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Life Is A Heavy Burden - Ghazals And Poetry From Afghanistan

    Strut present the first compilation of legendary Afghan Ghazal singer Dr. Mohammad Sadiq Fitrat a.k.a. Nashenas, recorded at the Radio Afghanistan Studios and later released on singles by the Royal label in Iran.

    Nashenas first made his move towards music aged 16 in 1951 when he approached Afghanistan’s national radio station, Radio Kabul, with an idea for a broadcast and, impressed with his language skills, they offered him a permanent job. “I was in close contact with some of the big names in Afghan music like Jalil Zaland,” Nashenas explains. “My father had a gramophone and we listened to other singers like Ustad Qasim Khan and Kundan Lal Saigal.” After unsuccessful initial forays into singing sessions for the station, he honed his skills as a writer, singer and musician, playing the harmonium. Inspired by a movie he had seen at the cinema, Nashenas wrote a new poem and sang on air again after the evening news, using the name ‘Nashenas’ (meaning ‘unknown’) for the first time. Following a wave of positive feedback from the public, he was given a new weekend slot and built his reputation through film song interpretations, famous poems set to music and his own compositions sung in Dari and Pashto.

    Nashenas would witness turbulent times as Afghanistan found itself caught up in the Cold War and the early ‘90s civil war until it became too dangerous to stay in the country. Through a friend in the U.N., he was able to seek asylum for himself and his family and take up residence in London, continuing to work as a musician and giving concerts globally.

    Most of Nashenas’ recordings during this period were only made for broadcast, later surfacing on singles through the Royal label in Iran. Life Is A Heavy Burden is compiled from these singles by Chris Menist and Mads Jensen. All tracks are remastered by The Carvery and both formats feature new liner notes including an interview with Nashenas. The album is part of the new United Sounds of Asia series curated by Chris Menist and Maft Sai of Paradise Bangkok.


    1. The Way I Love My Beloved
    2. Your Sorrow Is Killing Me
    3. Flower Had A Thorn
    4. I Am Happy Alone
    5. Life Is A Heavy Burden
    6. O Beloved, The Sorrow Of Your Love Destroyed Me
    7. The Author Of Destiny

    Salah Ragab & The Cairo Jazz Band

    Egyptian Jazz

      Strut present the 1973 Egyptian jazz classic, 'Egypt Strut' by Salah Ragab and Cairo Jazz Band.

      Inspired by a concert in Cairo by Randy Weston in 1967 encouraging PanAfrican unity, drummer Ragab, Eduard “Edu” Vizvari, a Czech jazz musician, and Hartmut Geerken of Goethe Institut vowed to create Egypt's first jazz big band. Following the Arab-Israeli war, Ragab became a Major in the Egyptian army and had unparalleled access to the military's 3000 musicians spanning Upper and Lower Egypt, along with a wide range of instruments. Part of the barracks were christened the Jazz House and, following a crash course in jazz history by Geerken, the Cairo Jazz Band was born, playing their first concert at Ewart Memorial Hall at the American University in 1969. Further inspired by Sun Ra & His Arkestra's first visit to Egypt in 1971, Ragab recorded an album for the Egyptian Ministry Of Culture a year later, entitled ‘Egyptian Jazz’, later released as 'Egypt Strut', a perfect fusion of jazz with Arabic modes with tracks referencing Islamic festivals, Egyptian landmarks and friends and family dear to Ragab. The Wire’s Francis Gooding summarises the album as “esoteric African American Egyptianism and radically spiritualised modal jazz taken up by Ragab as the tool for a form of mystical Egyptian nationalism – a triumphalist military jazz, angled in Ra-like fashion towards the Gods of the New Kingdom.”

      The vinyl album is released in its original Prism Music Unit artwork and is packaged with the original house bag designs. CD version includes extra unreleased tracks and a 24 page booklet featuring unseen photos and extensive liner notes by Francis Gooding (The Wire).


      Side A
      A1. Oriental Mood
      A2. Dawn
      A3. Mervat
      Side B
      B1. Ramadan In Space Time
      B2. Kleopatra
      B3. Neveen

      Strut return to the rich archives of Black Fire Records for the Drum Message album by Ghanaian master percussionist Okyerema Asante from 1977.

      After playing a short spell early in his career with Ebo Taylor’s Blue Monksband at Tip Toe’s in Accra, Asante joined the fledgling Hedzoleh Soundz during the early ‘70s at their Napoleon Club residency in the city. After playing Fela’s Shrine, Fela recommended them to Hugh Masekela as an ideal backing band and Hedzoleh joined Masekela on a US tour in December 1973. Sharing the same management company, Charisma, Asante first met Plunky and Oneness Of Juju during an East coast tour with Masekela, starting a relationship with the band that has endured until today.

      Recorded at Arrest Studios in Washington D.C. in October 1977 and featuring musicians from Oneness alongside Gil Scott Heron cohort Brian Jackson on piano, Drum Message represents an important milestone for Asante: “This album really came from my heart. I wanted to project the African spirit in the music and come out with some unique African jazz. To be able to record it on Black Fire was extra special.” The album also involved some serious physical graft: “The studio was up on the 14th Floor and the elevator was often broken down. I showed up with a van full of African drums and Jimmy Gray from Black Fire and myself had to carry them all the way up there, each day!”

      The resultant album was well worth the sweat. ‘Adowa’ adds jazz arrangements to a traditional Asante rhythm and Oneness classic ‘Follow Me’ is skilfully re-worked (“I used the bass drum in place of the bass guitar so it was all based on rhythms.”). New versions of Asante dancefloor favourite ‘Sabi’ sit alongside the mellow groove of ‘Asante Sana’ (“I wanted something cool like reggae or highlife on that track, a similar vibe. So, I went inbetween.”).


      A1. Drum Message
      A2. Asante Sana
      A3. Follow Me
      B1. Sabi
      B2. Mother Africa
      B3. Never Fly Away From The Funk
      C1. Play A Sweet Rhythm On Them Drums
      C2. Adowa
      C3. Sabi (Black Fire Mix)
      D1. Kazi’s Awakening
      D2. To The Ancestors

      Second LP from Kondi Band whose truly one of a kind sound, which blends percussive thumb piano, electronic production and Kondi himself’s inimitable vocals, finds a home on Strut who seem to be keen to present this enchanting and free spirited individual to the world.

      Following on from their “Salone” album in 2016 and the massive single “Yeanoh”, the new recordings further hone the group’s arresting and ancestral style. The album was gradually recorded over a period of four years with Sorie on the road in Belgium, Spain and Canary Islands with the main production collaboration between Boima in Los Angeles and Will in London.

      Infectious first single “She Doesn’t Love You” features guest vocalist Mariama Jalloh speaking home truths about rejection while future 4/4 dancefloor anthem “It’s God’s World..” features a mighty bassline from prolific L.A. musician / producer Sweatson Klank. “Sweetness Don Don” ramps up the dub and sound system energy while “How Will It Be For Me In This World” sparkles on a bed of electronic textures and kondi lines.

      If you enjoyed Konono No.1 and the ‘congotronics’ scene, the “Shangaan Electro” compilation on Honest Jons and the whole amapiano explosion going on right now – then this should be right your street!

      Mastered at Transition Mastering with package photos by Dominique Fofanah in Sierra Leone and cover design by Lewis Heriz.


