee, Ohmega Watts, The Soul Sufers, and many others. It also includes classics from John Beltran, Snowboy and remixes from Tall Black Guy, Joe Claussell and The Superimposers. The compilation is an eclectic mix of styles from Batucadas with an electronic twist, Samba and Bossa Nova with hints of deep Funk (Girl From Sau Paolo) and Eastern Jazz (Bei’s Bossa) to psychedelic Tropicalia (Nao Vacila). This deep selection of tunes is the perfect soundtrack to sit back and watch the “beautiful game” with a few friends while enjoying a nice caipirinha.

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  01. Bosq of Whiskey Barons - "Bosqtucada"
02. Snowboy - "Casa Forte (Joe Claussell's Spiritual Samba Remix)"
03. Shawn Lee's Ping Pong Orchestra - "Brazilian Bubble"
04. The Soul Surfers - "Girl From Sao Paulo"
05. Bosq of Whiskey Barons feat. Tita Lima - "Paciencia De Jo"
06. John Beltran - "Bota Foga"
07. Bei Bei and Shawn Lee - "Bei's Bossa"
08. The Echocentrics feat. Tita Lima - "Mundo Pequeno"
09. Jed And Lucia - "Smoke Signals (Superimposers Remix)"
10. Shawn Lee's Ping Pong Orchestra feat. Curumin - "Nao Vacila"
11. John Beltran - "Sun Musica"
12. The Echocentrics feat. Tita Lima - "Jardim"
13. John Beltran - "Pica"
14. Ohmega Watts - "The Platypus Strut"
15. Bosq of Whiskey Barons feat. Tita Lima - "Paciencia De Jo (Tall Black Guy Remix)"
16. Ohmega Watts feat. Tita Lima - "Adaptacao"
17. Shawn Lee's Ping Pong Orchestra - "Boss Bossa"
18. John Beltran - "Kiana"
19. The Echocentrics feat. Tita Lima - "O Elefante"

Ubiquity (UR335)
Release Date:
May 13
Barcodes:  UREP335:  780661133513
One-Sheet:  PDF


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Brown Sabbath is the alter ego of Austin-based Brownout, delving into the catalog of the Hard Rock and Heavy Metal godfathers themselves Black Sabbath. “Hand Of Doom” featuring Black Angels singer Alex Maas on vocals is the lead-off single with “The Wizard” on the flip, pressed on limited colored splatter 10inch.

Remaining true to the darkness, bombast and fuzz of Sabbath's sound, Brownout reinvents the music with their trademark flavors of Latin-Funk and Psychedelic Rock. Powerful horns combined with Alex Maas’ haunting vocals, funked-up drums and percussion transform Hand Of Doom into a Rock and Funk juggernaut that clocks in at almost 8 minutes long. On the flip Alex Marrero takes his turn on the vocals and channels his inner Ozzy Osbourne with the band’s full horn section taking place of the harmonica in the original and once again adding funky sensibility and Latin flourishes to make it their own.

Look for the full-length Brownout presents “Brown Sabbath” LP to drop early Summer 2014.

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  01. Hand Of Doom ft. Alex Maas
02. Hand Of Doom (Instr.)
03. The Wizard ft. Alex Marrero
04. The Wizard (Instr.)

Ubiquity (UR336)
Release Date:
June 24
Barcodes:  URCD336:  78066113362  x  URLP336:  78066113361
One-Sheet:  PDF


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Brown Sabbath is the alter ego of Austin-based Brownout, delving into the catalog of the Hard Rock and Heavy Metal godfathers themselves Black Sabbath. The album features several covers of Sabbath classics including “Iron Man”, “N.I.B” and “Hand Of Doom” with Black Angels singer Alex Maas.

Remaining true to the darkness, bombast and fuzz of Sabbath's sound, Brownout reinvents the music with their trademark flavors of Latin-Funk and Psychedelic Rock. Powerful horns combined with Alex Maas’ haunting vocals, funked-up drums and percussion transform “Hand Of Doom” into a Rock and Funk juggernaut that clocks in at almost 8 minutes long. Alex Marrero takes his turn on the vocals and channels his inner Ozzy Osbourne on “The Wizard” and “N.I.B”. Deep, hypnotic percussion combined with a full horn section and Adrian Quesada‘s heavy yet groovy lead guitar layered on top adds a funk sensibility and Latin flourishes to the originals throughout the album.

An 8-piece outfit formed ten years ago by members of Grammy Award-winning Latin revival orchestra Grupo Fantasma, Brownout has evolved into a musical force all its own. After garnering their third Austin Music Award last year, the band has continued to produce music that is unflinchingly progressive, while evoking the classic influences of artists such as WAR, Cymande and Funkadelic.

Brownout has released three albums including Homenaje (Freestyle Records 2008), Aguilas & Cobras (Six Degrees 2009) and Oozy (Nat Geo 2012). Tour dates to support the release of their fourth studio effort, Brownout Presents Brown Sabbath, will be announced shortly.

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  01. The Wizard
02. Iron Man
03. N.I.B.
04. Black Sabbath
05. Hand Of Doom
06. Into The Void
07. Planet Caravan

Ubiquity (UR334)
Release Date:
May 13, 2014
Barcodes:  UREP334:  780661133414
One-Sheet:  PDF


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With Darondo’s sudden and unexpected passing last year, the world truly lost a singular and unique talent. “Didn’t I” was undoubtedly his most beloved and well-known song making the rounds in Soul collectors’ circles for some time and reaching a much wider audience with numerous placements on TV and movies including the iconic show “Breaking Bad.” Three producers from across the globe have paid him homage by adding their touches and flavor to the classic tune.

French producer GUTS remix was previously included on a limited double 7in EP called “Brand New Revolution”. His take on the tune became a summer time favorite with it‘s laid back groove and Darondo’s emotion-tinged vocals layered on top. Florent F also from France, adds some heavier live drums to create a harder-hitting version on his mix. Hailing from Montreal, Canada, noted edit and remix producer Dave Allison’s version picks up the tempo, highlighting the groovier elements of the track transforming the soul tune to a dancefloor mover.

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  01. Didn’t I (GUTS remix)
02. Didn’t I (Florent F rework)
03. Didn’t I (Dave Allison rework)
04. Didn’t I (original)

The Sophisiticated Boogie Funk Of Sheridan House Records
Luv N' Haight (LH075)
Release Date:
Summer 2014
Barcodes:  LHCD075:  780661007524  x  LHLP075:  780661007517
One-Sheet:  PDF


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Kent Harris
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Ty Karime
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Towana Hill
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Something Unique
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Deborah Foster
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Janette Renee
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Beverly Cason
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Tammy Hanson
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Luv N’Haight along with Shane “DJ Sureshot” Hunt presents “Catch Action: The Sophisiticated Boogie Funk of Sheridan House Records.” With a total of 27 tracks allocated over 6 x 12”s along with a booklet and housed in a slipcase, the boxset compilation provides a comprehensive story of Kent Harris’ Los Angeles based label releasing obscure yet timeless gems from the golden-era of modern soul, boogie and funk.

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  01. SOMETHING UNIQUE - Catch Action
02. DEBORAH FOSTER - Whip It On Me
03. JANETTE RENEE - What’s On Your Mind
04. BACK TO BACK - Real Love
05. SOMETHING UNIQUE - This Feeling Between Us
06. DEBORAH FOSTER - Sweet And Sassy
07. DEBORAH FOSTER - Sweet And Sassy Instrumental
08. JANETTE RENEE - I’m Gonna Be Your Lover
09. JANETTE RENEE - I’m Gonna Be Your Lover ext. Instrumental
10. TY KARIM and GEORGE GRIFFIN - Keep On Doin’ Whatcha Doin
11. BEVERLY CASON - Frenzy
12. TY and TOWANA - Catch Action
13. RIGHT CONNECTION - High School Love Affair
14. 2-ANA - Jungle Animal
15. 2-ANA - Jungle Animal Instrumental
16. ROBERT EDWARDS - Funky On The Bottom b/w
17. ROBERT EDWARDS - Sweet On The Top
18. BACK TO BACK - Shake That Body Music
19. DEBORAH FOSTER - It Takes Money
21. ROMEO STONE - Keep On Doin’ Whatcha Doin’
22. BIG BUNDY - Sex
23. TAMMI HANSON - So Weak
24. TOWANA - Tell Me How It Is
25. TY KARIM - It Takes Money
26. KING JAMES - Suspicion
27. DEBORAH FOSTER - Sweet And Sassy (alt. take)

Stone By Stone
Ubiquity (UR333)
Release Date:
April 15, 2014
Barcodes:  URCD333:  780661133322  x  URLP333:  780661133315
One-Sheet:  PDF


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Ikebe Shakedown’s powerful instrumental soul takes “big unison horns, slinky bass lines, tight little guitar licks—and blends them with tasty grooves culled from '70s-style horn-driven funk (WNYC Soundcheck).” The Brooklyn-based collective is set to follow up their well-received self-titled debut album with the heavier, more mature sound of their second full-length Stone By Stone.

The self-produced album was recorded at the famed “House of Soul” Daptone Studios in Bushwick, Brooklyn. Notes bassist Vince Chiarito, "Thinking of all the great music that has come out of the Daptone Studio really pushed us to refine our songs and grow as a band. It was really inspiring to record there." The band adds that, “Stone By Stone is a much more layered and arranged album. The self-titled debut captured the raw energy of us playing live and the new record is much more of a studio effort. Psychedelic textures weave in and out of the grooves while the horn section offers an explosive response. The songs are heavy and danceable and show our moodier, more melodic side.”

The seven-piece band—named after a favorite Nigerian boogie record and pronounced “ee-KAY-bay”—formed in 2008 and has developed a mighty horn section anchored by tight, deep-pocketed grooves. Following 2009’s debut EP Hard Steppin', the band released their self-titled debut full-length LP on Ubiquity Records in 2011 that Okayplayer called “an adventurous trip through time” and “one of the best releases of the year.” Their music has also been featured on a number of television shows and commercials including HBO's Eastbound and Down, Mini Cooper and Vans.

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  01. The Offering
02. Stone By Stone
03. The Beast
04. By Hook Or By Crook
05. Rio Grande
06. Last Stand
07. Cover Your Tracks
08. Chosen Path
09. The Illusion
10. Dram

The Magic Of Hokis Pokis
Luv N' Haight (LH071)
Release Date:
March 18, 2014
Barcodes:  LHCD071:  780661007128  x  LHLP071:  780661007111
One-Sheet:  PDF


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Formed in 1970, Hokis Pokis was a seminal band in the New York disco scene with a handful of underground local hit singles including the highly-sought after “Nowhere” “Find What You’re Looking For” and “City Rhythm”.

Releasing several singles from the mid ‘70s all the way to the ’80s, Luv N’Haight has compiled all of Hokis Pokis’ musical output into an album which also includes 2 previously unreleased tracks. Remixed and remastered digitally from the original master tapes, the versions on the album are elevated from the already amazing originals with a cleaner sound and harder-hitting bottom end, bridging the gap between dancefloor fanatics in disco’s heyday to their modern day counterparts. Never before seen photos along with corresponding liner notes from DJhistory.com’s Bill Brewster are included in the deluxe double-LP package, telling the story of a group of friends that embark on a musical journey that continues to this day. From the beginning of disco’s rise to its inevitable decline, hitting a low point with the “Disco Sucks” movement, to its eventual resurgence in popularity with today’s dance-culture, Hokis Pokis has remained together bonded by friendship first, coupled with a shared musical vision that continues to endure.

Look for Under the Influence of Hokis Pokis album later in the year featuring heavyweight producers Kon, DJ Spun, Citizen Kane, Al Kent, DJ Day and others who all take their turn creating new, original dancefloor classics from the original multi-tracks.

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  01. Can’t Wait For Love
02. Get Cha Girl
03. Swing
04. Keep On Rollin’
05. City Rhythm
06. Nowhere
07. Find What You’re Looking For
08. Fire
09. I Only Have Eyes For You
10. Falling In Love

Ubiquity (UR330)
Release Date:
January 21, 2014
Barcodes:  URLP330:  780661133018
One-Sheet:  PDF


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Fresh from the success of the Soundsational album, Soundsci are back with the instrumentals from their album, which will also include instrumental versions of two new remixes from their upcoming Soundsci Styles b/w Coastin’ Remixes 7in. single.

Inspired by songs from Mike James Kirkland's "Don't Sell Your Soul" anthology from his earlier days as part of "Mike And the Censations", the Soundsational album pays homage to the amazing source material that's been sampled, chopped and reconstructed while preserving the soul of the originals. The result are 10 songs that delve deep into Hip-hop's Golden Era with the boom-bap sound and soul samples combined to create an instant classic.

The Soundsational Instrumentals came about due to a massive demand for the instrumental counterpart of the album. With its well-produced beats, impeccable samples and overall production that scream “Classic Hip-Hop”, fans will not be disappointed.

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  01. Understand the Message inst
02. Inner Energy inst
03. That’s Life inst
04. Bust ‘Em (In The Dome) inst
05. Coastin’ inst
06. Styles Dub Version inst
07. Soundsational inst
08. Deception inst
09. Rastaman inst
10. Get Even inst
11. Styles inst
12. Coastin' Reblessed inst

Ubiquity (UR7329)
Release Date:
January 21, 2014
Barcodes:  UR7329:  780661132912
One-Sheet:  PDF


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Soundsci returns with two new remixes off their Soundsational album on a limited 7in single!

With their Soundsational album dubbed as “one of the finest full-fledged hip hop records from Ubiquity in years!” (Dusty Groove), the crew is back to deliver more boom bap for your buck, crafting 2 new remixes with a decidedly different flavor than the originals.

The “Styles Dub” remix explores Hip-Hop’s roots in Reggae and Dub, complete with echo delays, effects and vocals that are both parts rapping and toasting. Inspired by the opening tune from the classic film “Day of The Condor”, “Coastin Reblessed” is transformed into a library and soundtrack styled groove with Audessey, U-George and Oxygen’s buttery smooth vocals layered on top.

Instrumentals for both tracks are included with the digital download and are also available on the upcoming Soundsational Instrumentals album.

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  01. Styles Dub
02. Coastin’ Reblessed

Ubiquity (UR7328)
Release Date:
JANUARY 28, 2014
Barcodes:  UR7328:  780661132813
One-Sheet:  PDF


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The Mighty Sceptres sound like a lost musical treasure from the vaults of soul. Featuring the combined musical imaginations of collaborators Nick Radford (Frootful) and Angeline Morrison (Freestyle Records / The Ambassadors of Sorrow), The Mighty Sceptres cut heavy beats with soulful yearning and shots of funky sensibility.

“Siren Call” is the duo’s first single as “The Mighty Sceptres” and is the perfect introduction to their sound. The song itself is rich with significance. Its heritage is firmly in the minor blues tradition, exemplified by tracks like Rose Mitchell's 'Baby Please Don't Go'. Angeline is heavily influenced by Alan Lomax's recordings of prison songs and spirituals, and also by Emily Bronte's classic 'Wuthering Heights'. The eerie music seemed to lend itself to the development of a story around a little lovelorn ghost returning to its beloved, hiding shyly and tapping on the window when it felt its confidence surge. The song evolves into a swinging tempo as the ghost realises the futility of her endeavour...

With influences as diverse as Sam Cooke, Jackie Wilson, Irma Thomas, The Impressions and The Soul Brothers Six, getting the "right sound", from the writing through to the recording, engineering, production, mixing and mastering, is of paramount importance to this sort of music. As such, The Mighty Sceptres are careful to work with people who understand where they are coming from, while using suitable vintage instruments and analog equipment that will help achieve an authentic sound. Kryzysztof Oktalski, who co-produced the debut single is himself a big Northern Soul collector, with an encyclopedic knowledge of recording, engineering and mixing techniques from the best studios and labels of the 60s.

Look for their debut full-length album dropping in 2014!

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  01. Siren Call
02. Siren Call (Instrumental)

Twilight “You’re In Love” (Kon Remix)
Ubiquity (UR7331)
Release Date:

Barcodes:  UR7331:  780661133117
One-Sheet:  PDF


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Volume 7 of our ongoing Luv N’Haight Edit Series is our first on a 7 inch and features heavyweight digger, edit-master and producer Kon with his take on Twilight’s Modern Soul and Boogie classic “You’re In Love”. He stays true to the original but packs a bit more punch into the groove while keeping the focus on the catchy vocals and chorus on the A-side, and doing it Dub-style with minimal vocals and plenty of echo on the flip.

2013 was definitely the year of Kon with a remix released in March via On The Prowl's Party Mix Vol.7, his “All About You” EP dropping in May on Soul Clap’s newly formed record label and his first solo all-original album “On My Way” released on BBE this past July. In between studio-work, touring in promotion of his new releases and djing parties as one of the world’s most highly sought-after DJ’s, Kon couldn’t pass up the opportunity to add his name to our growing list of venerated producers that have blessed the Luv N’Haight Edit Series with their work. Supplied with the original stems culled from master tapes provided by Twilight’s own Lawrence Ross, Kon takes full-advantage and crafts a classic remix and dub version of the song guaranteed to get any dancefloor jumping.

With a career spanning decades and first brought to prominence as one half of Kon and Amir and their work on the legendary “Off Track” and “On Track” releases as well as remixes of luminary artists Cerrone, Kool And The Gang, Bee Gees, Slave and Chic amongst many others, has allowed him to transcend his moniker as “King Of Nothing”. Counting noted taste makers such as Gilles Peterson, Danny Krivit, John Morales, Jazzanova and Dam Funk as fans of his work, Kon’s prominence is steadily on the rise with it’s apex still unforeseen on the horizon.

Look for another Twilight remix from Kon on a Twilight Remixes release with Ohmega Watts, Twilight Tone and other surprise producers coming in 2014!

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  01. You’re In Love (Kon Remix)
02. You’re In Love (Kon Dub)

Ubiquity (UR12326)
Release Date:
NOVEMBER 26, 2013
Barcodes:  UR12326:  780661132615
One-Sheet:  PDF


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Bosq’s “Paciencia De Jo,” off his well-received Bosq Y Orquesta De Madera album was arguably its most played and talked about track. The Tropicalia-inspired sound backed by Brazilian chanteuse Tita Lima was the perfect song for the summer. Looking to keep the fall season at bay, Tall Black Guy drops a Brazil-by-way-of-Detroit remix ensuring a few more days of sunshine. Instrumentals for both original and remix are also included.

As the first song on the record “Paciencia De Jo” is the perfect introduction to what the album has in store for the listener; a mélange of African, Latin, and House music bound together by Soul at it’s foundation. A beautiful and infectious keyboard line ushers in the driving Batucada rhythms punctuated with soaring horns all tied in together by Tita Lima’s exquisite vocals. DJ’s, tastemakers and critics alike were enthralled garnering a front-page feature on Wax Poetics.

Tall Black Guy’s love for Brazil is evident on his “Brazilian Chronicles” digital album from 2012 where he chops, remixes and flips classic tunes, creating his own versions that are altogether fresh and new. He fashions the beginning of his remix much in the same way as the original but replaying the keys with a more subdued feel and jazzier flavor. Once the percussion hits, the song takes on it’s Brazilian persona followed by the boom bap Detroit-styled drums, adding a little bit of grit and bottom-end punch balancing out perfectly with Tita’s airy vocals buoyantly floating on top.

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  01. Paciencia De Jo Remix
02. Paciencia De Jo Remix (instrumental)
03. Paciencia De Jo (original)
04. Paciencia De Jo (original instrumental)

Ubiquity (UR12325)
Release Date:
NOVEMBER 19, 2013
Barcodes:  UR12325:  780661132516
One-Sheet:  PDF


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Warsaw Afrobeat Orchestra (WAO) scorches with their sound, rooted in Lagos while adding their own unique flavors.“Only Now” is the first-single from their upcoming full-length album which also includes a remix by Bosq from Whiskey Barons.

Formed in 2012, the 10-piece band consists of musicians that have worked and collaborated with each other in different projects ranging from rock, jazz, folk, reggae and funk in the ever-evolving and musically diverse underground music scene in Poland. Inspired by the masters of Afrobeat, world music, as well as African tribal music which is evident in their lyrics and choruses that repeat and weave in and out of deep, hypnotic grooves infusing it with a transcendental quality. “Only Now” is crafted in this fashion and is one of the band’s first compositions. The rhythm and groove of Afrobeat is the foundation with what the band describes as “folk” styled vocal arrangements layered on top that blur the distinction between background and lead vocals. The resulting sound cannot be classified as strictly Afrobeat especially with the infectious vocals that are an amalgamation of ‘80s female pop groups, Indie-rock and contemporary Afro-Soul groups.

On the flip we have Bosq of Whiskey Barons turning up the dancefloor quotient level to 10 with his remix. Supplied with the original track stems while also replaying and recreating some of the arrangements, Bosq infuses his signature hybrid sound of Afro-Funk, House and Soul and creates his own unique interpretation of WAO’s music as a producer and DJ whose sole purpose is to keep the dancefloor movin’.

Look for the full-length album debut from Warsaw Afrobeat Orchestra in 2014.

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  01. Only Now
02. Only Now (Instrumental)
03. Only Now (Bosq Remix)
04. Only Now (Bosq Remix Instrumental)

Ubiquity (UR12323)
Release Date:
OCTOBER 15, 2013
Barcodes:  UR12323:  780661132318
One-Sheet:  PDF


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The sixth volume in our Luv N’Haight Edit Series featuring 2 hard-hitting tracks from Turner Brothers is a throwback to the classic edits sound courtesy of Sun Sound Records owner, edit master and renowned record collector Paolo Scotti.

With several recent edits under his belt including classics by Touch of Class, Joe Thomas, and Ultrafunk as well as a compilation of Rare Disco and Soul from his Sun Sound Records label imprint based in Italy, the time was right to tap him as the next producer for our ongoing series of edits from the Luv N’Haight catalog.

Running In The Rain lends itself perfectly to Paolo’s aesthetic giving the amazing groove of the original room to breathe, focusing on the luscious driving rhythm and killer horns, taking the original that clocks in at just under 4 minutes and stretching it out almost hitting the 5 1/2 minute mark. His treatment of Cause I Love You is another example of “less is more” as the intro is spaced out as if to perfectly sync with the DJ as he drops the track allowing for a seamless transition. Paolo takes an already perfect track and gives the dancefloor and the listener an additional treat with an extended edit over 7 minutes long!

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  01. Running In The Rain (Sun Sound re-edit by Paolo Scotti & Giacomo Silvestri)
02. Running In The Rain (Original)
03. Cause I Love You (Sun Sound re-edit by Paolo Scotti & Giacomo Silvestri)
04. Cause I Love You (Original)

Ubiquity (UR320)
Release Date:
Barcodes:  URCD320:  780661132028  x  URLP320:  780661132011
One-Sheet:  PDF


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The sound of "The Electric Peanut Butter Co. is spreading across the nation!" With this proud declaration Shawn Lee and Adrian Quesada’s collaboration album is on it’s way so get ready to JAM!

As mutual fans of each others work, both Shawn and Adrian always looked for a way to work with each other and after meeting in Adrian’s hometown of Austin in 2010 for SXSW it was decided it was time to get to work once their respective schedules freed up. Inspired by ‘60s freaky psychedelic folk, rock, soul and all funky tidbits in-between and bands such as Los Angeles Negros, Federal Duck, US69 and El Chicano the duo set forth on their task to create “Trans-Atlantic Psych Classics Vol.2.” The album’s name references the recording process behind it’s creation. Both heavily steeped in studio experience and amazing multi-instrumentalists in their own regard, partial songs and sometimes single tracks were recorded and sent back and forth across the pond. Shawn’s signature monster drums along with Adrian’s slinky basslines are the main ingredients in all the songs, creating a layer of rhythm that’s crunchy and buttery smooth throughout. They then took turns with guitars, percussion, keys and various other instruments in Shawn’s studio pantry to complete the songs. The spontaneity, freedom and fun both had in making the record is evident by the relatively short two month period it took to finish.

Lead-off track “The Rain” sets the tone with it’s driving beat and ‘60s flavored pop-psych-folk-funk-rock amalgamation that permeates the entire record. The more sinister side of psychedelia is also explored with songs such as “Back Street Wall” about the end of the world and “The Devil” which is their take on the classic tales of fire and brimstone with “El Diablo” personified as the metaphor of all that is evil. A rendition of Fleetwood Mac’s “Dreams” filtered through flavors and stylings of “The Dramatics” and “El Chicano” as described by Adrian balances out the dark with a bit of cheer and light. Shawn steps out of his “Ping Pong Orchestra” instrumental persona to do all the lead vocals throughout, providing the final, essential ingredient to the mix. Fans of both Shawn and Adrian’s instrumental excursions need not fret as a spoonful’s worth of dusty, cinematic, soulful and heavy grooves are blended in for good measure to round out this tasty treat!

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  01. The Rain
02. Backstreet Wall
03. Cold Blood
04. Dreams
05. El Prudence
06. Big Tweed
07. Alfonso
08. Mono Man
09. The Devil
10. Mama Lion
11. Going In Circles
12. Christophe Waltz
13. Tape Lifter

Luv N'Haight (LH12070)
Release Date:
OCTOBER 15, 2013
Barcodes:  LH12070:  7806611007012
One-Sheet:  PDF


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Ubiquity's founder Michael McFadin spent most of his youth on the burgeoning Southern California punk rock scene. Later when he became a DJ during the rare groove era there was one record from his past that was a quirky staple in his sets "Down At The Laundry Mat" by Black Randy and The Metro Squad.  "Whenever I play it someone asks me about it and I've never grown tired of it" says Michael "so we decided to rerelease it". Most commonly known for its inclusion on the single-sided, clear vinyl Yes LA compilation that was released on the Dangerhouse label and also included songs by The Germs, The Bags and others. The flip "Give It Up Or Turn It Loose" was on the only album by Black Randy and The Metro Squad "Pass The Dust, I Think I'm Bowie" and is a freaked out, garagey, ritalin-infused version of this JB classic!

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  01. Down At The Laundromat
02. Give It Up Or Turn It Loose

Ubiquity (UR12324)
Release Date:
OCTOBER 15, 2013
Barcodes:  UR12324:  780661132417
One-Sheet:  PDF


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On the heels of “The Beast b/w Road Song” 7in release, we revisit Ikebe Shakedown’s back catalog and tap renowned remixer and House producer extraordinaire Brennan Green to do a proper remix of “Tujunga” which flew off the shelves and sold out as a 7in single prior to Ikebe’s self-titled debut album release in 2011.

Brennan’s “Disco Acido” treatment of Tujunga transforms the original afrobeat stomper into a hypnotic, acid house heater similar to his classic acid treatment of the 40 Thieves' Don't Turn It Off. Heavy, warm analog bass permeates the whole track with Ikebe’s stabbing horns punctuating the groove; adding depth to an already DEEP and soulful masterpiece. “Disco Acido Stripped” has Brennan stripping away all the original elements of the track, leaving only his additional remix production. Keeping it in the spirit of the oldschool tribes he’s gathered a selection of analog synths and drum machines including the MKS-80, MC202, RS202, TB303 and TR707 all from the Roland family of synths built in the ‘80s.

The B-side features the original “Tujunga” track for those who missed out on the original 7in and a remix by production duo Meridian-West (Ubiquity’s own Thomas PM and Wes “The Mes” Osborne) that keeps the dance-floor grooving with a driving rhythm, thumping bass and spaced-out horns and effects added for good measure.

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  01. Tujunga (Brennan Green’s Disco Acido)
02. Tujunga (Brennan Green’s Disco Acido Stripped)
03. Tujunga (original)
04. Tujunga (Meridian West – Passport Remix)

Ubiquity (UR318)
Release Date:
July 16, 2013
Barcodes:  URCD318:  780661131823  x  URLP318:  780661131816
One-Sheet:  PDF


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Bosq Y Orquesta De Madera is the much anticipated full-length debut album by Bosq from Whiskey Barons. On the heels of his three well-received 12” singles, the album delivers on the promise of a well-rounded and killer collection of Afro, House, Latin, Soul and Disco tracks with the intention of keeping bodies moving on the dancefloor.

As the name of the album suggests and it’s literal translation to “Bosq and the Wooden Orchestra” Bosq aka Ben Woods has played as many parts as possible himself (piano, organ, rhodes, percussion, drum sequencing, synth & bass work, etc) and brought in a wide range of experienced session musicians where needed, including guest vocalists on most every track and in essence creating a “makeshift orchestra” to suit his musical needs. Benin born & Nigerian raised singer, producer & guitarist Kaleta appears on three tracks that can also be found on the singles, while Mendee Ichikawa (Free Moral Agents) lends her vocal talents to two gritty soul numbers. Brazilian chanteuse Tita Lima appears on the Tropicalia-infused “Paciencia De Jo”, while Soundsci MC U-George, gets down and does a little bit of “toastin” on the rugged Dub and Reggae tinged “Wuk Up”. Jesus Pagan on “Pura Candela” which seems like a long lost Salsa single from Fania round out the musical cast. Ben finishes up his musical tour de force with a couple of classic instrumental House tracks with some modern flavor.

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  01. Paciencia De Jo feat. Tita Lima
02. Never Feel Cold feat. Mendee Ichi
03. Get Involved
04. More Heavy feat. Kaleta
05. Wuk Up feat. U-George
06. Dem Know feat. Kaleta
07. Pura Candela feat. Jesus Pagan
08. Movin' On
09. Up & Down (NYC 91 Mix) feat. Kale
10. Getting There
11. Tear It Out feat. Mendee Ichikawa

Ubiquity (UR319)
Release Date:
July 16, 2013
Barcodes:  URCD319:  780661131922  x  URLP319:  780661131915
One-Sheet:  PDF


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What do you get when you combine the best bits of Mike James Kirkland, a dynamic duo of well respected producers in Jonny Cuba (Dynamic Syncopation) and Ollie Teeba (The Herbaliser) and round out the cast with 3 dope MC's in Audessey, U-George, and Oxygen? Soundsci is the name of the crew and "Soundsational" is the fruit of their collective labors!

Inspired by songs from Mike James Kirkland's "Don't Sell Your Soul" anthology from his earlier days as part of "Mike And the Censations", the album title itself pays homage to the amazing source material that's been sampled, chopped and reconstructed while preserving the soul of the originals. The result are 10 songs that delve deep into Hip-hop's Golden Era with the boom-bap sound and soul samples combined to create an instant classic.

Fresh off finishing Soundsci’s independently released first album Formula 99, Ollie Teeba reached out to Jonny Cuba about how great the music was from Mr. Kirkland’s anthology and they started work on crafting an EP with no certain plans for release. Before any of the beats were finalized Audessey hears one of the tracks and immediately wants to “get down”. The four track EP was then sent to Ubiquity with some background on the project and based on the quality and potential of the demos, four songs were definitely not enough and a full album needed to happen. “Soundsational” is the culmination of all this inspiration and effort and is a worthy addition to the classic albums that fueled it’s creation.

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  01. Understand the Message
02. Inner Energy
03. That’s Life
04. Bust ‘Em (In The Dome)
05. Coastin’
06. Soundsational
07. Deception
08. Rastaman
09. Get Even
10. Styles

UP & DOWN 12"
Ubiquity (UR317)
Release Date:
June 4, 2013
Barcodes:  UR12317:  780661131717  x  URDA317(DIGITAL):  780661131762
One-Sheet:  PDF


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Bosq from Whiskey Barons is back with more heat for the dancefloor in the form of a double 12” release. Both feature songs that will be on the upcoming full-length album but also include alternate takes and exclusives to the singles.

“Up & Down” continues the formula of classic sounding dance grooves with heavy Afro Latin influences throughout on this special all instrumental offering and features the reunion of Bosq with Nigerian composer / producer / singer Kaleta, who this time around remains an instrumentalist, handling guitar and the horn arrangements. The track - "Up & Down" went through so many revisions and mixes that it could only be properly represented with 2 very different versions. The NYC 91 mix focuses on the dance floor with pulsing afro house drums and a scorching horn section, while the NIgeria 76 mix keeps it organic and funky with a live kit taking over for the drum machines and a new arrangement.

Be on the lookout for Bosq’s full-length album debut on Ubiquity in the summer.

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  01. Up & Down (NYC 91 Mix)
02. Up & Down (Nigeria 76 Mix)

Ubiquity (UR316)
Release Date:
June 4, 2013
Barcodes:  UR12316:  780661131618  x  URDA316(DIGITAL):  780661131663
One-Sheet:  PDF


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Bosq from Whiskey Barons is back with more heat for the dancefloor in the form of a double 12” release. Both feature songs that will be on the upcoming full-length album but also include alternate takes and exclusives to the singles.

“Movin On” continues the formula of classic sounding dance grooves with heavy Afro Latin influences throughout on this special all instrumental offering. The first track "Movin On" is a deep latin disco funk tune with a hypnotic rhythm track, lush strings, percussive piano montunos and a horn section riffing somewhere between Fela and early 90's house chops. On the flip, "Keep Movin" is an extended mid tempo disco bonus beat grown out of outtakes from the a-side and 3 days stuck inside during a Boston blizzard. A bubbling rhodes line rolls over raw drums and percussion with a bouncy synth bass line on this head nodder.

Be on the lookout for Bosq’s full length album debut on Ubiquity in the summer.

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  01. Movin’ On
02. Keep Movin’

Ubiquity (UR315)
Release Date:
May 14, 2013
UR7315 780661131519
One-Sheet:  PDF


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Ikebe Shakedown are back with a brand new bag of hard-hitting tunes recorded at Dunham Studios. This limited single is a precursor to their much anticipated sophomore full-length album.

“The Beast” finds the band in fine form, with their signature multi-layered horns featured front and center on top of an underlying slow-burning groove. “Road Song” is a slight departure from their sound with a haunting piano melody in place of the horns, floating over a sinister bassline driven by tight drumming throughout. This version of the song is going to be exclusive to this 7”in single.

Ikebe Shakedown’s self-titled debut in 2011 garnered the band wide acclaim with features on Okayplayer’s affiliate blog The Revivalist and highly influential site Paris DJ’s. They’ve also shared the stage with acts such as fellow label-mates Orgone, and most recently with Lee Fields and the Expressions. Look for one of Brooklyn’s finest on the road this spring as they do a limited run of show’s through the East Coast and Canada and be on the lookout for the full-length album set to drop later in the Summer.

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  01. The Beast
02. Road Song

Ubiquity (UR314)
Release Date:
April 23, 2013
Barcodes:  URCD314:  780661131427  x  URLP314:  780661131410
One-Sheet:  PDF


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“Adventures” is the debut full-length album by French producer Dandy Teru. His opus is chock-full of notable guest vocalists and MC’s and also includes remixes by Tall Black Guy, Belgian production duo Monkey Robot and his partner-in-crime Quiet Dawn.

In Dandy Teru’s own words: “Adventures is a journey. On every side of the project, this opus is an incredible journey into a thema, a group of people (guests and co-directors) and friends, and a travel alone inside my own psychology. It’s a witness testimony of a global state of mind, with the thema as the first stone of it: dreams.” The album is an eclectic mix of downtempo, Nu Jazz, “Beat” music, Soul, House and Hip-Hop. Featuring up and coming talent such as Sami K who laces the track Burned with his blues-inflected vocals, Chicago MC Rita J on Wake Up Now and Sarah Gessler on Fragile Things, alongside renowned and well-known MC’s Moka Only, Ty and Count Bass D.

Hailing from Toulouse, France, Dandy Teru wears many hats; multi-media artist, artistic director, radio host and selector on Laid Back Radio, but foremost as a music producer. He’s been slowly making a name for himself yet still somewhat working in the shadows, with connections and contributions to a slew of young and burgeoning French artists in the Hip-Hop scene such as Tchad Unpoe, Pumpkin, Supafuh, and fellow producers Monkey Robot and Quiet Dawn. His production aesthetic however hasn’t gone unnoticed with his inclusion in TBG’s (Tall Black Guy) Tempo Dreams compilation for Bastard Jazz featuring new producers of note as well as a track on the Do The Dilla 2012 album.

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  01. Burned feat. Sami K
02. Wake Up Now feat. Rita J
03. Below feat. Moka Only
04. Fragile Things feat. Ty and Sarah Gessler
05. RWVNLL feat. Tchad Unpoe
06. Waters feat. Quiet Dawn
07. Clouds Catcher feat. Count Bass D and Moresounds
08. Wake Up Now (Tall Black Guy Remix)
09. Below (Monkey Robot Remix)
10. Fragile Things (Quiet Dawn Remix)

Ubiquity (LH069)
Release Date:
February 25, 2013
Barcodes:  LHCD069:  780661006923  x  LHLP069:  780661006916
One-Sheet:  PDF


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Luv N’Haight presents Lost Soul; a comprehensive collection of material recorded by Geater Davis for the House Of Orange label. The name of the album is an accurate description of the life and career of the legendary blues and soul singer who passed away at age 38 while on the verge of breaking through.

Geater Davis’ career began in Texas but with the success of a few regional hits he was able to go to Shreveport and all throughout the South. He was always on the move looking for a better chance, keeping his career alive and the “big break” so many artists look for. Just weeks after moving to Dallas he suffered a heart attack and a few weeks later died from heart failure on the day he was supposed to record a session. Although he didn’t find the success he sought while he was alive, his legacy is secure as one of the finest blues-soul singers of the 1970’s.

Lost Soul features the highly sought after single “My Love Is So Strong For You” along with all the tracks from his “Sweet Womans Love” album and a few other singles that he cut for Allen Orange’s House Of Orange label including different versions of his classics “Cold Love” and “I’ll Play The Blues For You.”

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  01. My Love Is So Strong For You
02. For Your Precious Love
03. I Love You
04. I Can Hold My Own
05. Cry, Cry, Cry
06. Don't Marry A Fool
07. St. James Infirmary
08. Wrapped Up In You
09. Sweet Woman's Love
10. I Know (My Baby Loves Me)
11. I'll Play The Blues For You
12. I'll Play The Blues For You (2nd version)
13. Cold Love (Long version)
14. Breath Taking Girl
15. I'll Get By
16. Best of Luck To You

Ubiquity (UR12313)
Release Date:
January 29, 2013
Barcodes:  UR12313:  780661131311
One-Sheet:  PDF


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The fifth volume in our Luv N’Haight Edit Series is a certified “BANGER” with re-works of Luv N’Haight’s legendary Darondo by beat wunderkinds Tall Black Guy and Dandy Teru.

Producer Tall Black Guy is already well-known in the “beat scene”, gaining notoriety for his remixes of James Brown, Al Green and the Jackson 5 being the most notable. With tons of followers and love from tastemakers such as Gilles Peterson, TBG was the perfect pick to edit Darondo. His take on “Sure Know How To Love Me” is reminiscent of his work on James Brown’s “I Feel Good”, taking the slightest of vocal and melodic samples from the original and crafting a backbeat and bassline that can be best described as “bangin”. The result is a head-nodding, classic, soul-sample hip-hop tune.

Dandy Teru’s remix of Darondo’s “True” showcases a similar ability to TBG in the sense that they both take absolutely minimal parts from the original and use them as “texture” and craft the essential rhythm on their own. Teru’s smooth style is “dirtied up” a bit as he uses drums taken from the original and adds Darondo’s sparse vocal samples to create a hip-hop tune that’s more “new beat” than classic but bangin’ nonetheless. With his “Fragile Things 12” and a full album on it’s way from Ubiquity Records, 2013 will be Dandy Teru’s year so be on the lookout!

