Daptone Organic Grooves 64 Artikel

Limitiert auf 500 handnummerierte Exemplare!

20 Jahre HHV: Unser Team hat aus jedem dieser Jahre ein Album ausgewählt, das für uns besonders relevant und wertvoll ist. Jeden Monat veröffentlichen wir in Zusammenarbeit mit einigen unserer Lieblingslabels exklusive und limitierte Pressungen dieser Platten.

In nur zwei kurzen Jahren hat sich Dunham Records - ein Imprint von Daptone Records - als eine der fesselndsten kreativen Kräfte der Soulmusik etabliert. Der Gitarrist und Produzent Thomas "Tommy TNT" Brenneck ist der Kopf hinter Dunhams unauslöschlichem atmosphärischen Sound, der durch sein Flaggschiff, die Menahan Street Band, verkörpert wird. Nach der Veröffentlichung einer Handvoll wichtiger 45er-Scheiben bereitet sich Dunham Records darauf vor, mit dem Debütalbum seines ersten Sängers Charles Bradley die nächste Phase seiner Entwicklung einzuleiten.

Charles Bradleys Stimme ist das Ergebnis eines Lebens, in dem er sein Geld verdient hat. Er hat jahrzehntelang in verschiedenen Tagesjobs von Maine bis Alaska gearbeitet und in seiner Freizeit gesungen und gespielt, bevor er sich in seiner Heimatstadt Brooklyn niederließ und schließlich bei Dunham eine musikalische Heimat fand. In seinem unverkennbar rauen Timbre hört man die unverwechselbare Stimme der Erfahrung - jede Note und jeder raue Tonfall spiegeln seinen langen, manchmal steinigen persönlichen Weg wider. Es ist nur passend, dass der Produzent von No Time For Dreaming, Brenneck (auch Mitglied der Dap-Kings und der Budos Band), in Bradley einen verwandten musikalischen Geist erkennt - einen Sänger, dessen Auftritte sowohl rohe Kraft als auch ergreifende Schönheit ausstrahlen. Aufgenommen in den Dunham Studios und abgemischt in den international angesehenen "House of Soul"-Studios von Daptone Records, ist No Time For Dreaming der inspirierte Sound eines Erwachens.

Während ihrer gesamten Karriere blieben Sharon Jones & the Dap-Kings sowohl öffentlich als auch privat sehr gefragt, um Songs anderer Künstler nachzuspielen und oft neu zu erfinden. Meistens wurden diese Cover auf Anfrage aufgenommen - als Auftragsarbeit für die Platzierung in Filmen, Fernsehsendungen, Tribute-Alben oder für Kostproben. Auf diesem Album sind einige ihrer beliebtesten und noch nie gehörten Aufnahmen zusammengestellt.

Frisch aus den Tresoren von Desco Records befreit und zum ersten Mal seit seiner Veröffentlichung im Jahr 1998 neu gemastert, ist es eine Ehre, die Wiederveröffentlichung eines der schönsten und befriedigendsten Needle Drops der letzten 40 Jahre anzukündigen. Ein Album, das keine Einführung braucht, aber doch eine... wir sprechen von rohem Soul und schwerem, schweren Funk, der von einem der Besten im Geschäft mit Souveränität gesungen wird... Meine Damen und Herren... Ich präsentiere...

Der Klassiker von Lee Fields, "Let's Get a Groove On". Und grooven sollen Sie, denn dies ist eine Supernova der gefühlvollen Überlegenheit. Es gibt keine Gleiche.

The highly anticipated follow-up to Thee Sacred Souls' breakout 2022 self-titled debut, Got A Story To Tell, features 12 all original new songs, a soaring statement of exquisite craftsmanship from this young band from San Diego whose story grows bigger by the day. Recorded and produced by Gabriel Roth at Penrose Recorders, in Daptone’s Riverside, CA studio, and written in the throes of supporting their 2022 album, which was met with significant excitement and major touring that brought them across the world. What swirls together on Got A Story To Tell is an appreciation of decades of soul music, and beyond - a sound and feel that is timeless, lived in, and very much in the now. Album opener “Lucid Girl” champions independent women, set to some of the toughest sounding drums and bass the band has yet to put to tape. “Waiting On The Right Time” slinks with a touch of slow-burning psychedelia. A plea for empathy punctuates “One and the Same,” with Lane singing: “We’re one and the same, I feel one day / We learn to live with each other / In love, not fear / Just for a moment, why can’t we be together.” “On My Mind” is a sweeping orchestration, with Lane navigating the complexities of finding happiness while balancing the good with the bad. The album is punctuated with strings and squelching guitar, trundling piano, pops of conga, horns - it makes for a thrilling, layered listen that rewards with multiple spins.

Caracoles ushers (GRAMMY-award nominated) Orquesta Akokán’s unique brand of mambo into the 21st century, imbuing it with the group’s signature sense of akokán–a Cuban Yoruba word meaning “from the heart”. Back at the helm are producer and multi instrumentalist, Jacob Plasse and virtuosic pianist, composer and arranger Michael Eckroth - a collaboration that continues to lead Orquesta’s exploration of the sublime mambo in all its depth and breadth. On this, their third album, they combine talents with Cuban lyricist, singer and composer Kiko Ruiz, who has toured and recorded with Pancho Amat’s illustrious Estrellas del Buena Vista Social Club as well as having a longstanding history as a singer, composer and arranger with Orquesta Maria Alejandra y Cubanía.