      A1. We Famous (intro)
      A2. Don't Follow Sweetness
      A3. Shake Your Tumba
      A4. She Doesn't Love You (feat Mariama)
      A5. It's God's World (feat Sweatson Klank)
      B1. Fatou
      B2. The Sweetness Is Gone
      B3. Everything That Sierra Leone Has
      B4. How Will It Be For Me In This World?
      B5. Got No Money, I Want You

      Theatre West

      Bow To The People

      Strut presents one of the most in-demand and significant albums from the archives of Jimmy Gray’s Black Fire Records, ‘Bow To The People’ (1976) by theatre collective Theatre West, based out of Dayton, Ohio.

      Founder Clarence Young III was a US Air Force Vietnam Vet who had been part of a theatrical troupe entertaining soldiers in 15 countries during his tour. When he returned home in 1969, he started Theatre West in Dayton, Ohio as an outlet for inner city youth to come together and express themselves. At its height, the company involved around 27 members. “Everybody played everything and did everything,” recalls bassist Sigmond Dillard. “We all had to sing, dance and act all the time. If someone messed up, you came in. It was a tight unit and we were constantly helping each other out.”

      “There were so many talented and gifted people in our troupe,” continues Dillard. “Rita Brown went on to New York, starring in the film Disco Godfather during the late ‘70s. Bruce Davis went on to work regularly on Broadway in Chicago, All That Jazz and more. Our Musical Director was Delbert Taylor and he also played with Gil Scott Heron’s Midnight Band and with Slave afterwards in the early ‘80s. Vibes player Ben Wilson and I also played regularly with Gil.”

      Recorded at Arrest studios in Washington in ’76, ‘Bow To The People’ brought together songs from several of Theatre West’s best known plays including Bow To The People, The System and Black Love and unflinchingly explored serious issues around drug addiction, mental health and cultural awareness. “The whole idea of Bow To The People was to honour our black forefathers,” explains Dillard. “It was important to do that for the kids that didn’t know.”

      Shelved following the original recording, the Bow To The People album eventually surfaced on a limited CD on Black Fire in 1993. Now receiving its first full international release, the album features the previously unreleased tracks ‘Man Of Many Means’ and ‘I Don’t Know Much About Love’.


      A1 Searching For Ourselves
      A2. Crossroads
      A3. Bow To The People
      A4. One Little Chance
      B1. Children Of Tomorrow's Dreams
      B2. Black Love
      B3. Big Brother
      C1. No More Junk
      C2. Della Get Down
      C3. I Am A Woman
      C4. I Really Like It
      D1. Puppet
      D2. Man Of Many Means (Previously Unreleased)
      D3. Cool Out Your Mind

      1. Searching For Ourselves
      2. Crossroads
      3. Bow To The People
      4. Black Love
      5. One Little Chance
      6. Big Brother
      7. Children Of Tomorrow's Dreams
      8. No More Junk
      9. Della Get Down
      10.I Am A Woman
      11. I Really Like It
      12. Puppet
      13. Cool Out Your Mind
      14. Man Of Many Means (Previously Unreleased)
      15. I Don't Know Much About Love (Previously Unreleased)

      Patrice Rushen

      Straight From The Heart - 2021 Reissue

      All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

      Strut present the definitive edition of Patrice Rushen’s landmark album from 1982, ‘Straight From The Heart’.

      Recorded during Elektra’s drive for ‘sophisticated dance music’ as many jazz artists created their own arrangements of disco and boogie, the sessions marked a progression for Patrice as she began exploring sonics as much as songwriting. “I was looking at different ways to experiment with the sounds on my records. Synths widened the palette available to us.”

      Singles from the album included ‘Breakout!’, ‘Number One’ and the global hit ‘Forget Me Nots’. “Bassist Freddie Washington played the bassline during a jam at my family’s house. I caught it, we kept messing around with the groove, then I developed the lyrics and chorus. It was just about recognising that moment when it came up.”

      “When I delivered the album to the label, the A&R said, ‘we don’t like anything on here.’ I realised quickly that they would give us no support so producer Charles Mims, myself and Freddie decided to engage a promotion company ourselves to start working the single. Although it took a while to pick up support, it paid off.” The single hit no. 23 on the Billboard Hot 100 in March 1982 and the album became Patrice’s best seller globally from her time with Elektra / Asylum, securing a Grammy nomination. In more recent years, the album has become a regular source for samples in the world of hip hop and R&B. Most famously, Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’ were both based, to varying degrees, on ‘Forget Me Nots’.


      1. Forget Me Nots
      2. I Was Tired Of Being Alone
      3. All We Need
      4. Number One (Instrumental)
      5. Where There Is Love
      6. Breakout!
      7. If Only
      8. Remind Me
      9. (She Will) Take You Down For Love
      10. Forget Me Nots (12” Version)
      11. Breakout! (12” Version)
      12. I Was Tired Of Being Alone (12” Version: F. Byron Clark Remix)
      13. Number One (Instrumental) (12” Version)

      Strut presents the first full international release for another lost classic from the Black Fire Records archives, ‘Southern Energy’, the only album recorded by R’n’B and jazz collective Southern Energy Ensemble in 1977.

      Trumpeter Marvin Daniels had been drafted into the US army in Germany during the mid-‘70s, playing in the military touring band 100% Pure Poison. Upon returning to Virginia State College, he met up with an old friend, saxophonist Al Clarke, and they began to form a new band, pulling together various students from the University including Nat Lee (keys), William “Spike” Johnson (drums and percussion) and Adolphus “Peddie” Maples (percussion and vocals). “As Southern Energy, we started playing the chitlin R’n’B circuit and ended up gigging most weekends at clubs, universities and military bases in Virginia and North and South Carolina,” remembers Daniels.

      After meeting Plunky Branch and Black Fire Records MD and producer, Jimmy Gray at a JuJu gig in Richmond, Virginia, Gray signed the band and they recorded some high energy sessions during 1977. “Southern Energy was tight,” continues Daniels. “We had great musicians and great vocalists in Judy Spears and Garrie Wayne, both vocal majors from Virginia State College. The album was all about positive messages and celebrating real people.” Tracks include the storming dancefloor jazz workout ‘Third House’, the optimistic ballad ‘Looking Ahead’ and the extended funk anthem ‘F-U-N-K-Y ‘Til The Day I Die’.

      The band would break up soon after the members left college. Daniels moved to Philadelphia to work with Evelyn “Champagne” King in 1978 before co-founding Chops horns who would go on to become one of the most in-demand US session units of the ‘80s, working with Sugarhill Gang, The Police, The Rolling Stones and more. Maples would go on to play on sessions for Oneness Of Juju.


      01. Open Your Mind
      02. F-U-N-K-Y ‘Til The Day I Die
      03. Third House
      04. See Funk
      05. Looking Ahead
      06. Energy
      07. The Best Part Of Me Southern Energy

      Sun Ra

      Lanquidity (Deluxe Edition)

        Strut present the definitive edition of Sun Ra’s classic ‘Lanquidity’ album from 1978 with brand new 4LP box set and 2CD editions.