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  01. Darondo feat. Tall Black Guy - I Don’t Want To Leave (Sure Know How To Love Me Re-Edit)
02. Darondo feat. Dandy Teru - Untrue (True Re-Edit)

Ubiquity (UR12312)
Release Date:
January 29, 2013
Barcodes:  UR12312:  780661131212
One-Sheet:  PDF


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The fourth volume in our Luv N’Haight Edit Series features a re-work of Harry Whitaker’s Black Rennaisance classic “Magic Ritual” by GB (Gifted & Blessed). The deep spiritual vibe of the original is present in the edit/remix but is transformed into an electronic, percussion-heavy beast.

Harry Whitaker’s Black Rennaisance "Body, Mind, and Spirit," album is considered a holy grail amongst collectors of soul-jazz and rare groove, and an album so rare it's virtually a myth to many. Luv N’Haight’s re-issue of the album in the early 2000’s brought much needed attention and focus to this legendary piece of work.

Widely known for his work using the pseudonym GB, Gabriel Reyes-Whittaker is a producer, composer and electronic musician with a particular enthusiasm for analog electronics. Though his music ranges wide stylistically, he classifies his work under the umbrella term technoindigenous studies; the integration of the technological with the spiritual and ancestral. Armed with this concept, he transforms “Magic Ritual” into a brooding, techno-afro dance tune that borders on meditation with it’s repetitive, hypnotic percussion.

GB finds himself in the unique position of being an early champion of the Los Angeles beat movement as well as being at the forefront of the current underground house and techno scene, all while keeping a low profile.  Reyes-Whittaker has collaborated with a long list of creative minds, among them J*DaVeY, Spacek, Airto and Flora Purim, Jody Watley and many others.

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  01. Black Renaissance - Magic Ritual (GB Remix)
02. Black Renaissance - Magic Ritual (Original)

Ubiquity (UR12311)
Release Date:
January 29, 2013
Barcodes:  UR12311:  780661131113
One-Sheet:  PDF


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The third volume in our Luv N’Haight Edit Series features a re-work of the Spiritual Jazz classic “The Healer/Don’t Break” by E.W Wainwright’s African Roots Of Jazz by Carlos Niño And Friends.

The original track was featured 12 years ago on a three song Luv N’Haight Special Edition 12” that also included tracks from Joe McPhee and Earl Moseley. World-renowned producer and arrranger Carlos Niño (along with his friends Alan Lightner, Dexter Story and Yaakov Levy) takes the intro from the percussive-heavy original and crafts an afro-jazz dance onslaught and drops a surprise drumbreak at the end for those that survive the initial sonic assault.

Carlos Niño is an internationally celebrated producer, arranger, composer, musician, radio host, DJ, music consultant, writer, poet, and event organizer, based in Woodland Hills, California. He has been an important force in the contemporary independent music scene for nearly 20 years. A prolific artist, Niño has been involved in the production of more than 100 records and has toured with various bands and as a DJ throughout Europe, Japan and the United States. He’s been involved in and participated in the following groups and projects: Ammoncontact, Build An Ark, Carlos Niño & Friends, The Life Force Trio, The Sound Of L.A., Spaceways Radio, Suite For Ma Dukes, Turn On The Sunlight.

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  01. African Roots Of Jazz - The Healer Don't Break (Spaceways Radio Edit and Additions by Carlos Niño & Friends featuring Alan Lightner, Dexter Story and Yaakov Levy)
02. African Roots Of Jazz - The Healer Don't Break (Original)

Ubiquity (UR12310)
Release Date:
January 08, 2013
Barcodes:  UR12310:  780661131014
One-Sheet:  PDF


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“Fragile Things” is the Ubiquity debut by French producer Dandy Teru. As part of the burgeoning “Beat Scene”, in France, and with inclusion in fellow beatmaker Tall Black Guy’s “Tempo Dreams Vol.1” for Bastard Jazz, Dandy Teru’s signature, cinematic production style has established himself as a producer to take note of, and one that’s to be “watched”. Featuring British rapper Ty (Big Dada) and vocals by Sarah Gessler (Beatspoke) as well as a remix by his production partner Quiet Dawn, this limited 12” single provides a great “taster” of what’s yet to come.

Hailing from Orleans, France, Dandy Teru wears many hats; multi-media artist, artistic director, radio host and selector on Laid Back Radio, but foremost as a music producer. With connections and contributions to a slew of young and upcoming French artists in the Hip-Hop scene such as Tchad Unpoe, Pumpkin, Supafuh, and fellow producers Monkey Robot and Quiet Dawn, he’s been slowly making a name for himself yet still somewhat working in the shadows. His production aesthetic however hasn’t gone unnoticed with his inclusion in TBG’s (Tall Black Guy) Tempo Dreams compilation for Bastard Jazz featuring new producers of note as well as a track on the Do The Dilla 2012 album.

With a full-length album release due early next year featuring Moka Only, Count Bass D, Rita J and remixes by TBG, Monkey Robot and Quiet Dawn as well as another collaboration with TBG on our next installation of the Luv N’ Haight Edit Series, Dandy Teru will complete his emergence from the shadows and into the spotlight.

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  01. Fragile Things - ft. Ty & Sarah Gessler
02. Fragile Things - Instrumental
03. Fragile Things (Quiet Dawn Remix) - ft. Ty & Sarah Gessler
04. Fragile Things - Instrumental


Ubiquity (UR12309)
Release Date:
October 30, 2012
Barcodes:  UR12309:  780661130918  x  DIGITAL:  780661130963
One-Sheet:  PDF


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Bosq from Whiskey Barons and singer Kaleta join forces on this limited release. Deeply rooted in Afro-Disco with “heavy” grooves as the title track suggests, Bosq’s production complements Kaleta’s vocal stylings bringing the past and the future together to create modern dance-floor classics.

Bosq (once upon a time known as Amphibious) has released countless edits and remixes as one half of the Whiskey Barons (and was the sole producer on the Tumbao EP & Enferma Nocturna 7”), assisted in the production of all of the Kon & The Gang releases (including the Hooked On You and Feel Reel 12”s on Basic Fingers) and also makes up one half of the group Nitetime with Kon. That duo’s debut EP “Jive Talk” was released earlier this year on the prestigious AU imprint Future Classic. More of his recent work include contributions to the Fania Hammock Lower East Side Series.

Amidst all of these projects Bosq had been amassing material for a record of solo works that were somewhere in-between all of these sounds and would be completely original instead of sample based. Bosq has played as much as possible himself (piano, organ, rhodes, percussion, drum sequencing, synth & bass work, etc) and brought in a wide range of experienced session musicians where needed, including guest vocalists on most every track. The results are an amalgamation of afro-latin, rock, disco & house, reggae & hiphop, all geared towards dancefloors with a dj’s perspective & the input of veteran musicians from around the world.

For this afro disco geared 12” Bosq enlisted Benin born & Nigerian raised singer, producer & guitarist Kaleta. Kaleta brings years of experience playing with Fela Kuti himself, as well as King Sunny Ade and many more. Kaleta’s chops on guitar, his animated vocal style, and genius for horn arrangements shine through on these tracks and perfectly complement the heavy grooves of Bosqs production style.

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  01. More Heavy
02. Dem Know


Ubiquity (UR12308)
Release Date:
October 30, 2012
Barcodes:  UREP12308:  780661130819  x  DIGITAL:  780661130864
One-Sheet:  PDF


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Hard-hitting and prolific producer Grant Phabao flips up Don Alejo and Dudar with a serious roots reggae treatment on this new single by The Echocentrics. Also included is an all-new original track featuring Tita Lima with two additional remixes by Max Tannone and McPullish available as an exclusive on the digital version.

After dropping their debut album Sunshadows and their tribute to Timbaland The Echoland EP which both garnered critical acclaim, The Echocentrics enlists the help of Grant Phabao to add some “skank” by filtering the southern-fried, psychedelic funk of the originals through Jamaica. The results are dance-hall worthy versions that are sure to keep the crowd moving. To call Grant Phabao a “prolific” producer would be an understatement with original tracks and remixes for the likes of Alice Russell, Lone Ranger, Carlton Livingston, Brownout, Nostalgia 77, and George Clinton to name a few.

The B-side on the 12” is Pioneira, a brand new original track featuring Brazilian chanteuse Tita Lima and is a return to the “classic” Echocentrics sound. As an exclusive to the digital version of this release Max Tannone and McPullish take turns remixing “It’s Not Too Late”. Famous for his Jay-Z and Radiohead mashup “Jaydiohead” and more recently Ghostfunk, where he remixes Ghostface Killer tracks with vintage African Funk, Highlife and Rock music, Max Tannone’s remix veers into heavy electronic bass territory with Natalia Clavier’s vocals keeping the delicate balance between aggression and beauty. McPullish’s remix crosses into bass-heavy territory as well but with a more understated, blissfully-dubbed out sound.

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  01. Don Alejo (Grant Phabao Remix)
02. Dudar (Grant Phabao Remix)
03. Pioneira feat. Tita Lima
04. It’s Not Too Late (McPullish’s Blue Dub Mix)*
05. It’s Not Too Late (Max Tannone Remix)*
*Digital Download Exclusive

Luv N' Haight (LH068)
Release Date:
October 30, 2012
Barcodes:  LHCD068:  780661006824  x  LHLP068:  780661006817
One-Sheet:  PDF


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“Magic” by the Circle City Band was a well-known single in the 80s, loved by roller skaters and fans of BET alike which used the track as it’s theme song. Almost thirty years later, Luv N’Haight presents the complete full-length album of the Circle City Band including unreleased tracks!

Paul Thomas, the man behind Circle City Band began his career in the seventies performing professionally with various R&B, Pop, Rock, Jazz and Gospel acts, while also working as a live sound and effects engineer for acts such as Manchild, Ebony Rhythm Funk Campaign and Amnesty.

In 1979 Paul was introduced to multi-track recording, using the creative control it provided to spend more time writing and recording, ultimately working both as a session musician and composer. Two years later this led to a two-year road tour with LTD, the legendary late 70s Disco and R&B band.

At the end of the tour, Paul returned to Indianapolis, where the independent gospel label Tyscot Records, had started a secular R&B record division called Circle City Records. Between 1983 and 1985 Circle City Records released three 12 inch singles. Magic by the Circle City Band, received excellent reviews in Billboard, Cash Box and Record World music trade magazines and from national DJ record pools. It made the Top 10 list in several states and was used as the theme song for the station ID on the BET cable channel.

This is the first release of the full album and will be available on CD and LP. Six of the nine tracks are unreleased featuring a great mix of modern soul, boogie funk and a few downtempo love songs.

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  01. Magic*
02. My Place*
03. Gladiators
04. Party Lights*
05. Time Tunnel
06. Love
07. Lonely
08. Hold On
09. Hello Stranger
*All songs previously unreleased except as noted

Luv N' Haight (LH067)
Release Date:
October 09, 2012
Barcodes:  LHCD067:  780661006725  x  LHLP067:  780661006718
One-Sheet:  PDF


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Arguably the best album legendary jazz musician Wendell Harrison cut in the 80s “Organic Dream” features the classic track “Love Juice”. The album’s quite a departure from the spiritual jazz he’s well known for, instead dipping into modern soul and R&B territory.

Founder of spiritual jazz imprint and jazz collective Tribe Records along with Phil Ranelin, Wendell Harrison has well over 30 releases and is featured on numerous others by other jazz greats such as Grant Green, Hank Crawford and the great Sun Ra.

As a label Tribe spearheaded a growing black political consciousness. The group also included drummer and composer Doug Hammond, pianist Ken Cox and trumpeter Charles Moore. They performed together live and on one another's recordings releasing them on the label. Tribe also published a magazine, a quarterly monthly publication dedicated to musical and political revolutionaries and political issues. Tribe had pretty much disbanded by 1975 but through Wendell and Phil’s efforts the catalog has found a new audience through reissues from various labels including “Searching For Soul” also on Luv N’Haight which was a collection of soul, funk, and jazz from Detroit.

Organic Dream is always high on collector’s lists as a must-have from Wendell Harrison’s catalog. Electric keyboards and vocals add to the usual mix of modern soul jazz with a sound closer to R&B. Other stand out tracks include “The Wok”, “Ginseng Love”, and “Peace of Mind”. This is the first time the full album has been reissued and available on CD. The deluxe LP will be housed in a tip-on jacket with liner notes and photos and only available in limited quantities.

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  01. Ginseng Love
02. Winter
03. Love Juice
04. Peace Of Mind
05. The Wok
06. A Green Meadow

Ubiquity (UR305)
Release Date:
September 21, 2012
Barcodes:  UR305:  780661130512
One-Sheet:  PDF


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The second volume in our Luv N’Haight Edit Series feature re-works of two tracks from the classic self-titled album by Tommy Stewart. The heavyweight Chicago duo of Zernell aka Grimy Edits and Rahaan collaborate on this limited release.

Although it can be argued that Tommy Stewart’s “Practice What You Preach” is about as perfect a dancefloor filler as you could get in it’s original form, Zernell and Rahaan take it a step further by stretching out the groove and layering the best elements to create a proper disco edit.

“Bump And Hustle Music” is the most-well known track off the album and is another classic that most folks don’t want to touch. Zernell and Rahaan come correct and do justice to the tune by expanding it’s original 5 minute length to a solid 9 minute re-work. All the elements are taken up a notch with the result being a certified burner of an edit and gives new meaning to the “Bump And Hustle” title of the song.

Zernell and Rahaan, two of Chicago’s finest DJ’s and producers have both been at it since the ‘80s and are certified veterans in the disco and house music scene. With several releases under his belt including Rahaan Edits Vol.1 and 2 on Stillove4music and remixes for KAT as well as music production for Australian singer Christine Eva and Atlanta based singer Ozara Ode’, Rahaan still finds time to rock parties worldwide from Japan, Australia, the UK and various points in between. With his well-known and already established edit label Grimy Edits, Zernell maintains his status as a well-known mover and shaker in the dance scene. With countless mixes on websites such as Deep House Page and Bring The Heat and playing parties worldwide like his partner Rahaan, Zernell’s definitely keeping busy moving things along.

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  A1. Practice What You Preach
B1. Bump And Hustle Music

Ubiquity (UR7307)
Release Date:
September 21, 2012
Barcodes:  UR7307:  780661130710   One-Sheet:  PDF


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“50,000 Lightyears” is an exercise in minimal, raw, psychedelic funk. Awash in organs, and synths backed by the heaviest of drums with a track intro that recalls early Silver Apples electronic experiments mixed with James Brown Band arranger David Matthews’ excursions with the Grodeck Whipperjenny.

The B-side "Space Race" ups the tempo and dials up the drums even more with a banging breakbeat that continues and doesn‘t let up through the whole song. Organs, synths and heavily effected guitars filter in and out of the track to keep it on the “spacey” and “experimental” side of things.

Not much is know about Sputnik-1 other than they originated from the remains of what was formerly the U.S.S.R. and their recordings were all done using vintage Soviet gear and instruments.

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  A1. 50,000 Lightyears
B1. Space Race


Ubiquity (UR7306)
Release Date:
September 21, 2012
Barcodes:  UR7306:  780661130611   One-Sheet:  PDF


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Heavy Funk 45 specialists, The Soul Surfers drop a new 7in single “Doin’ The Rasklad b/w Girl From Sao Paolo”. It will be pressed in limited quantities and is prepped to be another highly collectable and sought-after 45 from the Russian collective.

“Doin‘ The Rasklad” literally translates to “Doin’ The Strut” or “Doin The Thang” is a drum and bass heavy track with a grooving organ and plenty of chicken-scratch guitar. It has all the elements to be a dance-floor burner and a bonafide deep funk bomb.

On the flip side we have The Soul Surfers playing Jazz, "Girl From Sao Paolo" is their take on a latin and Brazilian styled groove with deft piano playing throughout. But it wouldn‘t be a proper Soul Surfers release without some heavy drums which weaves in and out of the song and keep’s things “funky”.

The Soul Surfers have released numerous limited singles through Detroit’s Funk Night Records with each becoming highly collectable in the “45 Funk Community”. Formed in Nizhny Novgorod which could be argued as Russia’s own version of Detroit with the Volga automobile plant as its main source of industry. Heavy “Detroit” style funk made 30 years later in Russia’s own Motor City couldn’t be more fitting. The gritty, industrial sound emanates from the music and is aided by vintage Soviet mics, amps, and instruments. All songs are recorded live in one take creating the “rough”, “garage”-like feel of the tracks that only add to their uniqueness and authenticity.

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  A1. Doin’ The Rasklad
B1. Girl From Sao Paolo


Ubiquity (UR303)
Release Date:
July 17, 2012
Barcodes:  URCD303:  780661130321  x  URLP303:  780661130314
One-Sheet:  PDF


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Afro Latin Vintage Orchestra’s new album Last Odyssey finds the French band in fine form, creating music with Jazz as it’s foundation laced with strains of Ethio and Nigerian Funk combined with Latin Percussion and rhythms. By taking the “heaviest” elements from each genre and distilling it down to it’s most potent form, the band’s true identity is revealed and sets them apart from their influences.

Founded in 2007 with a rotating cast of members and ranging in size from a 20 piece band to 12 that contributed to this album, the core musicians consists of 6 members: Masta Conga (perc), Benjamin Peyrot Des Gachons (keyb), Elvis Martinez Smith (guitar), Philipe Vernier (sax), Jb Feyt (trumpet) and David Battestini Quadri (double bass). At it’s heart is Masta Conga who’s the designated ring leader and primarily responsible for the concept and production of this album. “ALVO is not a classic group which repeats, It is a space of creation all around of various revolving musicians according to projects.” says Masta Conga.

Having released 2 well-received albums previously, Definitely Roots in 2009 and Ayodegi in 2011, which were both primarily live recordings, ALVO took a different approach to the creation of the new record with Masta Conga recording the rhythm base for the tracks then adding each element in the studio as each musician came in for their session, “This method consists of a new shape of writing music for me. Less spontaneous, more thought....We have a clear rythmic base but we do not know what we are going to create. The result is a surprise”

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  01. Petrof Sublimation
02. Onze De France
03. Hip Hop Definition
04. Gibbon’s Dub
05. Requiem Pour Un Grooveur
06. Buffet Froid
07. Last Odyssey
08. Dimension 7
09. Harissa
10. Samourai
11. Spoken Wild
12. Sequences
13. Latin Break
14. Acai
15. Freestyle


Ubiquity (UR302)
Release Date:
July 17, 2012
Barcodes:  URCD302:  780661130222  x  URLP302:  780661130215
One-Sheet:  PDF


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The Tiger is back with more instrumentals, laced with cinematic, library-style funk, soul, jazz, rock and all groovy things in between that you can shake a stick at. “Reel To Reel” showcases Shawn Lee’s Ping Pong Orchestra in fine form with a return to the library sound that‘s made him a sought-after musician and producer.

Here’s a few words from the “Tiger” himself describing his new album: "I love making records. Music is my drug and I'm a junkie. A Funky Junkie"! I once again return to my Ping Pong Orchestra guise making more cinefunk jams. From Blaxploitation ("Daylight Robbery) to Spaghetti Western ("Song for Ennio) and Motorcycle psych rock ("Biker Chick") it's all in there. Reel to reel uses some of my favourite instruments and sounds ie: vibes,double bass ,waterphone,alto flute,Marxophone and fuzz guitar. Analog film And Analog tape- Reel to reel and keeping it real for real!

Famous for his musical chops as well as his wizardry in the studio, Shawn’s music has been featured in countless TV programs such as Breaking Bad and most recently in HBO’s “Eastbound and Down”as well as the big screen in the comedy “The Sitter”. As much time as he spends in the studio you can catch him on tour with AM promoting their “Celestial Electric” album out on ESL.

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  01. BoomWack
02. Mirror Mirror
03. The Definition Of Funk
04. Biker Chick
05. Daylight Robbery
06. Well Hung
07. Spy Seduction
08. Big Ben
09. Super Storage
10. Rocks on Rocks
11. Soho Chase
12. Straight To Video
13. Piano Milano
14. Song For Ennio


Ubiquity (UR304)
Release Date:
June 12, 2012
Barcodes:  DIGITAL:  780661130468 
One-Sheet:  PDF


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What initially started as a plan to travel for the summer turned into a temporary move and change of location to New York. With the studio stripped down and left only with a laptop and a mic, inspiration hits and they start work on what would eventually become the album. “We were just messing around and it turned into this record, which we're really psyched on, best thing we’ve done in our opinion.” With diverse influences ranging from beatheads Letherette and Shlomo, psych-rockers Acid Mother’s Temple, label-mates NOMO, and experimental, electronic world-music by Beats Antique, the duo further expands their sound but keep their sonic aesthetic intact.

The title track It’s A Wonder is a blissfully dubbed out tune riding on a steady skanking beat with handclaps thrown in for good measure. Smoke Signals hearkens back to a more familiar sound with washed out vocals, acoustic guitar and electronic sounds floating in the background. Faith Will Stay Forever and Spins Against The Wall share sonic sensibilities with a heavier dose of electronics and a steady build up of tempo and energy throughout the song. S. Maharba’s remix of Faith Will Stay Forever dials the song down a few notches and turns it to a slow burner tinged with psychedelia, bumping along to a heady beat. Smoke Signals gets a bossa-beat courtesy of Superimposers, turning the track into a mid-tempo tune bringing to mind warm summer weather and sunshine. Rounding out the 7 new vocal tracks is a cover of Skrillex’s Scary Monsters And Nice Sprites. An acoustic, stripped down version of the dubstep track turns the tables on a genre that’s known for spawning numerous remixes of well-known tunes.

Be on the lookout for more Jed And Lucia releases in the future including a few songs on the upcoming Letherette EP on Ninja Tune and a collaboration with S. Maharba on a 12” single from BTS Radio.

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  01. It's A Wonder
02. Smoke SIgnals
03. Faith Will Stay Forever
04. Spins Against the Wall
05. Faith Will Stay Forever (S.Maharba Remix)
06. Smoke Signals (Superimposers Remix)
07. Scary Monsters And Nice Sprites
08. It's a Wonder (Instrumental)
09. Smoke SIgnals (Instrumental)
10. Faith Will Stay Forever (Instrumental)
11. Spins Against the Wall (Instrumental)


Luv N' Haight (LH066)
Release Date:
June 12, 2012
Barcodes:  LHCD066:  780661006626  x  LHLP066:  780661006619
One-Sheet:  PDF


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Firstly Ronn Forella did not make the music. And secondly, those tights just don't do the tunes justice! Forella was, in fact, a respected Broadway dancer who taught the Forella technique at the Farnworth Hauer School. He passed away in 1989.

The man behind the tunes is composer, performer, and sculptor Thom Janusz. He and Forella collaborated on network TV shows and a Broadway production called "Wild and Wonderful." Also, Janusz was musical director for the first national stage production of Grease. But don't let all this talk of dance-wear, Broadway, and Grease deter you. There's a reason that this album is sought-after by beat heads and funk fiends.

  If you are buying Moves just to sample the drums you will get your money’s worth. The drumming is really snappy throughout. However, the record is also a great listen for fans of soul, funk and jazz. The percussion is backed by slick bass playing, dirty wah wah guitar and dreamy rhodes keyboards. The mood sways from reflective yacht funk, to percussion-driven dance-floor-moving jams. Part porno-soundtrack, part Blaxploitation thriller.

At the heart is the prized-track “Crystals.” Launching with the nastiest of synchopated drum breaks the tune develops into a cinematic epic that could easily be mistaken for a long-lost Love Unlimited Orchestra joint. Made with dancers in-mind "Mithra Plane 2" is another percussion-driven nugget that wastes no time getting into gear. "Sculptures" and "Memories of Georgia" are slowed down and more bugged-out, while "Wild and Wonderful" jumps from frantic to mellow, and back to frantic again.

Originally released on the now-defunct Hoctor label, this is the first time that the "Moves" album has been re-issued.

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  01. Memories Of Georgia
02. Mithra Plane 2
03. Hippo Mancy
04. Sculptures
05. Crystals
06. Wild & Wonderful

Ubiquity (UR7301)
Release Date:
May 22, 2012
Barcodes:  UR7301:  780661130116 
One-Sheet:  PDF


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Monophonics drop a 7in single with an exclusive B-Side not available on the upcoming full-length album. “There’s A Riot Going On b/w High Off Your Love” will be pressed in limited quantities with a digital download and packaged in a picture sleeve.

“There’s A Riot Going On” starts with a snare fill that’s reminiscent of Jimi’s “Machine Gun” and displays what becomes a consistent theme on each Monophonics track: hard drums, catchy bass lines, dirty horns, organs mixed with vibraphones, fuzz guitar and soulful vocals sitting on a sheet of echo & slap back.

On the flip side and only available on this 7in, "High Off Your Love" is an uptempo skull snapper that takes a heavy dose of Norman Whitfield produced Temptations records and blends it with the dark creeping sound of soundtrack minded Isaac Hayes. Driven by a "Pusherman" groove and anchored with layers of bass, electric harpsichord, wurlitzer electric piano, fuzz & wah guitar's and heavy orchestrated horns. Sitting on top of this soundscape is a gritty soul vocal coated in tape echo that preaches about a love that's so good it can make a man gotta have it like a bad habit.

“In Your Brain”, the full-length album also on Ubiquity Records drops on May 15, 2012. It sits on the fuzzy psych side of soul and funk and pays homage to innovators such as Sly Stone, Norman Whitfield and Funkedelic’s George Clinton. The 6 piece outfit displays their ability to put a moody stamp on each composition. Touching on everything from cinematic soul, heavy funk, 60’s rock and spaghetti western laced with yellow sunshine acid, the album is sure to leave you tuned in and turned on!

Monophonics will embark on an extensive tour through the US & Canada so look out for them at a venue near you!

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  SIDE A. There's A Riot Going On
SIDE B. High Off Your Love

Ubiquity (UR299)
Release Date:
May 15, 2012
Barcodes:  URCD299:  780661129929  x  URLP299:  780661129912
One-Sheet:  PDF


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The new record from San Francisco based band Monophonics entitled “In Your Brain” sits on the fuzzy psych side of soul and funk. Paying homage to innovators such as Sly Stone, Norman Whitfield and Funkedelic’s George Clinton, the 6 piece outfit displays their ability to put a moody stamp on each composition. Touching on everything from cinematic soul, heavy funk, 60’s rock and spaghetti western laced with yellow sunshine acid, the album is sure to leave you tuned in and turned on!

With a new sound and a do it yourself attitude towards making records, Monophonics’ guitarist Ian McDonald and keyboardist/vocalist Kelly Finnigan took on the duties of engineering and producing. Finding influence and gear advice from Orgone’s Sergio Rios as well as articles from Daptone’s Gabe Roth and Shawn Lee, they purchased an 8-track ¼ inch tape machine, vintage microphones, spring reverbs and tape delays and dug into Finnigan's basement in SF. “Half the battle making records in this genre is tone and vibe, we have figured out over the years that it might be the simplest written song but with the right production it can become timeless” explains McDonald.

  Jumping right out of the gate is the single “There’s A Riot Going On”. Starting with a snare fill that’s reminiscent of Jimi’s “Machine Gun.” Riot displays what becomes a consistent theme on the whole record: hard drums, catchy bass lines, dirty horns, organs mixed with vibraphones, fuzz guitar and soulful vocals sitting on a sheet of echo & slap back. The title track “In Your Brain” sounds like something straight off of Funkadelic’s “Maggot Brain”, riding on the funk box and Bohlman’s snare snaps is a blaring guitar line that brings back thoughts of Eddie Hazel. In the tradition of 60’s soul label Brunswick comes the heart wenchers “Deception” and “They Don’t Understand.” One a dark 6/8 slow groove that catches your ear right away and the other a boom bap driven ballad that confronts the human fears of dreams and love lost.

  “Bang Bang” is one of the three meticulously chosen covers. The band approaches the famous 60’s pop song with a no holds barred attitude inspired by various versions from Betty Chung to Stevie Wonder to Nancy Sinatra.  “Mirage,” is a tip of the hat to brilliant producer/composer David Axelrod and his innovative records on Capitol.“Temptation” a Cadillac riding classic, plays out as if John Berry wrote for blaxploitation films.

Collaborating with talented friends was another consistent theme on this record featuring a dozen or so different musicians, but the stand out feature are the vocals of that soulful crazy queen Fanny Franklin (Orgone, Get Wet) on “All Together” and tapping Sergio Rios to do the mix at Killion Sound. Killion has become a highly respected studio because of Rios’s dirty tones and soulful style as evidenced by the various Orgone releases plus recordings from artists like Jack Splash (Cee-Lo & Alicia Keys) and Ikebe Shakedown.

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  01. Looking Ahead
02. There's A Riot Going On
03. In Your Brain
04. Sure Is Funky
05. Deception
06. All Together
07. Say You Love Me
08. They Don't Understand
09. Mirage
10. Foolish Love
11. Thinking Black
12. Bang Bang
13. Temptation
14. Keep Looking Ahead

Ubiquity (UR298)
Release Date:
April 21, 2012
Barcodes:  UR298:  780661129813
One-Sheet:  PDF


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Record Store Day is synonymous with exclusive and limited releases and this year is no different. Featuring our first volume in a series of re-edits from our Luv N’Haight catalog starting off with Mike James Kirkland. Nico Jaar’s edit “What My Last Girl Put Me Through” on his excellent “Bluewave Edits” previously released by Wolf+Lamb Records is featured on the A-side with a deep rework of the classic “What Have We Done” by prolific and talented producer 78 Edits on the flip.

Nico Jaar’s highly sought after “Bluewave Edits” release in 2011 contained some radical re-takes and treatments to tracks by Missy Elliot and The Blow but his re-vision of The Mike And The Censations track “There’s Nothing I Can Do About It” was arguably the highlight. Originally released as a “promotion only” single, this release is an official collaboration between Wolf+Lamb and Ubiquity Records with a follow up edit of another Mike And The Censations track by Nico in the works to be released in the near future as Vol.2 of the Mike James Kirkland re-edit series.

UK producer Jamie Buchanan aka 78 Edits is a veteran in the 12” re-edit scene with releases on Giant Cuts, Audio Parallax, and Editorial. His take on Mike James Kirkland’s “What Have We Done” from the legendary “Hang On In There” album transforms the original from a conga and vocal driven song to a stretched out, 8 minute, mid-tempo dance tune.

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  01. Nicolas Jarr - What My Last Girl Put Me Through
02. 78 Edits - What Have We Done


Ubiquity (UR297)
Release Date:
April 21, 2012
Barcodes:  UR297:  780661129714
One-Sheet:  PDF


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Record Store Day is synonymous with exclusive and limited releases and this year is no different. Featuring a collaboration EP with Adrian Younge from Venice Dawn and Black Dynamite fame and Adrian Quesada from The Echocentrics, Ocote Soul Sounds, Brownout and grammy-winning Grupo Fantasma.

A first name is not all Adrian Younge and Adrian Quesada share, they also both have an equal love of the psychedelic, the cinematic and at the root of it all, soul music. So it was inevitable that a collaboration would eventually come to fruition. Mutual admirers of each others work, they first met at the SXSW music festival while on the same bill. Both began their production careers on MPC and taught themselves various instruments to further capture the symphonies heard in their heads.

Fresh off his current solo project “Something About April” under the moniker Venice Dawn, Adrian Younge found time to create all new tracks with Adrian Quesada who just released his “Echoland” tribute to Timbaland with the Echocentrics. Although both are distinct artists in their own right, they are cut from the same cloth with a signature sound that’s equal parts Morricone, early Portishead, Wu-Tang and 60’s psychedelic cinema soundtracks. Their combined efforts on this EP guarantees a double dose of the sound we have come to expect from these talented individuals

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  01. The Love I Got
02. Last Word
03. The Last Time
04. The Love I Got (Instrumental)


Ubiquity (UR296)
Release Date:
April 17, 2012
Barcodes:  DIGITAL:  780661129660  x  URLP296:  780661129615
One-Sheet:  PDF


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Echoland is a tribute to the inimitable hip-hop producer, Timbaland, featuring live instrumental (with one vocal tune) reinterpretations of classic Timbo tracks. Brazilian chanteuse, Tita Lima, lends her sultry voice to a cover of Aaliyah's "We Need A Resolution", sang in Portuguese and the ubiquitous Todd Simon (Mayer Hawthorne, TVOTR) provides a horn arrangement for Jay Z's "It's Hot". Recorded at Adrian Quesada's Level One Studios in Austin, TX with some help from Spoon's Jim Eno at Public Hi-Fi.

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  01. Hola Hovito
02. Raise Up
03. We Need A Resolution
04. It's Hot
05. Party People
06. We Need A Resolution (Instrumental)


Ubiquity (UR295)
Release Date:
February 14, 2012
Barcodes:  URCD295:  780661129523  x  URLP295:  780661129516
One-Sheet:  PDF


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Jake Wade and The Soul Searchers (Searching For Soul) Searching For Soul Part 1 - Sampled by both Rich Harrison for Beyonce’s “Suga Mama” and Madlib for Percee P’s “Legendary Lyricist”

Mike And The Censations (Don’t Sell Your Soul) There’s Nothing I Can Do About It - Sampled and re-edited by Nicolas Jaar for his track “What My Last Girl Put Me Through” on his Bluewave Edits

The Propositions (Funky Disposition) Africana - Sampled on the “Outro” of the classic Souls of Mischief album ‘93 Til’ Infinity. Do Whatever Turns you On Pt.2 - Sampled on the Lupe Fiasco track “Gold Watch”

Eugene Blacknell (We Can’t Take Life For Granted) Getting Down - Sampled by DJ Shadow on his track “Influx”. We Know We Have To Live Together - Sampled by Beck on “Black Tambourine”

Turner Brothers (Act 1) Sweetest Thing In The World - Sampled by legendary Hip-Hop group Mobb Deep on their track “We Up” and the track “Back To Basics” by newcomers Diamond District

Gap Mangione (Gilles Peterson Digs America Vol.2) Boys With Toys - used by Talib Kweli on his track “Shock Body”

Perfect Circle (Inner City Sounds) Spread The News - Waajeed lifted the horns from this track and used it on PPP’s Shotgun Intro which also featured J Dilla

Mike James Kirkland (Hang On In There) Hang On In There - The intro from this classic was sampled by Ugly Duckling on their track “I Did It Like This”

Soft Touch (Bay Area Funk 2) Plenty Action - Another DJ Shadow sample, this time on his track Monosylabik that features the bass and drums from the intro to this tune.

P’Taah (Staring At The Sun) Hold You Close - J Dilla’s Ruff Draft Alternate Intro uses the haunting vocals from the original on the background of his track

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  01. Searching For Soul Part 1
02. There's Nothing I Can Do About It
03. Africana
04. Gettin' Down
05. Sweetest Thing In The World
06. Boys With Toys
07. Spread The News
08. Hang On In There
09. Plenty Action
10. Do Whatever Turns You On Pt. 2
11. We Know We Have To Live Together
12. Hold You Close


Ubiquity (UR293)
Release Date:
September 20, 2011
Barcodes:  URCD293:  780661129325  x  URLP293:  780661129318
One-Sheet:  PDF


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Produced and Arranged by Shawn Lee. Recorded by Pierre Duplan at Trans Yank Studio London. Mixed by Shawn Lee & Pierre Duplan at T.Y.

Featuring Prithpal Rajput on Tablas. Also featuring Dom Glover on trumpet, Andy Ross on saxes & flute, and Mick Talbot on Hammond organ on Apache. All other instruments played by Shawn Lee. Artwork by Kei. Mastered by George Horn at Fantasy

The original Incredible Bongo Band’s “Bongo Rock” is firmly cemented into musical history having provided the oft sampled (and completely irresistible) “Apache” drum break for a million and one producers to cut up. Also known as Michael Viner's Incredible Bongo Band, the project was born in 1972. Viner, a record artist manager and executive at MGM Records, was making use of MGM recording facilities in down-time, recruiting whichever studio musicians were on-hand. Ringo Starr is rumored to have played on some tracks. They made two albums of funky, instrumental music filled with covers of popular songs of the day and heavily relying on bongo drums, conga drums, rock drums and brass.

Over 3 decades after its inception UK producer, and avid record collector, Shawn Lee was marveling at the fact that there had never been an Indian style, sitar and tabla-heavy, version of the Incredible Bongo Band masterpiece “Apache.” “Such an obvious track, I still find it hard to believe that one doesn't already exist. (It is hella’ obscure if it does…) “Apache” is one of the greatest and most famous drum-breaks of all time,” says Lee. Not content with covering just “Apache,” Lee decided he’d take on the entire Bongo Band debut album; and also two of his favorite tracks from their second album for good measure. “Why cover a song when you can cover a whole album? This is the road to madness my friend, and it is my preferred route!” he adds.

Lee has attempted to replay, recreate, and capture all of the sonic characteristics of the original recordings. Viner left Lee with simple tunes to cover, but the Bongo Band used sophisticated arrangements and his all-star line-up of guests played killer performances throughout the album. Lee couldn’t find any Beatles to recruit and record, instead he called on the talents of tabla player Prithpal Rajput aka Cyber of the Asian Dub Foundation, and Style Council keyboard-man Mick Talbot to help realize his eccentric vision. With the utmost respect in mind Lee has re-thought Viners drum-driven masterpiece, presenting it in an Indian-funk style that could easily be confused with the vintage release Lee was bemused to never have previously found. Lee had such a blast covering all the songs he’s thinking about other favorite albums to tackle, tabla style.

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  01. Let There Be Drums
02. Apache
03. Bongolia
04. Last Bongo In Belgium
05. Dueling Bongos
06. Inna Gadda Da Vida
07. Raunchy '73
08. Bongo Rock '73
09. Sing Sing Sing
10. Pipeline


Mike James Kirkland
Don't Sell Your Soul
Luv N' Haight (LH064)
Release Date:
October 18, 2011
Barcodes:  LHCD064:  780661006428  x  LHLP064:  780661006411
One-Sheet:  PDF


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  Before the release of his seminal, socially-conscious, 1972 soul album, Hang On In There, a young Mike James Kirkland released a number of singles as Mike and The Censations. Despite being offered a record deal by Curtis Mayfield, eventually making a deal with MCA, and selling in excess of 50,000+ singles, Mike and the Censations never released an album and never fully realized their potential. Here for the first time are all of his early-releases, along with some unreleased gems discovered on tapes as this project was being researched. Pigeon-holed as a doo-wop group by one of their early labels, Mike and The Censations fought to battle that image. In doing so they made a unique blend of soul, funk, and even jazz-influenced tunes, occasionally sneaking in an up-tempo number on a B-side. Their doo-wop tunes were pretty damn amazing too, dripping in soul and becoming big favorites of the low-rider scene.

1000 2CD BOX SET

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  01. Victim Of Circumstance Pt. 1
02. Don't Mess With Me
03. There's Nothing I Can Do About It
04. I Need Your Lovin
05. Be Mine Forever
06. Don't Sell Your Soul
07. Baby What Are You Gonna' Do
08. Split Personality
09. You're Living A Lie
10. Shopping For Love
11. The Straw That Broke The Camels Back
12. Gonna Try To Get You Back
13. A Man Ain't Nothing But A Man
14. Victim Of Circumstance Pt. 2
15. Feeling In My Heart (Unreleased)*
16. I Need Your Love (Unreleased)*
17. Strut On (Unreleased)*
18. Love Is Back (Unreleased)*
19. Whirlin' Around (Unreleased)*

*LP and Digital only.

Ikebe Shakedown
Tujunga b/w No Name Bar 7''
Ubiquity (UR291)
Release Date:
May 10, 2011
UR7291 780661129110
One-Sheet:  PDF


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  This limited 7” is a teaser from the self-titled upcoming second album from Brooklyn-based Ikebe Shakedown. Named after a favorite Nigerian boogie tune (pronounced “ee-KAY-bay”), the band messes with elements of deep Disco, Highlife, cinematic soul, psychedelic Afro-funk, and Boogaloo in all the right ways. After spending a couple of years together the band now plays a truly driving set, with their mighty horn sections blasting on top of a wall of African-enthused party-pleasing rhythms.

