Heavenly Sweetness Organic Grooves 18 Items

Limited to 1000 copies worldwide, only available with GUTS and HHV.

In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)

From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)

Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)

On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)

Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet.

Limited to 1000 copies!

To celebrate the 15th birthday of our first ever vinyl reissue, we did a new edition of this spiritual Jazz classic on cult label Srata East.

New vinyl mastering and lacquers done by the great Frank Merritt at The Carvery (London).
Mastered to and from 1/4” tape for added warmth and character.
Tape layback to disc; direct analogue lacquer cut from 1/4” tape using pure analogue signal path. Studer A80 preview to Neumann VMS70.

180g black vinyl.

New scans of the original artwork . Exact replica of the original cover.
Printed on deluxe Tip-on sleeve. Heavy cardboard;

The definitive edition of this incredible album by drummer John Betsch and his Society.
A must have for any spiritual jazz fan.

This Edition is limited to 500 copies and shared with Guts. 350 are available via HHV and 150 via Guts.

"All DJs have their own way of building their set. Some pick records entirely on the spur of the moment and trust their instincts, others write down a precise list on a piece of paper and never stray from it; the set is a kitchen where the DJ is the Chef. It doesn't matter how it’s done, as long as it's done properly and enjoyed by everyone, that's what matters the most.

I think I'm combining these two methods when building my set, except that instead of a meal, I'm talking about a story. A story that crosses styles, countries, atmospheres, and that I tell in a different way every night. With, however, a method that I respect.

Between the new stuff I get from the labels, the stuff that friends and fans send me, and what I dig myself, I have enough to make a different set from A to Z, every night! However, before these treats can delight the dancefloor, each of them has to go through a quite precise process.

The first step is to digitalize my tracks in high quality. I can play several dates in a week, so carrying boxes of records to places that are sometimes far apart is out of the question. The WAV format has become my best friend. With it, I can edit some tracks, cut parts or lengthen others. Sometimes, an interminable intro is not necessary, while a furious break needs to repeat itself a bit longer.

Then, the second step consists in classifying the tracks by genre and origin. A real library is thus created where each title has its own place. Accessible (almost) without searching. I know all too well the experience of getting lost in one's own collection, trying to read the spines, pulling out a record halfway from its shelf only to put it back in it immediately. No, that's not the one... where did I put that other one then?...

From these folders I then draw the titles which will be part of the third stage: the selection for the DJ set. Nothing is set in stone, tracks come and go on a regular basis. I have year-round squatters as well as residents passing through for a few weeks. Or days. It is from there that I begin to elaborate the story that I will be telling for three or four hours.

The beginning of the set is always the same. Welcoming the dancers gently. Letting them take their marks with a musical apéritif of tracks at 80/90 BPM, something that many DJs don’t do or no longer do.

The end is always the same. Parting with the dancers gently. Letting them go down peacefully. Their evening with me is over, but it is perhaps another one, more intimate, that will be starting for them.

In between these two moments, it’s all about the story itself, with its cumbia, reggae, hip hop, lusophone music, funk, soul-jazz twists... A rich story which tells itself in the mood of the moment and back on the dance floor. Depending on the general atmosphere, the rise in musical power can start after an hour and thirty minutes of preliminaries, or it can happen only after 45 minutes. The climax is reached with the Afro-house part, a furious passage that makes overexcited music from Zimbabwe and punk music from South Africa confront each other along a total experimentation with tracks so disturbing that they put the dancers' legs out of sync. This represents a moment of rupture in the narrative, its only purpose being to help reconnect with the dance floor as soon as it is over and to re-launch the story with even greater interest.

Those who have already come to see my DJ set know this: each of my stories is unique.

I hope you’ll enjoy the one I’m telling you in this third volume.

Pura Vida

Guts"

Unavailable for years, the reissue of Kassav' legendary first album released for the RSD. Founding album of the modernization of Guadeloupe music, it will give birth a few years later to the global zouk phenomenon. This version gathers for the first time the original version as the American version of the album (4 different tracks).