        Recorded overnight at Bob Bank’s Blank Tapes on 17th July 1978 after the Arkestra had appeared on Saturday Night Live, the album is unique in the Ra catalogue. “Most critics felt that it was more of a fusion-inspired record,” explains Michael Ray. “As the name suggests, the album is liquid and languid.” Bob Blank continues, “Musically, it was very ad hoc and freeform. There were horn charts but most tracks came out of improvised jams. Sun Ra just did his thing.”

        Comprising five effortlessly fluid pieces, the album eases in with Lanquidity. Danny Ray Thompson remembers, “This was one of Sun Ra’s on-the-spot compositions. It is almost like an Ancient Egyptian Stargazing Ceremony, mapping out the stars and the planets.” Where Pathways Meet is “Sun Ra’s funky version of an Egyptian march. Pharaoh is sending his troops off to fight and this is his pep-talk!” continues Thompson. “The music seems to take different pathways but still converges.” The loping groove of That’s How I Feel, features the reflective trumpet lines of Eddie Gale with solos by John Gilmore and Marshall Allen: “Marshall comes in with that snake charming oboe.” Says Thompson. The funky Twin Stars Of Thence weaves around Richard Williams celebrated elastic bassline while the haunting closer, There Are Other Worlds (They Have Not Told You Of), is pure “space music.” The poet Mama Nzinga described it as ‘The essence of light. Spirit takes a ride inside the deep dark space of just being.”

        The new box set edition of ‘Lanquidity’ features the widely distributed version of the album alongside alternative mixes by Bob Blank originally released in limited quantities for a 1978 Arkestra gig at Georgia Tech. Both versions of the album are cut loud at 45 rpm over 2LPs each.

        Housed in a silver foil box, both LP sets reflect the original Phlly Jazz artwork. The first comes in a foil / magenta sleeve while the second features 2 x yellow A4 sheets pasted onto a white sleeve. Also included is a 12-page over-sized booklet featuring unseen photos by Veryl Oakland and liner notes by Tom Buchler (Philly Jazz), Michael Ray and Danny Ray Thompson (Sun Ra Arkestra) and Bob Blank.

        The 2CD version is housed in a foil digipak.


        A1. Lanquidity
        B1. Where Pathways Meet
        B2. That’s How I Feel
        C1. Twin Stars Of Thence
        D1. There Are Other Worlds (They Have Not Told You Of)
        E1. Lanquidity (Alternate Version)
        E2. Where Pathways Meet (Alternate Version)
        F1. That’s How I Feel (Alternate Version)
        G1. Twin Stars Of Thence (Alternate Version)
        H1. There Are Other Worlds (They Have Not Told You Of) (Alternate Version)

        CD 1
        1. Lanquidity
        2. Where Pathways Meet
        3. That’s How I Feel
        4. Twin Stars Of Thence
        5. There Are Other Worlds (They Have Not Told You Of)
        CD 2
        1. Lanquidity (Alternate Version)
        2. Where Pathways Meet (Alternate Version)
        3. That’s How I Feel (Alternate Version)
        4. Twin Stars Of Thence (Alternate Version)
        5. There Are Other Worlds (They Have Not Told You Of) (Alternate Version)

        Salah Ragab & Cairo Jazz Band

        Egypt Strut (RSD21 EDITION)



          Strut present the definitive edition of a classic of Egyptian jazz, Salah Ragab's seminal Cairo Jazz Band album from 1973, blending black American jazz with Egyptian folklore and Islamic tradition.

          Miriam Makeba

          Keep Me In Mind

            Miriam Makeba’s ‘Keep Me In Mind’ was her last album for Reprise and reflected major changes in both her own personal life and politically within the USA. After becoming a national star globally following the success of ‘Pata Pata’ in 1967, she had fallen out publicly with her mentor and ‘Big Brother’, Harry Belafonte. Makeba made the decision to return to Africa following an invitation from President Sékou Touré of Guinea. In Conakry, Makeba met Stokely Carmichael, President of civil rights organisation the SNCC and they would later marry. “With the Vietnam War, the student protests and the riots in the ghettos, everyone is scared,” Makeba said. “Everyone is afraid that there will be a great black uprising.” Makeba’s concerts were widely cancelled and both her and Carmichael were followed relentlessly by the FBI.

            Reprise also terminated her contract but brought in producer Lewis Merenstein for her final recording for the label, best known for his work with Van Morrison on ‘Astral Weeks’. Merenstein suggested two Van songs for Makeba to cover, ‘Brand New Day’ from the ‘Moondance’ sessions and ‘I Shall Sing’ and further songs were added to reflect both the political climate and Makeba’s own memories including Stephen Stills’ ‘For What It’s Worth’ and Lennon & McCartney’s wistful ‘In My Life’. New compositions by Makeba and her daughter Bongi included ‘Lumumba’, a personal tribute to Congolese independence leader, Patrice Lumumba. Reflective of the times, the album is infused with a palpable despair but, as in all of her music, a quiet determination still shines through.

            This new reissue of ‘Keep Me In Mind’ is presented in its original artwork and features rare photos and new extensive liner notes by Francis Gooding of The Wire. Remastered from the original tapes by The Carvery.

            TRACK LISTING

            A1. Lumumba 2.46
            A2. For What It’s Worth 2.45
            A3. Brand New Day 3.17
            A4. I Shall Sing 3.06
            A5. Kulala 2.37
            B1. In My Life 3.08
            B2. Down On The Corner 2.32
            B3. Ibande 2.17
            B4. Measure The Valleys 3.33
            B5. Tululu 2.11

            Plunky & Oneness Of Juju

            Make A Change

              Strut present the definitive edition of a 1977 classic, Plunky & Oneness Of Juju’s ‘Make A Change’ album featuring the international hit ‘Every Way But Loose’ and five previously unheard studio takes.

              Recorded at Omega studios in Maryland, the album marked a transition for the band with lead vocalist Jackie Eka-Ete recording her last sessions with Plunky and Virtania Tillery taking over lead vocal duties. “‘Make A Change’ was always designed as a slightly more commercial entry in our discography,” says Plunky. “We approached the sessions in the same way that we had approached all of our music since the early ‘70s. We played extended jams because we would always find something within those explorations. The songs had enough organic qualities to be considered R&B and enough rhythm to be Afro funk.

              After catching fire in Washington DC clubs through local record pools, the dancefloor favourite ‘Every Way But Loose’ famously became an anthem for Larry Levan at New York’s Paradise Garage, kick-starting international success for the track. Other album cuts like funk workout ‘Higher’ and the wistful stepper ‘Always Have To Say Goodbye’ have remained staples among soulful DJs worldwide. “The songs and lyrics on this album have come back around full circle,” continues Plunky. “With songs like ‘(Family Tree) Make A Change’ and ‘Every Way But Loose’, we don’t have to change one word for them to be relevant all these years later. The positive messages are universal and timeless.”

              This definitive edition of ‘Make A Change’ features the full original album alongside five previously unheard studio takes, all remastered by The Carvery from the original tapes. Bonus tracks include extended studio versions of ‘Every Way But Loose’ and ‘Always Have To Say Goodbye’ and a previously unheard version of ‘Time’. Package features brand new liner notes by bandleader Plunky Branch.