“Our sound has developed to be less imitative and more about taking our favorite things from our influences and layering them to create unique material,” they explain.

On “Tunjunga” the band builds a floor-filling percussion section, adding seductive guitar licks and an irresistible bass-line to set their horns ablaze to. The gritty African disco jam is paired with a more laid back and lush affair as the flip sees Ikebe go deep into film-territory on a cover of an Isaac Hayes tune. On “No Name Bar”
the multi-layered horn section plays off a cavernous backing track of slick drumming, spacey Hammond organ, and funky guitar licks. Both tracks were recorded and produced by Tom Brenneck at Dunham Studios.

The forthcoming debut for Ubiquity sees the band push their eclectic approach and arrive at their sound with a clear vision of who they are, “With such a range of material on the LP, self-titling the album is a way to introduce the audience to us -- to form a more complete understanding of what we do,” they said.

Partly recorded in Brooklyn, Ikebe Shakedown admit that being surrounded by so many excellent groups, and having the opportunity to see them play live, has pushed them to experiment with their own sound. Tracks were also recorded at Killion Studios, home of Ubiquity-act Orgone. “The studios share a lot of similarities -- the tracks were all cut live to tape with minimal use of headphones and overdubs. Still, we were on the road when we arrived at Killion and were free of distractions which allowed us to dig in and focus,” they explain.

Most of the rhythm section met at Bard College, and the
band was rounded-out and officially formed when everyone settled in Brooklyn. After a run of dates around NYC, Ikebe recorded their debut 7” single and the EP, Hard Steppin', which was released on Colemine Records in 2009 and received high praise from critics, and fans alike.

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  01. Tujunga
02. No Name Bar

Ikebe Shakedown
Ubiquity (UR292)
Release Date:
June 7, 2011
UR292 780661129226
One-Sheet:  PDF


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Ikebe Shakedown, the self-titled album from the Brooklyn-based band, plays with elements of Cinematic Soul, Afro-funk, Deep Disco, and Boogaloo in all the right ways. After spending a few years together the group, named after a favorite Nigerian boogie record (and pronounced “ee-KAY-bay,”) delivers a driving set of tunes featuring a mighty horn section anchored by tight, deep-pocketed grooves.

“Right now in cities across the globe, there are plenty of great Afrobeat revivalist bands aping the sound and groove of Fela Kuti’s legendary sound. Yet, surprisingly few of the new groups have strayed from an orthodox interpretation of the genre or done much real innovation. ..Ikebe Shakedown is here to change that. The band takes signature Afrobeat elements—big unison horns, slinky bass lines, tight little guitar licks—and blends them with tasty grooves culled from '70s-style horn-driven funk”.
- Marlon Bishop, WNYC

The forthcoming Ikebe debut for Ubiquity Records sees the band push their globally-informed sound and eclectic approach to tune-writing into new territory, “Self-titling the album is a way to introduce the audience to the many facets of the band -- to provide a more complete understanding of what we do,” bassist Vince Chiarito says. “Our sound has grown to incorporate our influences without overtly representing any one in particular. It just sounds like us," he adds.

Most of the rhythm section met at Bard College, and the band rounded-out and officially formed when everyone settled in Brooklyn in 2008. From there, Ikebe has emerged as a compelling voice on the progressive local scene. After a run of dates around NYC, Ikebe recorded their debut
7” single and the EP, Hard Steppin', which was released on Colemine Records in 2009, receiving high praise from critics and fans alike. The group was invited to record at Dunham Studios with producer T Brenneck and at Killion Sound in Los Angeles, home of engineer Sergio Rios of fellow Ubiquity act Orgone< “The studios share a lot of similarities -- the tracks were all cut live to tape with minimal use of headphones and overdubs. This basic approach allowed us to dig in and really focus on getting dynamic performances,” Chiarito explains.

The old school mentality to recording spills over in the lush, laid-back, and soulful funk joints like “Kumasi Walk” and “No Name Bar” where the multi-layered horn section plays off a cavernous backing tracks of slick drumming, spacey Hammond organ, and nimble guitar riffing. The cinematic soul sound is warm and deep with the 7-piece band sounding more like a larger ensemble as increasing layers leap from the tapes. At the other end of the BPM counter, on “Tujunga,” the band build a gritty African disco jam boasting a floor-filling percussion section, adding seductive guitar licks and an irresistible bass-line to set their horns ablaze. “Tame The Beats” is pure fire - bold melodies and heavy rhythms propel the song, with Meters-esque breakdowns providing only brief respite from the action.

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  1. Tujunga
2. Kumasi Walk
3. No Name Bar
4. In Circles
5. Don't Contradict
6. The Hold Up
7. Refuge
8. Tame The Beats
9. The Viking
10. Five Points
11. Asa-Sa*
12. Pepper*
13. Sakonsa*
14. Green and Black*

*CD/Digital Exclusives

The Echocentrics
Ubiquity (UR286)
Release Date:
Apirl 26, 2011
URCD286 780661128625 x  URLP286:  780661128618
One-Sheet:  PDF


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The Echocentrics is a new band from Austin-based two-time Grammy nominated producer Adrian Quesada, a member of Grupo Fantasma, and one of the minds behind bands Ocote Soul Sounds and Brownout. Teaming up with Argentinean singer Natalia Clavier and Brazil-based Tita Lima, he has carved out a southern-fried, laid back, and psychedelic-tinged album to be released in late spring 2011.

Quesada plays an interesting cross-cultural game of musical ping pong mixing multiple languages (songs are sung in a mix of English, Portuguese and Spanish) and influences from the likes of Tim Maia and Rita Lee, Serge Gainsbourg, and David Axelrod. Buckets of spring reverb, huge doses of psyched out farfisa and electric harpsichord, and super-heavy drums back soulful vocals. Quesada recalls classic American funk and low-rider soul, but shades everything with a South American twist. As the Austinist blog said, this is “World music for people who tend to blanch at the very idea of it, maybe.” At times the music sounds like the lost Morricone soundtrack to a sun scorched Tarantino movie scene dosed in peyote. But the Sunshadows album also reaches breezier heights as Quesada weaves in exotic elements of Afrobeat, Latin funk, and Brazilian folk.

While perhaps best known as one of the minds behind Grupo Fantasma, Brownout and Ocote Soul Sounds, Quesada was also one of only twenty musicians (worldwide) nominated for the 2010 Rolex Mentor and Protege Arts Initiative to be mentored by the legendary Brian Eno. The Echocentrics is his first project where he is solely in the driving seat as producer and band leader. “The Echocentrics project is something I have been working on mostly alone for the last 5-6 years. I have about 50-60 sketches of funky and psychedelic soul songs. It is a vision I "heard" and working on them became an excuse to simply make something I would personally listen to, to fill a void.”

To complete his outernational vision he called upon the talents of guest singer Natalia Clavier. She is wife of Frederic Aubele (ESL recording artist) and has appeared on his music, and on records by ESL-owners the Thievery Corporation. Her vocal partner on the album is Tita Lima who has appeared on the Ubiquity-released Ohmega Watts “Watts Happening” album and is the daughter of Liminha, bass player for Os Mutantes.  “They helped expand the vision and created a sound that was sensual and soulful but still somewhat dusty and raw,” explains Quesada. “I speak Spanish fluently and I sometimes prefer non-English lyrics as its less oratory and the voice becomes more of an instrument,” he adds.

It’s no surprise that Quesada picked Southern Americans as vocalists as it was a little known Peruvian band, Los Pasteles Verdes, and in particular their bolero (ballad) “Esclavo Y Amo,” that were a big inspiration for the album. Quesada discovered the track nearly a decade ago and it set the vision for Sunshadows. The original is a catchy psychedelic soul obscurity that takes the form of an American soul ballad and spits it back-out dripping in lo-fi South American charm, “The minute I heard it I was so inspired,” says Quesada. “It was so funky and tripped out yet, simultaneously tragic sounding. The tape delay on the vocals intensified the sadness and I actually thought the singer was female at first which is what inspired me to write for a female voice.”

On “Sunshadows” The Echocentrics weave through ballads and cinematic instrumentals building steam to reach the faster tempo Latin-funk of “Dudar” and the hybrid Afro-beat/Brazilian flavored “Mundo Pequeno.” On “Don Alejo” they deliver a spaghetti western style head-nod-inducing instrumental, while the string-laden “Crescent Sun” is cruise-ready, top-down, Austin funk. “I would say the sound we’re going for is bigger than just a reflection of the sound of Austin,” says Quesada. “It's also the sound of Buenos Aires, Rio de Jaineiro, Brooklyn, Barcelona, etc etc.”

Echocentrics shows are already in the works, with a kick-off at SXSW 2011:

- Tues March 14th - Art Disaster 12  @ Beauty Bar - 8:30 PM
- Wed March 15th - Falkin+Sachse 7th Annual SXSW Day Party @ BD Riley's - 2 PM
- Wed March 15th - Official SXSW Showcase Presented by Waxpoetics @ Scoot Inn - Time TBA
- Sat March 19th @ Thunderbird Coffee - 5 PM

Quesada promises that the live show will be “a stripped down affair that is all live and organic - a little more aggressive than the record and so far, in practice, it sounds like a mix of early 1970s Curtis Mayfield and Bill Withers running through a PA that's hooked up to a Roland Space Echo.”

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  01. Engines of Solitude (feat. Natalia Clavier)
02. Jardim (feat. Tita Lima)
03. It’s Not Too Late (feat. Natalia Clavier)
04. Esclavo Y Amo (feat. Natalia Clavier)
05. Electric Travels
06. Mundo Pequeno (feat. Tita Lima)
07. Suspicions
08. O Elefante (feat. Tita Lima)
09. Down Under (feat. Natalia Clavier)
10. The March
11. Don Alejo
12. Dudar (feat. Natalia Clavier)
13. Cresent Sun
14. The Open Veins

Various Artists
Save The Music: A Compilation For Record Store Day
Ubiquity (UR290)
Release Date:
April  16, 2011
URCD290 780661129028
One-Sheet:  PDF

Various Artists
Save The Music: Record Store Day 12'' #1 (Shawn Lee)
Ubiquity (UR287)
Release Date:
April  16, 2011
UR12287 780661128717
One-Sheet:  PDF

Various Artists
Save The Music: Record Store Day 12'' #2 (Groove Merchant)
Ubiquity (UR288)
Release Date:
April  16, 2011
UR12288 780661128816
One-Sheet:  PDF

Various Artists
Save The Music: Record Store Day 12'' #3 (BTS Radio)
Ubiquity (UR289)
Release Date:
April 16, 2011
UR12289 780661128915
One-Sheet:  PDF


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Save the Music - A compilation for Record Store Day features exclusive new music from: AM, Princess Superstar, The Incredible Tabla Band, S.Maharba, Letherette, Dibiase, Jed & Lucia, NOMO, Shawn Lee, Magnetite, and a re-issued folky funk joint from Pats People. The compilation is available on 3 limited edition, hand-numbered, 12” singles and on a limited edition compilation CD. A digital version of the compilation will follow shortly.

The track list was put together with the help of our musical friends Shawn Lee, The Groove Merchant record store, and the influential radio show/podcast BTS Radio. The idea behind the compilation was to make a musical collection that was as eclectic, fun, and deep as our favorite record stores…

Shawn Lee chose to include a slamming new track from his forthcoming collaboration album with the soulful melodic pop crooner AM, a funky hip hop joint with NY vocalist Princess Superstar and a sneak peak at his new Incredible Tabla Band covering the ultimate breaks n’beats favorite Apache (originally by the Incredible Bongo Band.) Lee’s connections extend further into the comp with the highly sought-after NOMO collaboration “Upside Down” that was released on limited edition 7” and sold at NOMO shows earlier this year. He also remixes Jed and Lucia’s “Apostrophe,” into an impossibly infectious breezy bossa.

Jed and Lucia make a second appearance, dropping a brand new sunny-styled chill wave-goes-Brazil cut called “This is Why,” as selected by BTS radio. Since 2003, Andrew Meza’s BTS radio has presented some of the most original and progressive music podcasts and is credited with spearheading the worldwide beat movement, and introducing acts like Flying Lotus and Hudson Mohawke. BTS-partner Charles Munka designed the album and 12” art for Save the Music. BTS other picks for the comp come from Dibiase who was crowned the Red Bull-LA Big Tune 2010 Champion and has received nods and praise from DJ Premier and Flying Lotus. S.Maharba, who hails from Ipswich in the UK, creates infectious, haunting, boom-bap inspired pieces and features a ghostly vocal from Jed and Lucia. Letherette are becoming one of the most hotly tipped acts in electronic music having presented their first official EP, a feature on Gilles Peterson’s “Brownswood Electric” comp and a remix for Solar Bears Planet Mu debut in the last 12 months.

To round out the compilation Groove Merchant owner “Cool” Chris Veltri picked a brand new track from Magnetite (top secret project from the Clutchy Hopkins camp) to partner the music of super-obscure Irish band Pats People.

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  CD/Digital tracklist:

01. AM & Shawn Lee - Dark Into Light
02. NOMO and Shawn Lee - Upside Down
03. S.Maharba feat. Jed and Lucia - So Much Skin
04. Jed and Lucia - Apostrophe (Shawn Lee mix)
05. Magnetite - Don’t Close The Door
06. Pats People - December Sequel
07. Jed and Lucia - This is Why
08. Dibiase - Cybertron
09. Letherette - Roses
10. Shawn Lee feat. Princess Superstar - Anger Management
11. Shawn Lee Presents The Incredible Tabla Band - Apache

Record Store Day #1 (Shawn Lee) tracklist:
A1. AM & Shawn Lee - Dark Into Light
A2. Shawn Lee - Anger Management (Instrumental)
B1. Shawn Lee’s The Incredible Tabla Band – Apache
B2. Shawn Lee (feat. Princess Superstar) - Anger Management (vocal)

Record Store Day #2 (Groove Merchant) tracklist:
A1. Magnetite - Don’t Close The Door
A2. Pats People - December Sequel
B1. Round Robin - Our Love Is So True

Record Store Day #3 (BTS Radio) tracklist:
A1. S.Maharba (feat. Jed and Lucia) - So Much Skin
A2. Letherette – Roses
B1. Dibiase – Cybertron
B2. Jed and Lucia – This is Why

The Afro Soul-Tet
Luv N'Haight (LH063)
Release Date:
January 18, 2011
Barcodes:  LHCD063:  780661006329  x  LHLP063:  780661006312
One-Sheet:  PDF


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  Jack Millman, aka Johnny Kitchen, had a hand in many interesting, obscure and highly collectible records from the 1960s and 1970s. Producing, composing, recording, editing, releasing, licensing – you name it, Millman did it. The records he touched had an eclectic range from psychedelic rock to Latin jazz, and several include editing techniques that can only be described as an early incarnation of sampling in music. The Victims of Chance, Blues Train, The Crazy People, The Trio of Tyme, The Pros, The Tarots, Jeremiah, and even (Frank Zappa protege) Larry "Wild Man" Fisher were some of the acts connected to Millman. Based in Los Angeles he was called-upon by multiple people to make tax shelter records, and provided musical content for the Condor, Mira, Mirawood and Crestview labels amongst many others.

After seeing them play at the Living Room (which later became the Comedy Store) on Sunset Boulevard, Millman became manager of the Afro Latin Blues Quintet +1, and signed them to Randy Woods (creator/owner of the Mira, Mirwood, Crestview, Surrey labels) in the late 1960s.

Having released several albums this band would later become the Afro Soultet. The liner notes to their Afrodesia album state "This is Afrodesia! A Musical collage of many peoples. . .it comes from Africa and from Arabia, from the South Seas and from Asia." Living up to the promise of those notes Afrodesia mixes Latin Jazz, with straight jazz, worldly percussion, surf, rock, funk, oddball sound effects, a touch of lounge, and some hints of tropicalia. Millman produced and released the Afrodesia album on his own Banyon label sometime between 1968-1971 (no release date is listed on the record, and Millman cannot recall a more exact date.)

Somewhere between 500 and 1000 LPs were pressed on Banyon. The album was licensed non-exclusively to Betty Chiappetta (of Vee-Jay fame) for a period of time, but it is possible that the record only saw release as a test pressing during the license, and that no official release was made commercially available. After their short stint as the Afro Soultet, the band morphed one more time into The Afro Latin Soultet releasing records with pianist Phil Moore III at the helm.

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  01. Afrodesia
02. Mozamba
03. Soul Rockin'
04. Afro Revolt
05. Drumbouie
06. Torrid Zone
07. Oom-Gowa
08. Slave Traders
09. Aphro Bugaloo
10. Chocolate Drop
11. Le Berber
12. Sand, Sun and Sea

Bei Bei & Shawn Lee
Into The Wind
Ubiquity (UR263)
Release Date:
January 26, 2010
URCD263 780661126324  x  URLP263 780661126317
One-Sheet:  PDF


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Into the Wind by Guzheng performer/composer Bei Bei He and Ubiquity producer Shawn Lee marries a unique blend of ancient tradition with studio trickery. This uplifting, genre-bending sound clash, recalls the afro centric harping of Dorothy Ashby and hypnotic spiritual jazz of Alice Coltrane. With Lee adding equal doses of hip hop, electric jazz, and soul sensibility to the backing tracks, the captivating sound of Bei Bei’s Guzheng comes alive on peaceful mellow joints as much as it does on Kung-Fu flavored funk tunes.

Falling in love with the 5 foot tall x 1 foot wide 21-stringed Chinese instrument at first sight, Bei Bei began playing at the age of seven. While studying the Guzheng at a music conservatory in Hong Kong in 2002, Bei Bei developed an interest in jazz and groove-based music and hoped to make those styles with her instrument one day. Eight years later, now residing in Southern California, Bei Bei was contacted by Shawn Lee about making a record in the way she’d previously dreamed of, and she jumped at the opportunity.

These days it’s not uncommon for artists to swap tracks and build tunes over the internet. But, in this case, the artists had to drop their guards, throw caution to the wind, and learn about each other’s very different crafts as they went. Meeting only once (over pancakes and ice tea at an iHop in Huntington Beach!) the two emailed and swapped files for about a year to complete the record.

“Shawn was inspired by some of the traditional music that I play,” she explains. “It took both of us being committed, fully self-expressed, inspired, connected to make this album happen, “ she adds.

The initial burst of inspiration led to the birth of early pieces like “Make Me Stronger” and “Bei’s Bossa,” which were new creations based on ancient tunes. The label was so excited by these two that they shared them with label mates and this is how Georgia Anne Muldrow ended up singing on the entrancing “Make Me Stronger,” and later on “Willingness.”

However, further collaboration between Bei Bei and Lee became more challenging. “I had trouble following the key changes in “The Ambush” because the Guzheng is conventionally tuned into a pentatonic scale without the 4th and the 7th of each key. That would not allow me to play pieces like this, she explains. “After many experiments, I tuned each octave on my instrument into its own diatonic scale, and it worked perfectly.”

Swapping notes with each addition and change, they made their way through eleven tracks. The title track was the last track to be completed, and also became the opening track on the album. But it almost didn’t happen. Lee had made the basis of “Into the Wind” which sounds very different from the finished version. Bei Bei got a serious dose of writers block and wanted to give up. But Lee encouraged Lee to make any changes she wanted. “His words pumped me up, so I put myself together and went back to my instrument until the last note was recorded. This is true teamwork that takes part not only in the art, but also in the human spirit,“ says Bei Bei.

The Guzheng is over 2000 years old and belongs to the Asian long zither family; Japanese Koto, Korean Kayageum, and Vietnamese Dan trah are children of the Guzheng. It was used in both folk and court music in the ancient China. Bei Bei started to play the Gu Zheng at the age of seven and received her professional musical training, majoring in the Gu Zheng at the Central University of Nationalities in Beijing, China and the Hong Kong Academy for Performing Arts in Hong Kong from several Gu Zheng masters such as Li-Jing Sha, Mu-Lan Hai, Chun-Jiang Teng, and Ling-Zi Xu. She is a multi-award winner of many national and international competitions such as the 1993 National Chinese Instruments Competition, the 1999 College Students Art Festival in Beijing and the 1st Dragon Cup International Gu Zheng Competition in 2001.

Bei Bei is an internationally acclaimed Gu Zheng performer, composer and educator. She was born in Chengdu, China and now resides in Orange County, California. She started to play the Gu Zheng at the age of seven and received her professional musical training, majoring in the Gu Zheng at the Central University of Nationalities in Beijing, China and the Hong Kong Academy for Performing Arts in Hong Kong from several Gu Zheng masters such as Li-Jing Sha, Mu-Lan Hai, Chun-Jiang Teng, and Ling-Zi Xu. She is a multi-award winner of many national and international competitions such as the 1993 National Chinese Instruments Competition, the 1999 College Students Art Festival in Beijing and the 1st Dragon Cup International Gu Zheng Competition in 2001. Bei Bei has been collaborating with musicians from different genres such as Classical, Jazz, Alternative, Electronica, Hip-Hop, and dancers. She has been featured as an instrumentalist and composer at Knitting Factory Hollywood, Ford Amphitheater, Barclay Theater in Irvine, Illinois Wesleyan University, Gustavus Adolphus College, National Arts Center (Ottawa, Canada) and more. As a studio musician, she recorded for Sci-fi Channel’s “Battlestar Galactica”. As a composer, she composed music and performed for China Central TV documentary series “Dun Huang”. She released her debut album "Quiet Your Mind and Listen" in 2006. Her collaborative album "Heart of China" with Richard Horowtiz was released by Killer Tracks in 2008. Her dance music works include “Dancing Dream” which was premiered at the Asian American Children’s Dance Festival in 2007. Bei Bei was the member of the Orchid Ensemble from 2008 to 2009 and the group toured through United States and Canada. She is the director of Lotus Bud Gu Zheng Studio in Orange County, CA, where she teaches students to play and perform. The feedback that she has received as she has introduced American and international audiences to the Gu Zheng and its broad and varied repertoire has been extremely positive. Her passion for her instrument and the beauty of her music have touched people across the world.

This is the first record of many in 2010 for the unstoppable Shawn Lee. His last two albums were also collaborations. These previous two releases saw him work with Clutchy Hopkins on the Fascinating Fingers album and with Money Mark and Tommy Guerrero under the name Lord Newborn & The Sugar Skulls. He has plans to do some major interpretations of famous classical pieces later in the year, and has an all vocal collaboration album in the works, too.

For an introduction to the Bei Bei and Shawn Lee project, Ubiquity released a limited edition 10” EP, featuring the original and instrumental versions of “Make Me Stronger,” with a vocal by Georgia Anne Muldrow (who had also recently produced and sang on records by Mos Def and Erykah Badu.) Alongside these, was the storming version of the Billy Paul psychedelic soul opus “East,” also featured on Into The Wind. A remix by UK producer Floating Points (whose “Love Me Like This”, “Vacuum Boogie”, and “Radiality” releases have been turning heads all year long) took “Make Me Stronger” deep into bugged out Wu-Tang territory. Reaction was positive from Berlin to Los Angeles, with KCRWs Garth Trinidad calling the tracks “A ray of light in my world,” and BBC Radio 1 DJ Mary Anne Hobbes saying “Love love love this.”

At time of press Lee and Bei Bei were discussing plans for a few special live shows.

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  01. Into The Wind
02. Hot Thursday
03. East
04. Make Me Stronger feat. Georgia Anne Muldrow
05. Little Sunrise
06. Bei's Bossa
07. Whiskey Waltz
08. Willingness feat. Georgia Anne Muldrow
09. The Tiger

10. The Master Room
11. The Ambush
12. The Blue Grotto

Bei Bei & Shawn Lee
Beauty And The Beats EP
Ubiquity (UR259)
Release Date:
September 8, 2009
UREP259 780661125914
One-Sheet:  PDF


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New music by Gu Zheng performer Bei Bei and Ubiquity producer Shawn Lee marries a unique blend of ancient tradition with studio trickery and spiritual jazz. This uplifting, genre-bending, soundclash recalls the afrocentric harping of Dorothy Ashby, the hypnotic style of Alice Coltrane, and the organic electronics of Four Tet and Quantic.

For this introductory, limited edition 10” EP, we include the original and instrumental versions of “Make Me Stronger,” with a vocal by Georgia Anne Muldrow who has recently produced and sang on records by Mos Def and Erykah Badu (she is also working on a solo record for Ubiquity.) Alongside these, is a storming version of the Billy Paul psychedelic soul opus “East.” And a remix by UK producer Floating Points (whose “Love Me Like This”, “Vacuum Boogie”, and “Radiality” releases have been turning heads all year long) takes the track deep into FP vs. Wu-Tang territory.

Bei Bei He is a Gu Zheng performer, composer and educator who was born in Chengdu, China and now resides in Southern California. The guzheng, also spelled gu zheng or gu-zheng or zheng (the Chinese symbol for which translates to "ancient") is a traditional Chinese musical instrument with a truly captivating sound that lends itself as much to peaceful ambient recordings as it does to Kung-Fu funk. It belongs to the zither family of string instruments and is the parent instrument of the Japanese koto, the Mongolian yatga, the Korean gayageum, and the Vietnamese đàn tranh.

He and Shawn Lee met while Lee was out in California recording the Lord Newborn album and collaborating with Clutchy Hopkins. Files have been swapped back and forth and the project polished up for release over the past 6 months. Bei Bei and Shawn Lee’s “Beauty and the Beats” album will follow in January 2010. Watch out for accompanying live shows.

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  A1. Make Me Stronger ft. Georgia Anne Muldrow (Floating Points Remix)
A2. Make Me Stronger
B1. East
B2. Make Me Stronger (Instrumental)

Betty Padgett VS. Arthur Foy 12''
Sugar Daddy
Luv N' Haight (LH12057)
Release Date:
March 10, 2009
LH12057 780661005711
One-Sheet:  PDF


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South Florida has produced some great female singers over the years from Betty Wright to Gloria Estefan. But have you ever heard of Betty Padgett? Despite a relatively successful local career the answer is probably not. You’re even less likely to have seen or heard her hard-to-come-by self-titled debut album. Released in 1975 it includes “Sugar Daddy”, a gem of a track that sounds like it could be a Quantic or Mr Scruff production of late. The album will receive a full-length re-issue later in the year, but fr now this 12” includes both the original vocal version and an extended “Sugar Daddy” dub, previously only available on a super-rare12”. This tune alone would normally set you back a few hundred bucks. And Bettys dynamite soul, over such a tasty percussive mid-tempo groove makes it worth every penny.

On the flip-side is an even rarer track by Arthur Foy. Despite coming out of New Orleans “Get Up And Dance” does not sound like your typical Meters, Eddie Bo, etc inspired funk. Instead think deep chocolate soul ala Uno Melodic, Roy Ayers, 80s Ladies, RAMP etc. Down and dirty, and boasting a dance-floor-winning- hook, “Get Up And Dance” is an amazing cosmic soul discovery that came our way via Cool Chris at the Groove Merchant in San Francisco. Copies of the original are rarer than hens teeth and the very few we know about have exchanged hands for $400+.

Limited Edition Pressing: 1000 pieces only.

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  A1. Betty Padgett - Sugar Daddy (Vocal)
A2. Betty Padgett - Sugar Daddy (Extended Instrumental Mix)
B1. Arthur Foy - Get Up And Dance

Betty Padgett
Betty Padgett
Luv N' Haight (LH058)
Release Date:
April 7, 2009
LHCD058 780661005827  x  LHLP058 780661005810
One-Sheet:  PDF


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Ahhh, the unmistakable Florida funk sound. There have been so many great labels: TK, Drive, Cat, Alston, Glades, Sound Triangle, Konduko, Blue Candle and Marlin just to name a few. Blistering tropical grooves heard around the world and made famous by artists such as: Timmy Thomas, King Sporty, Clarence ‘Blowfly’ Reid, T-Connection, Beginning Of The End, Freak, Oceanliners, James Knight, Chocolate Clay, the 13th Floor, Herman Kelly & Life, Philip Wright, Ray & His Court, All The People, K.C. & The Sunshine Band, Vanessa Kendrick, Miami, Coke, Antique, Lew Kirton, Pearly Queen and so on…The shear amount of talent that emerged from the Sunshine State in the 1970’s is mind-boggling.

But Betty Padgett? Who is Betty Padgett? This is the question record collector and DJ Shane Hunt (aka DJ Sureshot) kept asking himself when he recently discovered the Betty Padgett self-titled 1975 debut LP while browsing through a dusty back room at a Los Angeles record store. “There is a certain feeling that a beat digger gets when stumbling across what may be a Holy Grail, it’s what keeps you going on the quest to unearth lost musical treasure,” said Hunt. “The record simply looked too good to be true. I didn’t know if it was going to be Sweet Soul? Disco? Dirty Funk, or possibly even Reggae? When I got back to my crib and gave it a listen, I discovered it was all of the above and more,” he added. Few records encompass all of these musical genres in one package, but this one captures the essence of Miami in the mid-70s with a sampling of all the sounds that made the region a musical hotbed.

Betty Padgett was born in Newport, New Jersey and her family moved to Florida when she was in the 6th grade. She sang in her church choir and began to take performing seriously after graduating from high school. While checking out the bubbling local music scene at venues like The Double Decker and Tedie Green, Padgett became particularly keen with the group called Joey Gilmore and the T.C. B. (Taking Care of Business) Express. In 1971 she auditioned with Gilmore and ended up, not only securing the position, but singing with the band for the next 17 years.

After a gig at the Elks Club in Ft. Lauderdale, Padgett was approached by soul legend Milton Wright (responsible for the rare groove classics “Keep It Up” and “You Don’t Even Know Me.”) Blown away by her vocal skills and stage presence Wright wasted no time. Within a month she was co-writing and arranging with Wright (check his unmistakable influence on “Gypsy of Love”), Wally Joest, and a cast of musicians she had just met. The entire album was recorded in one evening at Criteria Studios in Miami. Padgett vividly remembers listening to the demo on the drive home from the studio around 3am. It was pouring down rain and she was so excited from having recorded her first record at age 21 that she lost control of her car on the slick streets and nearly crashed!

A 12” disco single of “Sugar Daddy” was pressed up in support of the LP and it created quite a buzz (despite her name being misspelled on the cover and labels.) Padgett remembers a local Pepsi Cola TV & radio advert featured the music. The commercial was apparently filmed on the Ft Lauderdale beachfront and included Navy Sailors in uniform that just happened to be docked nearby. Padgett danced up to a vending machine that was parked in the sand, slapped it, and received a glass bottle of soda. After the success of “Sugar Daddy,” Padgett and her band were whisked off to Belize for live dates. After landing at the Belize airport, she was picked up in a taxi and the commercial played on the radio in the cab.

While Padgett never quite topped the heights of “Sugar Daddy,” she boasts a great musical resume and continues to perform and record. She has performed and shared the stage with Little Beaver, Gwen & George McCrae, K.C. & The Sunshine Band, Latimore, Jimmy Bo Horne, Jackie Moore, Joe Tex, Denise LaSalle, The Impressions, Bobby Bland, Joe Simon and ZZ Hill.

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  01. It Would Be A Shame
02. My Eyes Adore You
03. Sugar Daddy (Part 1)
04. Tonight Is The Night
05. Never Never Never
06. Gypsy Of Love
07. Sugar Daddy (Part 2)
08. Rocking Chair
09. Love Me Forever

Blank Blue
Dive EP
Ubiquity (UR237)
Release Date:
September 23, 2008
UR237 78066112371
One-Sheet:  PDF


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As we launch the beautiful video for “All The Shallow Deep” Blank Blue drop an EP that includes brand new mixes and music, including folked-out versions of “Sonic What!?” and “Up”, a Flying Lotus remix of “Blank Blue” (in both vocal and instrumental formats) and an exclusive unreleased tune.

The video for “All The Shallow Deep” is influenced by psychedelic classics like Easy Rider and Nicholas Roeg's The Man Who Fell to Earth and was put together by noted video producer Dean Fernando. It was shot on locations in Long Beach and Palm Springs and is enhanced by visual art by Kime Buzzelli.

The Dive EP is available in strictly limited vinyl and as a digital download. The album versions of “Sonic What?!” and “Up” have been stripped down and had new life injected into them by way of breezy acoustic guitars, vibes and strings. Elvin Estella and Niki Randa (collectively known as Blank Blue) were so happy with these re-workings that they see this sound as theirs for future recordings. Flying Lotus, on the other end of the sonic spectrum, takes the album version of “Blank Blue” and drags it through cosmic grit and dirt, before spitting out an extra-terrestrial banger. “Finer Grains” is an instrumental exclusive made just for this EP. “All The Shallow Deep” will be available only on the digital-version of this EP.

The Blank Blue album is a concept record built around the fictional and futuristic account of a massive earthquake that separates the West coast off from the rest of the United States.

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  A1. Sonic What?! (Alt. Acoustic Take)
A2. Up (Alt. Acoustic Take)
A3. Finer Grains
B1. Blank Blue (Flying Lotus Remix)
B2. Blank Blue (Flying Lotus Remix Instrumental)

Nobody Presents Blank Blue
Western Water Music Vol. II
Ubiquity (UR229)
Release Date:
  May 6, 2008
Barcodes:  URCD229:
 780661122920  x  URLP229:  780661122913
One-Sheet:  PDF


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Blank Blue are still a very young group, but the songs they’ve completed so far possess a beatific, rococo lushness—as well as an understated funkiness.
- OC Weekly

Sounds like Os Mutantes with an 808 kick sample.
- LA Record

Delicately straddles the fence between 60s psychedelia and the Bristol sound of the 90s.
- Friction NYC

Elvin Estela, aka Nobody, met Niki Randa at Fingerprints, an indie record store in Long Beach, California, where they have worked together since 2001.  Estela was mulling over ideas for a sequel to Pacific Drift, his 2003 release on Ubiquity, and realized that the album he wanted to make needed only one vocalist.  He had often heard that "Niki can sing!" and eventually would give Randa a CD-R of beats and tracks that he was considering for his new album to see if she was interested in being the one.  In December 2006 the first of their collaborations was finished and given the working title "Sonic What?!"  Excited with the results, Estela immediately told Randa about the concept for an album which had come to him in a series of nightmares.  Shortly after the two ventured to a book store during their lunch break, grabbed a book blindly, opened randomly, and put Randa's finger to a page which read “Blank Blue.”  The god’s had christened their project (it’s both the album's namesake and the name given to the collaboration between Estela and Randa) and for the next twelve months, Estela and Randa would eat, sleep, drink and smoke Blank Blue.

Blank Blue is the surreal story of an Armageddon born out of a massive earthquake off the west coast of the United States and set sometime in the future.  The quake triggers a separation of the west from the rest of the country, creating a whirlpool of devastation in its wake.  Millions die.  Thousands survive.  Those that survive eventually sink and drown from the buckling lands, only to have scores of poison mushrooms waiting for them underneath the earth's masses, loosened from centuries old trees.  The poisoned water gives them their first gasp, and miraculously they are able to and breathe and live underwater.  The album tells the story from various points of views, from an all-knowing narrator, to a psychic fish that warns people via their dreams, to random characters who watch their loved ones drown or ask the others underwater how to find the ability to breathe.  The confusion and sadness is balanced by the fascination of having to start everything all over again; learning how to breathe and swim etc.

“I started to think about making an album that I would want to listen to, that reflected the music that I love to put on and space out to.  I loved albums where one vocalist takes you through a journey through different sounds and styles.  Niki was the first person I trusted with my idea of Blank Blue and her voice matched the music perfectly.  It also helped that we have worked together at a record store for 7 years so we were official record store geeks,” says Estela  ...  more

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  01. A New Design
02. Eyes Closed
03. Sonic What?!
04. All The Shallow Deep
05. Blank Blue
06. Circles in Circles
07. Faces
08. The Spectral Company
09. Ignite
10. In The Swim
11. Sea Roars Lead
12. Up

Bobby Matos
Best Of
Cubop (CB043)
Release Date:
  August 21, 2007
Barcodes:  CBCD043:  780661504320
One-Sheet:  PDF


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  "Retains a trance-inducing effect that could last for hours."
- OC Weekly

Favorite selections from his Cubop releases, plus previously unreleased material (including a re-invented “My Latin Soul”), and some of his collaborations are featured on this overdue “Best Of”. Guest musicians include Jerry Gonzalez, John Santos, Dave Pike, and Jack Costanzo.

Bronx born Bobby Matos made his percussive musical debut beating on pots and pans in his Grandma’s apartment before going to backstage informal lessons with conga drum masters Patato Valdez and Mongo Santamaria. His first gigs were in the early 1960’s in bohemian Greenwich Village Cafes amongst the beatniks. Matos soon found himself playing in every type of venue; from Bronx dance halls to Carnegie Hall, elegant supper clubs, Central Park Concerts, Off Broadway theaters, and after hours clubs in El Barrio.

Encouraged to play timbales by Willie Bobo and Tito Puente he attended the New School and Manhattan School of Music in the late 1960s, studying composition and arranging. Latin Music was red hot in New York at the time and an inspired Matos recorded “My Latin Soul” for Philips Records. This album is a much prized cult classic perennially high on many collector wants lists, DJ sets, and has been inspiration for musicians and music fans alike ...  more

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  01. Naima
02. Philadelphia
03. Kimbisia
04. Chango's Dance
05. Oferere
06. Back To The Roots
07. Mi Alma Latina
08. I Don't Speak Spanish But
09. Guiro Elegua
10. The Creator Has A Master Plan
11. God Of The Crossroads
12. So What / Impressions
13. La Charanga
14. Trompeta Y Bongo

15. Crisis
16. Footprints

The Clonious
Adroit Adventures EP
Ubiquity (UR253)
Release Date:
June 9, 2009
UREP253 780661125310
One-Sheet:  PDF


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Somewhere between the past and the distant future, sparked by dusty old jazz records and beat generation hip hop, at the audio cross-roads of Detroit and Vienna, lies a series of sound stories steeping in the head of 23 year old beat navigator Paul Movahedi, also known as The Clonious. The Adroit Adventures EP is the first of those tales to exit his dome and hit wax. The EP includes a version of “Fogged Spacesuit,” available only on this release, and an exclusive Dorian Concept remix or “Emora.”

“Searching in the past always felt like looking in the future for me. The past and the future have the unknown in common, but I hope I also captured the jazz that makes it timeless,” says Movahedi.

Check the cosmic vibes on the bouncy “Fogged Spacesuit,” the ideal tune for astronauts on a spacewalk. The equally outerworldly vocalist Muhsinah sings on “One At A Time,” which swells and bumps in a soulful electronic-shoegazer style. Hailing from DC, Muhsinah is fresh off tour with Common. And since the hype of her “Daybreak 2.0.” and “The Oscillations: Sine” releases has collaborated with a resume-busting list of producers that include DJ Spinna, Flying Lotus, Nicolay & Phonte (The Foreign Exchange), Om'mas Keith and many more. The angular and mechanical “Emora” appears in steeley original mix and is also remixed courtesy of uber-hot Kindred Spirits artist, Dorian Concept, who gets glitch-happy adding a cheeky bump to the proceedings. Movahedi and Dorian Concept are long-time collaborators, they’re in the Austrian bands JSBL and Teeming Palliation alongside Cid Rim.