And although Caracoles is of this moment, its raices stretch deep into the past, presenting a glorious return to the iconic grooves of an era indelibly marked by Benny Moré, Perez Prado and Machito in New York bands and Cuba’s orquestas gigantes of the mid-twentieth century. While some songs are everyday Cuban life story-telling, Ruiz, a tata —priest— informs his lyrics with a Palo Mayombe spirituality propelling the mambo back to its original meaning. Despite being popularized world-wide as a festive, light-spirited, danceable genre, mambo is not to be taken lightly in the Palo Mayombe religion. Mambo is both a song and a prayer, beseeching good spirits to guide one’s journey away from darkness. Two of the album’s songs —including the title tune— are in this Congo dialect, designed to be impenetrable by the uninitiated. Caracoles’ fierce, effervescent grooves, Ruiz affirms, can “...vibrate your soul, which is precisely what the world needs right now”. The tunes offer an irresistible invitation to heed the title song’s invitation, “Cucha mambo que yo emboa montero...este mambo es pa’ ti.” Listen to this story, I bring it to you as a traveling song...This mambo is for you.”

Caracoles ushers (GRAMMY-award nominated) Orquesta Akokán’s unique brand of mambo into the 21st century, imbuing it with the group’s signature sense of akokán–a Cuban Yoruba word meaning “from the heart”. Back at the helm are producer and multi instrumentalist, Jacob Plasse and virtuosic pianist, composer and arranger Michael Eckroth - a collaboration that continues to lead Orquesta’s exploration of the sublime mambo in all its depth and breadth. On this, their third album, they combine talents with Cuban lyricist, singer and composer Kiko Ruiz, who has toured and recorded with Pancho Amat’s illustrious Estrellas del Buena Vista Social Club as well as having a longstanding history as a singer, composer and arranger with Orquesta Maria Alejandra y Cubanía.

And although Caracoles is of this moment, its raices stretch deep into the past, presenting a glorious return to the iconic grooves of an era indelibly marked by Benny Moré, Perez Prado and Machito in New York bands and Cuba’s orquestas gigantes of the mid-twentieth century. While some songs are everyday Cuban life story-telling, Ruiz, a tata —priest— informs his lyrics with a Palo Mayombe spirituality propelling the mambo back to its original meaning. Despite being popularized world-wide as a festive, light-spirited, danceable genre, mambo is not to be taken lightly in the Palo Mayombe religion. Mambo is both a song and a prayer, beseeching good spirits to guide one’s journey away from darkness. Two of the album’s songs —including the title tune— are in this Congo dialect, designed to be impenetrable by the uninitiated. Caracoles’ fierce, effervescent grooves, Ruiz affirms, can “...vibrate your soul, which is precisely what the world needs right now”. The tunes offer an irresistible invitation to heed the title song’s invitation, “Cucha mambo que yo emboa montero...este mambo es pa’ ti.” Listen to this story, I bring it to you as a traveling song...This mambo is for you.”

Sharon Jones & the Dap-Kings have developed an international reputation as the #1 group on today’s soul scene. Soul Time! is an exploration of the full range of their dynamic sound through twelve songs handpicked by the Daptone Records gang, each one a precious exclusive.

The needle drops on Genuine Pts. 1 & 2, a supercharged funk arrangement that evokes the late Godfather not only with the spirited syncopation of the Dap-Kings rhythms, but also with the raw power of Jones’ voice. It is performances such as these that have earned her the moniker “the Female James Brown.” Though it has long been one of their best-selling singles, it makes it’s album debut here. Longer and Stronger, written for her 50th birthday, is a deep mid-tempo soul celebration of the strength and determination with which Sharon Jones has earned her long overdue success. It is heard here for the first time, but will undoubtedly join other Sharon Jones & the Dap-Kings songs in the canon of great soul music. The theme of empowerment pushes on through “He Said I Can”, an energetic stomper belted over an arrangement reminiscent of the Isley Brothers early-seventies heyday, and “I’m Not Gonna Cry” brings us back to the raw funk intensity of Genuine with a squealing tenor solo and a fiery vocal. Side one wraps with a scorching studio performance of “When I Come Home”, long a highlight of the band’s live show but rearing its head on album here for the first time as well.

“What If We All Stopped Paying Taxes?” kicks the second side off with a bang. A strong anti-war message pours over a revolutionary mid-tempo groove, accentuated by the conga work of the legendary Johnny Griggs of JB’s fame, while Settling In is a greasy rhythm and blues grinder. And who says Christmas can’t be soulful? Jones et al. make it so over their sought after holiday exclusive, “Ain’t No Chimneys in the Projects.” Next is an energetic romp into Motown intensity with “New Shoes”, a walking-out-the door belter that picks up where These Boots Were Made For Walking left off. Without A Trace shows yet another dimension of the band, stretching a dreamy mid-tempo groove down the road to Memphis and back. The record winds up with a deep laid back cover of Shuggie Otis’ psychedelic soul jam “Inspiration Information.” From the first note to the last, Soul Time! confirms this band’s place at the head of the table as the world’s greatest funk and soul showband. Whether you’re a lifetime fan, or just getting turned on, Sharon Jones & the Dap-Kings’ have yet again made a record that will blow your mind. Get ready world, because It’s Soul Time!

Aufgrund der großen Nachfrage ist dieses lange vergriffene Albumdebüt von Sharon Jones und Co. wieder zu haben! Das Vinyl-Album wurde von den Originalbändern neu gemastert und kommt mit einem zusätzlichen unveröffentlichten Song, "Will You Be True?" (feat. Lee Fields) - ein Duett, das Sharon Jones mit Lee Fields in der Original-Sessions aufgenommen hatte, das aber nie das Tageslicht erblickte.