              TRACK LISTING

              1. (Family Tree) Make A Change
              2. Run Away Bay
              3. Love’s Wonderland
              4. Every Way But Loose
              5. Higher
              6. Always Have To Say Goodbye
              7. Plastic (Previously Unreleased Version)
              8. Time (Previously Unreleased Version)
              9. Every Way But Loose (Extended Version)
              10. Run Away Bay (Extended Version)

              Electric Jalaba

              El Hal / The Feeling

                Electric Jalaba comprises six accomplished musicians with an empathy that feels telepathic and a groove that immerses. In Arabic, the mother tongue of Moroccan-born singer and guimbri player Simo Lagnawi, a leading practitioner of Gnawa music in Britain, they call this indefinable quality, “El Hal” – “The feeling”.

                “It’s the feeling that comes when we’re playing and totally forgetting where we are,” says producer and bassist Olly Keen. “The feeling of being grabbed by the music and lost in the groove.” ‘El Hal / The Feeling’ is the new third album from Electric Jalaba and their first release in five years. It’s a multi-faceted work that finds the band tighter than ever, deploying a vast cache of influences across nine tracks improvised and developed in their south London studio then deftly produced by Keen. Some tracks pay homage to the origins of Gnawa music, whose repertoire of Arabic-language praise songs contains remnants of West African dialects – Bambara from Mali, Fulani and Hausa from the Sahel region – that point to a centuries-old migration.

                “The trance-inducing effect of Gnawa was what hit us first. It was visceral, heart stopping,” continues Olly, whose siblings – producer / keys player Henry Keen, guitarist / multi-instrumentalist Nathaniel Keen and singer / multi-instrumentalist Barnaby Keen – make up Electric Jalaba alongside revered Anglo-Italian kit drummer Dave De Rose and Simo on vocals, krakeb and guimbri. “Simo selected the chant from the traditional song suites and, as a band, we extended these short pieces of ceremonial music and experimented with sound and structure,” explains Olly. Tracks include the Juno-led dancefloor single ‘Cubaili Ba’, ‘Agia Hausa’, a multi-layered wig-out that partly takes its inspiration from Senegal’s fiercely percussive mbalax rhythms and ‘Daimla’, a gloriously dubby ode to Allah and iconic maalems including the late Mahmoud Guinea. “There’s a very strong rhythmic element within the band but because of our different perspectives but the melodic components are really unique as well,” says Henry. That feeling of being outside of yourself but totally within yourself at the same time… That’s what all of us, collectively, are striving for.”

                TRACK LISTING

                A1. Tora Tora
                A2. Cubaili Ba
                A3. Agia Hausa
                A4. Daimla
                A5. Hindewu
                B1. Fulan
                B2. Shabakru
                B3. Briando
                B4. Lagmami

                "From A Love Supreme to The Sex Machine!" The personal musical mantra of the late Philadelphia reedman Byard Lancaster informed an open-minded and varied lifetime in jazz. Strut presents one of Lancaster’s lesser known classics, ‘My Pure Joy’, recorded in 1992 for Black Fire. Lancaster had initially cut his musical teeth with the avant-garde on New York’s Lower East Side in the 1960s (famously on sessions with pianist Dave Burrell and drummer Sunny Murray) and in Paris during the ‘70s after an appearance at the Actuel festival but, throughout his career, his path was built around community engagement, positivity and “the Philly jazz sound, Germantown style.” He became an ambassador for the music of the City Of Brotherly Love, starting his own Dogtown label, helping launch the Philly Jazz imprint and campaigning tirelessly to improve the circumstances of the city’s street musicians.

                Lancaster’s sessions for Black Fire were planned following a gig at Caverns Jazz Club in Washington DC. “Jimmy Gray of Black Fire and I originally met during the ‘riotous blisters’ of the late Sixties there,” explained Lancaster. “We became the best of friends.” Backed by a band of Philly musicians including percussionist Keno Speller and Baba Robert Crowder (drummer for Olatunji and Art Blakey), the album also featured the Drummers From Ibadan led by Tunde Kuboye, another influential figure dedicated to community jazz with whom Lancaster had bonded while teaching in Lagos. The result was a free-flowing set of spirituality and positivity, built around full band groove workouts, solo pieces and heavy African roots. “We had big fun documenting this music,” remembered Lancaster. The message of the album remains as relevant today as ever, “I dedicate this album to all African Americans in the USA. To the youth, I ask ‘What does it profit a man to gain the whole world and lose his soul?’” Originally delayed by three years because of cashflow issues within Black Fire, ‘My Pure Joy’ eventually surfaced as one of the label’s final CD releases in 1995.

                TRACK LISTING

                A1. Drummers From Ibadan
                A2. Philadephia Savage
                A3. Sweet Evil
                A4. Lancaster Brand Notes
                B1. Jazz Lady
                B2. Newest African Cities
                B3. My Pure Joy
                B4. Afro Space



                  “Kologo there before my mother, kologo music be the root…”

                  Strut present the brand new album from Alostmen, led by Stevo Atambire, a band at the forefront of kologo music in Ghana.

                  Formed by Stevo and Wanlov The Kubolor (Fok’n Bois) at the suggestion of co-producer Percy Yip Tong, Alostmen’s music is based around the Frafra traditions of the kologo, a stringed lute and uses purely traditional instrumentation in entirely new ways. “I always like to do something “out” with my instrument, I like to force it to work,” explains Stevo. “I’m a yout’man and into different kinds of music: commercial, rap music, reggae, Malian sounds. I add all of it to the band’s sound in different ways.” Wanlov continues, “The kologo is traditionally played a certain way but Stevo will play it at the shortest end of bridge and accentuate, almost Hendrix-style! He plays with a pedal sometimes and can keep it an octave down with a bass sound. He has evolved the instrument in his own way.”

                  “I had been touring with Stevo in my band Afro Gypsy in 2017,” Wanlov continues, “and we began recording the tracks for this album on the road during one of our last tours to Uganda and the upper North West region of Ghana. I had a mobile studio unit and recorded him in his hotel rooms, in closets, wherever we could find that sounded good.” The band comprises Jo Ajusiwine, a brilliant goje (two-string fiddle) player and singer, talking drummer Aminu Amadu who has played in Ambolley’s highlife band and Sowah who plays heavy Ga rhythms on the gome box, djembe and conga. I play the kologo and give people the message. We don’t need anything else!” Stevo and Wanlov also invited selected guests to join the album sessions. Ambolley himself features on the driving ‘Minus Me’ while one of Stevo’s childhood friends and a national star, Yaa Pono, appears on the yearning ‘Fauziah’. “We just chose the right tracks for different guests and it all fit naturally,” continues Stevo. Medikal was a really nice guy with good vibes, now also a major artist, Villy is a great Nigerian singer based in Ghana and Eli Muzik has an unusual operatic vocal style. We play with him a lot. We didn’t just use ‘names’, just people that were great at their craft.”

                  The band call themselves Alostmen “because we were lost in the street, the forgotten people,” explains Stevo. “My people listen closely to my lyrics so I never just sing anything. People at home see music as a teaching so I always try to send a good message. I talk of this region, how they used to live and what they experience today. I try to bring development, peace and unity to the community, to give them hope to achieve.” Wanlov continues: “The language of the music is Frafra, a Guruna language. The Frafra people are semi-nomadic, they deal with herds of cattle, they practice goje, kologo and a type of flute. The kologo players are similar to griots. Having already played dates across West Africa and Europe, Alostmen continue their journey with their superb debut album, ‘Kologo’, out on 29th January 2021, The album was mixed by DrumTalk and mastered at The Carvery. Cover artwork is courtesy of Lewis Heriz.