The beat generation scene is on fire worldwide, with artists smashing the boundaries of connections between electronic music and hip hop, taking what they know and creating something new. “With every record I have listened to I inhaled a piece of the world,” says Movahedi. “I come from a musical background that is heavily influenced by the jazz era of the late 1950s and 1960s. But a big part of my sound is sampling. Everything I record or produce eventually ends up in a sampler. As I see it the art of sampling comes close to a cloning process. So add my love for sampling with my love for old jazz records and the name The Clonious makes sense...I guess!” he adds.

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  A1. Fogged Spacesuit
A2. One At A Time Feat. Muhsinah
B1. Emora
B2. Emora (Dorian Concept Remix)

The Clonious
Between The Dots
Ubiquity (UR260)
Release Date:
October 13, 2009
URCD260 780661126027  x  URLP260 780661126010
One-Sheet:  PDF


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Somewhere between the past and the distant future, sparked by dusty old jazz records and beat generation hip hop, at the sonic cross-roads of Detroit and Vienna, lies a series of sound stories steeping in the head of 23 year old beat navigator Paul Movahedi, also known as The Clonious.

The Adroit Adventures EP, released on Ubiquity in June, was the first set of tales to exit his studio and hit limited edition wax. It was immediately picked up by the likes of Mary Anne Hobbs (who aired a Clonious mixtape the week of it’s release) and Benji B on BBC Radio. DJs from Helskinki to Tokyo to New York also gave thumbs up to his unique blend of bouncy cosmic vibes and glitchy shoegazer funk. On Between The Dots his debut album, Movehadi continues his development of sounds that are at once new and classic, soulful and striking, organic and electronic.

“If a regular hip-hop head and the biggest IDM nerd both find a track on the album that they like, it would make me happy,” says Movahedi. “The album is the sum of what I like. These tracks are little adventures that just want to say hello,” he jokes.

While “Fogged Spacesuit,” the ideal tune for astronauts on a spacewalk, and the outerworldly soul of “One At A Time,” (featuring DC-based vocalist Muhsinah, and remixed for the album) swell and bump, tracks like “Emora“ are more angular and to the point, building around a focussed theme. Keeping the beats edgy, Movahedi lets the jazz and improv fly between the dots on “If Joe Had The Power,“ and even more on the short “Agenda“ and “Hang On.“ There’s a Herbert-like warmth to the cut n’paste style of the more uptempo “Bugs N’Fools“ and “Leaving Belief“ should please the ears of Jazzanova and Atjazz fans with their floor friendly beats.

“I don’t really care how people explain my music. You will most definitely find references to others, and that’s cool with me,” says Movahedi. “You can’t invent the wheel a second time. It’s about your mix of influences, and with every record I have ever listened to I inhaled a piece of the world. Searching in the past always felt like looking in the future for me. The past and the future have the unknown in common - and I hope I also captured “the jazz” that make this music timeless,” says Movahedi.

Other guests on the album include Dorian Concept and Cid Rim, with whom Movahedi frequently collaborates. Los Angeles-based Georgia Anne Muldrow and partner Dudley Perkins round out the collabs, injecting some of their own brand of West Coast fonk.

Beat generation artists are smashing the boundaries and connections between electronic music and hip hop worldwide, making something new with every release. “I hope to achieve that fine balance between a superficial forcefulness and a striking deepness. I come from a musical background that is heavily influenced by the jazz era of the late 1950s and 1960s. But a big part of my sound is sampling. Everything I record or produce eventually ends up in a sampler. As I see it the art of sampling comes close to a cloning process. So add my love for sampling with my love for old jazz records and the name The Clonious makes sense...I guess!” he adds.

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  01. Fogged Spacesuit (album version)
02. One At A Time (funked up)
03. If Joe Had The Power
04. Emora
05. Agenda
06. Bugs N'Folls
07. Leaving Belief
08. Hello
09. Dataflow

10. Lovelights
11. 693 Balloons
12. Hammertime
13. Oily Glue
14. Wolfteethgrind
15. Goodbye

Clutchy Hopkins
The Story Teller
Ubiquity (UR267)
Release Date:
April 13, 2010
URCD267 780661126720  x  URLP267 780661126713
One-Sheet:  PDF


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Fact or fiction? Is Clutchy Hopkins an alias? Or is this the true name for a reclusive musical powerhouse? Are his recordings vintage, new, or a mix of both? Some may wonder about these things, along with why some dudes have a long pinky nails or whatever happened to myspace, others may ask if any of this really matters? While the mystery surrounding the artist is no longer news, the music only gets better, maturing like a fine wine.

This album was delivered to Ubiquity HQ on a beaten-up iPod, which was wrapped in what looked like ancient scroll, but turned out to be two paintings of Hopkins by Spanish artist Thabeat Valera. One painting is the album cover, and the other will feature in the booklet. The iPod included all of the album tracks, plus a reading of the story behind the recording, repeated in 10 different languages. 

It’s the most varied Hopkins album to date encompassing lots of vocal textures, and a dash of worldly vibes. Check the Brazilian-psyche-like “No Contact…Contact,” and the mad spooky science of “Miles Chillin,” or the shuffling “Thinkin’ of Eva” which would sound perfectly at home playing in a Parisian café. It’s an album influenced by Hopkins time in jail, where, while in the courtyard, he met many international prisoners waiting to be deported. Lo-fi, acoustic, finger- snapping, hand-clapping, whistle-and-hummed jam sessions gave Hopkins the ideas which he later put to tape. The album booklet will include the entire story, unfiltered.

The tale begins in the winter of 1982. Hopkins had run into some legal trouble in his Mojave Desert hometown and was convicted of insurance fraud. He had been travelling with a friend who developed an abdominal aortic aneurism, a condition which requires immediate surgical intervention or sudden death is inevitable. Hopkins, himself a victim of poor medical treatment due to lack of financial means, knew his only choice was to help his friend by falsifying insurance documents. His friend was admitted and survived, but shortly after the hospital authorities discovered the insurance documents were bogus. Hopkins was arrested and quickly charged due to the high cost of the crime. He refused to admit guilt to what he thought was a selfless act that saved a life, and was ultimately convicted and sentenced to a lengthy prison term. 

Upon arriving at a California state penitentiary he immediately took a liking to, and got along with many of, his fellow inmates. Unfortunately this seemed to aggravate the guards who thrived on controversy and in-fighting amongst the prisoners. Hopkins truly believed in his heart that music and creativity was art that every person could relate to, even mass murderers and insurance fraudsters.  He knew that music was a universal language that people from any ethnicity or background could enjoy. He had used music to unite people throughout his life, and decided that prison would be no different. By way of impromptu jam sessions in the courtyard Hopkins even united rival gangs and cliques. The other inmates were able to take music and use it as a common ground to not only break the monotony of every day prison life, but also change hateful relationships into actual friendships. Hopkins taught them that music could be created anywhere, at any time, with no instruments required.

As the days of his first year grew longer, the passing of time became more and more difficult, and so Hopkins decided to turn the nightly domino game into a full-blown beat session.  He began banging the dominoes on the table and directed others to use their hands and feet to make a beat that sounded like something out of a recording studio.  The louder they became the bigger their smiles grew, and the more they annoyed the prison staff.  During one such session a few guards approached Hopkins, yelling at him to stop and separating him from the crowd. They restrained him on the ground. Frail and unable to fight back, Hopkins could only look on as the inmates were inspired to bang whatever they could louder and louder, creating a wonderful rhythmic sound. Now even more annoyed, the guards took Hopkins away and he was ordered to perform heavy physical labor.

What had started as minimal security turned into around-the-clock surveillance of Hopkins. He was being treated as if he were the ring leader of a crime ridden organization running inside the prison. But instead of being armed with weapons and drugs he was armed with finger snaps and hand claps. The only thing he was guilty of was uniting hate-filled, otherwise-hopeless, men and giving them something worth living for. 

The mood at prison had now shifted. The guards were aggravated by the newly united crowd and concerned that this now singular group of felons could turn against them. They decided to take Hopkins out of commission, to prove their dominance over the inmates, and to disband the music sessions. After a swift beating Hopkins was dragged to the isolation chamber where he was told that further musical disruptions would only lead to greater punishment and pain.

Twenty days went by in that dark hole. Hopkins was partially broken, but knew that his pain and suffering was a small price to pay for the hope music had given his fellow men. As he was removed from his lonely cell, the guards walked him through the main entrance of the hallway leading to the prison corridor. This was a route never taken by the guards before. He knew he was being turned into an example to show that no one was safe from this type of treatment.  He walked with his head down but could feel everyone staring with heavy hearts. Then a faint sound came from down the hall, from somewhere near Hopkins’ cell.  Looking up, Hopkins was able to see his cell mate, a 7 foot 6 inch man who had hands the size of bear claws. Previously disinterested in joining the musical jam sessions, Hopkins was surprised to see his cellmate slapping the brick wall and the prison bars as loud as he could. A nice rhythmic beat was established, one inmate turned into two, then two into four, until the entire cell block had turned into a symphony of new found musicians. As the guards turned to drag Hopkins back to isolation the only thing the Hopkins could do was smile, because he knew no matter how much hell he had to endure, the story he had long attempted to spread was now loud and clear.

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  01. Giraffe Crack
02. Laughing Jockey
03. No Contact...Contact
04. Miles Chillin'
05. Nina
06. JT Goldfish
07. Truth Seekin
08. Thinkin' Of Eva
09. Light As A Feather

10. Drunk Socks
11. Verbal Headlock

Clutchy Hopkins
Walking Backwards
Ubiquity Records (UR221)
Release Date:
  February 5, 2008
Barcodes:  URCD221 + DVD:
 780661122128  x  URLP221:  780661122111
One-Sheet: PDF


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"If I were an emcee, I would want Clutchy on my squad. Much like MF Doom he has the unique ability to make the inanimate articulate, as if his instruments could speak. Not only is Clutchy 'next up', but he's also on some next shit."
- Thick Magaine

"Is Hopkins a creation of this label's in-house roster of acts or a mysterious master of the groove arts? In the end, who cares? The 12 tracks here are slick, slow funkin' instrumentals (mostly) that will bring smiles to baristas faces everywhere that it gets spun."
- The Province (Canada)

"Slow-burning arrangements smolder with exotic instrumentation and ear-bendingly effective playing..."
- OC Weekly

"Forged of modern soul, downtempo, hip-hop, blues and electronica, this is one pimp-ass record of atmospheric beat music that throbs with mood, mystery and humor. Add in a clever, hilariously crafted persona that makes truth and fiction impossible to separate as a mascot and you’ve got a winner."
- Orlando Weekly

"Dope beats evoke the work of the RZA, or Madlib's 'Yesterday's New Quintet', and the raw drums crackle with immediacy. The moody album evokes dark, smokey rooms humming with vintage grooves inspired by old records from swap meet dollar bins. Initially underwhelming, Hopkins' style infects the brain."
- SF Weekly

"Simple but not simplistic, Walking Backwards is a fascinating peek under a rock—whether or not the rock exists."
- Dallas Observer

"There's a spare, spacious approach here that almost reminds us of the energy that we first felt in DJ Shadow's groundbreaking work of a decade before -- a similar love of gritty, organic source material -- and an ear for putting it together with lots of dark twists and turns that balance nicely between classic funk and current hip hop production sensibilities. The flavor of each tune changes nicely -- making the album way more than just a clichéd collection of beats..."
- Dustygroove

"Walking Backwards' dense, drifting instrumentals were built on dry snare thwacks, woodwinds and gloomy, dim-lounge organs...Hopkins is a creepy one. Whoever he is."
- Remix

"The tempos are suitably slow and the rhythms nicely woozy...It makes for pleasantly laid-back head-nodding fodder."
Now Magazine (Canada)

"The disc is chock full of slick jazz/funk fusion hip-hop beats that plays out like a soundtrack to the life of the Clutchster himself...Walking Backwards is nice change of pace from the norm as far as instrumental discs goes, with many using more samples and synthesizers than actual live instrumentation, with Hopkins apparently manning nearly all of the instrumentation. As a result, Clutchy proves that he's hipper than your average bum off the street, and he can play a mean flute...and drums, and organ, and harp..."

"Instead of sleuthing for the man's true identity, we're better off simply enjoying his music - which is moodier than your ex-girlfriend and more deliciously layered than the cake she eats."
- Snowboard Canada

"The beats are so sticky-icky the record should come complete with rolling papers. 'Love Of A Woman' wins 'Best Song To Make Babies To' in 2008."
- Slug Magazine

"Walking Backwards succeeds in its ability to act as a musical vacation. It takes you on an international near-50-minute journey without the cost of air fare and having to deal with pesky airport security."
- Okayplayer

Dear Press Friend,

Don’t ask me who Clutchy Hopkins is; I don’t know. There’s a line of people waiting to learn his whereabouts.  If you find out, perhaps you will be kind enough to hand over the contact info for the mysterious trickster, folklore guru, and marvelous musician. Because of his anonymity, this won’t be your average press release. I don’t have any of the usual stuff: no insight into his background, no list of influences or interesting anecdotes about his musical upbringing. Instead, what follows is the abbreviated version of how this album came to be by way of thrift store finds, red herrings, a pizza parlor, and a list of characters long enough to cast a b-movie ... more

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  01. Sound Of The Ghost
02. Song For Wolfie
03. Love Of A Woman Feat. Darondo
04. 3rd Element
05. Para Los Ninos
06. Horny Tickle
07. Percy On The One
08. Rocktober
09. Alla Oscar
10. Good Omen
11. Swap Meet Me At The Corner
12. Last Time For Your Mind

Clutchy Hopkins Meets Lord Kenjamin
Music Is My Medicine
Ubiquity (UR244)
Release Date:
April 21, 2009
URCD244 780661124429  x  URCD244:  780661124412
One-Sheet:  PDF


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Late last year Ubiquity was approached by the mysterious Misled Children about another project from Clutchy Hopkins, the man they claim to represent. A vintage Caribbean tracksuit jacket was found in the office fridge, and written in permanent marker on the inside right arm was a request for a meeting where we would “get another piece of the Clutchy Hopkins puzzle.”

Despite the goose chase involved in putting out the last album we could not pass up the opportunity to hear some more Clutchy Hopkins music. We agreed to meet the Misled Children in Joshua Tree, CA. Sweating from the 110 degree heat and skeptical about the possibility of a no-show we went to the Joshua Tree Tavern for a cool beer. The bar tender spotted us as we walked in. When we ordered a couple of drinks he looked us straight in the eye and whispered, “Follow me.”

Taking us to a messy back room, filled with empty glass bottles, a collection of stuffed owls, and strewn with old newspapers, he handed over a plastic bag and said, “I think this is what you came for.” Despite the lack of liquid refreshment we decided to leave quickly, the local eyes were glued on us and we were itching to get at the contents of the bag which by now we knew had to have been planted by the Misled Children.

Inside was a short stack off Apex 2-inch reel-to-reel tapes and a small journal. The journal contained stories of Clutchy Hopkins, and his move to Barbados. The dates of the stories were vague but seemed to span the late 1970s through the early 1980's. Hopkins had moved there in search for a medicine man, who also hand-made percussion instruments, named Lord Kenjamin. Over the years Hopkins had heard stories about this simple man and as the notes read “his mission to help people come to a place of peace and humbleness through music.” Hopkins searched for several weeks, tricked on several occasions into dead ends by the local children. At times it seemed that the village people wanted nothing to do with Hopkins, “The children enjoy confusing me with directions that lead me back to where I started. It is like a daily joke,” he wrote, “One day they tell me to head east, the next day west, and all with a suspicious smile.”

Hopkins was about to give up his search and go home when he was bitten by a poisonous Lionfish. He passed out from the pain while in a side street on his way back to his hotel room. He was dehydrated and in bad shape after laying there for nearly 2 whole days. A group of the local children found him close to death when their soccer ball bounced down the street and rolled into his listless body. Feeling guilty that they had misled him on his quest, the children carried Hopkins on a stretcher made of sugar cane to Lord Kenjamin. For the next 3 months Hopkins was in and out of consciousness.

At this point in the journal the notes in the book have been ripped-out, we don’t know why. But the next page that is legible reads “With faint memories of a 4 track, deep-rooted beats, and a melodica, I have been brought back to health by the help of Lord Kenjamin and the music we made together. As a token of my appreciation I have promised the good Lord Kenjamin that the world would one day hear these recordings. The music has made a huge impact on our spirits and health during this time. We will call this record Music Is My Medicine.”

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  01. The Old Spot
02. Brother John
03. Cold and Wet
04. Riff Raff Rollin
05. Lord Kenji
06. Dotsy's Leslie
07. Tune Traveler
08. Shadowfish
09. Gourds of the Desert

10. Turtle Rock
11. Heavy Hands

Connie Price and The Keystones
Tell Me Something
Ubiquity Records (UR217)
Release Date:
  March 4, 2008
Barcodes:  URCD217:
 78066112172  x  URLP217:  78066112171
One-Sheet: PDF


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  "Connie Price and the Keystones are to be praised for their originality and brilliance."
- Lalo Schifrin (Grammy Award Winning, Oscar Nominated Composer - Mission: Impossible, The Rise and Fall of the Third Reich, Cool Hand Luke, Bullitt, Enter the Dragon, THX 1138)

"Connie Price has the 'Key' to success and a sound that's solid as 'Stone'"
- Big Daddy Kane

"Connie Price and the Keystones live sounded just like our records..."
- Lord Jamal (Brand Nubian)

"...the cast of top-notch, mostly West Coast guests thrives, rhyming atop the rich, cinematic productions of CPK’s Dan Ubick and Co. No doubt, these beats can be enjoyed vocal-free on the accompanying instrumental version of this album...Tell Me Something is the rare live hip-hop project where neither the MCs nor the band gets outshone."

"West Coast hip-hop has ventured into the urban and the suburban communities, taking with it a flavor that is undeniably its own. Connie Price & The Keystones have reached this level of authenticity...offering a unique mixture of live instrumentation, hip-hop heads can appreciate the relationship between MCs and the beats that inspire them..."
- Vapors

"...the ultimate formula for a hit record has been found..."
- Slug Magazine

On the follow-up to their Now-Again/Stones Throw album, Connie Price and the Keystones step-up with a heavyweight dynamic soundtrack-inspired hip hop album.  While their debut was instrumental, Tell Me Something is the opposite, featuring a marquee-filling list of quality MCs.  The legendary Percee P, Wildchild from the Lootpack, Ubiquity-labelmate Ohmega Watts, Soup from Jurassic 5, Blood Of Abraham, Mykah 9 from the Freestyle Fellowship and Project Blowed, plus vocalist Aloe Blacc provide lyrics n’rhymes.

Having recently recorded an EP for Scion with Big Daddy Kane, and backing-up Slick Rick, Brand Nubian and Too $hort live, CPK decided to take their live hip hop exploits into the studio.  Channeling Wu-Tang and Madlib in equal parts to Schiffrin and Morricone the album bobs and weaves through the head-nodding mellower bpms of “Put Your Weight On It” and “Pirates of The Mediterranean” to the more frantic chase-scene tunes like “Hoagies Revenge” and “Master At Work.” “Funk revivalist” and “retro” were apt tags for the music of CPK when they started out five years ago, fleshing-out raw funk 45s that rivaled the old-school collectible nuggets they were inspired by.  But “Tell Me Something” incorporates much broader influences and is a product of a deeper vision.

“We have thrown all our influences into the mix, not just funk.  We love funky music but to us that could mean Jorge Ben, Can, Dennis Coffey, or the Upsetters. I see us more as Hip-Hop influenced cinematic soul music,” explains Dan Ubick, one half of the main duo behind CPK. “Also, the MC’s and vocalists just make it all that much more dimensional and interesting.”

To achieve the desired fuller sound, fat bottom end and hard-hitting drums all the music was played live, then sampled, looped-up and processed to be gritty as possible. Dramatic strings, brassy horns, and a driving percussion section pack a musical punch and leave a bigger impression often missing from “live” rap records.  “I approached this project as a Hip-Hop record, it was more about sounds recorded rather than full performances from the musicians.  I got to use instruments that were new to me on this album, like tympani, an old ‘60’s organ with fuzz, acoustic piano, and most importantly real strings,” says Ubick.  “Todd wrote some funky string arrangements for four of the tracks which our good friend Steve Kaye played to perfection.  We also had some really unique percussion instruments that make each track really stand out.  Most of my equipment was made 30+ years ago, but instruments just sound better to me with a little age on them.  Sounds that have been good for 30+ years don’t have to be “retro”, used the right way they’re really just invincible,” he adds  ...  more

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  Disc 1:

01. International Hustler Feat. Percee P
02. Put Your Weight On It Feat. Soup of Jurassic 5
03. High Life Feat. Mykah 9
04. Tell Me Something Feat. Aloe Blacc
05. Hoagies Revenge
06. Pirates of the Mediterranean Feat. Blood of Abraham
07. Master At Work Feat. Ohmega Watts
08. Thundersounds Feat. Percee P
09. Catatonia / Across The Board Again Feat. Percee P and Wildchild

Disc 2 (Instrumentals):

01. International Hustler
02. Put Your Weight On It
03. High Life
04. Tell Me Something
05. Hoagies Revenge
06. Pirates of the Mediterranean
07. Master At Work
08. Thundersounds
09. Catatonia / Across The Board Again

Damon Aaron
Ubiquity (UR236)
Release Date:
October 7, 2008
URCD236 78066112362  x  URLP236 780661123613
One-Sheet:  PDF


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Highlands is an album of bittersweet cosmic campfire electronics and melancholic dreams. Song-writer, producer, and multi-instrumentalist, Damon Aaron, pens love songs and personal anecdotes that float over spacey hip hop beats and polished bass-lines. He cuts and pastes-in swirling strings and acoustic guitars that decorate his minimal sound-scapes and cast light on traditional folk and songwriting roots.

Aaron is an eclectic musician who equally embodies California craftsman, Renaissance man, and soul boy. His late-night collection of stories directs nods to Massive Attack, Flying Lotus, Nick Drake and Sam Cooke. However, Aaron’s musical path towards Highlands began a long ago, at home, with a unique mix of family influences. He learned his finger-picking style from a banjo-wielding Scots-Irish grandfather. He grew-up singing folk and bluegrass with his Mom. And his step-Dad, an-early 1980’s KROQ DJ, showed him how to program synthesizers. Such an eclectic mix of musical habits is evident in the opening tracks “Matinee” and “Fire” where dubby finger snaps and keyboard washes are building blocks for songs eventually heightened by walls of violins and breathy-flutes. Later, on “Fall”, the acoustics take center stage but glitchy-clicks sneak in to add just a sniff of electronic atmospherics, while on “Better” Aaron’s vocals emerge from a heavy sheen of synthesizer to ride a shuffling beat.

“It's idiosyncratic, sometimes dense, and takes some slightly unexpected turns. It's a record that probably takes a couple listens to take in,” explains Aaron. “Like Tom Waits said, "it's an emotional weather report" with bluesy love songs, laments, and conversations.”

Helping Aaron edit together the right balance of organics and electronics are Los Angeles-based peers Miguel Atwood-Ferguson (arranger and session player to the likes of Dr. Dre, Rihanna, Gnarls Barkley, Blank Blue, Lifeforce Trio), percussionist Andres Renteria, and horn players Matt Demerritt and Michael McDaniel who have played alongside Macy Gray and Nate Morgan respectively.

Throughout the 1990’s, Aaron led soul and hip-hop bands in Los Angeles singing and MC-ing, and played guitar for others like the Breakestra, The Rebirth and seminal hip-hop artist Divine Styler. He's been nominated for a Gilles Peterson's Worldwide winners and LA Weekly music awards. He's also been featured on several influential compilations including: Rewind!3 (Ubiquity), Dublab Presents: Freeways (Emperor Norton), Impeach The Precedent (Kajmere) and Broadcasting (Sonar Kolectiv). Outside of solo work he has worked with groups like Build An Ark, Najite and the Olokun Prophecy, and has collaborated with critically acclaimed electronic artists like Telefon Tel Aviv and Barbara Morgenstern. Watch for shows this Fall to celebrate the release of the album. Just as Highlands is a hybrid of styles Aaron expects the live performances to balance live musicianship with electronics and visual elements.

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  01. Matinee
02. Fire
03. Floating
04. Clouds
05. Fall
06. Rainy Day
07. Firstlove
08. Better
09. Giving
10. Where Are You Now
11. It Reveals



The Echocentrics
Esclavo Y Amo b/w Electric Travels 7''
Ubiquity (UR284)
Release Date:
March 29, 2011
UR7284 780661128410
One-Sheet:  PDF


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The Echocentrics is a new project from Austin-based two-time Grammy nominated producer Adrian Quesada, a member of Grupo Fantasma, and one of the minds behind bands like Ocote Soul Sounds, and Brownout. Teaming up with Argentinean singer Natalia Clavier and Brazil-based Tita Lima, he has carved out a cinematic, southern-fried, laid back, and psychedelic album to be released in late spring 2011.

 This introductory, limited edition, 7” single features “Esclavo Y Amo,” which is a cover of a Peruvian bolero (ballad) performed by Los Pasteles Verdes that Quesada first heard about 8 years ago. The original version was the tune that inspired the forthcoming Echocentrics album. It’s a catchy psychedelic soul obscurity that takes the form of an American soul ballad and spits it back-out dripping in lo-fi South American charm, and sounds like pure sample fodder for someone like Ghost Face Killah. “When I first got obsessed with their sound, and in particular that song, I was up late one night surfing the web and emailed them,” says Quesada. “I was surprised when the original bandleader actually wrote me right back. They still play in Peru.”

On the flip is the string-laden “Electric Travels.” A subtle Texan vibe rides through this instrumental that blends lo-fi farfisa organ, fuzz guitars, and melodica with a hip hop producers sensibility. It sounds like the lost Morricone soundtrack to a Tarantino movie scene that’s dosed in peyote.

The digital version of the single includes the instrumental version of “Mundo Pequeno,” an uptempo, dancefloor-friendly, blast of hybrid Brazilian and Afrobeat rhythms. The album will include an additional disc of instrumental version of the 7 songs on the album – we liked ‘em that much.

The Echocentrics Sunshadows album drops later this spring, and mixes songs sung in English, Portuguese and Spanish with instrumental pieces that move from ballad tempo to uptempo/DJ friendly tracks. Recalling classic American funk and low-rider soul, Quesada plays an interesting cross-cultural game of musical ping pong mixing multiple languages and influences from the likes of Tim Maia and Rita Lee, Serge Gainsbourg, and David Axelrod.

While perhaps best known as one of the minds behind Grupo Fantasma, Brownout and Ocote Soul Sounds, Quesada was also one of only twenty musicians (worldwide) nominated for the 2010 Rolex Mentor and Protege Arts Initiative to be mentored by the legendary Brian Eno. Guest singer Natalia Clavier is wife of Frederic Aubele (ESL) and has appeared on his music, and on records by ESL-owners the Thievery Corporation. Lima has appeared on the Ubiquity-released Ohmega Watts “Watts Happening” album and is the daughter of bass player for Os Mutantes.

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  01. Esclavo Y Amo
02. Electric Travels
03. Mundo Pequeno (Instrumental) (Digital Only Bonus)

Eric Lau
New Territories
Ubiquity Records (UR227)
Release Date:
  March 18, 2008
Barcodes:  URCD227:
 780661122722  x  URLP227:  780661122715
One-Sheet: PDF


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"New Territories reduces the more energetic, dancefloor-oriented aspects of London broken beat, retains the deceptive abstractions of left-field hip-hop and R&B, and places equal emphasis on mood and songwriting...Tawiah, Sarina Leah, Rahel, Meshach Brown, Tosin, and Annabel are all lively yet not showy vocalists and, as with Lau, a healthy balance between love for the ’70s/’80s and ’90s/’00s is evident, their voices hinting at Donnie Hathaway and Deniece Williams as often as Aaliyah and Amel Larrieux."
All Music Guide

"...it’s not US super producers Sa-Ra at the controls. Nor is Detroit bumpmaster Waajeed (of Platinum Pied Pipers fame) anywhere to be found. The man behind the superlative swing here is none other than Eric Lau – one of London’s best kept secrets."
- One Week To Live

"...probably what it would sound like if the late, great J Dilla decided to make an album of love songs...Gorgeous soul chords, gentle keys and an abundance of flutes fill out just about every track, along with a roster of singers that put a sweet cherry on top of these already beautiful productions..."

"Future funk, nu-soul, beathead jazz -- none of these really captures Lau’s confident, cool essence...Sure, artists like Jay Dee, Waajeed and SA-RA are Lau’s creative cousins, but the 26-year-old beatmaker blazes his own trails via rich, song-based vocal numbers and sweet, spacious instrumentals...Lau has produced beats for Lupe Fiasco, Georgia Anne Mudlrow and Wildchild, but refreshingly it’s UK locals, Tawiah, Rahel and Sariah whose vocals light up the crisp, no-nonsense soul beats."

"Unlike most cats who just shop around beat CDs, Lau is one of the fading breed of producers who stays true to the art of production...14 tracks of pure soul that is a Mona Lisa of tweaked piano keys and old school drum patterns...the production values and smooth vocals make the release seem like a big budget blockbuster...Under the radar, but undeniable skill, Lau is a force to be reckoned with."
- Vapors

"Better than goosed down feathers to keep a brotha warm...demanded my attention and will comfort my dancefloor, seat and ears."
- Bobbito Garcia

"New Territories represents the arrival of a talented artist and perceptive one-man production house."
- Straight No Chaser

"Real dope!"
James Poyser (Soulquarians)

Eric Lau is a London-based producer who has been busy making musical waves for others. He may well be a producer you’ve heard, but not heard of, by way of his productions for the likes of Lupe Fiasco, Dudley Perkins, Georgia Anne Muldrow, Guilty Simpson, Wildchild, Tanya Morgan, Hil St Soul, and a family of up n’coming artists who are featured on New Territories, his debut solo album.

His slick and edgy productions have turned the ears of Gilles Peterson (Lau appeared on his Brownswood Bubblers release of October 2006) and Fat City Records who released Eric Lau presents Dudley & Friends in January 2007. Tastemakers and peers like Benji B (BBC Radio 1Xtra) called Lau’s soulful street sounds “Heavy!”, Phonte (of Little Brother) added that Lau is “One of the illest beatmakers”, Dudley Perkins (Stones Throw) said “His music did something to me,” and Dego (of 4Hero) asked “Who the f$%k is Eric Lau!?”

New Territories has a double meaning. It’s the area in Hong Kong that the Lau family are from and regularly visit. “People have a vision of Hong Kong being sky scrappers and high rises everywhere,” says Lau. “However, the area known as New Territories is full of mountain ranges, sea, villages and farm land. It’s very peaceful and pure there, and these are qualities I try to incorporate into my production.” Also, the title refers to the album and the global musical connections it made. “There are many young artists on the record and our roots are from around the world,” explains Lau. “Even though we are from different backgrounds we approached the album with the same mindset and all want to help each other get to where we want to be. This record is a new territory for us as a group of artists, and I hope that it is, in turn, a refreshing listen.”
...  more

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  01. Welcome
02. I Don't Do It To Feat. Tawiah
03. Right Side Feat. Sarina Leah
04. Confession Lounge Feat. Rahel
05. Final Chance Feat. Meshach Brown & Rahel
06. Time Will Tell Feat. Sarina Leah
07. Don't Let Them Feat. Tosin
08. Free It Out Feat. Sarina Leah
09. Show Me Feat. Rahel
10. Let It Out Feat. Rahel
11. Begin Feat. Annabel, Rahel & Sarina Leah
12. How Far Feat. Rahel
13. Hope Feat. Meshach Brown
14. Outro

Eugene Blacknell
We Can't Take Life For Granted
Luv N' Haight (LH055)
Release Date:
  September 11, 2007
Barcodes:  LHCD055:
  780661005520  x   LHLP055:  780661005513  
One-Sheet:  PDF
Liner Notes / CD Booklet:  PDF
x Word Doc.


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"Blacknell was a funk guitarist, band leader and singer from the Bay Area. He was so much more than that though...the worlds of Black music and civil rights owe him an honorable mention, if not a debt of gratitude as he was also an activist on the music scene ... This is Rare Groove at its rarest. It's also the sort of collection that you can't help feeling sentimental listening to, perhaps, wondering and hoping whether there's an after-life where the departed are capable of consciousness and pride. This is a legacy to be proud of Mr. Blacknell. Funk in peace."
Ground Lift Magazine

A great introduction to the artist and an interesting listen because it spans generational influences; from early ’60s rock and roll to ’70s funk ... We Can’t Take Life For Granted is an excellent example of how artistry matures and morphs over time. It’s unfortunate that Blacknell is not given the accolades that many great guitarists of his time are awarded, especially considering that he accomplished what he did in a life that lasted only 44 years."
- Okayplayer

As fresh and alive today as it ever was."

A revelatory elegy to the unsung Californian R&B giant."
- Record Collector

""Gettin' Down" single-handedly opened my mind (and record collection) to a new format for learning about new music, and it raised a high standard for subsequent indie-funk excursions...What we learn is that Blacknell's life mirrored his music. A talented guitarist with a long career spanning from the early '60s to late '80s, his music constantly reflected the changing styles and times. From the rhythm 'n' blues hustle of "Jump Back" to the pimpy title track, he proves to be an adroit artist with an ear for solid hooks and disciplined musicians."
- Prefix Magazine

"'We Can't Take Life for Granted' compiles the bulk of Blacknell's output, from the hard-shuffling instrumental blues of "Jump Back" to the wildly syncopated, lyrically optimistic funk number "I'm So Thankful," all of it fueled by his staccato, rhythmically propulsive guitar attack."
- San Francisco Chronicle

"For a long time, all that most people knew about the late Eugene Blacknell was this retarded open break in the intro to his “Gettin’ Down” single.  Thanks to Ubiquity, however, it’s time for the Oakland guitar master to be known to the world.  I can’t say enough about Blacknell and his work ... 'We Can’t Take Life For Granted' is Blacknell’s painfully overdue official debut. And remember, I don’t like anything. But this album hit me like a Joe Louis left hook..."

- Audiversity.com

Oakland guitar ace Eugene Blacknell released multiple singles that ranged in style from raw R&B to power house funk.  His musical career stretched from the early 1960s when as a talented and sharp dressed kid, he would become the youngest musician from the Bay Area to play the Apollo in New York, to the end of the 1980s when he died too young.

During that time he established himself as an East Bay original, an entrepreneur, and an activist.  His ability to cross-over from R&B to blues, funk and soul put him at head of the Bay Area scene and he was often compared to the likes of Albert and BB King.  His business dealings were inspirational.  His band were able to break into new scenes and live circuits, and he helped improve standards of pay for African American musicians in the Bay Area.  With so many accomplishments it’s an irony of fate that he died before releasing an album despite having recorded enough material for several. 

Ubiquity’s re-issue arm, Luv N'Haight Records, worked with Gino Blacknell (Eugene's son, himself a producer and a young member of Eugene Blacknell and the New Breed at the tail-end of their existence) to compile information, images and music to release this first official album by Eugene Blacknell.  Gino has always promised his Mom that he would make sure his father’s music was eventually released.  Digging up hours of old master tapes he found unreleased material, radio advertisements, demos, live recordings, and he even improved mixes on several tracks.  He also found footage of his father riding choppers with Sly Stone, checking out drag car races, and playing live at San Francisco music festivals.  During the process of putting this album together Gino suffered chest pains that turned out to be a series of minor heart attacks. At time of writing he is in good shape and recovering well and was able to help finish out this project, which in the meantime we had coincidentally titled “You Can’t Take Life For Granted” after one of the unreleased cuts.

Without an album release, which would have cemented his recordings in the most accessible format back in the day, the legacy of Eugene Blacknell has been kept alive by way of the stories past on from musicians lucky enough to work with him.  In addition his handful of tracks released on 7" singles have been sampled by many, most notably Beck (“We Know We Have Got to Live Together” was used on “Black Tambourine”).  His singles have become DJ-favorites with the rarest fetching top dollars on the collectors market.

This compilation is made up of his super rare early releases as Eugene Blacknell and the Savonics, the highly sought after raw instrumental funk as Eugene Blacknell and the New Breed, his big band party-style vocal tracks, and a host of unreleased material including the radio advertisements, live recordings, and both vocal and instrumental studio cuts.  Fans of Bay Area Funk will recognize the different musical periods that Blacknell goes through with comparisons ranging from acts like Johnny Talbot and Tower of Power to Sly Stone and Graham Central Station.

The CD and LP booklet (plus downloadable pdf) include rare pictures and a complete history by way of interviews with his widow, band members, and Bay Area notables.  Interviews with Lillie Blacknell, and drummer Curtis Moore, will be made available as a stream and podcast in the weeks leading up to the album release.  Rare band footage may well surface via youtube or myspace.

With 25 tracks in total this is the official Eugene Blacknell debut album, and the story of a musical prodigy and a Bay Area soul, funk and blues legend who finally gets to release an album.

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01. Welcome Dudes And Dollies (Intro)
02. Jump Back
03. Mo Self
04. Cousin John
05. Gettin' Down
06. The Trip
07. I'm So Thankful (Radio Spot)
08. Get In A Hurry
09. I'm So Thankful
10. Dance To The Rhythm
11. We Know We Have To Live Together
12. We Know We Have To Live Together (Radio Spot)
13. For The Sake Of Love
14. Jive Kinda Friends
15. Hard Times
16. Holdin' On

17. We Can't Take Life For Granted
18. Welcome Brothers And Sisters (Interlude)
19. Wah Wah Funk (Unreleased)
20. Echo Reply (Interlude)
21. Space Funk (Unreleased)
22. Live (Unreleased)
23. Early Jam Session (Unreleased)
24. Don't Stop Now
25. Grov-ve Mon-Key (Bonus Track)


Georgia Anne Muldrow
Kings Ballad
Ubiquity (UR264)
Release Date:
February 9, 2010
URCD264 780661126423  x  URLP264 780661126416
One-Sheet:  PDF


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Slicing pop n’lock-friendly funk with gospel and gracious soul Georgia Anne Muldrow is shining as a true West Coast original. The seeds of early experimental releases are now blossoming as her trademark scattershot beats and adventurous deep jazz melodies have grown to become the backbone for fully crafted songs.

With aspirations to be a modern-day Quincy Jones, Muldrow is truly a renaissance musician. She is always looking to take her craft to a higher ground. She channels her unstoppable creativity into music that is commercially viable but does not lose sight of her essence as an artist who challenges the norm. She bears the enviably ability to play all her own instruments, and write and perform her own songs. Everything you hear on Kings Ballad is handcrafted and non-sample-based. She has been called a modern day Nina Simone, and fans of Chaka Khan and Betty Davies would feel at home with Kings Ballad, too.

In the midst of amazingly fruitful studio time, she cranked out several albums and compilations in 2009, on the back of recent collaborations with the mighty Mos Def (on his Ecstatic album), and Erykah Badu (on her New Amerykah album). Kings Ballad is the latest work and is all original and exclusive. On most Muldrow sings, on other she raps, sometimes both, always effortlessly. Perkins joins in on a couple of tracks, Medaphor lays down a quick rhyme, her son Nokware throws down the occasional rattle, but otherwise it’s pretty much Muldrow all the way.

This freeform collection of brand new joints is oozing with confidence and vision, it's obvious that Muldrow is more comfortable than ever and is pushing forwards as an artist. Jumping across boundaries from songs to raps, the album follows no rules with instrumental beat-driven sketches jumping-out between a barrage of vocals, and bouncing summer jams butting up next to lush ballads. Explaining her evolution from debut releases to present day she says, "My sound is more mature, more sure, more relevant and definitely much mo' fonky!"