                  STAFF COMMENTS

                  Martin says: Ghanaian supergroup Alostmen join the Strut ranks with this future facing LP, evolving traditional sounds for the 21st Century.

                  TRACK LISTING

                  1. Kologo Feat. Wanlov The Kubolor
                  2. Teach Me Feat. Villy
                  3. Fauziah Feat. Yaa Pono
                  4. Minus Me Feat. Gyedu-Blay Ambolley
                  5. Do Good Feat. Medikal
                  6. Bayiti
                  7. Carry Me Go Feat. Eli Muzik
                  8. Tanga
                  9. Killer Fear Die
                  10. Lorogo
                  11. Atubga
                  12. Baba
                  13. Teach Me Feat. Villy (Original Ghana Mix)
                  14. Minus Me Feat. Gyedu-Blay Ambolley (Original Ghana Mix)

                  Oneness Of Juju

                  African Rhythms 1970-1982

                    Strut kick off a brand new deal with the seminal independent black jazz and soul label Black Fire in May with ‘African Rhythms 1970-1982’, a comprehensive 2CD / 3LP compilation of Oneness Of Juju, led by Plunky J. Branch.

                    Tracing their career from the band’s earliest work in 1970 with South African exiled jazzman Ndikho Xaba in San Francisco, the compilation covers the band’s journey to New York’s loft jazz scene, forming Juju and releasing two landmark albums of hard-hitting percussive jazz on Strata-East. “I saw myself as a cultural warrior,” explains Plunky. “We studied about Africa and tried to infuse our music with an African spirit.” Moving back to his hometown of Richmond, Virginia during the mid-‘70s, Plunky drew in a superb new group of musicians and vocalists and created the band’s new incarnation, Oneness Of Juju, retaining the African influence but fusing his sound with funk and R’n’B on the classic ‘African Rhythms’ album. “We realised that, if we put a backbeat to the Afro-Cuban rhythms, people in Richmond and Washington D.C. could be drawn into it; it didn’t change anything about our message.” The change would lead to a series of enduring soul-jazz classics on Jimmy Gray’s Black Fire label, including ‘River Luv Rite’, ‘Plastic’ and ‘Don’t Give Up’ and their biggest crossover international hit, ‘Every Way But Loose’ in 1982, later famously remixed by Larry Levan. The band received renewed interest in their music during the mid-‘80s as Washington D.C.’s go-go innovators cited the band as a major influence and rare groove DJs revived their albums for London dancefloors.

                    ‘African Rhythms 1970-1982’ reprises a compilation released on Strut in 2001 and is newly remastered by Frank Merritt at The Carvery. Both formats feature a 12” sized 4pp booklet featuring rare photos and a comprehensive interview with Plunky Branch within liner notes by Chris Menist.

                    TRACK LISTING

                    A1. Oneness Of Juju - African Rhythms (Album Version)
                    A2. Oneness Of Juju - Follow Me
                    A3. Oneness Of Juju – Nooky
                    B1. Oneness Of Juju – River Luv Rite
                    B2. Roach Om – No Name #3 / Love Is… / My Nigger & Me
                    B3. Juju – Nairobi / Chants
                    C1. Oneness Of Juju – Chants / Don’T Give Up
                    C2. Oneness Of Juju – Be About The Future
                    C3. Juju & The Space Rangers – Got To Be Right On It (Original 45 Version)
                    D1. Oneness Of Juju – Space Jungle Funk
                    D2. Oneness Of Juju – West Wind (Previously Unreleased)
                    E1. Juju & The Space Rangers – Plastic (Original 45 Version)
                    E2. Plunky & Oneness Of Juju – Every Way But Loose (Original Version)
                    E3. Okyerema Asante Feat. Plunky – Sabi (Black Fire Mix)
                    F1. Okyerema Asante Feat. Plunky – Asante Sana
                    F2. Oneness Of Juju – Bootsie’S Lament (Unreleased Version)

                    1. Oneness Of Juju - African Rhythms (Album Version)
                    2. Oneness Of Juju - Follow Me
                    3. Oneness Of Juju – Space Jungle Funk
                    4. Juju & The Space Rangers – Got To Be Right On It (Original 45 Version)
                    5. Okyerema Asante Feat. Plunky – Sabi (Black Fire Mix)
                    6. Interlude: Rhythms Timelessness
                    7. Roach Om – No Name #3 / Love Is… / My N*Gg*R & Me
                    8. Oneness Of Juju – West Wind (Previously Unreleased)
                    9. Juju – Freedom Fighter
                    10. Oneness Of Juju – Be About The Future
                    11. Oneness Of Juju – Nooky
                    12. Interlude: African Rhythms
                    13. Plunky & Oneness Of Juju – Every Way But Loose (Original Version)

                    1. Oneness Of Juju – Bootsie’S Lament (Unreleased Version)
                    2. Oneness Of Juju – Chants / Don’T Give Up
                    3. Oneness Of Juju – River Luv Rite
                    4. Plunky & Oneness Of Juju – Higher
                    5. Interlude: African Rhythms Chant
                    6. Juju – Nairobi / Chants
                    7. Okyerema Asante Feat. Plunky – Asante Sana
                    8. Interlude: African Rhythms Ii
                    9. Juju & The Space Rangers – Plastic (Original 45 Version)
                    10. Oneness Of Juju – African Rhythms (Original 45 Version: Part 1)
                    11. Juju – The End Of The Butterfly King

                    Strut and Art Yard present the first compilation bringing together the modern era recordings of Tribe, Detroit’s acclaimed independent jazz collective.Tribe began as a musical ensemble in 1971 co-founded by Saxophonist Wendell Harrison and trombonist Phil Ranelin that soon expanded into a broad amalgam including a live collective and independent record label. Ignored by the mainstream, many African American jazz artists in Detroit and across the US began creating their own small imprints and Tribe emerged alongside other cultural entities to express selfdetermination goals in the city: saxophonist Ernie Rodgers with his sessions at Rapa House; John and Leni Sinclair’s Artist Workshop; Bruce Millan’s Repertory Theater; the Hastings Jazz Experience and the Strata Corporation led by Kenny Cox. Harrison’s ideas of independence, self-determination and education were central to the Tribe ethos: “I might be possessed with a drive to get the knowledge out,” explained Harrison, “because I see this as sustaining the future of the jazz diaspora, the jazz tradition.” Tribe album releases like Harrison’s ‘An Evening With The Devil’ (1972) and Harrison and Ranelin’s ‘A Message From The Tribe’ (1973) became early ‘70s milestones in Detroit jazz.

                    In 1977, Harrison teamed up with pianist/composer Harold McKinney to form Rebirth Inc., aided by Detroit cultural warrior John Sinclair, a continuation of the Tribe community ethos. Musically, it formed a link with radio station WDET and began an outreach program to teach children and to publish Harrison’s jazz instruction books. Harrison continue to record extensively as a leader with his own labels, WenHa and Tribe, documenting the collective through sessions led by Phil Ranelin, Harold McKinney, Pamela Wise and more.