Written and produced during transitional times, Kings Ballad was crafted against the backdrop of the early days of the Obama administration, the last days of the life of Michael Jackson (a family friend and big inspiration) and while her son grows towards his first birthday. She even moved studio spaces at the outset of recording.  But distractions are not disruptive to the Muldrow music-making machine. In fact, motivation comes easily. "The driving force within me is my need for freedom of cultural expression," she explains. "And in my culture music always serves a divine purpose. Mine in particular is of a healing nature, so I get over my down days by being true to my warrior soul."

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  01. Indeed
02. Doobie Down
03. Simple Advice
04. Kings Ballad
05. R.I.P
06. Thrones
07. Summer Love
08. Shang-A-Lang
09. The Ooh Wee Show
10. Can't Stand Yo Love
11. To The Stage
12. March For Africa
13. Chocolate Reign
14. Baby Dee
15. Live
16. Room Punk!
17. Thatch
18. Industrial Bap
19. Morena Del Ray


15 Years Of West Coast Cool
Ubiquity (UR243)
Release Date:
October 21, 2008
URCD243 780661124320  x  URLP243 780661124313
One-Sheet:  PDF


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15 years, 5 albums, and many singles after his debut release, Ubiquity is delighted to release a “best of” which includes previously unreleased materials, hard to find mixes, and the tracks which made Greyboy famous as the originator of a new laid back, sunny, jazz and soul-inflicted West Coast sound. 15 Years of West Coast Cool includes appearances from Sharon Jones, Quantic, AG (of Showbiz and AG), Bart Davenport (of Honeycut), Shawn Lee, Nino Moschella, Jeremy Ellis and others.

Andreas Stevens, aka Greyboy, born 1970, was the first artist to sign to Ubiquity. Freestylin’, his first full-length album, holds cult-status and is up-there with the label's all-time best sellers. Not bad for a record that cost less than $4000 to make, and sold on an advertising budget of $0! He was a man in the right place at the right time. While the acid jazz phenomenon was brewing in Europe in the early 1990s, Greyboy became the first American producer to mix instrumental hip-hop with jazz. His chunky beat-making sensibilities earned him praise from the European crowd, and his tracks were heard by crowds checking out DJs like UK-based Gilles Peterson, Marcus Wyatt (LA), and DJ Smash (NYC).
"When I first started making beats, I was making hip-hop. Since I couldn't find MC's to work with, I decided to try the jazz thing and lace my tracks with live instruments instead. That's where Karl Denson and the Greyboy Allstars came into the picture", explains Greyboy. Beyond recognition from the DJ crowd, music by Greyboy also ended up in movies like Get Shorty and Celtic Pride, The Kelly Slater Surf Pro video game, Budweiser commercials, and he was picked to provide a mix CD for DC shoes. Since the release of Freestylin’ he has released the equally jazz-based instrumental Land of the Lost and the soundtrack and hip hop inspired Mastered The Art, which featured musicians and MCs in a prelude to the vocal-heavy Soul Mosaic album.

Greyboy has recorded with AG (Showbiz and AG), Sharon Jones, and the Greyboy All-Stars (whom he helped put together and produce). Over the years Greyboy has DJ'd in Japan, Europe, and across the USA. He has played to 5000 people in the countryside outside of Rome, and over 20,000 people a night on tour with Ben Harper and Jack Johnson.

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  01. Unwind Your Mind
02. Ruffneck Jazz
03. Grey's Groove
04. Panacea
05. Whirlwind
06. Mastered The Art
07. Hold Your Weight
08. Hold It Down
09. Got To Be A Love
10. Genevieve
11. To Know You Is To Love You

12. Love
13. Color In Between The Lines
14. Missin' Something
15. Help Is On The Way (Digital Only)



James Hardway
L.A. Instrumental
Ubiquity (UR240)
Release Date:
October 7, 2008
URCD240 780661124023
One-Sheet:  PDF


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James Hardway works most often with cool textures cutting his own path on a genre-defying jazz funk excursion that echoes the punk-soul of James Blood Ulmer, evokes the spirit of Fela Kuti's epic jams and is infused with a Cali bounce.

Hardway has worked with an impressive cast of British producers, from Genesis P-Orridge to Adrian Sherwood and Jah Wobble to Andrew Weatherall. During the early '80s, Hardway lived in Germany and acted in films before getting into the Berlin music scene. He recorded an album in 1983 (as David Harrow), and was the main force behind European electro-pop star Anne Clark . Hardway also appeared with Jah Wobble on the continent, but relocated to London by 1986, where he was swept up by the acid-house phenomenon.

Hardway divided his time during the late '80s and early '90s between dub units (Adrian Sherwood's On-U Sound System, Lee Perry) and the burgeoning electronic community, working as a producer with Psychic TV and many others. This one time drum'n'bass fusionary, now following a more eclectic path, previously went by the name David Harrow, is and reportedly related to Al Capone.

The name change and new directions started in the 1990s, after a night of jungle music in darkest South London. David Harrow was back at the studio at 4 in the morning, dropping Charlie Parker over double timed hip-hop beats, discovering a brand new sound - thus James Hardway was born. He revealed his James Hardway guise with the impressive Deeper, Wider, Smoother, Shit in 1996. The album was all the more noteworthy considering he played all live instruments (except for flute) and covered programming as well. " Hardway also displayed a talent for writing songs, with a credit for Billie Ray Martin's 1996 million selling hit "Your Loving Arms."

After the release of his second, 1997's Welcome to the Neon Lounge, Hardway earned an American contract through Shadow. The label collected tracks from his two albums to date for the 1998 compilation Easy Is a Four Letter Word. A remix collection, Reshuffle and Spin Again, followed and Hardway returned with his third proper album, A Positive Sweat. For the recording of 2000's Moors + Christians, he assembled a virtual studio band by gathering recordings together from a journey to Cuba and Jamaica. In 2001 he released Straight From The Fridge which, after the tragic death of his close friend and reggae singer Bim Sherman, was the last he’d release in the UK before moving to America.

“I have always been influenced by the atmosphere of Los Angeles , says Hardway. “James Ellroy, my favorite writer , was a great inspiration for early albums . But I began imagining a whole later period of LA music from the early 70s and with LA Instrumental. It’s like a journey to the downtown LA of the 70s using a classic musical pallet of real drums, silken strings , pulsing wurlitzers and Theremins.”

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  01. Criminal Conversation
02. Some Kind of Treasure
03. Felix Waves Goodbye
04. On My Street
05. Easy Way Out
06. Driving In The Rain
07. High Class Tripper
08. Monofunk
09. Say Hello To Leon
10. Coffee at Changos
11. Up Front



Jed and Lucia
Helium EP w/ Letherette Remix
Ubiquity (UR285)
Release Date:
March 29, 2011
UREP285 780661128519
One-Sheet:  PDF


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Just a few months after the birth of their son, and the release of their debut Ubiquity album, Jed and Lucia return to the studio having dreamed-up a new EP which features a brand new track, a remix by Letherette, and two remixes of tracks from the “Superhuman Heart” album.

“Helium” finds the duo locking in on the best aspects of their album, which All Music called “The perfect soundtrack to your lazy autumn days.” By combining breezy vocals that breathe life into a wash of pristine keyboards and evocative piano, Jed and Lucia have created a beautiful synth-pop welcome to spring sunshine. Letherette take the original version on a beat-driven journey from sparse mellow-shoe gaze hip hop to head-nodding irresistible force, allowing wisps of vocal to leak out into the atmosphere amidst a crescendo of pulsing synths.

The flipside sees the machines in their studio infiltrate the Jed and Lucia files, and they reconfigure their folksy songs, spitting them out covered in a new shiny format. “These re-workings were inspired by the Shlohmo remix on our first 10”,” explains Mark Reveley. “Painted Stairs” and “The Park” have transformed from gentle laid-back album-style songs to more aggressive beat-heavy joints fueled by a barrage of scattershot mechanical finger snaps and heavyweight low end persuasion.

“Painted Stairs” was leaked on the Label Love digital compilation (from Ubiquity, Tru Thoughts, Plug, Ninja Tune MPM and One Handed) which RCRDLBL re-posted saying, ”Every so often, an artist will alter their sound to such a degree that it makes you listen to their music in a different way…Berkeley duo Jed & Lucia make you realize that you were watching Avatar without the 3-D glasses. Gentle, electronic-tinged folk-pop.”

Jed and Lucia are Emma Lucia and Mark Reveley. Mark comes from Bainbridge Island, Washington, while Emma grew up as a second generation Swede in Los Angeles. They met and started making music together in 1995, playing together in various groups until starting Jed and Lucia in 2005. They lived together in various desert outposts at the fringes of Los Angeles until 2008 when they moved up to the Bay Area and to the hills of Berkeley. “Superhuman Heart” was released in 2010 and is a kaleidoscope of tunes dreamed-up and recorded in the parks and woods around their house. Their pastoral setting and sensibility has been warped by a love for electronics and while their vocal harmonies smack of classic 1960s Cali-pop, Jed and Lucia’s acoustic guitars and poignant lyrics are subverted by sun-drenched synths and bass lines.  

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  01. Helium
02. Helium (Letherette Remix)
03. Painted Stairs (Remix)
04. The Park (Remix)

Jed and Lucia
Super Human Heart
Ubiquity (UR277)
Release Date:
October 19, 2010
URCD276 780661127727  x  URLP276 780661127710
One-Sheet:  PDF


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Like the distant cousins of Jose Gonzales and Boards of Canada, Jed and Lucia’s songs have a pastoral sensibility that has been warped by their love for electronics. “Superhuman Heart” is a kaleidoscope of tunes dreamed-up and recorded in the hills, parks and woods of North Berkeley. Their vocal harmonies smack of classic 1960s Cali-pop, but Jed and Lucia’s acoustic guitars and poignant lyrics are subverted by sun-drenched synths and bass lines that add a subtle dose of urban bump and grind. Folksy songs are transformed by acid-tripped atmospherics in a soundtrack for creatures that crawl from the back woods into the city at nightfall.

Jed and Lucia are Emma Lucia and Mark Reveley. Mark comes from Bainbridge Island, Washington, while Emma grew up as a second generation Swede in Los Angeles. They met and started making music together in 1995, playing together in various groups until starting Jed and Lucia in 2005, self-releasing their first album, Candles in Daylight, in 2006. They lived together in various desert outposts at the fringes of Los Angeles until 2008 when they moved up to the Bay Area and to the hills of Berkeley. In 2009 they started a side project, Kite in the Air, with Mike Dillon aka Mike Genius, releasing 2 EPs.

“We'd talked about moving to the Bay for maybe a decade and finally made it happen,” says Emma. “We have a lot of friends who live here, love the open creative energy, and living close to Tilden Park is such an inspiration,” she says. “We pretty much just make music and drink tea and walk around the park in a daze,” adds Mark.

At their home studio, the couple co-produce music, sharing ideas they’ve come up with on their own time. “Our sound is refraction times two….it’s kinda’ like the refraction cancels,” jokes Mark. “This is basically what it’s like to live and work and write and record in the same house together. We pretty much spend our day refracting each other,” he explains.

They also split lyrical writing duties on an album that includes dreamy and cinematic songs called, and about, “California.” There are also songs about friendship like “You Were Made of Stone,” which Emma says is the story of watching a friend let go of their dreams. And, not surprisingly, there are songs about living together, like the stripped-down “On Lockdown.” Emma, 7 months pregnant at the time of writing, explains how her physical condition affected this record. “It's definitely a surreal experience, I think I am a bit more spacey these days and calmer which has made recording a really enjoyable relaxed experience. It is a creative space to be in, so creating music at the same time is pretty cool. Being pregnant for me kind of feels like being in a dream state all the time.”

But the album isn’t all floaty and dreamy. Tidy beats and trippy electronics poke their way through, and washes of glassy synths bathe the songs, adding a unique edge to their sound. “I usually take over production at a certain point because I'm kind of o.c.d. and Emma has better things to do like go outside and exist in the world and things like that. I'll work on the tracks and play it for Emma and her fresh ear will usually hear what is and is not working, and where things should go,” explains Mark. On tracks like “Coin Falls on Pavement,” “Hand Out” and “The Park” their vocals ride persuasive bass lines and bouncy beats, whereas on “April Showers” and “Circle of Stones” the beats take back seat to swirling atmospherics.

A casual listen to Superhuman Heart might throw off references to Boards of Canada, Juana Molina, or School of Seven Bells. Mark and Emma list a much more eclectic list of influences that were in-play during the process of making Superhuman Heart. These include Kurt Vile, Stars of the Lid, Mt Kimbie, El Perro Del Mar, Tim Hecker, Viv Albertine, Stina Nordenstam, Shawn Lee, Tuung, Fever Ray, Caribou, Tycho, Egberto Gismonti, Lykki Li and many more. And the musical backgrounds for Jed and Lucia are equally as interesting. For a couple of months in 2001 Mark travelled Ghana, Ivory Coast, Guinea, Senegal and Mali studying music and collecting old African funk, afrobeat and highlife records. “I ditched all my possessions and brought back my weight limit in vinyl,” he says. Upon his return he started Afrodisiac Records with a couple partners, releasing two African funk comps, "Booniay" and "The Danque" with Mad Professor and Scientist providing remixes. Mark is also active in the electronic groups Meterhead, and Wzrdz and played in Dakah, the 30+ piece Hop Hop orchestra, “I was the jaw harpist. I think I was probably the only hip hop jaw harpist around. Now I don't think there are any. There might be a reason for that....” Drawing on her heritage Emma has written an albums-worth of songs in Swedish and is hoping to record them soon.

While Jed and Lucia have their hands full with family matters they aim to continue writing, producing and recording as much as possible.

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  01. April Showers
02. Apostrophe
04. You Were Made Of Stone
05. Coin Falls On Pavement
06. On Lockdown
07. A Second Later
08. Painted Stairs
09. Hand Out

10. Super Human Heart
11. Circle Of Stones
12. California
13. Vapors

Jed and Lucia
Apostrophe/April Showers 10''
Ubiquity (UR278)
Release Date:
Digital: October 5, 2010, Vinyl: October 28, 2010


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Like the distant cousins of Jose Gonzales and Boards of Canada, Jed and Lucia’s songs have a pastoral sensibility that has been warped by their love for electronics. Their forthcoming album, “Superhuman Heart,” is a kaleidoscope of tunes dreamed-up and recorded in the hills, parks and woods of North Berkeley.
This limited edition 10" (300 only!) features two tracks from that album, plus stellar remixes from Shawn Lee and Shlohmo. Lee turns the breezy “Apostrophe” into a catchy head-nod-inducing bossa with just a touch of psych. While LA beat scene fave Shlohmo bends the already-twisted folk sound of “April Showers” into a new more angular shape, complete with other-worldly electronics, aggo-gritty beats and plenty o'bass.

Jed and Lucias vocal harmonies smack of classic 1960s Cali-pop, but their acoustic guitars and poignant lyrics are subverted by sun-drenched synths and bass lines that add a subtle dose of urban bump and grind. Folksy songs are transformed by acid-tripped atmospherics in a soundtrack for creatures that crawl from the back woods into the city at nightfall.

*Limited Edition 10” vinyl only*

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  01. Apostrophe
02. Apostrophe (Shawn Lee Remix)
03. April Showers (Shlohmo Remix)
04. April Showers

Johnny Blas
Indestructible Spirit
Cubop (CB044)
Release Date:
  October 23, 2007
Barcodes:  CBCD044:  780661504429
One-Sheet:  PDF


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Indestructible Spirit sees Johnny Blas make a return to performing on saxophone alongside his trademark percussion playing.  It’s not the only change for Blas, Indestructible Spirit also features a new band including: Jeff Hawley (bass, cuatro), Mike Bennet (drums), Ryan Prior (piano), Steve Johnson (trombone) and Leonard Luna (trombone).  The album is also graced by several special guests: Terry Delgado (coro), Isaac Guerrero (percussion), Paul Clark (tenor sax), and Raymond Sepeda (soprano sax).

Indestructible Spirit signifies that no matter what struggles I go through in life, or what people think or say about me or my music, I cannot be broken,” says Blas.  “This album differs in style, it has more of a funky jazz beat with a twist of Latin.  Kind of a throw back to the 70's sound.”

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01. Oaklands Mambo
02. Puerto Rico Rico
03. Lubi
04. Barry Rogers
05. Afro Rican
06. Indestructible Spirit
07. Boogaloo Blas
08. A Song for Rose
09. Cha Cha Para Ti


This Is My Home
Ubiquity Records x Tru Thoughts (CD)
Release Date:
  March 6, 2007
Barcodes:  78066112082
One-Sheet:  PDF


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This Is My Home is the stunning solo debut from New Zealand-born, Melbourne-based producer Lanu (aka Lance Ferguson).  Brimming with future soul and broken beat flavors, forward-thinking production and intuitive jazz sensibility, this album marks a distinct departure from the raw, deep funk sound of Ferguson’s other project, The Bamboos.

“The Lanu project embraces a wider spectrum of styles that have influenced me including Jazz, Soul, Fusion, Latin, Hip Hop, Broken Beat.  It’s all soulful music, soul is the thread running through all these genres,” says Ferguson.

With his Antipodean deep funk outfit The Bamboos, Ferguson has recorded for such respected independent labels as Freestyle, Soul Force, Kay Dee and released an album on Tru Thoughts/Ubiquity.  And his passion for DJing has taken him all over Europe and Asia.  Ferguson drew on these global experiences for the new album, assimilating and incorporating sights, sounds, themes and friends into an hour-long Australasian future soul opus.  “Dis-Information” is built around a punchy Moog bassline, angular Rhodes chords and an insistent break.  “Mother Earth” teams up UK-based Quantic and California-based Stones Throw vocalist Aloe Blacc for a broken-meets-Afro-beat workout that calls out to people to respect the planet or face the consequences.

While the Bamboos blast raw, hard dancefloor Funk, Lanu blends Jazz, Soul, Fusion, Latin, Hip Hop, broken beat and house into something that is inspired by the past, but is also looking fast forward.  Don Blackman, Roy Ayers, George Duke and the Mizells are big influences for Lanu but the album is even more informed and inspired by the digital rhythms of West London and Detroit and Ferguson’s infectious contemporary hybrid sounds are buoyed by expertly programmed beats.  This effortless eclecticism is partly due to an interesting and varied musical heritage and career.  Grandson of New Zealand’s first ever recording artist (Bill Wolfgramm played lap steel guitar and helped to popularise Hawaiian music in New Zealand’s dance halls in the 1950s), he has also toured as a session guitarist for Latin legend Joe Bataan, future funksters Mark de Clive-Lowe and Bembe Segue, and the UKs tightest funk outfit the Quantic Soul Orchestra.  Lanu was Ferguson’s nickname as a child, and is also the Tongan word for ‘color’  ...  more

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  01. Conversations
02. Dis-Information
03. Mother Earth Feat. Aloe Blacc & Quantic
04. Runaway Feat. Cherie Mathieson & No Comply
05. Rise Feat. Abby Joyce & Simon Grey
06. It's Time Feat. Kero One
07. Aow Leuk
08. Don't Sleep (Pts 1&2)
09. Shine Feat. Christin Deralas
10. Conversations
11. Don't Sleep
12. Let You Glow
13. Beachcomber
14. Beijo do Sol

Lord Newborn & The Magic Skulls
Lord Newborn & The Magic Skulls
Ubiquity (UR256)
Release Date:
September 8, 2009
URCD256 780661125624  x  URLP256 780661125617
One-Sheet:  PDF


300 DPI | 72 DPI

Photo Credit:
Paul Rodriguez

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Lord Newborn and the Magic Skulls is the collaborative project of esteemed sound scientists Money Mark, Shawn Lee, and Tommy Guerrero. In the winter of 2008 they locked themselves away in Money Mark’s Los Angeles-based studio for two weeks. A tasty three-way meeting of the minds resulted in this funk-inflicted collection of beats n’ breaks, wrapped-up in a sunny West Coast musical tortilla that’s smothered in as much jazz and prog-rock as it is in soulful psychedelia.

The paths of these three prolific producer-musicians have crossed in many ways, and yet this is the first time they’ve all worked together. Good times had in the studio transferred to tape on this witty, concise, and experimental collection of tracks. The long overdue Magic Skulls chemistry was right on the money. “They are both jokers in their own right,” explains Guerrero. “Mark has an unconventional approach to everything which leaves one in awe. And Shawn’s unbridled effervescence for anything will put a smile on the grumpiest of codgers!” he adds.

With the trio having so much experience of writing for film it’s no surprise that many tracks on this album have a strong emotive soundtrack-vibe. At times the sound is vintage; it crackles with the
buzz and ring of lo-fi gear that chugs away behind funk-schooled melodies. But the album also points forward with a genre-marauding blur of freaky beats, worldly percussion, and slick studio trickery.

Money Mark is known as the trusty keyboard guy the Beastie Boys turn to. Releasing numerous solo albums he has worked with countless internationally acclaimed artists, appeared in the Moog documentary, and written the soundtrack for the 2008 documentary Beautiful Losers. Mark and Guerrero had early releases on the influential UK-based Mo Wax label, and have had their music used in the EA games series Skate.

Guerrero began his career as a pro-skating member of the Bones Brigade in his hometown of San Francisco and was one of the founders of Real Skateboards and Deluxe. But he also delved into the music business and was in the early 1980's skate rock band Free Beer and the collaborative/conceptual band Jet Black Crayon. In addition Guerrero is a member of the all-star skate band Blktop Project (alongside Ray Barbee, Chuck Treece, and Matt Rodriguez), and has released multiple solo albums.

Lee, Guerrero, and Mark have all released records on the Rush label in Japan. And like his fellow Magic Skulls, Shawn Lee was also picked up by UK labels early in his musical career. After releases on the Talking Loud and Wall of Sound labels, he found a home back in the USA at Ubiquity where he has released eight records including his collaboration album with the mysterious Clutchy Hopkins.

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  01. A Phase Shifter I'm Going Through
02. Astro Blue
03. Dime Bag Conspiracy
04. Escape From Prism
05. Disco Loco
06. Rainy Day Dog
07. That's Right (It's Time To Get Down)
08. She's My Melody
09. Ringa Ding Ding Ding

10. L.I.V.E.
11. Revenge Of The Fillet O'Fish
12. Ancient Scrolls
13. Crazy Apartment

The SA-RA Creative Partners
Love Czars Remix w/ Jay Electronica & Ta'Raach / Serato Control Tone 12''
Ubiquity (UR262)
Release Date:
November 3, 2009
UR262 780661126218
One-Sheet:  PDF


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Using “Love Czars” from their Nuclear Evolution album (Voted by Spin Magazine as one of the best albums of 2009,) as inspiration, the SA-RA Creative Partners create “Love Czars II” exclusively for this release.

This is not a remix (the music is completely different), and in a clash of heavyweight new schoolers, it features red hot MC/producer Jay Electronica and Ta’Raach on the mic. Also included is “Powder Bump”, a SA-RA track previously unavailable on vinyl.

Please note that this is a very special limited release with the music on one side and the Serato tone on the flip of colored vinyl! This is an official Serato Control Vinyl release which works as a conventional 12” release on Side A, and is a Serato Control Vinyl release on Side B.

Guest MC Jay Electronica is a rapper and producer initially known for his use of film soundtracks as a background for his abstract lyrical style, and his associations with Erykah Badu, Just Blaze and Nas. He produced the first track, "Queens Get the Money", on the 2008 Nas album Untitled. The unconventional nature of much of his music (he often rhymes over tracks with no beats), and the lack of conventional release methods for that music, have made him the object of much attention. He is perhaps best known for the piece of music Act 1: Eternal Sunshine (The Pledge) and several other unreleased tracks available for a short time on his myspace page. However he has released music earlier this year on the Decon label and is rumored to have recently cut a major deal. He is, at time of writing, on tour with Mos Def and Erykah Badu.

Guest MC Ta’Raach appeared on the PPP “Triple P” album, but has since been making waves with his own Lovelution Records and made an immediate impression on Erykah Badu who described him as “incredible,” adding “(he is…) gonna’ be really big.

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  Side A:
A1. Love Czars II feat. Jay Electronica & Ta'Raach
A2. Love Czars II (Instrumental)
A3. Powder Bump

Side B:
B1. Serato Live Scratch Control Tone

The SA-RA Creative Partners
Nuclear Evolution, The Age Of Love
Ubiquity (UR248)
Release Date:
June 23, 2009
URCD248 780661124825  x  URLP248 780661124818
One-Sheet:  PDF


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The SA-RA Creative Partners™ is a trio of accomplished musicians, producers and trendsetters, comprised of Om'Mas Keith, Taz Arnold and Shafiq Husayn.  On their musical quest they have dazzled with amazing productions, collections, mixes and remixes. But now, for the first time, with Nuclear Evolution: The Age of Love, they deliver a completely new and original album. Built from scratch, it’s a truly coherent and innovative body of work. Musical, adventurous, and even more evolved than anything they’ve done before, Nuclear Evolution also shows a controlled, polished, and in-the-pocket side to their work. It is an album on which SRCP™ shine as the innovative musical force they promised to be, ever since the cult hit “Glorious” first shattered bass bins and minds worldwide.

Whether on the otherworldly opus “Love Czars,” the bombastic  soul of “I Swear,” or twisted tales of drug-fueled-freaks on “Traffika,”  Nuclear Evolution: The Age of Love blends next-level production with a unique and unconstrained blend of street wit, dirty-sex talk, tall stories, and intergalactic future sounds, and is set to become essential listening for the summer of 2009.

It’s an over-used phrase that a band has a unique sound. But The SA-RA Creative Partners use their three minds to combine and make something that is always new, something twisted, a sound not heard before. Their music is soulful, but not limited by the neo soul tag. They make  hip hop, but of the bugged-out and other-worldly kind. Tracks are instantly catchy, but edgy and not commercial. According to the list of high-profile artists requesting their production services their sound has an infectious global spread and appeal. Most recently SRCP have been making their mystical magical soulful productions for Erykah Badu. Serving as her associate producers, they wrote, appeared, and produced on seven of the tracks from her critically acclaimed 2008
New Amerykah album. She returns the favor with a guest appearance on “Dirty Beauty” on Nuclear Evolution. Other collaborators that SRCP have worked with include Pharoahe Monche (on the massive “Agent Orange” track), John Legend, Black Eyed Peas, Talib Kweli, J Dilla, Fonzworth Bentley, Heavy D, Common, Iggy Pop, Herbie Hancock, Dr. Dre, Jill Scott, and Jurassic 5.

Balancing the call to make music for other people with working as the SRCP unit (and working their solo projects,) has been quite a feat. “We find time because we love doing this,” explains Husayn. “We are drawn closer to Nirvana, with each release and creative statement. As for our own stuff, it is all an extension of our will to create things from out of the mind,” he adds.

Helping SRCP realize their potential on Nuclear Evolution is a crew of friends and co-conspirators that includes legends like soul chanteuse Erykah Badu, and saxophonist Gary Bartz with his quartet. The album also features up-and-coming talent like Debi Nova, Rozzie Daime, Noni Lamar, Erika Rose, Brook D’leau of J*Davey, Joseph Liemberg, Fenetta Lowe & Jimetta Rose. Easy to like, but difficult to pigeon hole, the album oozes equal parts jazz, soul, pop, funk, and hip-hop. The eclectic collection of productions bounces from the sticky and bubbly soul of “Gemini’s Rising”, to the string laden bump of “He Say She Say,” and the outer-worldly bossa nova of “Spacefruit.”

Sticking together through more than their fair share of highs and lows, the group channeled their collective energies to create what is arguably their best work to date.  “There is something powerful about the Number 3. A triangle is architectures most structurally sound shape,” explains Keith. “And there is a sense of brotherhood among us, the strong sense of purpose we all share in our will to cleanse the proverbial palette of music!” he adds. Having won the BBC Radio 1s’ “John Peel Play More Jazz Award” at the end of 2004, the band embarked on a fruitful relationship with mega star Kanye West. They signed a major recording deal with his GOOD Music Label, then distributed by Sony. Their plan was to release their Black Fuzz album through Sony Urban and follow-up with the Ubiquity album. However, as with the best made plans (especially those involving major labels,) Black Fuzz has yet to be released. After much pressure from fans and executives at Babygrande records, SRCP opted to release a one-off project entitled The Hollywood Recordings, an album of new and previously released material. In 2006 rumors floated on the internet that the group had disbanded. An exclusive interview with Shafiq Husayn, on okayplayer.com, squashed that rumor. The band is alive and well, and they still maintain a strong relationship with West, recently appearing in a video with him, Andre 3000, and Fonzworth Bentley.

Outside of SRCP, the members are all working on multiple projects. Arnold has a fashion company called ti$a consulting, and is working on collections and collaborations with Kanye West and his Pastelle Clothing line. He is also preparing to launch the ti$a x mcm and ti$a x phenomenon lines this summer.
Husayn is working on a full-length album called Shafiq En’ A-Free-Ka, (already garnering causing a buzz), plus the new Erykah Badu album and a few songs on Bilal’s new album, and the new Sleepy Brown album (featuring George Clinton.) Keith is currently producing and writing for P. Diddy’s upcoming album (Last Train to Paris), and will co-star in a major network reality television show. He’s also been serving as MD for rapper Jim Jones, lecturing with the Red Bull Music Academy, managing fresh musical talent, and pursuing his acting/voice-over career. “As always, overseeing The SA-RA family of companies continues to be a top priority!” he says.

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  Disc 1:

01. Spacefruit Feat. Debi Nova
02. Dirty Beauty Feat. Erykah Badu
03. I Swear Feat. Noni Limar
04. Melodee N'mynor
05. He Say She Say
06. Traffika
07. Souls Brother
08. Bitch Baby
09. Love Czars

10. Gemini's Rising Feat. Rozzi Daime
11. The Bone Song
12. White Cloud Feat. Rozzi Daime & Lil' Kenny
13. Move Your Ass
14. Love Today
15. Can I Get You Hi
16. My Star Feat. Erika Rose
17. Cosmic Ball Feat. The Gary Bartz Quartet

Disc 2:

01. Spaceways Theme
02. Just Like A Baby
03. Double Dutch (Co Co Pops)
04. Death Of A Star (Supernova)
05. Powder Bump
06. Hangin By A String

Shawn Lee vs. Nino Moschella
Kiss The Sky EP
Ubiquity Records (UREP205)
Release Date:
  November 7, 2006
One-Sheet:  PDF


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Collaborations, remixes, exclusive tracks, album previews - it's all here on this new EP featuring producer extraordinaire Shawn Lee and crooner Nino Moschella.

"Kiss The Sky" is from the forthcoming Shawn Lee album, Voices and Choices, due out in early 2007 and features Nino Moschella's vocals riding a vintage Lee moody down tempo track.  As an exclusive bonus to this EP Warp Records producer Mark Pritchard (aka Harmonic 33, Troubleman etc) turns in a suitably soundtrack-inspired remix.  "Song For David" is also from Voices and Choices and sees Shawn Lee in David top Axelrod-like form with a stunning instrumental track complete with big dramatic strings and fat drums.

Shawn Lee remixes Nino Moschella's "Holding On" taken from the Moschella debut album The Fix, and also included is the breezy acoustic soul vibe of "You Never Came", yet another exclusive to this EP that's completely unavailable anywhere else.

Nino Moschella's debut has been called an "absolute classic" (Gilles Peterson), "essential" (CMJ), and "the record Stevie Wonder should have made after Songs In The Key Of Life" (See Magazine).  Since it's release he has played alongside James Brown and Dr John and opened for the Greyboy Allstars.  Shawn Lee has recently  completed his forth Ping Pong Orchestra album for Ubiquity which is set for release in January 2006.  Called Voices and Choices Lee steps out with guest vocals in addition to the customary instrumental tracks.  Lee's music has recently been featured in TV campaigns for BMW and Jaguar plus many TV shows and films.  Mutual admirers of each others work the Lee/Moschella collaborations came about organically and these tracks will not be the last we hear of the two working together. 

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  A1. Kiss The Sky
A2. Kiss The Sky (Harmonic 33 Mix)
A3. Song For David
B1. Holding On (Shawn Lee Mix)
B2. You Never Came

Shawn Lee & Clutchy Hopkins
Fascinating Fingers
Ubiquity (UR261)
Release Date:
October 13, 2009
URCD261 780661126126  x  URLP261 780661126119
One-Sheet:  PDF


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They’re back! Fascinating Fingers is a brand new batch of collaborative tracks from the unstoppable Mr Lee and the anonymous one, known as Clutchy Hopkins. No, they’re not the same person, and no, we don’t know who he is yet! Sorry…

Raiding their collective musical inspirations and instrument collections waaay deeper than on their debut, Fascinating Fingers brings out the best in both artists. The album boasts full string sections, madcap worldly instrumentation, a guest appearance from UK group The Superimposers, and it’s all backed by some serious Mojave marauding beats. “It’s a natural progression from Clutch of the Tiger. We discussed adding strings but otherwise it just flowed in a logically unhinged way! Perhaps a few more burritos were used in the recording of this album,” explains Lee. “On the first album we swapped a lot of files over the internet which is so unpersonal .This time around we met at a couple of different studios in the Mojave Desert,” says Hopkins. “Working face-to-face we were truly able to bring together both of our sounds. We played many instruments that had their own voice but sounded good togethe. I think that was part of the inspiration - reaching for things we may have never played before, picking them up and just getting down.”

Fascinating Fingers is the name of an old organ console in one of the studios they recorded in. The only other semi-useful pieces of info we were able to extract from either party on the recording were that Hopkins gave Lee a coconut, someone called Jimmy Feathersticks dropped by with an electronic gizmo box, a lot of duct tape was put to use, and that, despite best efforts, Lees’ hair is now longer than Hopkins.

Upon first listen, the fresh and free approach to these recordings is obvious. Disparate influences like Brazilian psyche, Bob James-era fusion and Ennio Morricone-like atmospherics blend with ease. There are more uses of vocal elements, and more uptempo jams than on Clutch of the Tiger. Jumping out from behind a sitar drone “Ancient Chinese Secret” never lets up, and “70 MPH isn’t Fast Enough To Get Out of Nebraska” begins with ominous strings before opening up into a Tropicalia-fueled session that would make Arthur Verocai and Milton Nascimento proud. “Root Trees” features vocals by The Superimposers on a jam that slides downtempo mid-way before coming back full-force. “I was in the midst of producing the new Superimposers album and thought they would add a nice little flavor to the track - and by George they did! Don't know what them lyrics mean though!” says Lee. In addition super mellow tracks like “Cross Rhodes” and “What More Can I Say” and a new, more reflective, side to their sound.

The cover and booklet features exclusive new work by noted artist Jim Mahfood aka Food One - watch for accompanying t-shirts, POP, and ltd edition prints.
We’re honored that the LA-based illustrator/comic book artist/muralist/live art rocker is apparently CH/SL fan #1, and found time to knock out some awesome art between working on Kevin Smith's Clerks comics, Grrl Scouts books, several Spider-Man books for Marvel, and the murals in the Sarah Silverman show, etc.

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  01. 70 MPH Isn't Fast Enough To Get Out Of Nebraska
02. 7 Inch
03. Mimi Tatonka
04. Root Trees
05. Cross Rhodes
06. Chapter 2
07. Ancient Chinese Secret
08. Fish Sauce
09. Name Game

10. Bootie Beat
11. Willie Groovemaker
12. What More Can I Say (Top Chillin)

Shawn Lee & Clutchy Hopkins
Clutch Of The Tiger
Ubiquity (UR235)
Release Date:
October 21, 2008
URCD235 780661123521  x  URLP235 7780661123514
One-Sheet:  PDF


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Clutch of the Tiger sounds like a collection of film-noir tracks run through the Clutchy Hopkins and Shawn Lee magical music machine. It’s dusty and mysterious junkyard jazz that’s powered by sly beats and other-worldly funk. Famous comic book creator Jim Mahood (who has worked on Spiderman/Marvel, Clerks, Grrl Scouts, Stupid Comics, etc etc) liked the tunes so much he provided the killer artwork for the package! FYI - Inside the album is a hidden code that gives customers a deal on limited edition prints of the Mahfood artwork, available exclusively from the Ubiquity website.

But how did this record come to be? Does Shawn Lee know the identity of the mysterious Mr Hopkins? Read on brothers and sisters ...

A few years back our man Shawn Lee flew from London to Phoenix, AZ, to visit his Mom for Christmas. While out there, the opportunity arose for a last minute recording session in Los Angeles. Renting a car he decided to make the drive by way of the Mojave Desert. Passing though the Desert he was low on gas, and so pulled over to fill up. He could not resist dropping into the thrift store next door. "I love second hand and vintage stuff, I had to go in see if I could find some cool clothes, or a little funky instrument," he explains.

After a quick scour of the merchandise Lee headed back out towards the door only to be met by a bushy-haired man carrying a tiger mask. They exchanged greetings, shared stories about vintage instruments, and then Lee asked about the mask. "He said it was a gift, from a group of gypsies who make costumes for performing art centers in the Los Angeles area.” The man said he'd made the gypsies some instruments and that they gave him the mask in return. Lee immediately fell in love with the mask. This became obvious to the man who gave it to Lee with two requests. Lee was to keep the mask forever, and to wear it every full moon. He agreed and headed out West to Los Angeles.

Back in London, at the onset of the first full moon, Lee donned the mask and felt a lump pushing into the side of his head. He pulled back a cloth on the inside of the mask and found a cassette marked "C. H." on Side A, and "Full Moon Breaks, Vol. 1" on the other.

Excitedly Lee put the cassette into a tape deck and pressed play. "I put the mask back on and, I’m not really a dancer or anything, but my feet were all over the place, this seriously moved me...the music was dope.” Fast forward year or so and Lee hears about Ubiquity releasing music from a mysterious, but talented, artist out of the Mojave Desert called Clutchy Hopkins. Putting “C.H.” and “Clutchy Hopkins” together he pulled out the cassette and knocked out a few ideas inspired by what he heard. The ideas were delivered to the Misled Children, the somewhat secretive agents of Mr. Hopkins that had befriended Ubiquity (coincidentally by way of a chance purchase at a thrift store.) Two weeks later a purple CD-r was mailed to Lee’s house back in London and it included the tracks he started, with new music added to them, and also some other ideas meant for Shawn to play with. There was also a message, in Native American, which Lee was able to transcribe. It was a request from Clutchy Hopkins to send more music. This exchange of ideas, by way of the mail and the Misled Children, went on for 3 months. Then everything went quiet. We could not find the Misled Children, no more packages arrived, and no more messages were received.

A month or so later Lee picked up the mask to honor his full moon request, and once again was surprised by a bump to his head. Inside the cloth lining was a CD. He swears he has no idea of how it got there. You're now holding in your hands the recording found on that CD. It’s the result of long distance collaboration between two talented musicians. They met only briefly, but instantly saw eye to eye by way of a mask and a full moon. Behold, the Clutch of The Tiger …

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  01. Full Moon
02. Two Steps Back
03. Things Change
04. Bill Blows It
05. So Easily, So Naturally
06. Leon Me
07. Dollar Short
08. When I Was Young
09. Across The Pond
10. Bad Infulence
11. Till Next Time

12. Indian Burn



Shawn Lee's Ping Pong Orchestra
Voices and Choices
Ubiquity Records (UR207)
Release Date:
  January 30, 2007
Barcodes:  URLP186: 780661120711 
x  URCD186: 780661120728
One-Sheet:  PDF


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"Eccentric soundtrack space melodies which are catchy and stay in your ear for a long time."
- Streetwear Today

In Shawn Lee’s world Ennio Morricone dances with Esquivel and Serge Gainsbourg as spaghetti western guitars and harmonicas ride fat drum breaks accompanied by vibes, lush strings, and piano.  On Voices and Choices Lee's signature style moody instrumentals are accompanied by vocals for the first time in the four albums he has recorded for Ubiquity.  In addition to a handful of full songs, instrumental tracks are decorated with vocal textures in a nod to classic producers David Axelrod and Charles Stepney who used choir-like walls of vocal to create their big productions.