                    The ‘Hometown’ compilation places the spotlight on this later era of Tribe and Rebirth Inc., with rare and previously unreleased recordings from Harrison’s WenHa / Rebirth Studios and the SereNgeti Gallery And Cultural Center. Among many highlights, Harold McKinney and his “McKinfolk” family of musicians contribute the pulsing ‘Wide And Blue’ and dance celebration ‘Juba’; Phil Ranelin re-works his classic ‘He The One We All Knew’; Poet Mbiyu Chui (Williams Moore), pianist Pamela Wise and percussionist Djallo Djakate spark on the uncompromising ‘Ode To Black Mothers’ and the rallying cry of ‘Marcus Garvey’: “If we ever get together we will astound the world.” Harrison himself evokes the power and majesty of juju on ‘Conjure Man’.

                    TRACK LISTING

                    A1. Wide And Blue
                    A2. Freddie’S Groove
                    B1. Juba
                    B2. Ode To Black Mothers
                    B3. Conjure Man
                    C1. Libra Ahora
                    C2. Hometown
                    D1. He The One We All Knew
                    D2. Marcus Garvey
                    D3. The Slave Ship Enterprise

                    1. Wide And Blue
                    2. Freddie’S Groove
                    3. Ode To Black Mothers
                    4. Juba
                    5. Libra Ahora
                    6. Conjure Man
                    7. Marcus Garvey
                    8. Hometown
                    9. He The One We All Knew
                    10. The Slave Ship Enterprise

                    The Souljazz Orchestra

                    Chaos Theories

                    Always known for their uncompromising social and political messages, the Canadian collective hit harder than ever on 9 new tracks, outing the hypocrisy of modern day politics, police brutality and the everyday struggle of the working man. Led by chief songwriter and arranger Pierre Chrètien, the band continue to evolve their sound, drawing on a broad palette from their trademark Latin, Afro and Caribbean styles to some of the UK’s political sounds of the early ‘80s, the era of The Clash, The Police, 2-Tone and frontline reggae. “We were basically messing around with the idea of creating our own brand of ‘Afro-punk’”, remembers Chrétien, “something with the aggressive, in-your-face energy of punk rock or free jazz, but still backed by the hypnotic, pulsating grooves of tropical music.”

                    The album takes the listener from carefully targeted sonic missiles to more reflective thought-provoking moments. ‘Police The Police’ starts the offensive: “I wrote this after my neighbour was beaten to death by Ottawa police during an arrest,” explains Chrétien. “The authorities downplayed the incident and the officers were working the next day like nothing had happened.” ‘House Of Cards’ takes a thinly veiled swipe at the current US administration on an infectious disco groove: “lies within lies within lies… like so many Russian dolls”; ‘Boat Rockers’ challenges us all to look beyond accepted norms and ‘General Strike’ documents the frustrations of the working class as the pay gap gets increasingly wider; ‘Slumlord’ shines the spotlight on dodgy landlords while the brilliant closer ‘Well Runs Dry’ laments modern day living, with its confused pace and mundane obsessions, remembering simpler days gone by.

                    TRACK LISTING

                    1. Charlie Foxtrot
                    2. Police The Police
                    3. House Of Cards
                    4. Boat Rockers
                    5. Sky High
                    6. War Games
                    7. General Strike
                    8. Slumlord
                    9. Well Runs Dr

                    Miriam Makeba

                    Pata Pata

                      Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba’s ‘PataPata’, her first album recorded for Reprise in 1966. The album marked a significant international breakthrough for Makeba.

                      Moving to the US after the anti-apartheid film ‘Come Back, Africa’ gained international attention and staying there in exile, she quickly built her career in New York during the ‘60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: “I wrote ‘PataPata’ back in 1956, back in South Africa,” remembered Makeba in her autobiography. “It was a fun little song and I was thinking of a dance that we do at home (“pata” means ‘touch” in Zulu and Xhosa).”

                      Originally a hit in South Africa with her early vocal harmony group the Skylarks, the new recording, produced by Jerry Ragovoy, brought a lighter uptempoR’nB arrangement, adding some English lyrics. “It was my first truly big seller. All of a sudden, people who never knew I had been in America since 1959 were asking me to be on their television shows and play at their concert halls during 1967. In the discotheques, they invented a new dance called the ‘PataPata’ where couples dance apart and then reach out and touch each other. I went to Argentina for a concert and, across South America, they are singing my song.”

                      TRACK LISTING

                      A1. PataPata (Mono Version)
                      A2. Ha Po Zamani (Mono Version)
                      A3. What Is Love (Mono Version)
                      A4. Maria Fulo (Mono Version)
                      A5. YetentuTizaleny (Mono Version)
                      A6. Click Song Number One (Mono Version)
                      B1. Ring Bell, Ring Bell (Mono Version)
                      B2. Jol’Inkomo (Mono Version)
                      B3. West Wind (Mono Version)
                      B4. Saduva (Mono Version)
                      B5. A Piece Of Ground (Mono Version)
                      C1. PataPata (Stereo Version)
                      C2. Ha Po Zamani (Stereo Version)
                      C3. What Is Love (Stereo Version)
                      C4. Maria Fulo (Stereo Version)
                      C5. YetentuTizaleny (Stereo Version)
                      C6. Click Song Number One (Stereo Version)
                      D1. Ring Bell, Ring Bell (Stereo Version)
                      D2. Jol’Inkomo (Stereo Version)
                      D3. West Wind (Stereo Version)
                      D4. Saduva (Stereo Version)
                      D5. A Piece Of Ground (Stereo Version)

                      Patrice Rushen

                      Remind Me - The Classic Elektra Recordings 1976-1984

                      Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

                      Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

                      Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

                      Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over. ‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time.

                      STAFF COMMENTS

                      Patrick says: Strut have put together an essential collection of Patrice Rushen's finest moments on CD and a triple vinyl. Cool boogie, mellow soul, classy jazz-funk and killer disco, all topped with her gorgeous voice.

                      TRACK LISTING

                      A1. Music Of The Earth
                      A2. Let’S Sing A Song Of Love
                      A3. When I Found You
                      B1. Haven’t You Heard (12” Version)
                      B2. Givin’ It Up Is Givin’ Up With DJ Rogers
                      C1. Forget Me Nots (12” Version)
                      C2. Look Up! (Long Version)
                      C3. Where There Is Love
                      D1. Never Gonna Give You Up (Won’t Let You Be) (Long Version)
                      D2. Number One (12” Version)
                      E1. All We Need
                      E2 Remind Me (LP Version)
                      E3. Settle For My Love
                      F1. Feels So Real (Won’T Let Go) (12” Version)
                      F2. To Each His Own

                      Same Track List, Different Sequence. 