Ubiquity label mate Nino Moschella joins Lee on the rock n’soul epic “Kiss The Sky”, while Ohmega Watts waxes positive lyrical on “The Glass Hour Effect.”  Instrumentals “JW” and “Song For David” are just begging for an accompanying movie to match the cinematic sounds, while “Tense Bossa” and “Glass Act” feature subtle vocal parts to heighten the spy-theme tension.

Releases by Shawn Lee’s Ping Pong Orchestra started off as an experiment.  Multi-instrumentalist and record collector Lee was obsessed by vintage library records and wanted to see if he could recreate their soundtrack-worthy sounds in his curio-shop-like London studio.  Library records were originally produced to provide instrumental musical backing for TV, film, radio and advertising.  Specific library records have become highly collectable, and are favored by DJs and producers for the occasional drum break, sample, or funk track.

Lee’s idea was to make full-length library albums that were good from start to finish and equally listenable at home as they might also be DJ friendly.  Lee’s studio is insanely overpopulated, instruments at hand include a 1940's early proto-synth called a Clavioline, a 100 year old Marxophone zither, a 1950's Virginal Harpsichord, a 1950's Xylophone, a rare 1967 Vox guitar that has Fuzz, Tremelo and wah-wah built in, a 1930's Double Bass and an early 1900's keyboard called a Dulcetone.  So finding the right instruments and noises to create a specific sound was not going to be a problem  ...  more

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  01. Intro
02. Song For David
03. Tense Bossa
04. Kiss The Sky Feat. Nino Moschella
05. Fiendish Fifth
06. Francoise Hardy
07. Glass Act
08. Perculator
09. Nod Your Head
10. The Hour Glass Effect Feat. Ohmega Watts
11. JW
12. Changing Times
13. Bobulski
14. Mondo Mondo
15. Tired

16. Jawbreaker

Shawn Lee's Ping Pong Orchestra
Miles Of Styles
Ubiquity Records (UR228)
Release Date:
  May 5, 2008
Barcodes:  URCD228: 780661122821 
x  URLP228: 780661122814
One-Sheet:  PDF


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The seventh in the Ping Pong Orchestra album series see’s multi-instrumentalist Shawn Lee go global. This is the soundtrack to places Lee has been, and would like to visit, and was made using instruments he’s picked-up along the way. Miles of Styles is inspired by the multi-cultural mix of people in his hometown of London, the awe inspiring metropolis that is New York City, and by the mysterious uber-stylish vibe of Tokyo. Not to mention Jamaica, Finland, Greece, China, France and beyond…

While Lee likes to visit new places he admits that it’s not always possible or even enjoyable, “I like to be in other countries - it's just the getting there that's a drag!” he says. So as with his previous cinematic-style albums Miles of Styles is intended to take the listener on a journey, even if they’re just riding the bus home after work, iPod on. In addition to incorporating a multitude of styles, Lee also made Miles of Styles a family affair. His Indian wife, Kirin, sings on the opening “Punjabi Lullaby,” and is also responsible for Lee owning so many Indian instruments. In addition his daughter hummed the melody for the song that would become “Mela D”, and makes a cameo appearance on “My Daddy’s Funky.”

To put some “world” into his music Lee managed to play the Gu-zheng (a Chinese zither), a Steel Drum (from the Caribbean), a Balafone (from Africa), a Harmonium and Tablas (India), Hurdy Gurdy and Harpsichord (European), a Guitarron (Mexico), a Churango (Bolivia) and a Waterphone (from the USA.) “I've always collected traditional folk instruments from around the world. I love taking them out of their traditional element and putting them into a different context. Mixing and creating interesting doubles such as steel drum with Balafone or Sitar with Banjo,” explains Lee. “I love when sounds become mysterious and are hard to decipher. Sometimes people laugh at me when I buy certain instruments. Steel drum was one that a lot of musicians scoffed at. I ended up using it prominently in a various ways on the album,” he adds.

Following on the success of Voices and Choices (from which “Kiss The Sky” was picked as an iTunes “Song Of The Day”, and was used on the TV show Damages) and his previous albums (three tunes from which were recently used in each of the three trailers for the Oceans 13 movie) Lee also released two other albums in 2007 (the covers album Hits The Hits, and the Christmas Album A Very Ping Pong Christmas.) Lee’s music is used in the upcoming movie The Bank Job and he’s had tunes appear in ads for Jaguar cars.

Lee’s sound, which started as a take on old-school library albums and has grown into a sound of his own, is made possible by his inability to stop making music in an insanely overpopulated studio. A 1940's early proto-synth called a Clavioline, a 100 year old Marxophone zither, a 1950's Virginal Harpsichord, a 1950's Xylophone, a rare 1967 Vox guitar that has Fuzz, Tremelo and wah-wah built in, a 1930's Double Bass and an early 1900's keyboard called a Dulcetone all reside within the walls of Lee’s facilities. As a multi-instrumentalist and singer Shawn Lee has played and recorded with a diverse range of artists including Psapp, Coldcut, Leeann Rhimes, Martina Mcbride, UNKLE, Tony Joe White, Chateau Flight, The Dust Brothers, St. Etienne, Jeff Buckley, Bomb the Bass, The Spice Girls, and Natasha Atlas not to mention solo records for Talkin Loud, Wall of Sound imprint We Love You and BBE.

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  01. Punjabi Lullaby
02. Brazilian Bubble
03. Great Russell Street
04. Lagos Calling
05. Mela D
06. Bathtub Dub
07. Prague Rock
08. Parisian Glam Slam
09. Italy 73
10. Ciao Bruno
11. Dinosaur Island
12. Heist in Helsinki

13. Tokyo Dancer
14. Mystery Train
15. Phoenix Firebird
16. San Diego
17. Daddy Funky
18. Chinese Chillin
19. Fly First
20. Greekout

Shawn Lee & Band of Frequencies
Under The Sun OST
Ubiquity (UR238)
Release Date:
September 9, 2008
URCD238 780661123828  x  URLP238 780661123811
One-Sheet:  PDF


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  Under the Sun is a documentary film made by filmmaker Cyrus Sutton and West Coast Record and clothing label Ubiquity Records.

The film features an original soundtrack by Ubiquity Recording artist Shawn Lee and alongside Australian acts Band of Frequencies (a collective of musicians hailing from Byron Bay), Low Pressure Sound System and Afro Dizzi Act. On this double disc, Ubiquity multi-instrumentalist, Lee turns out a sunny, surf inspired mix of tracks that will make you want to pack up that board and head to the beach, or at least close your eyes and dream about it. Lee’s signature funky breaks and beats are backed by twangy guitars and harmonicas creating a hazy breeze of blissful tunes.

On the second disc are three Australian bands with close ties to the surf community. Afro Dizzi Act play rootsy Afro-beat tinged jams and have built a reputation as being one of the most flexible and adventurous acts in Australia. Their track 'The Drop Off' is inspired by the euphoria of elevated consciousness and spiritual inner strength that follows after taking off on a big wave while surfing, or launching into an outer reef while snorkeling. Low Pressure Sound System is a collective of musicians who record soundtracks and perform live jams, and much of their material on this record is based on two weeks of recording non-stop spontaneous tracks. Their “Spoonbender” tune is named after eccentric surf icon and creator of the flexible spoon surf craft George Greenough. Band Of Frequencies is a side project featuring members of Afro Dizzi Act, and noted surfer Dave Rastovich, delving into heavier guitar sounds blending psychedelia, roots, rock and soul. 

Under the Sun has already won Best Action Sports Film at the Newport Beach Film Festival, and is set to air at other American festivals this Fall. Shot in Byron Bay and the Gold Coast, on the Pacific Shore of Eastern Australia, the film explores the commercialization of surfing subcultures through two opposing surf towns. While the two locations are geographically close their populations have completely different outlooks on life, and this clash is magnified in their respective surf scenes.

These opposing forces offer a microcosmic view of the surf industry, and raise fascinating questions facing the surf world in general. With rising populations and dwindling resources where do these two towns go from here? While the industry promotes imagery of pristine waves, coastlines of the world are quickly becoming more crowded and polluted. Where does surfing go from here? Can the industry and culture sustain?

“For years the surfing subculture has blazed a rebellious trail with the industry following close behind turning scenes and ideas into dollars signs. With swelling crowds and deteriorating water quality surfing is reaching critical mass,” explains film maker Cyrus Sutton. “But whether you're a beach bum or a CEO, we're all surfers and in a world were money talks, embracing the surf industry may be the only way to preserve the lifestyles we have grown to love,” he adds.

Filmed in 2006 and 2007, the film was finished in April 2008, with Sutton returning from Australia to edit at Ubiquity HQ in Southern California. The lush landscape he had captured provided amazing footage to which Sutton also added mixed media animation. The films features cameos from Dave Rastovich (A Gold Coast/Byron Bay hybrid raised in the competitive surfing arena who opted for the Byron Bay lifestyle in his early twenties), and many other surfers including Rabbit Bartholomew, Nat Young, Beau Young, and Dean Morrison.  For more information and future screenings check www.underthesunsurfmovie.com for updates.

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  Disc 1 : Shawn Lee's Ping Pong Orchestra

01. Under The Sun
02. Afro Surf
03. Capricorn
04. Hollisday
05. Below The Surface

06. Murf The Surf
07. 1994
08. Corvette
09. Rabbits Revenge
10. Great White Harp
11. Porpoise Song
12. Lava
13. Erotic Drums
14. Sweet Sixteen
15. New Era
16. Wichita Heights
17. Wave Song
18. Clock Song
19. Nice Dream
20. Rabbit
21. Psych Drums
22. Oom Pa Pah
23. Very Bari
24. Southern Surfer
25. Totally Tubular
26. Nino Nino
27. Under The Sun (Instrumental)
28. Under The Sun (Reprise)

Disc 2 : Band Of Frequencies

01. The Drop Off
02. Dylan's Wings
03. Sol Train
04. Spoonbender
05. The Pass

06. Open Water
07. Forever
08. Bark
09. Quantum Pod
10. Storm Front
11. Deep Dish

Shawn Lee
Hooked Up Classics
Ubiquity (UR280)
Release Date:
December 7, 2010
URCD280 780661128021  x  URLP280 780661128014
One-Sheet:  PDF


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  Shawn Lee dons his Ping Pong Orchestra hat for an album inspired by the Hooked On Classics series of the early 1980s. This popular series of albums (arranged by Louis Clark of Electric Light Orchestra fame) took well-known classical pieces and gave them a contemporary re-working, mostly adding a disco flavor. Lee throws his new musical twist on the idea, taking 12 favorite classical tracks and squeezing them through the Ping Pong Orchestra machine.

While Lee has spent most of the year releasing and working on albums featuring vocal collaborations (the recent "Sing A Song" and upcoming "World of Funk"), this Ping Pong Orchestra album puts Lee back in library-record mode, creating cinematic instrumental music.

"The 1812 Overture" is re-interpreted with a heavy dub re-rub, while "Swan Lake" and "Peter and the Wolf" receive a dose of squelchy moog-like bass-lines, and even "Dance of the Sugar Plum Fairy" and "Funeral March" is given a head-nodding backbeat. Lee left room for his own string-laden cover of "Also Sprach Zarathustra" (also recognizable as the 2001 Space Odyssey theme.) "These are some of the greatest themes and melodies ever written," says Lee.

Mixing respect with cheek, and a need to funk-everything up, Lee covered tracks by Pyotr Ilyich Tchaikovsky, Richard Wagner, Erik Satie, Sergei Prokofiev, Richard Strauss, Nikolai Rimsky-Korsakov, Maurice Ravel, Edvard Grieg, Sergei Prokofiev, and Frederic Chopin. From big string sounds, horns, organ, dulcitone, clarinet, harmonica, melodica, bass melodian, orchestral percussion, harpsichords, flutes, sitars, guitars, and beyond, everything is played live, with no sampling. "What a pleasure to have such great material to work my musical mischief with, he adds. "I approached this project with equal amounts of respect and irreverence - this was essential to the concept."

The end result is an album that will introduce new listeners to legendary pieces of music, and is set to turn the heads of classical music fans.

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  01. 1812 Overture
02. Swan Lake
03. Dance of the Sugar Plum Fairy
04. Ride of the Valkyries
05. Gymnopedie No.1
06. Peter and the Wolf
07. Also Sprach Zarathustra
08. Flight of the Bumblebee
09. Bolero
10. In The Hall of the Mountain King
11. Romeo and Juliet
12. Funeral March

Shawn Lee
Soul In The Hole
Ubiquity (UR242)
Release Date:
March 24, 2009
URCD242 780661124221  x  URLP242 780661124214
One-Sheet:  PDF


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Soul In The Hole is a tribute to multi-instrumentalist Shawn Lees favorite soul sounds through the eras. Featuring guest-appearances from Paul Butler (The Bees), Nicole Willis, Darondo, Karime Kendra, Fanny Franklin, and Kirin Lee, the album is an homage to styles from the late 1960s to the 1980s. “Writing and recording this project felt so natural. It was like coming home,” says Lee. “The great Richie Havens famously once said "I'm going back to my roots." That's exactly what I've done,” he adds.

He hand-picked his global selection of guests like the amazing Paul Butler (of The Bees, and currently working with Devendra Banhart) from the Isle of Wight, who appears on a track that is part Shuggie Otis, part Style Council mod. Northern Cali’s old school man of soul, Darondo is featured on two tracks, and the super-talented Nicole Willis, hailing from Finland, drops a Northern Soul shaker.

The title track features Lee on vocals and has a late 1960's Detroit stepper vibe. Two crackly-southern-ballads feature Fanny Franklin and Karime Kendra, the latter pulling off a deep version of a little-known Al Green/Willie Mitchell ballad. Lee teams up with his wife on the cosmic funk of “The Stuff,” “ I was thinking of the late 70's jazzy sophisticated productions of Roy Ayers. It reminds me of the UK rare groove scene of the late 80's early 90's,” he says. And there are even funk-rock and sunny Miami disco styled sounds to complete the chronological nod to the past that is mixed with just a touch of the present.

Recording tracks over a period of a year or two, Lee edited the final album to just a handful of his favorites that best moved through the eras. He liked the idea that having 4 or 5 tracks per side was just like the old LPs that had inspired him, “All killer, no filler!” he jokes.

“Soul music has always been a strong part of my musical identity. It resonates deep within and never fails to inspire me. So many great artists, singers, musicians and producers. An endless well of essential music,” says Lee. “Cue Soul in the hole...for the masters who've come before and touched the world with their soul.“

This is Lee’s first all-vocal album for Ubiquity. Previous releases have featured some vocal collaborations, but have mostly been instrumental, library-record style releases. The unstoppable Mr. Lee has more collaborations on the horizon, including a funky-harp record and putting the finishing touches to an album recorded with Money Mark and Tommy Guerrero under the name Lord Newborn & The Sugar Skulls.

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  01. Soul In The Hole
02. Jigsaw
03. Land Of Soul
04. Too Tired To Sleep
05. Something
06. Whatever Side You're On
07. Cruel Woman
08. Stay Away From Me
09. Playboy Bunny
10. Time To Say Goodbye
11. The Stuff

Shawn Lee
Sing A Song
Ubiquity (UR272)
Release Date:
July 20, 2010
URCD272 780661127222  x  URLP272 780661127215
One-Sheet:  PDF


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In addition to showcasing a love for 1960s and 1970s soul, Shawn Lee also steers his latest musical mystery tour into psychedelic and cinematic territory over the course of 12 brand new cuts. Sing a Song is like a breezy summertime mixtape, packed with catchy motor city licks and space age songs that Lee built from scratch with each collaborating vocalist in mind. Inviting vocalists from as far afield as Kansas City, Los Angeles, London, Detroit and New York, Lees’ latest album features Princess Superstar, artist Paul Fryer, and blind street performer Robert Bradley. During recording Lee had to be admitted to hospital for an emergency appendix operation, just a few days after his wife gave birth to their second girl. But the musical drive in Mr Lee is so strong there’s always time to Sing a Song.

Shawn Lee and his Ping Pong Orchestra will be in the USA this Fall to play their first ever gigs, including a stop at Bumbershoot in Seattle…hold tight for more gigs.

He kicks the album off with a duet featuring Orgone chanteuse Fanny Franklin, and their vocals lace an epic string-laden instrumental with a cautionary tale for fakers and flakes.  Lee came across Marcus Malone while remixing a band called Jettricks. Surprised to learn that Malone is a mature guy with a young voice (and not vice versa) he was inspired to write a Motown-fueled jam for the Detroit native who was at one point signed to the legendary label. Making a brief appearance on “Who Are You,” Bing Ji Ling is originally from San Francisco but now resides in Brooklyn, NY. As a solo artist and member of The Phenomenal Handclap Band he’s a talented singer and instrumentalist, and more importantly “rocks the best beard and glasses combo I've ever seen!” according to Lee.

Lee met Jeremiah through connections with The Phenomenal Handclap Band and despite having just been discharged from hospital (for an emergency appendix operation) and having a baby daughter born less than three weeks prior Lee managed to record Jeremiah while he was on a quick trip through London.  Lord Large is made up of Andrew J Jones and Stephen Large, “a man who plays keyboards like a frickin' wizard!” says Lee. "Fading Light" features Robert Bradley on lead vocals. Bradley is a blind street performer and songwriter from Detroit and a former RCA and Vanguard artist. He's a long time friend of Kid Rock and sang and appeared in the movie Lackawanna Blues and the music documentary "Playing for Change". Their track is a different version of the song that appeared on an earlier Lord Large album.

Lee is solo on “I’ll Just Wait A While” which starts out as a bluesy stripped-down song before morphing into space-age pop. It complements the two tracks with The Superimposers, a two man London group comprised of Dan Warden and Miles Copeland. Lee recently produced their new album and has joined the band, “ We go together like peanut butter & jelly and pimps and fur coats.” Fade Up is an amazing rolling funky folk track for hazy summer days while “Don’t Let That Feeling” is quirky tripped out soul. Lee also produced tracks for Princess Superstar, the native New Yorker who has worked with Kool Keith and Grandmaster Flash. Together the Mensa-member soulstress and relentless producer turn in slightly tongue in cheek soul jam. Born and raised in Wichita, Kansas, Lee had to make the Kansas City connection with rapper/singer/producer/trumpeter and MPM recording artist Miles Bonny. Midwest represent!

Lee describes Paul Fryer as “total and utter creative genius.” The DJ, club promoter, singer and successful artist was musical director for fashion house Fendi for 5 years and released a book of his poetry with illustrations by fellow artist and friend Damian Hirst. Their beautiful and cinematic track rounds out the album.

Lees’ last three albums were also collaborations. In addition to the aforementioned Bei Bei he has recently worked with Clutchy Hopkins on the Fascinating Fingers album, and with Money Mark and Tommy Guerrero under the name Lord Newborn & The Sugar Skulls. He has plans to do some major interpretations of famous classical pieces later in the year, and has a “World Of Funk” album in the works.

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  01. Shut Up And Learn feat. Fanny Franklin
02. It Takes Two feat. Marcus Malone
03. Who Are You? feat. Bing Ji Ling
04. Fade Up feat. The Superimposers
05. I'll Just Wait A While
06. Fading Light feat. Lord Large with Robert Bradley
07. Older feat. Miles Bonney
08. Swimming Pool
09. Don't Let That Feeling feat. The Superimposers

10. Lucy Lucy feat. Jeremiah
11. Christopher Walken on Sunshine feat. Princess Superstar
12. Meadow in the Summer feat. Paul Fryer

Shawn Lee
World Of Funk
Ubiquity (UR282)
Release Date:
February 8, 2011
URCD282 780661128229  x  URLP282 780661128212
One-Sheet:  PDF


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  Multicultural and multi-talented composer and performer Shawn Lee lives in what he calls a “World of Funk.” His mother is half Lebanese and a quarter Native American Indian. His wife is Indian, born in London from parents who are from Tanzania, East Africa. Their daughters (Mela & Seela) are half British/Asian and half American with the family roots to American Indian and Lebanese. As an American living in London he has his ears open to sounds from around the world, and all the spin-offs, mash-ups and fusions that pop-up. “Turkish Psych, Thai Funk, African Disco, Cambodian rock, Brazilian soul,” lists Lee. “If you can say it, it exists.”

Lee has as an uncanny ability to pick-up and play any instrument he can lay his hands on (his studio is like a candy-store for curious musicians) and for World of Funk he went global playing sitar, ektar, Balaphone, Tanpura, kalimba, Steel drum, Guitarron, Moroccan castanets, Cithare, vibraphone, Xylophone, Bulbul tarang, Charango, Bouzouki, talking drum, and Udu.

But it wasn’t just geography, family roots, and a well-stocked studio that fueled this album. Lee is a massive fan of worldly-funk. The Turkish psych of Selda and Ersen, early 1970s Bollywood soundtracks by RD Burman and Asha Bhosle, the Brazilian soul and disco of Tim Maia, Ethiopian Jazz great Mulatu Astatke and the Afro funk of Pat Thomas and Marijata were all big influences on World of Funk.

“Like many western musicians, my ears have been seduced by the exotic sounds of the East and beyond.
By the same token, many musicians from around the world have been inspired by the music of America
and England as well. What we've got here is a universal language,” says Lee. “When we bastardize each other’s sounds/ music and get it wrong - we get it so right. It mutates and becomes something
extraordinary. Now that is funky!”

Adding to Lees melting pot of sounds are guests from around the world. Brazilian singer-multi instrumentalist Curumin (Hailing from Sao Paulo, and of Japanese/Spanish Brazilian background) and British/Egyptian singer Natacha Atlas completely embody the spirit of World of Funk. While on-tour in Los Angeles this Summer Lee locked down three very special collaborations. The first was with Chhom Nimol the LA based Cambodian singer with the band Dengue Fever. Lee made an instrumental track with Clutchy Hopkins (which includes the sound of a 1960's Smith and Corona typewriter!) for Dengue Fever member Paul Smith who recorded Chhoms haunting vocal. A chance meeting with Bardo of Chicano Batman on Sunset Boulevard led to some garage-y flavored West Coast Latino-funk. And then both Willie McNeal and Money Mark suggested Lee work with Cava.

The album also features Truth and Soul Recording artist Michael Leonhart, NOMO bandleader Elliot Bergman, and Lee’s mother-in-law (aka Nanny Jee)!

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  01. Bina
02. Ghost In The Rain (feat. Clutchy Hopkins & Chhom Nimol)
03. Ethio (feat. Michael Leonhart)
04. Cairo Cairo (feat. Natacha Atlas)
05. Nao Vacila (feat. Curumin)
06. La Eterna Felicidad (feat. Bardo Martinez)
07. Nanny Jee (feat. Nanny G)
08. Iceberg (feat. Elliot Bergman of NOMO)
09. Booya (feat. Michael Leonhart)
10. The Mighty Atlas (feat. Natacha Atlas)
11. Mi Ilusion (feat. Cava)
12. Accelerate

13. Tablacadabra
14. Hairy Krishner

The Lions
Jungle Struttin' b/w Ethio-Steppers (Wilderstyle Dub) 7''
Ubiquity Records (UR7223)
Release Date:
  January 22, 2008
Barcodes:  UR7223: 780661122371
One-Sheet:  PDF

Jungle Struttin'
Ubiquity Records (UR222)
Release Date:
  February 19, 2007
Barcodes:  URCD222:  780661122227 
x  URLP222:  780661122210
One-Sheet:  PDF


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  "... lean and crunchy old-school grooves that sound like they could have been recorded and mixed at Dynamic Studios or the Black Ark in the early 1970s."
- All Music Guide

"One of the best blends of global funky elements we've ever heard...Great stuff all around, and a record that's almost more funkily exciting than all those old Jamaican platters you've sorted through trying to get a sound like this!"
- Dustygroove

"Get ready to get your skank on with the Lions' new LP...With an admirable cast of musicians, the Lions are sure to make an impression on reggae enthusiasts."
- Vapors

"The L.A. collective emerges with an outstandingly distilled, urban sound that mines dub reggae in a vintage yet completely fresh way by tastefully blending it with soul and funk."
- Orlando Weekly

"...cohesive, rhythmic, and cinematic–hardly cheesy modern reggae, and definitely worth a listen."

The LIONS is a unique Jamaican-inspired outfit, the result of an impromptu recording session by members of Breakestra, Connie Price and the Keystones, Rhythm Roots All-Stars, Orgone, Sound Directions, Plant Life, Poetics and Macy Gray (to name a few). Gathering at Orgone's Killion Studios, in Los Angeles during the Fall of 2006, they created grooves that went beyond the Reggae spectrum by combining new and traditional rhythms, and dub mixing mastery with the global sounds of Ethiopia, Colombia and Africa.  The Lions also added a healthy dose of American-style soul, jazz, and funk to create an album that’s both a nod to the funky exploits of reggae acts like Byron Lee and the Dragonaires and Boris Gardner, and a mash of contemporary sound stylings.

The Lions are an example of the ever-growing musical family found in Los Angeles.  There is a heavyweight positive-vibe to be found in the expansive, sometimes artificial, Hollywood-flavored land of Los Angeles.  Many of the members of the Lions met through the LA staple rare groove outfit Breakestra and have played in many projects together over the past decade.  It was through discussions about The Lions taking place between band conductor Todd Simon and Ubiquity that recent releases by Orgone and Connie Price came to be ...  more

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01. Jungle Struttin'
02. Ethio-Steppers (Wilderstyle Dub)


Jungle Struttin' CD/LP

01. Thin Man Skank
02. Ethio-Steppers
03. Jungle Struttin'
04. Sweet Soul Music
05. Hot No Ho
06. Cumbia Del Leon
07. Lankershim Dub
08. Tuesday Roots
09. Fluglin' at Dave's
10. Think (About It)
11. Givin Up Food For Jah

Malone & Barnes And Spontaneous Simplicity
Freedom Serenade
Luv N'Haight (LH052)
Release Date:
  February 20, 2006
Barcodes:  LHLP052:  80661 00521 
x  LHCD052:  80661 00522
One-Sheet:  PDF


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Singer and songwriter Johnny Malone met saxophonist and flautist Allan Barnes while they were students at Howard University in Washington DC in the 1960's.  In addition to being under the tutelage of Donald Byrd who was head of Jazz Studies, they were classmates with future stars like Donny Hathaway, Leroy Hutson, and Angela Winbush.  Barnes was already a member of the hugely popular soul jazz pioneers The Blackbyrds.

“We were at crest of the wave of early jazz fusion, plus the culture at Howard was a little outside of the box.  We had great teachers – it was an ideal place to study and learn,” explains Barnes.

When the two friends formed Malone Barnes and Spontaneous Simplicity (named after the tune by Sun-Ra, whose band Barnes regularly appeared with when in Washington, DC) the collaboration yielded Freedom Serenade, an album of super spacey and spiritual jazz funk
 ...  more

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  01. Workin' Plan
02. Warp Ten
03. Up 'N Comin'
04. Moonstruck
05. Galactic Interlude
06. Road Man
07. Freedom Serenade
08. Journey To The Stars
09. Galactic Interlude

Nino Moschella
Boom Shadow
Ubiquity (UR251)
Release Date:
May 19, 2009
URCD251 780661125129  x  URLP251 780661125112
One-Sheet:  PDF
Hypepack:  PDF
Tour History:  WORD DOC.


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Photos by Amanda Lopez:

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What is Boomshadow? The made-up word is a fictional character Nino Moschella and some friends concocted nearly a decade ago. “He was a super hero. It was kind of ridiculous. He didn’t really have a specific power, he would just come onto the scene and save everybody,” he explains. Boomshadow came back to Moschella, with a different meaning, as an idea for the title of his sophomore album for Ubiquity. It is a warm cloak of sound emanating from your stereo. It envelopes and protects all who listen. It feels good to be in the warm pulse of the Boomshadow. Moschella likens it to listening from inside the womb. The feeling of being safe and being able to trust was key to the development of this album. With the practice and feedback from an extensive set of gigs under his belt, a new live band to back him, and a close-knit crew of collaborators to work with, Moschella has a deepened trust in his own musical ability. As a result Boomshadow reflects the continued refinement of Nino Moschella’s sound. His songs are more personal, and his production definitely has more boom.

The album launches with a frenetic flying kick to the eardrums, on an intro that reflects Moschellas' East Bay funk-inflicted home-base. It doesn’t let off the gas with the raw angular funk rock of “Sleep.” Fans of The Fix, his first album with Ubiquity, will recognize the progression from tracks like “Are You For Real” to the new, even more soulful sounds of “We Fight” (featuring Fanny Franklin), and on the disjointed head bumping “Around the World” and “Stella,” the tribute to his daughter. On the stripped down “What U Do 2 Me” he sings a twisted anti-ballad over horns and acoustic guitar, while the music on “Time of Day” and “I Love Myself” moves with a cosmic bounce that nods to all the funk elders and ancestors. Moschella’s unique homemade beats and unexpected embellishments are now backed with a fuller orchestration, and his arrangements are more dynamic.

“The identity of this album was clear early on and the songs came more easily. It was less about sculpting something and more about trusting that the process would lead me in the right direction,” says Moschella. “I’ve become more comfortable with who I am as a person in this world and naturally that informs the music,” he adds.

Moschella began three tracks at the Roundhouse in rural O’Neals, California (near Yosemite), where The Fix was recorded. A family-move back to the Bay Area meant Moschella had to studio-hop from an Oakland sublet, to a temporary set-up in Richmond, before finally settling in at a home studio in West Oakland. The nomadic nature of the recordings provided its own set of fruits and challenges. Rural O’Neals allowed for middle-of-the-night, as-loud-as-you-like sessions, while the more urban setting of Oakland meant that recording had to be planned around the schedule of downstairs neighbors and his daughter’s naptime. Moschella had begun to find O’Neills too isolated and the draw of a more intense social and music scene in Oakland more inspiring. It was this drawn-out moving process that allowed for Moschella to play a massive amount of live shows between recording sessions, and to forge the new musical friendships that ultimately helped shape Boomshadow.

While Moschella and his family moved back to Oakland, Derek Taylor, drummer for the Bay Area band The Park, contacted Nino on MySpace, as a fan. The Park had a weekly residency at the Royale in North Beach, San Francisco, and also performed regularly across the Street at Mojitos. Interested in seeing them live, Moschella turned up to one of their gigs (August 7th, 2007, the night when Barry Bonds hit his record setting 756th homerun, the place was on-fire), and when the band jumped into a Moschella instrumental he joined them on stage. The Park—which also includes Ben Schwier on keys and Josh Lippi on bass—quickly became his backing band and they discovered they shared similar musical inspirations and geographical backgrounds. “Recording has always been a very private experience for me, and it’s testament to how much I trust, respect, and feel comfortable around them to have this level of collaboration,” says Moschella. “Playing live with them opened me to the idea of working together in the studio.” Ben and Josh co-wrote a couple of songs. The Park, plus conga player Michael Aguilar, all play on the record. Moschella and band also forged a new friendship with label mate Darondo. Together they played at the Bumbershoot festival, were picked by NPR as one of three acts to see at SXSW in 2008, and opened for Morris Day and The Time in San Francisco. 

Since the release of The Fix, Moschella has appeared on records by Galactic, Peder, DJ Greyboy, and Keeley & Zaire. He also co-wrote and sings on “Kiss the Sky,” a collaboration with Shawn Lee which has appeared in the FX show Damages, and will be in the new Muhammad Ali documentary, Facing Ali. Moschella was selected as a guest at the 2008 Red Bull Music Academy in Barcelona and has opened for James Brown and played several festivals including the Toronto Harbourfront Festival, the San Francisco Funk Festival, and Bonnaroo.

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  01. Begin
02. Sleep
03. Time Of Day
04. We Fight
05. Looking At Your Face
06. Continue To Call
07. Running
08. New Orleans
09. Stella

10. Something Like?
11. What U Do 2 Me
12. All Around The World
13. I Love Myself
14. Shining Through The Trees

NOMO & Shawn Lee
Upside Down 7''
Ubiquity (UR283)
Release Date:
January 18, 2011
UR7283 780661128311
One-Sheet:  PDF


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  NOMO and Shawn Lee team up on a new single called "Upside Down." This collaboration came about almost by accident. NOMO’s Elliot Bergman had spent the better part of the summer building and recording electric kalimbas in Brooklyn, when label-mate Shawn Lee asked him to send over a kalimba track for his new "World of Funk" album. London-based Lee added some funky drums, bass and a smattering of steel drums, and sent it back to Bergman. When Bergman’s sister, Natalie, heard the instrumental track she decided that she had to add some vocals. She stayed up all night writing the tune and recorded the vocals in garage band. The happy result is a great groove, and NOMO's first vocal tune in ages. It’s a track the continues the NOMO tradition of blurring the lines between indie, dance, and world music.

The instrumental version will still appear on the Shawn Lee World of Funk album. And the vocal version, for now, is only available on this single. Featured on the flip is the hypnotic sound of NOMO (sans Lee) on "Nocturne." Super limited vinyl pressing. Grab it while we have it!

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  01. Upside Down (feat Natalie Bergman)
02. Nocturne

Invisible Cities
Ubiquity (UR250)
Release Date:
May 5, 2009
URCD250 780661125020  x  URLP250 780661125013
One-Sheet:  PDF


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Photo Credit: Doug Coombe

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Less than a year after the acclaimed Ghost Rock, NOMO have completed its spirited sister album—recorded during the Ghost Rock sessions and tours. Invisible Cities is informed by their ceaseless travelling, and visits to places both real and unreal. The sonic empire of NOMO is expanding; busting up genres and musical borders with astonishing results. With a theme stolen from Italian novelist Italo Calvino, each tune on Invisible Cities is a little world of it’s own, dense with rhythm and timbre. Hot horns blaze through intersecting lines, heavy percussion drives the band down winding streets, the bass rumbles in some subterranean corridor. The sounds come from far reaching points, not from a fixed place on a globe, but from an area of the human spirit; One that is joyous, open and in motion.

Like Ghost Rock, Invisible Cities reaches into new places both sonically and emotionally, and pulls up some real bangers: The title track’s horns are drenched in Echoplex and its driving beat is straight from the swamp. Bumbo, Moondog’s best tune, gets a NOMO island makeover, with a set of antique fire extinguishers clanging away in a 21st century steel drum style. Crescent is a shimmering silver stream of electric kalimbas, with handclaps and bamboo flutes giving the tune a more delicate feel than NOMO has offered up on previous albums. Giving Elijah a listen, it’s immediately apparent that this is stirring spiritual jazz of a higher order; the tune was written as a lament for one of bandleader Elliot Bergman’s childhood friends. Warren Defever’s immaculate production work creates a space where the music can grow, develop, layer on top of itself, and reveal this band in artful new ways.

Defever convinced the band to come into his UFO Factory studio in Detroit’s Eastern Market the morning after their long tour ended. The surrounding market streets were littered with rotting produce and street sweeper tines, which Bergman (who has a propensity for spotting, collecting and repurposing musical junk) quickly gathered and converted into electric kalimbas-with the help of a now-defunct lumber mill, which generously donated piles of beautiful hardwood scraps. This new set of instruments created the foundation for many of these new tracks, and has spawned a very popular side business. These inspired sessions yielded hours of new material and the band quickly realized that what was originally intended as an EP of material from the Ghost Rock sessions, had blossomed into something far more cohesive and substantial than what they had originally imagined.

But NOMO is not just a band of thieves, garbage pickers, drifters, jammers, and players. In their soul, NOMO truly is a party band. From their roots, rocking sweaty basement shows in Ann Arbor and Detroit, to their current gig, rocking sweaty basement shows and the occasional jazz festival in Brooklyn, Chicago, New Orleans, London, Sevilla, or Montreal, the band has developed its own form of celebratory dance music. They’ve upped the energy level on recent jaunts and it’s impossible to find a stationary body in the house. This music moves people, and it’s refreshing to see teen hipsters get down with crate diggers, jazz heads nod along with the noise kids at a NOMO show. The band crams three drum sets into the silver Ford Econoline, along with enough electric kalimbas to pull-off all of the two hour marathon sets, plus a few extra to sell to the audience. Horns and guitars fit on top of the amps, and it’s a touring eight-piece-sonic-arsenal that packs a pretty heavy punch.

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  01. Invisible Cities
02. Bumbo
03. Waiting
04. Crescent
05. Patterns
06. Ma
07. Banners On High
08. Elijah
09. Nocturne

Ghost Rock
Ubiquity (UR230)
Release Date:
June 17, 2008
Barcodes:  URCD230:
 780661123026  x  URLP230:  780661123019
One-Sheet:  PDF


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Photo Credit:
Doug Coombe

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Photo Credit:
Doug Coombe

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"Ghost Rock is a giant leap forward. This is the instrumental band to watch. Period."
- All Music Guide

"The result of the band's experimenting with rhythm, percussion, and amplification is an exciting, kinetic sound that takes a band that started out looking to the past and re-orients it firmly toward the future. There have been a lot of attempts to take funk into the cosmos, and this one succeeds using decidedly earthbound means: metal, electricity, and a willingness to use one's hands to make something that realizes a goal. 8.3"
- Pitchfork Media

"Their follow-up, Ghost Rock, doesn’t just push that future-primitive envelope further, it punches holes right through it ... Guerrilla groove merchants, third-ear fakirs, lo-fi sci-fi square-root-of-pi pipers—call ’em whatcha want, this Ghost Rock shit fucking rocks."
- Montreal Mirror

"...One of the year's most enjoyable albums."
- OC Weekly

"...the band pushes the envelope to include elements of electronica and comes up with something truly special ... This one conjures up trailblazers Brian Eno (circa "Before and After Science") and Miles Davis (circa "On the Corner") and is utterly astonishing. Still driven by horns and percussion, Nomo is in formidable form on "Ghost Rock," one of the most audacious and spirited albums so far this year."
- Detroit Free Press

"While American spins on African music have proliferated of late, few genre-crossing groups deliver the Tortoise-sized fusion of NOMO."
- Earplug

"Really a nice mix - the album is excellent!"
- Gilles Peterson (BBC Radio 1 / Worldwide)

Ghost Rock is the new album from the Michigan-based collective NOMO. The album, produced by Warn Defever, sheds light on the way forward for a band that has been forging its own vital sound. This is not the Afrobeat of Fela, nor the revivalist funk of a forgotten decade. This record owes as much to Can, Eno, and MIA as it does Kuti, Francis Bebey, and Funkadelic.  On Ghost Rock, NOMO arrives in a new place. There’s no loss of steam as they incorporate new influences, instead NOMO breaks through with a matured and developed sound that is fully its own.

“World music, jazz, electronica, Afrobeat…I hope that we don't get marginalized by any of these terms. We are an American band, and in our hearts I think we're more of a rock band than anything else, but we do love so many different types of music,” says band leader Elliot Bergman. “We have a set of musicians, and we are trying to organize our sounds in a way that represents ourselves. We're not trying to make a record that sounds like it was recorded in the 70's and we're not trying to make anybody think that this was recorded in Nigeria. We're not trying to fool anybody, and especially not ourselves! This is our music. It is full of life, full of emotion. It’s funky, danceable, weird, heavy, exuberant, angry, joyous and raucous,” he adds.