                      Various Artists

                      Disco Not Disco


                        “Strut Records were there first, well before DFA recorded The Rapture’s Sub Pop debut. ‘Disco Not Disco’ preceded the punk funk revolution by two years.” - Resident Advisor For Record Store Day 2019, Strut present the first ever repress since 2000 of the influential first volume of ‘Disco Not Disco’ compiled by Joey Negro and Sean P as part of the label’s 20th Anniversary. ‘Disco Not Disco’ was a perfectly timed compilation back in 2000. Released when interest in the myths, history and playlists of original New York clubs like Paradise Garage and The Loft was at its peak, the album drew on the outer limits of leftfield disco championed by Levan and Mancuso, bringing together unlikely dancefloor anthems by rock acts like Yoko Ono and Ian Dury, obscurities from cottage labels like BC and Splash and selected oddities from the unique mind of avant-garde hero, Arthur Russell. It was essentially a celebration of the sonic melting pot in New York during the early ‘80s, an era when punk had burnt itself out and disco had become commercial and saccharine; in its place, the post-punk movement threw up brilliant oddities which tore up the accepted rulebook. Since its release, the compilation title has become a by-word for a whole genre of music and remains a landmark collection of its time. With original copies now changing hands for €100+, this new pressing is a welcome return for an essential celebration of disco’s difficult cousins. The album features full original artwork and Kris Needs’ sleeve notes and is remastered and cut by The Carvery. • First volume of the seminal compilation series repressed for the first time since 2000 for Record Store Day • Album title became known as a style of music in its own right, when rock bands and experimental NY artists aimed at the dancefloor • Major influence on the punk funk bands and labels of early 2000s including DFA • Album remastered by The Carvery and featuring full original artwork and sleeve notes by Kris Needs

                        Strut present an exclusive new reissue of a great (and now very rare) original album from the early career of Nigerian juju star Shina Peters, ‘Sewele’ from 1986.

                        “‘Sewele’ represented a time of transition in my music career,” explains Peters. “I had branched out to start as a solo artist after spells with Ebenezer Obey, Prince Adekunle and Segun Adewale and I was trying to find my own voice and to play juju in a more progressive direction. This was an important time for me. Three years later, I had honed that sound into AfroJuju, and my ‘Ace: Afro Juju Series 1’ album broke me as an artist.

                        On ‘Sewele’, Peters explores different themes on four extended juju workouts, showcasing his incredible guitar work and his sense of fun as the odd Bob Marley and Abba riff pops up in the grooves. The title track means ‘shower of blessings’: “it’s like a prayer for my fans throughout Nigeria and the diaspora.” The funky Afrobeat of ‘Yabis’ is about being proud to be African and not to follow American ways and ‘Agbe’ere De’ states proudly that Peters is coming again with something different: “I always wanted to get the message across to my fans that I was keeping things fresh and creating melodies and music that people would enjoy.” The final track, ‘Late Aboderin’, is a moving tribute to Peters’ mentor, the late Chief Aboderin: “He helped me in many ways including legal aid in a court case against a record label. He also bought a van to carry the band to concerts.

                        TRACK LISTING

                        A1. Sewele
                        A2. Yabis
                        B1. Agbe’Ere De
                        B2. Late Aboderin

                        Trevor Jackson (Playgroup / Underdog / Output Recordings) returns with the eagerly awaited second instalment of his 'Metal Dance' compilation series, following widespread critical acclaim in the wake of 'Volume 1'. Drawing from Jackson’s deep collection of original industrial, post-punk, EBM and new wave, the album is an inspired mix of sounds and styles, mining classics, dub versions, oddities and secret weapons inspired by his formative clubbing years at many of London's seminal nightlife haunts.

                        Alongside more familiar names like Visage, Chris & Cosey, Front 242 and Ministry, the compilation includes unexpected outings by 80s artists Godley & Crème (with the obscure B-side "Babies") and an early incarnation of Sheffield’s ABC, Visa Versa, with "Riot Squad". As before, Jackson also places the spotlight onsome of the less heralded bands of the time and casts the net far and wide: Germany’s Plus Instruments, Spain’s Diseno Corbusier offshoot Esplendor Geometrico, Italy’s Neon and Yellow Magic Orchestra’s Haruomi Hosono out of Japan all feature. The selection even travels as far as Lebanon for the outrageous "Tanki Tanki" by Rene Bandaly Family, a truly one-off slice of intense political Arabic proto-techno (here re-edited by fellow Lebanese artist Rabih Beaini aka Morphosis). Rarities include tracks from pre-Liaisons Dangereuses / DAF group CHBB, Craig Leon & Arthur Brown, and Trevor's own re-edit of Rusty Egan’s "Twilight Zone," all receiving their first official release on CD.

                        'Metal Dance 2' is another essential selection of anarchic machine music which remains hugely influential on today’s generation, informing the sound of groups and labels such as The Knife, Factory Floor, Gesaffelstein, COMEME, DFA and L.I.E.S.

                        STAFF COMMENTS

                        Patrick says: Mega selection of synthwave bangers, Industrial rumblers and skewed EDM cuts plucked from the archives by Trevor Jackson. If you're tuned into the likes of Bahnsteig 23, LIES and Macadam Mambo, you need to cop this disc.

                        TRACK LISTING

                        A1. Logic System - Unit
                        A2. Psyche - The Saint Became A Lush
                        A3. Skinny Puppy - Dead Lines (400 Blows Remix)
                        B1. Visage - Der Amboss (Extended Version)
                        B2. Rusty Egan - The Twilight Zone (Trevor Jackson Edit)
                        B3. Rene Bandaly Family - Tanki Tanki (Rabih Beaini Edit)
                        C1. Ministry - Over The Shoulder (12" Version)
                        C2. Mile High Club - Walking Backwards
                        C3. CHBB - Ima Iki-Mashoo
                        C4. Esplendor Geométrico - Necrosis En La Poya
                        D1. Vice Versa - Riot Squad
                        D2. Crash Course In Science - Jump Over Barrels
                        D3. Haruomi Hosono - Platonic
                        D4. Godley & Creme - Babies
                        D5. Front 242 - Body 2 Body (2 Trax)

                        Rodion G.A.

                        Misiunea Spatiala Delta (Delta Space Mission)


                          Strut teams up once again with Rodion Rosça, Romania’s rejuvenated electronic music pioneer, to make available an intriguing lost film soundtrack for the first time anywhere. Inspired by early ’80s Star Wars mania‚ Victor Antonescu had first created ’Misuinea Spatiala Delta’ (’Delta Space Mission’) as a domestic animated TV series in 1983. Despite recording a 15-minute prototype score, Rodion’s music was tragically shelved at a late stage, remaining an unreleased oddity in his archive until now.

                          - first ever release for Rodion G.A.’s prototype sci-fi soundtrack, commissioned but never used
                          - Album mastered from original reel to reel tapes
                          - Follow-up to 2013’s acclaimed Rodion G.A. compilation ‘The Lost Tapes’
                          - Continues to position Rodion Rosça as an important player in Eastern European electronic music history

                          FOR FANS OF: Can, Kraftwerk, krautrock, Goblin, Death Waltz Records, Silver Apples, Conrad Schnitzler, Brian Eno, Neu!, psych rock, Robert Rental.

                          Various Artists

                          Bob Blank - The Blank Generation Blank Tapes NYC 1975 - 1985

                          Strut's first collaboration with Bill Brewster and Frank Broughton’s DJ History celebrates Bob Blank’s time at Blank Tapes with an exclusive compilation, covering the many facets of the producer's work. They feature the very first track ever recorded at the studio, Milton Hamilton’s "Crystalized", anthems including Fonda Rae’s "Over Like A Fat Rat" and lesser known Blank classics from the vaults from Debby Blackwell and Mikki. The first ever album retrospective of one of New York’s most revered of all producers, Bob Blank, this album traces the history of his independent studio, Blank Tapes, one of the city’s most important creative dens during the vibrant arts scene of the mid-70s to mid-80s.