The band’s perpetual grooves are deeper than ever. The horns are set ablaze and analog synths beam an electrified energy into the music. The homemade percussion arsenal is ramped up a notch, and the electric sawblade gamelan brings gong-like overtones into the tangled vine of synthetic and organic strands. The band taps into its full orchestral potential—the arrangements are filled with timbral variety, as the bubbling textures of the percussion meld with the soaring sounds of the horn section. Bergman describes how NOMO evolved to incorporate the wild looped sounds that can be heard throughout the album (nowhere more noticeably than on the screaming electric tone at the top of the introductory track “Brainwave”), “We toured non-stop for a while, and on down time, I would spend every night in my basement recording hours of loops and synth textures. I was fascinated with early Morton Subotnick records, the percussive parts, and when I ran out of records to buy, I just started making my own Subotnick-like loops. I didn't want the end product to sound like early synth music, but I loved the textures and gong-like tones of Silver Apples, Wild Bull, 4 Butterflies, etc,” he says. “Most of the loops were created with the instruments that I've been making, and have amazing variety, perhaps due to my inconsistency as an instrument manufacturer. Some sound amazingly bassy and others have a chime-like ethereal tone. Eno talks about generative music, and creating a system that produces music with little interference. I like that idea, and every night I would try to create as many loops as possible on these instruments without editing. Then I would go back a few weeks later and listen to these bubbling textures that can be heard in so many different ways. Trying to get the band to learn them always sparked heated arguments about where "the one” is!”

With the loops on Ghost Rock serving as the framework for the compositions the band were freed up to experiment with different ideas and a bigger, more orchestral, sound was born. Helping NOMO achieve this new direction were some heavy rhythmic contributors. Hamid Drake and Adam Rudolph lend their percussive mastery to several tracks with Drake’s fiery drumming propelling “All the Stars” to new heights. Josh Abrams fills out the low end on “Rings.”
 What once was a rotating collective is now a tightly knit eight piece band.  This is no longer a loose assembly of great players, but a band that relies heavily upon each other, each member playing a distinct role, with a vibrant personality. Dan Bennett's fiery baritone saxophone anchors the horn section. Justin Walter and Ingrid Racine hold down the brass section with contrasting approaches to the trumpet--Walter's lyricism provides a cool counterpart to Racine's raw and brassy punch--dig her wah trumpet solo on "all the stars." This record finds the percussion section deeper than ever, with percussionist rotating chairs-Dan Piccolo and Erik Hall play the kit, and Jason Murdy and Quin Kirchner fill in on the Congas. Erik's main role is on guitar, and he and Jamie Register seem to have a deep kinship. Her elegant, but muscular basslines tie in with the guitar work seamlessly.

The album seems to move in many directions at once. It is more electronic, and more natural, it is more exuberant, but darker. More spiritual and hymn like, but also more visceral. The songs are sweet, but they are dirty and distorted.  It is as primitive as it is futuristic. While these seemingly divergent themes might sound like some post-modern musical meltdown, it’s clear that this is the sound of a band growing into its own collective voice. NOMO pulls from the past, but also points towards a hopeful future. Fans of the band will know that they like to start and end their live shows in the audience, and the opening and closing tracks on Ghost Rock echo this aspect of their performances. “I think that it's really important to participate--as an audience, as a band member, etc. and joining the audience for a song at the beginning or end of a show invites participation,” explains Bergman. “On a good night, it feels like everybody is working together. Having a few great dancers in the audience can really drive the band to new levels, and we love to sing together at the end of show. It ends up solidifying the bond between the player and the listener--and it starts to dissolve those typical divisions between active and passive. It helps to make people feel that music is an event; social, spiritual and communal rather than a commodity to be consumed.”

The band has toured incessantly since the 2006 release New Tones. That album garnered much critical acclaim and ended up on top 10 lists from NPR, Gilles Peterson, and Global Rhythm. The band has performed over 150 live concerts since the album, touring North America, and Europe including stops at Bumbershoot, Pitchfork Festival, the Montreal Jazz Festival, SXSW, and WOMEX. Able to fit anywhere (literally and figuratively)—their sizable lineup hasn’t kept them from sharing a stage with everyone from Earth Wind and Fire, to Konono No.1, to Sharon Jones, to Dan Deacon.

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  01. Brainwave
02. All The Stars
03. Round The Way
04. Rings
05. My Dear
06. Ghost Rock
07. Last Beat
08. Three Shades
09. Nova

Nostalgia 77
Everything Under The Sun
Ubiquity x Tru Thoughts  (UR209)
Release Date:
  April 10, 2007
Barcodes:  780661120926
One-Sheet:  PDF


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“The Nostalgia 77 Octet make the music sound and, more importantly, feel good”
- The Guardian


“The sound is rich and lush…”
- One Week to Live

“He delivers the finest piece of jazz since Pulsinger invited some old Vienna lads for a jam-session”  
- Lowdown Magazine

“An ongoing collective vision of a funk-jazz utopia.”
- Jazzwise

“Really nice forward thinking Jazz album. Perfect for home listening and Jazz clubs alike."
- Boca 45

“I think a lot people find jazz intimidating and inaccessible and this hasn't been helped by certain musicians trying to rarify jazz, canonize it, and turn it in to high culture.  Before jazz was a technical music it was an emotional music.  For me then the challenge isn't about making jazz music relevant it’s just making relevant music.  Music with emotion that speaks honestly to the listener will always be relevant.”
- Benedic Lamdin, Nostalgia 77.

The band won the “Jazz Album of the Year” award from BBC Radio 1 in 2006 and were also nominated for last years John Peel Play More Jazz award.  UK-based Fat City Records have said that Nostalgia 77 is “keeping jazz music both current and relevant.”  Their cover of The White Stripes “Seven Nation Army” was used extensively throughout coverage of the World Cup this past summer.  It would appear that once again jazz, at least of the Nostalgia 77 flavor, is not dead.

On “Everything Under The Sun” Lamdin, the driving force behind Nostalgia 77, teams up with vocalists to create a beautiful cosmic-tinged jazz album that sounds as much classic, spiritual, Impulse-influenced music as it does Cinematic Orchestra and Koop.  “It’s music with roots in jazz but with hands reaching out to anyone who wants to take them... "Imagine if Portishead did a jazz record?” Says Lamdin  ...  more

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  01. Wildflower
02. Stop To Make A Change
03. Dreamers Dance
04. Little Steps
05. Eastwind
06. Everything Under The Sun
07. Quiet Dawn
08. Arora
09. Steps Of The Sun

Ohmega Watts
Eyes and Ears
Ubiquity (UR232 - Digital Only Single)
Release Date:
October 7, 2008
One-Sheet:  PDF


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This digital-only single features Ohmega Watts teaming up with Lex Records recording artist Jneiro Jarel (Shape Of Broad Minds) and see’s their “Eyes and Ears” collab get an exclusive remix by Clutchy Hopkins. Also included is an instrumental version of the mix, and a 10+ minute live performance with Ohmega Watts and DJ Bombay ripping things up for WUAG in North Carolina.

The release of this digi-single is timed with the release of a video for “Eyes and Ears” which features Watts in back to school mode!

Clutchy Hopkins completely switches up the track to his style – it’s laid back but nasty, with live keys and a koto adding a nice twist to the original vibe. The instrumental sounds like pure Clutchy! On the live medley Watts rapidly makes his way though many tracks from his back catalog, assisted by the manic turntablism of DJ Bombay. This improvised live session was recorded on the spot at WUAG radio in North Carolina.

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  01. Eyes And Ears Feat. Jneiro Jarel (Clutchy Hopkins Mix)
02. Eyes And Ears (Clutchy Hopkins Mix Instrumental)
03. Live From North Carolina

Ohmega Watts
Watts Happening
Ubiquity (UR218)
Release Date:
  October 10, 2007
Barcodes: URCD218:  780661121312 
x  URLP218:  780661121312
One-Sheet: PDF


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"In Hip-Hop, you have great MCs and you have great producers...Ohmega Watts is one of the fortunate few who can bless microphones and drum pads alike..."
- Impose Magazine

Best Albums Of 2007
- Impose Magazine

"Ohmega Watts makes the kind of progressive, next-level hip-hop usually associated with London or Paris...'I ignite change with a stroke of my pen,' he rhymes, yet he also does it musically, with some of the phattest, most vibrantly soulful beats heard in quite a while. Whether flipping funky flavors with R&B legend Sugar Pie DeSanto or enlisting Brazilian vocalist Tita Lima for a tropical throw-down, Ohmega gives you plenty of reasons to turn him up even louder."

"Watts Happening seamlessly blends Furious Five-inspired routines and chants with Native Tongue-influenced beats, for some most interesting results...Watts creates a brand new sound that he can proudly call his own."
- Scratch

"In a struggling indie hip-hop market, Watts is a breath of fresh air, dropping enough thoughtful rhymes and quality productions to keep heads satiated until the next go-round."

"Watts Happening is hip-hop through and through, from the fat-bottomed shout-out hook in “What’s It Worth” and static-dagger DJ scratches in “Triple Douple” to the LL Cool J allusion of “Roc the Bells”, but it’s hip-hop that’s not afraid to plumb the depths of its own existence, to completely morph into its own influences instead of merely citing them."
- PopMatters

Party-heavy...Ohmega Watts is half-Madlib, half-Eliot Lipp..."
- Remix

"It's b-boy to the very grain, with an unforced party-rocking throwbackedness, quickly pulsing with a bright Sunday-morning funk that's eminently listenable to non-rap listeners and diehards alike."
- Portland Mercury / Full Article (Link)

"Watts reaches deeper into his crate of varied influences to come up with an expansive mix of sounds and styles that spins off into slow-strutting funk decrees, a batch of meaty Brazilian grooves and a healthy base of global percussive rhythms ... Simply put, these are the musings of an artist that finds diversity as natural as the morning sunrise."
- Exclaim! (Canada) / Full Article (Link)

"Ohmega Watts isn't an angry or bitter man, and this is evident in his music, it makes Watts Happening just as intelligent, well-crafted, and interesting as its creator."
- All Music / Full Article (Link)

"This album has the power to change the minds of any Eminem-style rap fans with its real beats and meaningful lyrics."
- The Uniter (Canada) / Full Article (Link)

While the eclecticism of his debut album The Find won him many fans, Watts Happening pushes the envelope to reveal even more about MC/producer Ohmega Watts and continues to challenge the expectations of what a rap album could be.  The record includes collaborations with lauded Philly-based MC/producer Jneiro Jarel and up n’coming Brazilian vocalist Tita Lima who appears on the DJ-friendly Brazilian-tinged excursion “Adaptacao.”  Watts wrote “Are You Satisfied” for Bay Area blues n’funkstress, and one of James Brown’s favorite female vocalists Sugarpie Desanto, inspired by recent losses she suffered in a tragic fire at her Oakland home.  London instrumentalist, and label mate, Shawn Lee also provides some key sounds from his over-stocked studio.  The album includes features from favorite Watts cohorts like the Lightheaded crew, Triple Grip and Theory Hazit.

Ohmega Watts has a wide-eyed, all-encompassing, set of musical influences that range from the more obvious soul and funk tunes, to being a big fan of Stereolab and Broadcast, psychedelic Brazilian sounds, to music by UK producers like Quantic and Mr Scruff.  As such Watts Happening follows on from his debut album, The Find, exploring and presenting a multitude of beats, rhythms, and styles.  With The Find he threaded these sounds together for the first time and his popularity grew organically from a virtually-unknown MC to one who has performed all over the USA including dates like Lollapalooza and Bumbershoot with Lyrics Born and The Greyboy Allstars.  He has headlined the MusicFest NW show, and played dates with Breakestra, The CoupLifesavas, De La Soul, Blackalicious, RJD2, Michael Franti and Spearhead, Masta Killa, and Count Bass D.  In addition he has toured throughout Europe and Japan.

Rolling Stone described his album as being full of “Funky soul and razor-sharp dance-floor cuts,” and continued, “this is hip-hop that everyone - not just fans of the genre - can enjoy".  Cutting edge UK mag Dazed & Confused described him as “One of the freshest talents to have emerged out of hip-hop's leftfield in the last five years.”  And The Source added, “Ohmega takes it back to when it was only about beats and rhymes, when Jam Master Jay was more than a memory and the culture had harmony."

Since recording The Find he has appeared on records by Galactic, Shawn Lee, Quantic, Connie Price and the Keystones, and Australian act The Bamboos.

On Watts Happening there’s a handful of party-pleasing dance-floor fillers in all different shapes and sizes including the hard-hitting Afrobeat drum-powered “The Platypus Strut” which was made with a cast of musicians from the red-hot LA funk and soul scene like Miles Tackett on guitar (Breakestra) and Todd Simon on horns and flute (The Lions, Connie Price, Antibalas etc).  The space-funk of “Work For Wealth” featuring fellow-Portland-based musicians Ragen and Barry of Triple Grip, and rap cuts like “Eyes and Ears” and “Triple Double” will also keep the DJs happy.  There are also mellow or thought-provoking tunes like “No Delay,” inspired by the movies Born Into Brothels and Boys of Baraka, “Found” addressing a Watts’ religious transformations and “Gone With The Wind” which opens with a tasty jazz drum lick.

+ CD includes a vocal AND an instrumental disc.

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Disc 1:

01. What's It Worth

02. Triple Double Feat. Theory Hazit

03. No Delay Feat. Surreal of the Sound Providers

04. Shorty Shouts

05. Model Citizen

06. Few and Far Between

07. Eyes and Ears Feat. Jneiro Jarel of Shape of Broad Minds

08. Roc the Bells Feat. Lightheaded

09. Adaptacao Feat. Tita Lima

10. Saywhayusay / Teaspoon Of Sugar

11. Are You Satisfied Feat. Sugar Pie DeSanto

12. Dedicated

13. Memory Lane Feat. Genahral Victor

14. Found / Clap
15. Work for Wealth Feat. Ragen Fykes and Barry Hampton of Triple Grip

16. The Platypus Strut

17. Freak Out

18. Gone with the Wind

Disc 2 (Instrumentals):

01. What's It Worth

02. Triple Double

03. No Delay 

04. Shorty Shouts

05. Model Citizen

06. Few and Far Between

07. Eyes and Ears 

08. Roc the Bells 

09. Adaptacao 

10. Saywhayusay / Teaspoon Of Sugar

11. Are You Satisfied 

12. Dedicated

13. Memory Lane 

14. Found / Clap
15. Work for Wealth
16. The Platypus Strut

17. Freak Out

18. Gone with the Wind


Killion Vaults
Ubiquity (UR276)
Release Date:
September 14, 2010
URCD276 780661127628  x  URLP276 780661127611
One-Sheet:  PDF


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Orgone dropped Cali Fever, their second album for Ubiquity earlier this year. They have also played a ton of dates including Jazz Fest, the High Sierra Festival, been touring with the Roots, and Greyboy Allstars, and opening for bands as varied as Snoop Dogg, Sharon Jones and Gil Scott-Heron. With new management pushing Orgone out to as many dates as they can handle, the band have been selling out of merch on every road trip - so they decided that it was time for a new album for their newfound and rapidly expanding fanbase.

Somehow, amidst their insane schedule they have put together a brand new, exclusive and all-instrumental album for Ubiquity called Killion Vaults.

Showcasing the bands instrumental side the album plays (and looks!) like an old-school “library record” – packed with tunes for movies as yet unmade, and chase-scenes not yet driven. Like every Orgone record it shifts through multiple gears encompassing sly downtempo funk like the Hammond-drenched “Dramatic Times” and “The Interloper,” to bouncing percussion driven joints like “Counting One You” and “Impala,” while “Water Pot Pans” and “Dead Reckoning” add a nice new psychedelic-cinematic dimension to the Orgone sound.

Killion Vaults could easily be mistaken for a rare old collectible release, but as with all Orgone productions they made their blend of live organics as beefy as possible so it’s a great DJ record as much as it is a good listen.

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  01. Dramatic Times
02. The Score
03. Interloper
04. Summer Beat
05. Counting On You
06. Waiting
07. The Big Escape
08. Done Deal
09. Dark Falls

10. K. Irin
11. Sandstorm Pt. 2
12. Dead Reckoning
13. Shopping Spree
14. Impala
15. Cruel Intentions
16. Wanting Wondering
17. Sonny's Lament
18. Faith Keep Rolling

Time Tonight 12''
Ubiquity (UR12270)
Release Date:
June 8, 2010
UR12270 780661127017
One-Sheet:  PDF


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Orgone are back with a new single, including an exclusive extended funky dub mix, as a taster from
their forthcoming Cali Fever album.

“Time Tonight” is a gigantic skanking summertime smash bringing together elements of classic garage, disco and live house in a gritty floor filling jam. And from the Orgone library “The Big Escape” combines the essence of the the bands raw sound and heavy beats with a cinematic spaced out approach, available only on this 12”.

Rising from an ever-growing Los Angeles soulful musical family (members have also played with Connie Price and the Keystones, Breakestra, Dakah, Rhythm Roots Allstars, The Lions, the Simple Citizens, etc) Orgone have spent the last couple of years honing their own sound by gigging non-stop – opening recently for Al Green and Gil Scott-Heron. With a deep-rooted appreciation of funk, soul, afrobeat, and an intimate
understanding of DJ culture, Orgone naturally slide through multiple styles producing dynamic performances and are ready to drop an eclectic album which captures the energy and power of the live sets.

“Cali Fever refers to the vibes and energy coming out of
California, specifically LA,” explains the band. “Coastal
environments breed a certain sound- New Orleans, Brooklyn, the Bay Area, Miami. LA has a sound and a feeling for all of us and that's how we approached this record...it's an amalgamation of the eclectic things we've learned & heard mostly growing up in LA. We aspire to represent where we come from.”

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  A1. Time Tonight
A2. The Big Escape
B1. Time Tonight (Curly Locks Dub Mix)

Cali Fever
Ubiquity (UR271)
Release Date:
June 22, 2010
URCD271 780661127123  x  URLP271 780661127116
One-Sheet:  PDF


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Orgone are back with Cali Fever, their second album for Ubiquity and a giant step from anything they have ever released in the past. This is a band in ascendancy, with more focus and purpose, and gigging like their lives depend on it.

They pull on hard-nosed, stripped-down, New Orleans influences on tracks like “The Last Fool” and “Crazy Queen.” And effortlessly shift gears through more uptempo Afrobeat and Brazilian informed tracks like “Matanza” and summer anthem “It’s Time Tonight.” Unlike previous releases, Cali Fever features all-original compositions, and no covers. With lead singer Fanny Franklin at the helm, the band rip through soul cuts like “Give It Up” and “Overtime” with a wild West Coast flair.

Cali Fever refers to the vibes and energy coming out of California, specifically Los Angeles,” explains the band.  “Coastal environments breed a certain sound, like New Orleans, Brooklyn, the Bay Area, and Miami.  Los Angeles has a sound and a feeling for all of us and that's how we approached this record. It's an amalgamation of the eclectic things we've learned & heard mostly growing up in LA. We aspire to represent where we come from.”

Emerging from an evergreen Los Angeles soulful musical family (band members have also played with Connie Price and the Keystones, Breakestra, Dakah, Rhythm Roots Allstars, The Lions, the Simple Citizens, etc) Orgone released The Killion Floor, their debut album on Ubiquity in 2007. Tracks like “Dialed Up” and “Funky Nassau” established the bands funk and up-tempo soul credibility worldwide, scoring them an Adidas campaign, and tour dates with Little Brother, and backing-band gigs for The Pharcyde, Plantlife (including a BBC performance for Jools Holland), Bun B, Pharoahe Monche, and New Orleans funk legend Eddie Bo.

Despite its warm reception, their debut album got off to a shaky release with management switches and half the band wrapped-up in tour commitments with other acts. Fortunately the core band members (and fans) never gave up on Orgone who spent the last couple of years re-organizing the line-up (now set at 9 pieces), and working on new material. Their gig schedule eventually picked-up steam which also helped them define their sound. With a deep-rooted appreciation of funk, soul, and Afrobeat, Orgone naturally slide through multiple styles both live and on record. And their intimate understanding and appreciation of DJ culture lends a hard, explosive edge to their music.

“While The Killion Floor was a culmination spanning 4 years of recording, and featuring past members of the band, the new record is much more dialed in and immediate,” they explain. “It is a proper representation of what Orgone has developed into, while ascribing to the same vision of honesty & grit we’ve always aimed for.”

Their dynamic live shows, and a huge will to get out and play hard to as many people as possible caught the attention of (concert promoter) Goldenvoice VP David Lefkowitz, who has since taken the band under his wing for management.

Orgone have recently played live on KCRWs Morning Becomes Eclectic, SXSW, and at the New Orleans Jazz Fest. Plus they’ve opened for the likes of Al Green, Gil Scott-Heron, and Sharon Jones, and toured with the Roots, Greyboy Allstars and Groundation. Their ability to get any crowd on its feet is testament to their eclectic outlook on funk and soul. This is not a retro funk-by-numbers band simply re-hashing the past. Cali Fever is the evolution of a band dedicated to bringing tight, tough and honest get-on-your-feet unpretentious funk and soul music.

Orgone is: Niki J Crawford, Dan Hastie, Sergio Rios, Stewart Killen, Ethan Phillips, Sean O'Shea, Darren Cardoza, Devin Williams, Joel Bowers. This summer they are booked to play at Bonnaroo, High Sierra and Joshua Tree music festivals, with many more in the pipeline.

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  01. The Last Fool
02. Crazy Queen
03. Give It Up
04. Cali Fever
05. Sandstorm
06. Overtime
07. It's Time Tonight
08. Lookout
09. Matanza

10. The Only One
11. Doing Me Wrong
12. The Cleaner

The Killion Floor
Ubiquity (UR219)
Release Date:
  October 23, 2007
Barcodes:  URLP219:  780661121923 
x  URCD219:  780661121916
One-Sheet:  PDF

I Get Lifted b/w It's What You Do 12''
Ubiquity (UR12213)
Release Date:
  May 8, 2007
Barcodes:  UR12213:  780661121312
One-Sheet:  PDF

The Duck Gravy 7''
Ubiquity (UR7214)
Release Date:
May 8, 2007
Barcodes:  UR7214:  780661121411
One-Sheet:  PDF


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"Sounding much like a cross between The Dap-Kings and Breakestra (with whom they share several members), L.A.’s Orgone keeps the hotness of the recent retro-soul revival coming; former lead singer Fanny Franklin fits in very nicely between Sharon Jones and Amy Winehouse. As befits the band’s name, Orgone’s sound is quite organic, rooted in soul, funk, boogaloo, and jazz, with a classic appeal that’s nevertheless contemporary...the entire album is one non-stop groove. If smooth, soulful funk with jazzy arrangements makes you sweat, you just found your new favorite band."

"By the time the listener gets to the nasty, distorted, finger-popping, ass waggling "Crabby Ali" -- where the deep brewed, second-line New Orleans old-school funk goes head to head with the gloss of L.A.'s Tower of Power styled horn charts -- it feels like the party's just getting started."
- All Music

"Orgone recalls acts like Fela Kuti, Trouble Funk, and War, but with a heavy dose of disco, as on Killion's "Dialed Up," where the deep groove and diva vocals are so authentic, they could be samples."
- The Onion / A.V. Club

"Their music is terrifically unfussy, big slabs of grizzled R&B, greasy as fatback and thick as a very particular kind of smoke. At their best, they recall the majesty of Sly & the Family Stone; opening track "Who Knows Who" is all bleary horns and broken-heart vocals, "It's What You Do" is a tight, itchy jam. There's still a riot goin' on, and Orgone is at the front of the crowd."

"It’s easy to imagine The Killion Floor both igniting mass partying and stoking libidos for more intimate gatherings."
- OC Weekly

"One of the funkiest singles we've heard on Ubiquity Records in years..."
- Dusty Groove
"A real force to be reckoned with on the funk scene..."
- Jazzman
"If this is any indication of how good their album will be we're in for a treat."
- Fat City Records
"These guys are on a roll."
- Turntable Lab
"If you thought disco–real soulful disco–could never come back, think again."

"Chalk up another hit in Ubiquity’s long line of worthy releases.  Just in time for your backyard barbeques and drives to the beach."
Groundlift Magazine

Orgone first appeared on Ubiquity with their cover of “Funky Nassau” (on Rewind Volume 4), which became a ubiquitous DJ fave worldwide. We're now proud to present their first full-length album called The Killion Floor.

The Los-Angeles-based band’s reputation amongst the funk and soul fraternity is backed-up by an impressive and quickly growing resume that is expanding their reach.  This includes landing a spot in an Adidas campaign, touring with major-label crew Little Brother, and going out as backing band for The Pharcyde, Plantlife (including a BBC performance for Jools Holland), Tone Loc, and New Orleans funk legend Eddie Bo at the Hurricane Katrina benefit.  Members of Orgone also feature in the make-up of Ubiquity acts Connie Price and Breakestra and perform regularly at the Root Down in LA.

At the core of the band is a rhythm section comprised of close friends who have played together for over 15 years.  Growing artistically as a unit they function as one organic and intuitive whole and, while they enjoy the comparisons to hot acts of the moment like Amy Winehouse, or funk staples like Sharon Jones or Breakestra, they’re quick to point out that Orgone is unique, “We draw from a wider musical and production palette than a lot of the ‘60’s inspired music that’s making a resurgence,” explains band-member Sean O’Shea.  “It's not intentional; it's simply a reflection of the music and production aesthetics that we love.”  The Killion Floor backs this up by taking the listener on a musical journey from the sound of Los Angeles to horn and percussion driven Lagos, and from a New York club to the raw sounds of New Orleans.

former lead singer Fanny Franklin joined the groups’ recordings after they saw her perform with Dakah, the 30-piece hip hop orchestra.  “We felt she was the best soul singer in town,” says O’Shea. “We asked her to record “Funky Nassau” and that led to us working together regularly.” Franklin delivers monster performances that will surely put an end to her relative obscurity on tracks like the Memphis-drenched “Who Knows Who,” the laid-back and cosmic “Said and Done,” and the apocalyptic sound of “Do Your Thing.” ...  more


“I Get Lifted” is a version of the track Harry Wayne Casey (K.C.) and Richard Finch (later known in life as KC and the Sunshine Band) produced for George McCrae.  Los Angeles vocalist Fanny Franklin shines on vocals riding an irresistible cosmic-flavored tune that settles nicely somewhere between live disco and spacey soul.  Franklin has appeared on recordings by Dakah and sang alongside Macy Gray.  She is the de-facto Orgone vocalist to appear on tours and as the main vocalist on the upcoming album.

On the flip is an instrumental inspired as much by Roy Ayers as Fela Kuti. “It’s What You Do” will appeal to fans of the bands previous recordings like “Hambone” and “Funky Nassau.”


"Duck and Cover" is the hard hitting 7” from Los Angeles hot property Orgone. This funk fiends platter will be available in limited quantity in stores and on European tour dates this May.

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  01. Easin (Introlude)
02. Who Knows Who
03. Sophisticated Honky
04. Do Your Thing
05. A WOT
06. It's What You Do
07. I Get Lifted
08. Hambone
09. Dialed Up
10. Justice League
11. Funky Nassau
12. Lone Ranger
13. Prism Break
14. Said And Done
15. Duck And Cover
16. Crabby Ali
17. Easin (Outrolude)
Digital Bonus: Watch It


A1. I Get Lifted Feat. Fanny Franklin
B1. It's What You Do

A1. Duck And Cover
B1. No More Gravy


Ubiquity (UR239)
Release Date:
January 20, 2009
URCD239 780661123927  x  URLP239 780661123910
One-Sheet:  PDF


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"A celebratory anthem for a time when America is breaking down barriers, Platinum Pied Pipers' "Abundance" nicely reflects an era marked by both unease and opportunity."
"On A Cloud is Motown 2009 with just enough throwback appeal to make your parents step in approval, but not without losing a present-day knock that makes this one head-nod essential."
- Impose Magazine
"This hook-laden collection flows seamlessly"
- Time Out
"Today is the dawn of a new day, and this is your soundtrack. Enjoy it."
- OkayPlayer
"An immediate connection to the pleasure receptors...a multi-dimensional album with no misfires."
- All Music Guide
"Platinum Pied Pipers are apparently not interested in safety. And we should all thank the Hip Hop gods or whatever musical deity you deem appropriate for their abandon."
- HipHopDX.com

Their debut album, Triple P, brought worldwide notoriety to the Detroit-based production crew and their global collective of like-minded edgy-beat makers and soulful collaborators. Abundance marks the arrival of PPP as a band. They have developed a new sound that's even bigger, and an album that’s more dynamic and organic than their first.

"Abundance sums up everything; our growth since Triple P, the love and encouragement to make this record that we’ve gotten from our fans, it means a lot of things," explains band-leader and producer Waajeed. "It picks up where the first left- off. Triple P was a great start, but this sophomore album is on another level.  It's more involved and focused…it's Electro Soul!"

The first single from the album features new vocalist Karma Stewart on an infectious horn-driven Motown-flavored joint called "On a Cloud." The super-soulful gospel-tinged mix is an energetic starting point that exemplifies the new PPP. This first single will feature another cut from the forthcoming album along with a remix by San Francisco Bay Area producer Trackademicks, a member of the Honor Roll production crew who have been moving heads and dance floors with mixes and music for the likes of J*Davey, Phonte, and Josie Stingray.

While Triple P had a helping hand from an eclectic selection of peers like Dilla (R.I.P.), Steve Spacek, SRCP, and Invincible, it also launched the solo careers of previously-unknown vocalists Georgia Anne Muldrow and Tiombe Lockhart. Abundance has a much slimmer guest list and shines the spotlight on amazing new talents Coultrain, Karma, and Jamila Raegan. Rather than repeat the successful formula of Triple P, PPP would prefer to progress and develop with new conspirators to keep proceedings fresh. "Coultrain brings the substance and ‘the cool’; it's rare to find a talented male vocalist who actually has something to say.  Karma brings the power and fire; it's amazing she's not been discovered before. Jamila brings style with her unique tone.  Together it’s a winning combo.  It’s like Marvin, Aretha, and Diana!" jokes Waajeed.

Since the release of Triple P, Waajeed and production partner Saadiq moved from Detroit to Brooklyn. And while Brooklyn-life may have changed their sound, it's also made them appreciate their Motor City roots which are audible throughout the album, the majority of which was mixed in Detroit by Grammy award winning engineer Todd Fairall. From the Motown vibe of “On a Cloud,” to the techno-influenced “Rocket Science," Detroit is evident throughout. Another big change for the group was the shortening of their name from Platinum Pied Pipers to PPP. This was a result of legal pressure from a singing-group established in the 1930s called the Pied Pipers. “We took the lawsuit almost as a compliment because it represents our growth from underground status to notoriety,” remarks Waajeed.

During their first album campaign, PPP sold-out tours worldwide, playing high profile performances at the likes of Coachella and Central Park Summer Stage sharing billing with acts like Roy Ayers, Brazilian Girls, and Mark Ronson. Vibe Magazine said the album "Wears it's Detroit badge proudly on a funk-stewed debut that echoes 70s era Steve Wonder," Time Out added that Triple P boasted “Delicious flows and fudge thick beats”, while Entertainment Weekly called the album a “cult soul classic.” PPP’s cover of “50 Ways to Leave Your Lover” was voted one of the songs of the year by listeners to the BBC Radio 1 show Worldwide, hosted by influential tastemaker DJ Gilles Peterson.

Waajeed has remixed artists such as Radiohead, Roy Ayers, and Tony Allen-to name a few.  More recently, he’s been working with Cee-Lo, Mark Ronson protégé Daniel Merriweather, Pharoahe Monch, and John Legend protégé Estelle.

Waajeed is no stranger to those who know their hip-hop. Teaming up with his friend, production guru Jay Dee, in the early 1990s, he helped form Slum Village contributing tracks to their Dirty District compilation on Sequence/Kinetic as well as their critically acclaimed Trinity (Past, Present, and Future) album released on Capitol. He also worked with Jay Dee co-producing on the instant classic, Welcome 2 Detroit (BBE) as well as co-producing songs with Grammy award-wining singer and producer Dwele. Waajeed’s Bling47 label provided the launching pad for The Official Jay Dee Instrumental Series and the first installment of his own BPM instrumental series. Partner Saadiq is a master keyboard, guitar, and bass player, taught by world-renowned songwriter Barrett Strong (who worked with Marvin Gaye).

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  01. Angel
02. Smoking Mirrors
03. On A Cloud
04. Luv Affair
05. Go, Go, Go
06. Sanctuary
07. Ain't No Ifs Or Maybes
08. Pigeon Hole
09. Lovers And Haters
10. The Ghost Of Aveiro
11. Countless Excuses

12. American Pimp
13. Dirty Secrets
14. Rocket Science
15. Goodbye

On A Cloud 12''
Ubiquity (UR234)
Release Date:
July 8, 2008
UR12234 780661123415
One-Sheet:  PDF


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The first single from the upcoming PPP album features new vocalist Karma Stewart on an infectious horn-driven Motown-flavored joint called "On a Cloud." The super-soulful gospel-tinged mix is an energetic starting point that represents the new and bigger sound of PPP. As a bonus, that track is remixed by San Francisco Bay Area producer Trackademicks, a member of the Honor Roll production crew who have been moving heads and dance floors with mixes and music for the likes of J*Davey, Phonte, and Josie Stingray that blur the lines between hip hop, soul, electro and techno. On the flip is “Angel,” featuring vocalist Coultrain, that also draws on PPPs Detroit roots, but this time it’s the cosmic-rock of Funkadelic that provides inspiration.

PPP recently announced a round of live dates during the summer of 2008 at which they will perform brand new music from their forthcoming album, Abundance. Expect new tracks, and new faces, and most of all, a celebration. To be released on Ubiquity Records in October 2008, the Abundance album will be preempted by singles through the summer. Their debut album, Triple P, brought worldwide notoriety to the Detroit-based production crew and their global collective of like-minded edgy-beat makers and soulful collaborators. Abundance marks the arrival of PPP as a band. They have developed a new sound that's even bigger, and an album that’s more dynamic and organic than their first.

"Abundance sums up everything; our growth since Triple P, the love and encouragement to make this record that we’ve gotten from our fans, it means a lot of things," explains band-leader and producer Waajeed. "It picks up where the first left- off. Triple P was a great start, but this sophomore album is on another level. It's more involved and focused … it's Electro Soul!"

Since the release of Triple P, Waajeed and production partner Saadiq moved from Detroit to Brooklyn. And while Brooklyn-life may have changed their sound, it's also made them appreciate their Motor City roots which
are audible throughout the album, the majority of which was mixed in Detroit by Grammy award winning engineer Todd Fairall.

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  A1. On A Cloud Feat. Karma
A2. On A Cloud (Instrumental)
B1. On A Cloud (Trackademicks Remix)
B2. Angel Feat. Coultrain
B3. Angel (Instrumental)

And He Just Pointed To The Sky...
Ubiquity Records (UR211)
Release Date:
April 24, 2007
Barcodes: URCD211:  780661121121
One-Sheet: PDF


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"Many of the disc's tracks are instrumental: They're ghosts waiting to inhabit the plotlines of a movie by David Lynch or Alan Ball. It's a lullaby of an album that helps affirm just how bizarre and beautiful life is."
- NPR, National Public Radio

“Peder has found time to make one of the most engrossing cinematic albums of recent memory. Kicking off with the sinister Amon Tobin-esque "Ache", it proceeds to spend the rest of its 56 minutes moving from melancholic death jazz to haunting Delta gospel. Astounding. ”
- Dazed & Confused

“He's created a dark and brooding beast full of horror-movie pianos and stabbing percussive thrusts...within this quest he managed to create one of the greatest singles of the past decade.  'The Sour'...is a jazz gospel gem proving that a part can equal, and indeed surpass, the sum of the whole.”

“Give it a good listen and prepare to be amazed. Crate diggers, soundtrack collectors and just lovers of great quality music take note – Peder’s pulled out all the stops to bring you something beautiful...”
- Boomkat.com

"Extremely charming, abundant with subtleness and grace in the sounds and stillness...an album to purchase if you appreciate music with depth."
- Fly, Global Music Culture

has spent too much time in front of his computer screen. Despite working multiple careers that include acting (he has acted in an Emmy Award winning TV show and has appeared in Dogme films), childrens radio show host, DJ (nominated for best Danish hip hop DJ), professional photographer, producer of a Platinum-selling comedy album, and recently becoming a father, he knew it was time to record an album with a new perspective. 

As an award winning producer and member of the hip hop production team The Prunes, he has produced, remixed and released a long list of somebodys including the Beastie Boys, DJ Krush, The Roots, and DJ Vadim for labels like Mo’ Wax and Grand Royal. The computer has served him well. But after reading an interview with Rick Rubin, Peder decided to follow the super producer’s lead, and close his eyes and listen instead of looking at the screen. “When you produce music using a computer there’s a risk that your work methods become visual, meaning you look at a screen and try whatever usually works instead of listening," says Peder, "and that’s not what music is about.”

The Rubin intervention led to the album “And He Just Pointed To The Sky.” It’s a very different piece of music for both artist and label. It’s slow, dark, cinematic, soulful and it demands your attention. This is party music for ghosts, Twin Peaks tunes for cold winter nights, and disturbingly eerie and creaky sounds for your iPod. Imagine subtle Hip Hop production on Tom Waits or Nina Simone with Nordic Psalms for extra flavor and you’re getting a little closer to what this album is about. Partly an instrumental record (including a collaboration with Shawn Lee), “And He Just Pointed To The Sky” also features vocalists like Bay Area soul man Nino Moschella, New York based gospel singer Dean Bowman, Danish singers Ane Trolle and Joy Morgan.

Has Peder, the man who was a catalyst at the beginning of the trip hop era and has since produced a massive amount of Hip Hop, grown up, gone mad, or simply lost the plot?

“Producers of hip hop music or any type of music that involves looking at a computer screen will empathize with me!” says Peder. “The album is not a reflection of my mental status, I feel absolutely great. I just love when music, film and art in general takes you and your imagination somewhere else.”

So please, sit back and crank up the gothic, crackly, theatrical, beaten up, and slightly grown-up sound of Peder.

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  01. Ache
02. The Sour Feat. Dean Bowman
03. Botan
04. Would You Feat. Nino Moschella
05. Void
06. Timetakesthetimetimetakes
07. White Lilies Feat. Ane Trolle
08. Ploy Sexy
09. With A Great Feeling...
10. Numb Cinema
11. Klart
12. Nothing Feat. Joy Morgan
13. Conserva

Radio Citizen
Hope and Despair
Ubiquity (UR279)
Release Date:
October 19, 2010
URCD279 780661127925  x  URLP279 780661127918
One-Sheet:  PDF


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Photo credit:
Martin Baumgärtner

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  Four years have passed since the release of Berlin Serengeti, the debut album from producer Niko Schabel and friends, aka Radio Citizen. His first album was an all-out assault of electronic music armed with organic tentacles that reached far into an eclectic bag of rough jazz and worldly funk. It not only caught the ears of tastemaker DJs and press (“It leaps dozens of genres in a single bound, digs up all those old sounds I love, fits them together, and erects a temple to pop's melting pot” - PITCHFORK) but also wound up in movies and TV shows as varied as Grey's Anatomy, Californication, and this summer’s blockbuster Takers.

Schabel creates music that balances being accessible and exciting by way of his ability to blend the electronic with the organic. On Berlin Serengeti he seamlessly glued-together a loose collage of sampled textures and embellished them with gifted musicians and vocalists. On Hope and Despair he takes an even headier blend of raucous live instrumentation and works it into gritty songs and walls of sound with deft mixing and subtle studio trickery all rooted by heavyweight bass lines. His mass ensemble of musical friends often performs together in the Radio Citizen live show that developed after the release of the first album. Their unified musical prowess is reflected in the soloing, the harmonies, and all the interactions, that lift Hope and Despair above its predecessor.