                          Blank started out in New York in 1973 as a guitarist before producing one of the first 12" disco records in 1975 – Jimmy Sabater’s "To Be With You". He opened his own Blank Tape studios a year later. He quickly became an essential port of call for New York’s diverse artistic community, honing the freeform, anarchic visions of August Darnell, Cristina and Lydia Lunch for ZE Records and, with producers Patrick Adams and Greg Carmichael, helping to shape the sound of many disco classics. Musique, Inner Life, Instant Funk and Salsoul Orchestra all recorded classics at Blank Tapes. Arthur Russell also recorded much of his most celebrated disco-related output at the studios under pseudonyms Dinosaur L, Indian Ocean and Felix, as well as "Wax The Van" with Blank’s wife, Lola. Other regulars at Blank Tapes included Latin producer Tito Rodriguez, whose Charanga 76 and Eddie Palmieri recordings with Blank would receive Grammy nominations. Not only that, but jazz and blues heads like Sun Ra and James Blood Ulmer also passed through the Blank Tape mixing desk. An awesome compilation, and another essential from Strut.

                          TRACK LISTING

                          01. Debby Blackwell – Once You Got Me Going
                          02. Charanga 76 – Music Trance
                          03. Milton Hamilton - Crystalized
                          04. Sun Ra – Where Pathways Meet
                          05. The Necessaries – State Of Art
                          06. Lydia Lunch – A Cruise To The Moon
                          07. James Blood Ulmer - Jazz Is The Teacher, Funk Is The Preacher
                          08. Bumblebee Unlimited – I Got A Big Bee
                          09. Mikki – Itching For Love (M+M Mix)
                          10. Fonda Rae – Over Like A Fat Rat
                          11. Gladys Knight – It’s A Better Than Good Time (Walter Gibbons Mix)
                          12. Lola – Wax The Van (Jon’s Dub)
                          13. Aural Exciters – Emile (Night Rate)

                          A1. Debby Blackwell – Once You Got Me Going
                          A2. Charanga 76 – Music Trance
                          A3. Milton Hamilton - Crystalized
                          A4. Lydia Lunch – A Cruise To The Moon
                          B1. The Necessaries – State Of Art
                          B2. James Blood Ulmer – Jazz Is The Teacher, Funk Is The Preacher
                          B3. Sun Ra – Where Pathways Meet (Unreleased Acetate Mix)
                          C1. Mikki – Itching For Love (M+M Mix / Unreleased John Morales Edit)
                          C2. Fonda Rae – Over Like A Fat Rat
                          C3. Gladys Knight – It’s A Better Than Good Time (Walter Gibbons Mix)
                          D1. Exodus – Together Forever
                          D2. Lola – Wax The Van (Jon’s Dub)
                          D3. Aural Exciters – Emile (Night Rate)

                          Strut deliver Grandmaster Flash's first high profile studio album in over 20 years! Recorded at Flash's own Adrenaline Lab studio in New York during 2007-2008, the over-riding theme of the album is the global language of hip hop. Throughout the album, Flash mixes up the flow and features some heavyweight guests and intriguing collaborations. Familiar faces appearing on the album include KRS One, Big Daddy Kane, Busta Rhymes, A Tribe Called Quest frontman Q-Tip and Snoop Dogg alongside mixtape hero Red Cafe and Lynn Carter. Flash sets up an all-female soundclash between MTV favourite Byata, Hedonis Da Amazon and electro queen Princess Superstar for a Miami bass-style party joint. He presents his son, J-Flo on his debut recording alongside Def Jam MC Lordikim Allah and Almighty Thor. Last but not least, Lost Boyz' Mr. Cheeks teams up with old skool heroes Grandmaster Caz of Cold Crush Brothers, and Tito of Fearless Four. An essential album for old and new school hip hop heads!

                          1. Intro
                          2. Shine All Day - Feat. Q-Tip, Kel Spencer & Jumz
                          3. We Speak Hip Hop - Feat. Krs One, Afasi, Kase-O, Maccho & Abass
                          4. Here Comes My DJ-Feat. DJ Kool & DJ Demo
                          5. Bounce Back - Feat. Busta Rhymes
                          6. Swagger - Feat. Red Cafe, Snoop Dogg & Lynda Carter
                          7. What If-Feat. Krs-One
                          8. Interlude
                          9. Tribute To The Breakdancer - Feat. Supernat
                          10. Grown & Sexy - Feat. Lordikim Allah
                          11. When I Get There - Feat. Big Daddy Kane & Hedonis Da Amazon
                          12. Interlude
                          13. I Got Sumthin' To Say - Feat. Lord Ikim Allah, J-Flo & Almighty Thor
                          14. Can I Take You Higher - Feat. Mr Cheeks, Grandmaster Caz & Tito
                          15. Unpredictable - Feat. Syndee & Big Daddy Kane
                          16. Those Chix - Feat. Byata, Princess Superstar & Hedonis Da Amazon
                          17. Bronx Bombers - Feat. Lordikim Allah, Almighty Thor & Mann Child
                          18. Zuka
                          19. Oh Man - Feat. Syndee & Natacha Atlas
                          20. Swagger - Feat. Red Cafe, Snoop Dogg & Lynda Carter (Grandmaster Flash Street Leak Remix)
                          21. Shine All Day - Feat. Q-Tip, Kel Spencer & Jumz (Sloth Remix)

                          Amp Fiddler & Sly & Robbie

                          Inspiration Information

                          Strut launch a new series, "Inspiration Information", which sees the label take a break from their usual (excellent) compilations, and come up with a series of studio-based works instead. The series brings together current artists and producers with their musical heroes for a mouth-watering one-off collaboration. With each album centred around an intensive five-day writing and recording session, the emphasis is on spontaneity, musicianship and an open A&R brief. The series kicks off with Detroit soul maverick Amp Fiddler in a head-to-head collision with reggae legends, Sly & Robbie. Arriving at Anchor Studios in Kingston, Jamaica, armed only with a handful of acoustic vocal ideas, Amp and the Riddim Twins recorded the album in just three days during June with overdubs laid down a week later in Detroit. The result is a confident, laid back set that brings a whole new twist to Amp's trademark vocal style: Sly builds innovative digital and live rhythms, Robbie underpins the tracks with solid bass foundations and original generation guests 'Sticky' Thompson (percussion) and Dalton Browne (guitar) add plenty of colour. Back in Detroit, Amp knitted together the finishing touches, adding extra keys and backing vocals. The tracks are never predictable, at times echoing Sly & Robbie's 80s days with Island Records at Compass Point studios, at others structured around more mood-based keyboard pads and new patterns re-inventing the established dancehall template.

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                          12 years since the Blake's debut on R&S and we have limited, splattered vinyl editions dropping next week! James B…
                          Thu 27th - 3:16
                          PRESALE: @dinkededition 174 @tessnormaparks 'And Those Who Were Seen Dancing' • 180g ultra-clear with red, blue &…
                          Wed 26th - 3:00
                          The third and final @dinkededition announcement this week incoming today at 3PM. Don’t sleep on this one! ⏰…
                          Wed 26th - 9:46
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