“Hope and Despair has many more layers of sound, there's more to discover,” says Schabel. “If the Berlin Serengeti album was 8mm, Hope and Despair is cinemascope. It’s heavier, with more space and deepness.”

The album launches at full force on the first track, “Test Me.” Jagged strings provide a tense backdrop for special guest Ursula Rucker to strut her stuff. On “Home,” “Midnight” and “Skyscapers” Schabel furthers his Berlin Serengeti experiments forging indestructible genre (and speaker) busting joints that ride the line between hip hop, dub and jazz. On “Hope” and “Stop or Go” Bajka adds her unique dusty vocal flow to the busted beats. She also wrote the music and lyrics to “Summer Days,” the more organic and live track of her three appearances. On “Move” and “Thema” Schabel balances Afro-Cuban rhythm with big band backing, the latter taking off with a pull-no-punches rhodes solo. “Last Exit” is a piece of cinematic jazz just waiting for the right movie to happen. The sound, at times, is like an orchestra in the style of The Art Ensemble of Chicago or Sun Ra’s Arkestra with huge wind sections or multiple percussionists driving the listener on a whirlwind tour through African rhythms, Ethiopique-stewed funk, and film-noir jazz. The bitter blue sound of “World” recalls vintage Archie Shepp (circa Attica Blues) with Schabel interjecting only brief moments of respite from the chaotic walls of horns and piano.

“Julian Waiblinger (drums) and Wolfi Schlick (flute and sax) have really come into their own. Klaus Janek brought beautiful double bass lines to the table.The piano players (Jo Junghanns, Antonis Anissegos and Marja Burchard) have great features. Playing a lot live and improvising (with Radio Citizen, Niko Schabel Quartet, the Express Brass Band and other bands) has been a good schooling,” explains Schabel. “And working in the studio forces one to really know what you want to do and exercise it both with precision and intuition,” he adds.
For Hope And Despair Schabel made thousands of drafts, piecing together countless recording sessions, and spending long hours spent editing and listening for the right moments and sounds.

“The title works on different levels. It’s definitely about the process of producing this album which took so long I needed much endurance,” explains Schabel.” But it also refers to the global-political situation of the last ten years which really provided enough reason for despair but also some for hope. Then, there's the music business…” he adds.

The four years between records was not spent entirely in the studio or touring. Schabel also knocked out a complete soundtrack for the movie “Football Under Cover,” (an award winning indie-flick about an amateur female soccer team from Berlin that goes on a nerve-wracking journey to play the first female soccer match in the history of Iran) in addition to making music for many small movies, engineering, and producing for other bands.

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  01. Test Me (feat. Ursula Rucker)
02. Skyscrapers
03. Summer Days (feat. Bajka)
04. World
05. Isarwellen
06. Hope (feat. Bajka)
07. Home
08. Therma
09. Move

10. Stop Or Go (feat. Bajka)
11. Last Exit
12. Midnight

The Old One, Two 12''
Luv N' Haight (LH12054)
Release Date:
  September 11, 2007
Barcodes:  780661005414
One-Sheet:  PDF


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"Top 10 /// August 2007"
Spine Magazine

"The Roy Ayers produced group see the light of day again as two previously undiscovered gems rise to the surface.  Punchy soul jazz at its best, as you would expect from the Ubiquity camp."
DJ Magazine

"When things git too damn fonky over at Ubiquity, thier sister label, Luv N' Haight, is all to glad to take up the throwback slack ... RAMP is set to give yall a taste of what's really good ..."

Ubiquity Records is delighted to be able to release two previously unreleased tracks by legendary 1970s soul act RAMP!  Both produced by vibes-master Roy Ayers post-release of their 1977 classic 'Come Into Knowledge' album.  These are not new recordings, these are vintage RAMP.  Two tracks previously unheard but rescued recently from a demo the band recorded on cassette.  Newly mastered, eq'd and now ready to rumble.  This single will be available on limited vinyl and as a digital download only.

"The Old One, Two" is a cover of a Roy Ayers track (written by Ayers, William Allen and Edwin Birdsong and originally released on the Roy Ayers album 'A Tear To A Smile'.)  The RAMP version is punchier than the Roy Ayers release.  Powered by a nasty bass line the tune transcends music eras sounding just as contemporary as it did in 1977 and is destined to be a DJ favorite.  On the flipside is the boogie tune "Paint Me Any Color," also written and produced by Roy Ayers but never recorded by anyone else.  These Roy Ayers productions foreshadowed his classic releases to come on the Uno Melodic label from acts like The Eighties Ladies and Ethel Beatty.

For a long time RAMP were one of modern soul music’s biggest mysteries.  What did RAMP mean? (FYI - Roy Ayers Master Production is the answer), How come their album is so damn hard to find?  Why no second album?  What was the relationship with Roy Ayers?  But heavily sampled (most notably on A Tribe Called Quest’s “Bonita Applebum”) and much adored for their sublime version of "Everybody Loves The Sunshine" RAMP maintained a musical presence despite a lack of music and info.  Ubiquity will spill the beans for all online, close to the release date.

Finally RAMP fans are enjoying a long overdue year of revival.  The 1977 RAMP album 'Come Into Knowledge' was recently re-issued in Japan, Wax Poetics magazine have an awesome 5-page piece on the band in their current issue and by way of inclusion on the forthcoming Gilles Peterson Digs America II, this upcoming single, Ubiquity Records will unleash two previously unreleased Ramp tracks this Fall!

Due to renewed RAMP fever the re-united band have scored new shows including an appearance at Central Park SummerStage, New York City w/DJ Spinna.

Watch a recent performance of "Daylight," live in London, at YouTube.

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  A1. The Old One, Two
B1. Paint Me Any Color

Jimi Tenor & Kabu Kabu
Ubiquity Records x Sähkö Recordings (UR210)
Release Date:
  April 24, 2007
Barcodes:  URLP186:  780661121012 
x  URCD186:  780661121025
One-Sheet:  PDF


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"This laid-back LP, a collaboration between the Finnish jazzman and a trio of West African musicians, will warm even the coldest heart with the prospect of summer. Similar in tone to Sun Ra at his spaciest and Fela at his funkiest, it's amazing how they managed to create such a sizzline platter in the icy environs of Helsinki."
Dazed & Confused

"Tenor and Kabu Kabu's unlikely conflation of tropical and cool aesthetics results in a distinctive party-centric disc that could be equally effective at a United Nations soiree or a swinging bachelor-pad seduction scene."

Joystone is the latest musical excursion by the ever-inventive arranger, composer and musician Jimi Tenor.  On Joystone the super-eccentric Finn teams up with Kabu Kabu, a trio of West-African musicians and ex-Fela Kuti sidemen lead by Nicholas Addo Nettey.  The result is an exceptionally unique and inspired album that joins the dots between dance music, Afro-beat, funk, and pop.

Despite it’s cosmic overtones, Joystone was conceived in Tenor's tiny garage in the city of Lahti in Finland and recorded, mixed and produced entirely by Didier Selin in Helsinki.  Selin is the mastermind behind the award winning 2006 album Keep Reachin' Up by Tenor’s wife Nicole Willis And The Soul Investigators.  Adding spice are the leading players in the budding Finnish jazz scene including trumpeter Jukka Eskola and saxophonist Timo Lassy.  The resulting mash of Scandinavian jazz and polyrhythmic Afro-Beat and Funk is reminiscent of legendary Euro-eccentrics Marc Moulin and Placebo.  However, it is Tenor’s captivating melodies, quirky humor, and genre-defying playfulness that are at the forefront of Joystone.

On “Sunrise”, for which there is a video of Tenor and band running around a forest, he murmurs his sources of inspiration: “Sunrise oh sunrise, my favorite time of the day. I wake up, make some coffee.  Look at the garden and start making some music.  Everyday pretty much the same, and yet so different.” “Hermetic Man” is classic Tenor with loping melodic passages and subtle hints of 1970’s prog jazz.  The sly spacey funk of “Smoking” contrasts the playful uptempo “I Wanna Hook Up With You”, and the album closes with “Dede”, a cinematic 7-minute opus showcasing the halkofon, a one-of-a-kind instrument invented and built by Tenor from sticks of wood used to heat up the Finnish sauna.

Jimi Tenor, was born as Lassi Lehto.  His band Jimi Tenor & His Shamans released it’s first album in 1988, with Tenor’s first solo album dropping in 1994 and delivering "Take Me Baby," his first big hit. He has released albums on Sähkö Recordings, Warp Records and the Kitty-Yo label.  He has recorded with a 55-piece Polish Orchestra and most recently appeared on the “Keep Reachin’ Up” album for his wife Nicole Willis.  Curiously he has been called the “Elton John of jazz” and the “Barry White of Finland,” but we like to think of this mad musical genius, having fun while searching for the missing link between Sun Ra and Fela Kuti.  Joystone finds Jimi Tenor reuniting with the legendary Sähkö Recordings, the label that kickstarted his career back in 1994, and releasing through Ubiquity in North America, the UK, Australia and New Zealand.

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  01. Anywhere, Anytime
02. Green Grass
03. I Wanna Hook Up With You
04. Hot Baby
05. Bedroom Eyes
06. Hermetic Man
07. Love Is The Only God
08. Ariane
09. Smoking
10. Horror Water
11. Sunrise
12. Dede

Pains Of Love
Luv N'Haight (LH060)
Release Date:
May 11, 2010
LHCD060 780661006022  x  LHLP060 780661006015
One-Sheet:  PDF


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In 1986, five years after the release of his first album, Lawrence Ross returned with a new Twilight record called Pains of Love. Taking the experience and proceeds from his debut, Still Loving You, Ross spent a few years building himself a studio, and added engineering to his list of skills as a multi-instrumentalist. He was also mentored by Grover Washington Jr. having met him backstage at the Circle Star Theater. Mouthpiece in-hand Ross played one of Washington Jr.s songs using the stars’ saxophone. “When you’re young you have no fear,” says Ross. “That's because you are insane!” he jokes. “He loved it and gave me his phone number to call and play for him on the phone and he would tell me what I needed to improve upon.” Most importantly, the real reason for the 5 year gap between albums was that Ross had become a father, twice.

While his first LP was recorded in a unique way, with Ross single-handedly creating the appearance of a band, he hoped to make his next recordings with the help of musicians. Lightening the burden of putting an entire album together would make the process more enjoyable and rewarding. However, that’s not what happened.

Pains of Love began as a demo for Smith and Wesan (not, Smith and Wessun, the rap group that followed a decade or so later.)  Their manager was Paul Mack Jr., promotions man for Atlantic, also manager for the Perfect Circle. He had heard “Scorppittiarus”, from Still In Love when it was released, and had helped facilitate some serious airplay on San Francisco station KBLX. He contacted Ross to create tunes that Smith and Wessun could use as demo tracks for Atlantic. Ross recorded “You Look So Good”, “Give All My Love”,” Pains of Love” and the beginnings of “You’re In Love”  at Likewise Studio in Oakland as 1983 became 1984. There he was aided by musicians from Bill Summers group Summers Heat. They were under major label exclusive contracts at the time, and their work was strictly “off the record.” Mack took the three finished tracks to Atlantic who liked them and wanted to sign Smith and Wesan to a contract. However, on the day of the signing, a soap opera-style scenario unfolded and an unfortunate love triangle killed the Atlantic deal idea.

Liking the way the first three tracks came out he was determined not to let them go to waste. Ross took them back to his own studio in Vallejo and remixed them. He set about finishing the half-done “You’re In Love”, while fleshing out the rest of an album. At the time he admired how Quincy Jones produced (especially on The Dude), and wanted to use some of his techniques.

A quick glance at the album credits, and a flick through the synth-heavy tracks, shows that this record was made with even less musicians and instruments than the first. Switching organic live instrumentation for electronics, Ross created a monster soulful boogie album that sounds like an underground counterpart to bands popular bands from the time like Loose Ends, Mtume, or Cameo. Now that he had his own studio, and more time to make a better quality record, it seems like an odd choice to replace the layers of instrumentation heard on his debut, with a handful of synths. But a new model of the Prophet 5 keyboard (a staple of all synthesized music from the 1980s) had just been released and Ross loved the way it sounded. The purchase of the Prophet 5 alone pushed the cost of this album beyond that of his debut, but it allowed Ross to experiment with futuristic sounds.

Outside of teaching himself to program the Prophet 5, Ross wanted to polish-up his song writing abilities on Pains of Love. “All the songs are about love because I wanted to get into telling a story. So I focused on writing and singing about relationships, etc, as opposed to concentrating so heavily on the music.”

Ross wishes he would have taken more time to bring the other tracks to what he considers the same level as the first three. But he burned out on the learning curve of the keyboards, and producing, songwriting, and engineering the entire album. Instead of working with a group he had once again taken on the process of making an entire album. He was mentally spent and had to take some time off from music for a while. He pressed less copies of Pains of Love (than of Still Loving You,)and the album did not reach as wide an audience as his debut, “through lack of promotion and distribution,” he explains. With a young son and daughter, born in 81 and 82 respectively, Ross would like to have put more into the album but didn’t want to take time from his family.

Nowadays Ross still plays, and his studio is packed with the vintage keyboards heard on his first two records. “I still have them all and I think I know my way around the studio better now,” he says. “I think I’m at my peak now on sax and synths. I never stopped, I practice every day and never considered giving up.” He is currently working on new tracks. “There will be a third Twilight album with the energy and wholeness of the first together with the quality and sophistication of the second. I have a large list of originals I have made throughout the years.”

Look out for the companion Twilight album, Still Loving You, released in 1981 and also available on Luv N’Haight.

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  01. Dance With Me
02. Find Someone Else
03. I Wonder Who
04. You Look So Good
05. You're In Love
06. Never Want To See You Low
07. Give All My Love
08. Love From You
09. Pains Of Love

Still Loving You
Luv N'Haight (LH059)
Release Date:
May 11, 2010
LHCD059 780661005926  x  LHLP059 780661005919
One-Sheet:  PDF


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Still Loving You, by Twilight, was originally released in 1981. Housed in a low-fi generic album cover, this very polished, professionally produced record sounds like it was made by a super talented band. Strains of Earth Wind and Fire, George Duke and Roy Ayers, flow through a collection of tunes that effortlessly blend soul, disco, funk, Latin and Brazilian vibes. But looks, as evident with the LP cover, can be deceptive. Twilight was not a band. In fact, with the exception of a guest horn section and one guest vocal, Twilight was, and still is, Lawrence Ross; one man with a clear vision of what his music should sound like, and how he would make it on his own.

He began playing clarinet at age nine. His father loved music and would play an eclectic selection of records loudly all day long; Frank Sinatra, Louis Armstrong, Bing Crosby, Ray Charles. “I was the first in my family to be bit by his musical bug, the scope of his taste was incredible,” says Ross. “He was creating a monster!” The paternal musical-schooling led Ross to soak-up all the tunes TV and Radio had to offer at the time. “Danny Kaye, Dean Martin, The Beatles, The Rolling Stones, and Motown; I would memorize songs after playing them once, and then I would improvise on them at school band rehearsals and drive the teachers nuts,” he recalls. In the early 1970s, while still in High School, Ross played in a Vallejo-based band called The Establishment. They were friendly rivals with another local band called Project Soul (whose only 7” single was re-issued on the Luv N’Haight Bay Area Funk Vol. II compilation). The acts often played on the same bill or play tandem nights to the same crowds at the same clubs. A decade later Project Soul had morphed into Confunkshun, and Ross had started writing and conceptualizing the Twilight album.

Working the nightshift at General Mills, Ross was a Head shift packer at a flour mill where, in the twilight hours, there was enough quiet time to create songs. He estimates it took him about a year to write the album, but recording only took a week. Able to get by with only 3 hours sleep he recorded Still Loving You in a seven-day stretch between 10am and 11am every morning, just a few hours after finishing work. Ross showed-up to the studio with a master plan to make a record as he heard it in his head, by playing everything himself. “I laid out a tick track from begin to end on the first day,” he explains. “Then I went in and laid down the bass on the next day, and then drums, and then keyboards etc, with each process taking one hour of studio time each day.”

This very methodical process was also economical and the entire album only cost $1200 to make. But making the music sound natural, like a band had played it, was a challenge. “It’s difficult to keep the meter/timing exactly right when you are duplicating yourself 7 or 8 times. But I did it that way because I could, and it was the only way to record the album the way I wanted to hear it,” says Ross.

As a well-rounded musician Ross was able to play many instruments but often found his role restricted to saxophone and woodwinds when performing in bands. “I would try to get musicians to play instruments or parts a certain way, but often times I’d just get frustrated. So I’d go buy the instrument and learn how to play it myself!” he explains. “Recording the way was the only way to get what I intended, and there was no stepping on peoples toes because it was all me.”

In addition to making the album by himself, Ross also knew he wanted a record that didn’t sound like any others. Bored with what he perceived as a mass music market full of formulaic releases Ross wanted Twilight to shake up the norm. He liked all styles of music, admiring everyone from the Bee Gees to Steely Dan, the Doobie Brothers, and Michael McDonald, all whom he considers tune-smiths. He didn’t want to be held back by the restraints major labels seemed to be placing on their prized artists. “If you have a great musician on your label why not let/push them do everything they can do?” says Ross. “Donna Summer did great disco, but why not let her include an opera song on an album?” Rather than produce a tidy record that fit well with a certain crowd, Still Loving You packs many different styles.

The track that ended up as close to the sound Ross had hoped for was “Scorpittiarus.” Coincidentally it was the track that gathered most attention. Thanks to the promotional efforts of Paul Mack Jr., a friend of Ross and a PR man for Atlantic (also manager for the Bay Area funk band Perfect Circle), the song aired all over the San Francisco Bay Area on KBLX radio. At the height of its popularity “Scorpittiarus” was in rotation for 9 plays a day. Such support caused Leopolds, the Oakland-based exclusive distributor of Still Loving You, to sell out of the album in one week. Ross received calls and enquiries about the song from around the world. “Many people thought Twilight was some sort of Latin band when they heard that track,” laughs Ross. He was even contacted by CBS who wanted to use the song for The Love Boat, yes The Love Boat. Ross was into the idea but wanted CBS to list his name in the credits because he wanted to get established as a composer. He even turned down a six-figure buy-out in lieu of getting the credit. But CBS refused and ties were cut. “I would take the money now, but at the time I just wanted to get my name out there,” jokes Ross.

The album ends with “Love’s High”, a short track with unusual arrangement that lands somewhere between Shuggie Otis and Yesterdays New Quintet. Starting out with a scattershot bossa beat the song quickly changes into a ballad-like piece with synthesizer strings and a catchy vocal hook that is unexpectedly backed with a jazz-heavy soprano sax solo. “I only had enough time for a tiny track at the end – this was a last minute thing, created during the course of the week. It was the most spontaneous of the batch,” he explains.

Ross was happy with the album; it sounded like it was made by the group he’d wanted to create. Despite being pleased with conquering the process and the end-product, he says that he would not do it again. “No! Not with what I’ve learned now. And I’m not sure if people would like it if I remade the record anyway.” But he’s thrilled to know that the Twilight albums have become collectible items (reaching prices in excess of $500) and that there is a resurgence of interest. “I am surprised and not sure what to think of it. It was the furthest thing from my mind especially when you think about everything else that is popular. I guess I’m lucky I’m still around to witness it!”

While Ross played almost every instrument on the album, there were a handful of guest musicians that Ross handpicked. On trumpet was Marvin McFadden, who Ross met by way of life-long friend and bass player William McCleod. McFadden lived a few blocks from McCleod and said he could always hear him screaming in the high register on his horn. McFadden was being taught, at the time, by Mic Gillette of Tower of Power and now performs with Huey Lewis and the News. Years before Twilight, Ross used to check out Jonathan Pryor in his Soul Institution group and knew he wanted him to be part of the horn section. Ross heard Ken Morasci playing at work.  “He was on a swing shift one night when I came in early. I heard a trumpet screaming from the seventh floor. He never recorded before or played in a group, but just loved to play is horn every now and then,” says Ross. Trombone players Edward Rillera and Carl Lovio were both referrals from friends. Soprano and tenor saxes were played by James Ingram (not the "Yah Mo B There" James Ingram) who was trained by John Handy and another life-long friend from Jr. High School. Singing on one track was Tyrone Edger Gooch, “He loved to sing and had an out of this world personality,” says Ross. “He was a Legend around Vallejo.” The liner notes also credit John Duarte on percussion, but in truth he simply assisted with the use of all his equipment if Ross included him on the album credits.

Look out for the companion Twilight album, Pains of Love, released in 1986, and also available on Luv N’Haight.

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  01. Play My Game
02. Just A Kiss Away
03. Give Love A Try
04. Come With Me
05. Scorpittiarus
06. We'll Be Special
07. Still Loving You
08. Love's The Way
09. Straight To The Heart

10. You Know It's Me
11. Love's High

Various Artists
Groove Merchant 20 (14 Selections From Behind The Counter)
Luv N'Haight (LH062)
Release Date:
November 11, 2010
Barcodes:  LHCD062:  780661006220  x  LHLP062:  780661006213
One-Sheet:  PDF


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  20 Years ago the Groove Merchant record store opened its doors on Haight Street in San Francisco. The rare funk, soul and jazz emporium became a mecca for collectors, DJs, music fans and producers.

It was also the birthplace for the Luv N'Haight and Ubiquity Record labels.

To celebrate this anniversary, Groove Merchant Record store owner Chris Veltri is collaborating with Luv N’Haight and has compiled a tasty selection of 14 musical treats that range from soulful disco to dusty funky folk, and beyond. The forthcoming full-length album will be packaged for release on CD, and super limited edition 7 x 7” box set with an exclusive poster by Props/Wax Poetics designer Freddy Anzures.

Liner notes will be by Oliver Wang of Soul-Sides.com, who says, “It’s no surprise that the GM has become far more than a retail space. Especially on weekends, you’re likely to find a small block party of disc junkies in attendance; all you need is a BBQ and lemonade stand on the corner of Haight and Pierce to make the cipher complete.”

With Veltri at the helm, this anniversary compilation takes off into unexpected directions. Whether you’re listening to the cozy soulfulness of April Fulladosa’s folk tune “Sunlit Horizon” and the bouncy, handclap groove of Numonics’ modern soul jammer “You Lied” or the uber-chill, moogy mellowness of September’s stump, the diversity reflects just a sliver of the surprises to be found within the GM’s curated crates. Frankie Gee "Date with the Rain" is a nice funky disco version of the song also covered by Eddie Kendricks (a Dimitri from Paris fave) and Lois Johnson "Be Mine" is an obscure and uplifting Bay Area soul 7" that could be mistaken for something new by Alice Russell.

The point of the album (and the store) isn’t just to be obscure, or to present only super-expensive jams (although many are included.) The point is to put together a compilation that presents the eclectic outlook of a friendly, well-stocked record store, which is run by music enthusiasts. This is a shop where the only “in-store” you’re likely to catch is a conversation about dope psychedelic Korean funk jams, fueled by a pack of Negro Modelos. That free-flowing, easy-going vibe carries over into the selections on this album.

Within a year of opening, the small Groove Merchant record shop had built a reputation the world over as a place to find rare records and learn about new sounds. Within a year of opening, the small Groove Merchant record shop had built a reputation the world over as a place to find rare records and learn about new sounds. Collectors, DJs, and producers came in to look for soul jazz, musical obscurities, and break beats, and the Groove Merchant even earned a toast on the Beastie Boys song "Professor Booty", "This one goes out to my man the Groove Merchant, comin' through with the beats that I've been searchin'," rapped Mike D. on 1992's Check Your Head album. With a few dollars and little knowledge of the record business, the Luv N' Haight record label (named after the Sly and The Family Stone song) was launched from within the store. In 1993 the company incorporated as Ubiquity Recordings releasing an instant hit-record from a then unknown DJ called Greyboy.

Long live the Groove Merchant!

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  01. The McCrary - Emerge
02. Ron Forella - Crystals
03. Twilight - Straight To My Heart
04. Numonics - You Lied
05. Jodesha and Star Ride - The Answer
06. April Fulladosa - Sunlit Horizon
07. Rod Abernethy - Ron and Eddie Blues
08. September - Stump
09. Lois Johnson - Be Mine
10. Frankie Gee - Date With The Rain
11. Round Robin - Our Love Is So True
12. Arthur Foy - Get up and Dance
13. Soul Liberation - Who Is Your Friend
14. Pataphysics - Nick Danger

Various Artists
On A Cloud - Best Of Ubiquity 2009 (Digital Only)
Ubiquity (UR265)
Release Date:
December 1, 2009
One-Sheet:  PDF


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  This digital-download-only compilation features our favorite tracks from the past year, and one exclusive joint from the upcoming Georgia Anne Muldrow album.

In true end-of-the-year-mixtape fashion the album is packed with all-winners, and no filler. Reaching out across genres to bring you reels of only the best, we’ve included the Motown-infused sound of PPP’s “On A Cloud”, the cosmic vibes of SA-RA and NOMO, and Lord Newborn’s uptempo-psychedelia. Continuing the eclectic outernational selection are the futuristic visions of Austrian-based The Clonious and UK remixer Floating Points whose works sit next to the old school sound of Betty Padgett and the heartbreaking dusty soul of Nino Moschella and Fanny Franklin.

This is music from the heart, for good times and tough times, and forever. We hope you dig it, and come back for more in 2010.

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  01. PPP - On A Cloud
02. Bei Bei & Shawn Lee feat. Georgia Anne Muldrow - Make Me Stronger (Floating Points Ensemble Remix)
03. The SA-RA Creative Partners feat. Noni Limar - I Swear
04. Betty Padgett - Sugar Daddy
05. Shawn Lee & Clutchy Hopkins feat. The Superimposers - Root Trees
06. Nino Moschella - What U Do 2 Me
07. Shawn Lee feat. Fanny Franklin - Too Tired To Sleep
08. Clutchy Hopkins and Lord Kenjamin - Riff Raff Rollin
09. Lord Newborn and The Magic Skulls - Disco Loco

10. Blank Blue - Eyes Closed (Nosaj Thing Remix)
11. The Clonious feat. Muhsinah - One At A Time
12. NOMO - Nocturne
13. Georgia Anne Muldrow - Simple Advice*

*Exclusive track, available with full album purchase only.

Various Artists
White Label (Digital Only)
Ubiquity (UR241)
Release Date:
October 21, 2008
One-Sheet:  PDF


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Includes all exclusive previously unreleased tracks, and some mixes that will ONLY be found on this compilation.

We’re releasing these sneaky peeks to highlight upcoming releases and it’s also in conjunction with the forthcoming launch of our new limited edition/high end clothing line called Ubiquity White Label. Just as the Ubiquity White Label clothing line features high-end limited edition clothing and accessories, the White Label compilation will include unreleased and exclusive tracks and mixes. The term
White Label refers back to the days when VIP DJs were given “white label” 12”s prior to the official release of a record, to test-out, spread the word, and hype-up new music.

Heavyweight soulsters SA-RA Creative Partners and PPP drop brand new exclusives from their highly-anticipated upcoming albums penciled in for release in early 2009. Nino Moschella presents a brand new lo-fi funky song from his awesome upcoming album, while the unstoppable Shawn Lee collaborates with both European soul star Nicole Willis (from his forthcoming “Soul In The Hole” soul-tribute album) and Desert-dwelling mad-genius Clutchy Hopkins (from their collaboration album called Clutch of The Tiger). LA-based soul-boy Damon Aaron is set to release his debut Ubiquity album this Fall, and his call for peace, “Better”, is remixed exclusively for this comp by our own Eric Lau.

Our last release of 2009 will be a “best of” Greyboy called 15 Years of West Coast Cool. Featured in the comp are 3 previously unreleased tracks, including a collaboration with Detroit soulcrooner Jeremy Ellis which is included here. Lastly The Lions drop a nasty dubbed out version of “Cumbia Del Leon” from their Jungle Struttin’ album.


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  01. Blank Blue - Sonic What?! (Alt. Take)
02. Nino Moshcella - Lookin' At Your Face
03. PPP - Pigeon Hole
04. SA-RA - Spacefruit
05. Shawn Lee and Clutchy Hopkins - Indian Burn
06. Ohmega Watts - Eyes And Ears (Clutchy Hopkins Remix)
07. Damon Aaron - Better (Eric Lau Remix)
08. Shawn Lee Feat. Nicole Willis - Jigsaw
09. Greyboy Feat. Jeremy Ellis - Color In Between The Lines
10. The Lions - Cumbia Del Leon (Freeformer Toddy T's Psycho Dub)



Various Artists
Choices EP 1
Ubiquity (UREP212)
Release Date:
  April 10, 2007
Barcodes:  UREP212:  780661121213
One-Sheet:  PDF


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"Don't sleep on The Lions...or Connie Price and The Keystones, for some big-band sounds done right."

The brand new Ubiquity EP series features multiple artists, all exclusive tracks - all killer no filler.  Tunes will be one-off collaborations, exclusive mixes, sneak peaks at future Ubiquity albums and new joints collected from artists around the world.  All tunes 100% DJ friendly.  This first EP will debut as a promo at WMC 2007, and will be released just two weeks later.  EPs will be released simultaneously on vinyl, digitally via all the usual channels, with limited edition CD, too  ...  more

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  01. The Lions - Think Feat. Noelle of The Rebirth
02. The Lions - Think (Inst.)
03. Hipster Wonkaz - Jupiter Jam
04. Connie Price & The Keystones - Thundersounds Feat. Percee P
05. Connie Price & The Keystones - Thundersounds (Inst.)
06. Hudson Mohawke - Free Mo

Various Artists
Choices EP 2
Ubiquity (UREP216)
Release Date:
  September 11, 2007
Barcodes:  UREP216:  780661121619
One-Sheet:  PDF


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"Featuring yet more one off’s and exclusives, this latest installment picks up from where the last one left off - in stunning form. Pitching the BPMs right down, 4Lux man Miles Benjamin kicks things off in style with a bubbling, bass heavy piece of slo-mo hip hop. Taking it right back up Ohmega Watts, delivers a direct dancefloor hit with the rowdy Afro-funk of ‘Platypus Strut’. There’s even a Hudson Mohawke remix of Radio City’s ‘The Hop’ to contend with too. Brilliant. 4/5"
DJ Mag

"Crazy future music from the one the call Hudson Mohawke...the world is coming round to this beat...nuts!"
Benji B (1XTRA, Deviation)

"If you want a bit more funk in your life, be on the lookout for Choices Volume 2...Milez Benjiman sounds like what Mos Def would sound like if he grew up in Minneapolis, and there's even a slide nod to Omar in the way he sings in "All The People"
...Ohmega Watts appears here with an incredible hard funk dance jazzy deal called "The Platypus Strut (After School Edit)", which would be suitable in any mix that is flavored with equally funky tracks from Breakin' Bread, Ninja Tune, Jazzman, or Stones Throw..."
Music For America

The Ubiquity Choices EP series features multiple artists, all exclusive tracks - all killer no filler.  Tunes are one-off collaborations, exclusive mixes, sneak peaks at future Ubiquity albums and new joints collected from artists around the world.  All 100% DJ friendly.  This first EP sold out quickly on 12” single.  Volume II will appear in the new Ubiquity 12” jacket, and will also be simultaneously available for download
  ...  more

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  A1. Milez Benjiman - All The People (Vocal)
A2. Milez Benjiman - All The People (Instrumental)
B1. Ohmega Watts - Platypus Strut (Extended Strut)
B2. Radio Citizen - The Hop (Hudson Mohawke Mix)

Various Artists
California Soul II
Luv N' Haight (LH053)
Release Date:
  May 22, 2007
Barcodes:  LHCD053:
 780661005322  x  LHLP053:  780661005315  
One-Sheets:  PDF
Liner Notes:  Word Doc.


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Carmelita and Jerry Pittman
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Professor Benson teaching his students
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Johnny Morrissette and his crew
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Mokie J.J. and R.O.B
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  "A golden state's worth of funky soul from the 60s and 70s - pulled together in a collection that's arguably even better than the first volume in the series! The tracks here are all incredibly solid - tunes that aren't just great because they're rare, but because they perfectly illustrate the hard-hitting groove going on in the California underground...”
- Dusty Groove America

"In this era of Internet omnipotence, where immortality means little and scarcity less, it's both comforting and quaint to imagine there's still great music hidden in dusty basements and lost in record store bins...Compilations such as this one democratize the soul obsessives' sport, and for that we should all be grateful.”
- SF Weekly

“This excellent comp of lesser-known goodies is great from start to finish...10/10 ”
- Montreal Mirror

“Ubiquity Record’s mission to shine some light on all the unsung heroes of soul and funk continued with the release of Super Cool, California Soul II...There’s a taste of just about every side of soul on this comp. ”

“Nothing less than a treasure trove of sunshine-soaked soul.”
- Urban Junkies, London

“(Tracks) so funky that that they will inspire even the whitest man to stand up and shake his ass. ”
- Slug Magazine

“This compilation is subtitled 'raw and rare soul from the West Coast' and that's just what you get.”
- Signal To Noise

“The then-sound of a regional underground, and a soundtrack for subcultures that birthed our leaders of today.”
- East Bay Express

Super Cool California Soul 2 delves deep for its riches...These songs have aged remarkably well while still retaining their period charms.”
- OC Weekly

"What makes Super Cool California Soul 2 so compelling is not the obscurity of these tracks but the organic cohesiveness that holds them together."
- Exclaim! Canada

“The subtle, unmistakable flutter in your chest and overwhelming urge to soul clap will make you feel right at home in a place you may never have been before... Grade: A-”
- Campus Circle

“Providing us with another batch of (highly) sought after underground Cali goodies...it doesn’t get more soulful than this...”
- Beyondjazz

"The real delights are not the rarity of the songs but the uplifting outstanding music which brilliantly chronicles the work of skilled musicians who have not reserved all the plaudits they deserve."
- Fly, Global Music Culture

Super Cool
 is the second volume in our California Soul series and features music recorded between 1966 and 1982.  Spanning eclectic genres from soul jazz, blues, heavy funk, modern soul, Northern soul, and disco, there’s even a ballad (previously unavailable on CD) from Luv N'Haight favorite Darondo

Despite a number of tracks being incredibly rare and highly sought-after, Super Cool was not compiled because of the rare-factor or value of the original releases alone.  More importantly this is a treasure trove of music that connects the dots between artists and scenes, eras and genres, and none of the acts or tracks should not be lost to obscurity.

This is music by artists who may not be household names, but were session musicians, players, and characters who kept the scenes from San Francisco to Los Angeles and beyond alive.  They were the sound of the underground and, far from being a cast of nobodies, artists included on Super Cool have played alongside Fela Kuti and George Clinton.  Members of the bands featured were also integral players in acts like Funkadelic, War, and Sam Cooke's band, there’s even a second cousin to Martin Luther King amidst the line-up!

Rather than concentrate on one sound or scene, the California Soul series is an all-encompassing overview reflecting the eclectic range of soul music to come from the state.  These tracks were pulled from a couple of decades which saw the social and political status quo undergo huge change in America.  The wildly inclusive racial make-up of the population meant that California was an epicenter for that change.  The art and music of the times obviously reflects such influences and it was easy to fill Super Cool with super-fly love songs, righteous shouts for freedom and cosmic flower-powered funk.  While wide in scope the tunes included on this compilation (and Volume 1) can obviously only represent a tiny fraction of the multitude of soulful styles, tunes and artists from California, so enjoy now and hold tight for volume 3!

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01. Gow Do Experience – Compared To What (Main Version)
02. Buddy Conner – Halfway Loving
03. Pat Hunt – Supercool
04. Cal Green – Revolution Rap
05. Mokie JJ & ROB – Beverly
06. Carmelita – Isn’t It Lonely
07. Sy Hightower – I Know You’re Leaving Me
08. Spanky Wilson – Fancy
09. LAPD – Big Herm
10. Johnny Morrisette – I’m Hungry
11. David Glover – We Got To Get It Together
12. HP Riot – I Have Changed
13. Gow Do Experience – Psychedelic Sally
14. Rodney Trotter – Space Nigga’
15. Darondo – Such A Night
16. Gow Do Experience – Compared To What (Bonus Version)


Various Artists
Gilles Peterson Digs America II
Luv N' Haight (LH056)
Release Date:
  September 25, 2007
Barcodes:  LHCD056:  780661005629 
x  LHLP056:  780661005612 
One-Sheets:  PDF
Liner Notes / CD Booklet:  PDF
x Word Doc.


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Photo Credit:
Robin Russell

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"Top 10 /// September 2007"
- Spine Magazine

"Killer Comp!"
- Michael Rütten (Soulsearching, Compost)

This is the second in the Digs series of compilations and, like Volume I, this album was curated by DJ Gilles Peterson.  We’d initially thought Digs would be a series involving different collectors but by popular demand (and because he has more than his fair share of wax) volume two is another collection from the world renowned tastemaker, DJ, and BBC radio host.

Digs America II was compiled with tracks from the famous Brownswood Basement (a version of his radio show dedicated to rare and old tunes, and also the name of the house where his collection is kept) and also includes music bought on a recent visit to the USA and Canada.  Between DJ dates Peterson squeezed in trips to local record stores and while he found plenty of goodies he was also reminded of the demise of the record store.  The best specialty vinyl shops, typically run by a knowledgeable owner, promising a selection of rare, curious, and classic tunes, are sadly vanishing fast.  Village Music, the Mill Valley, California-based record store that provided the backdrop for front and back of this album, will be closed by the time this album is released.  Fingers have been pointed at all kind of reasons for store closures including a lack of new vinyl to keep stores ticking over, Ebay, iTunes, sharing of files, poorly run stores, raised rent etc.  Whatever the reason, the casual trip to your favorite vinyl emporium is quickly becoming much more difficult as stores disappear like endangered species. So here is Gilles Peterson digging and sharing (legally!) to keep quality rarities alive, but searching perhaps at the end of an era…

Included on this compilation are tracks like the ultra rare Mary Lou Williams 45'' “You Know Baby” (and her previously unreleased “Pussy’s In The Well”) alongside other well known artists like a version of “My Favorite Things” from Al Jarreau’s first ever album, a spiritual Jazz piece from piano-great James Tatum and a moody Soul Jazz ballad from Lorez Alexandria.  Soul favorites RAMP are on-board with an unreleased gem that rivals any of the tracks on their much loved “Come Into Knowledge” album, Detroit’s Dee Edwards and little-known Bay Area singer Carrie Cleveland mix a little Northern Soul with a touch of Funk while The Diddys get cosmic and Ray Camacho drops a Latin version of a Brass Construction classic.

Liner notes will include info on all the artists, pictures, scans and words from Mr Peterson.  Gilles Peterson Podcast about this compilation available on iTunes, etc.

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01. Lorez Alexandria - I’m Wishin’
02. Bethlehem Progressive Ensemble - Make Way (Call To Worship)
03. Irene Kral - Goin To California
04. Mary Lou Williams - You Know Baby
05. Carrie Cleveland - Make Love To Me
06. Dee Edwards - Why Can’t There Be Love?
07. RAMP - The Old One, Two
08. The Diddys Feat. Paige Douglas - Intergalactic Love Song
09. Ray Camacho - Movin' On
10. Steve Parks - Sadness In My Samba
11. Gap Mangione - Boys With Toys
12. Reverie - In Every Way
13. DB Shrier - East
14. James Tatum - Introduction/Lord Have Mercy
15. Al Jarreau - My Favorite Things
16. The Love Affair - Never In My Life
17. Mary Lou Williams - Pussy’s In The Well
18. Musicians from the Summer Program for Youthful Musicians - Brougham
LP x Digital Bonus: The Pyramids - Nsorama