All DJs have their own way of building their set. Some pick records entirely on the spur of the moment and trust their instincts, others write down a precise list on a piece of paper and never stray from it; the set is a kitchen where the DJ is the Chef. It doesn't matter how it’s done, as long as it's done properly and enjoyed by everyone, that's what matters the most.

I think I'm combining these two methods when building my set, except that instead of a meal, I'm talking about a story. A story that crosses styles, countries, atmospheres, and that I tell in a different way every night. With, however, a method that I respect.

Between the new stuff I get from the labels, the stuff that friends and fans send me, and what I dig myself, I have enough to make a different set from A to Z, every night! However, before these treats can delight the dancefloor, each of them has to go through a quite precise process.

The first step is to digitalize my tracks in high quality. I can play several dates in a week, so carrying boxes of records to places that are sometimes far apart is out of the question. The WAV format has become my best friend. With it, I can edit some tracks, cut parts or lengthen others. Sometimes, an interminable intro is not necessary, while a furious break needs to repeat itself a bit longer.

Then, the second step consists in classifying the tracks by genre and origin. A real library is thus created where each title has its own place. Accessible (almost) without searching. I know all too well the experience of getting lost in one's own collection, trying to read the spines, pulling out a record halfway from its shelf only to put it back in it immediately. No, that's not the one... where did I put that other one then?...

From these folders I then draw the titles which will be part of the third stage: the selection for the DJ set. Nothing is set in stone, tracks come and go on a regular basis. I have year-round squatters as well as residents passing through for a few weeks. Or days. It is from there that I begin to elaborate the story that I will be telling for three or four hours.

The beginning of the set is always the same. Welcoming the dancers gently. Letting them take their marks with a musical aperitif of tracks at 80/90 BPM, something that many DJs don’t do or no longer do.

The end is always the same. Parting with the dancers gently. Letting them go down peacefully. Their evening with me is over, but it is perhaps another one, more intimate, that will be starting for them.

In between these two moments, it’s all about the story itself, with its cumbia, reggae, hip hop, lusophone music, funk, soul-jazz twists... A rich story which tells itself in the mood of the moment and back on the dance floor. Depending on the general atmosphere, the rise in musical power can start after an hour and thirty minutes of preliminaries, or it can happen only after 45 minutes. The climax is reached with the Afro-house part, a furious passage that makes overexcited music from Zimbabwe and punk music from South Africa confront each other along a total experimentation with tracks so disturbing that they put the dancers' legs out of sync. This represents a moment of rupture in the narrative, its only purpose being to help reconnect with the dance floor as soon as it is over and to re-launch the story with even greater interest.

Those who have already come to see my DJ set know this: each of my stories is unique.

I hope you’ll enjoy the one I’m telling you in this third volume.

Pura Vida

Guts

The profile of French producer Guts has grown steadily in recent years and he is now considered to be one of the leading producers in France and a recognised name on the European beats scene. ‘Hip Hop After All’ features an array of stellar MCs and vocalists, including Grand Puba, Masta Ace and Cody Chestnutt. Double LP gatefold sleeve with insert & download card, exclusive content for the download card.

His hit "Brand New Revolution" was played by many radio stations worldwide and was used in Grand Theft Auto V. His compilation series ‘Beach Diggin' is now a reference point for summer and quality music in general.

After three instrumental albums, Guts decided to come back to his Hip Hop roots (he created the French rap band Alliance Ethnik in the 90's) and invited quality MCs and singers to join him in the studio. You can find on this album, Hip Hop legends such as Grand Puba, Masta Ace, Bob Power, Rah Digga, plus singers such as Cody Chestnutt, Patrice and a batch of new talent - Leron Thomas, Lorine Chia, Quelle Chris & Denmark Vessey and Dillon Cooper.

A few years ago the world discovered a unique sound coming from the distant Ethiopian capital Addis Abeba. The emotional blow was only matched by the brightness of this original and magnificent discovery. The Ethiopiques series directed by Francis Falcetto and edited by Buda Musique provides a comprehensive landscape of this subtle musical universe where local and western cultures do magnify each other. This new Ethiopian Urban Modern Music release follows the first Soul & Groove installment and keeps revealing some essential parts of the modern Ethiopian puzzle. An unequalled soul funk signature until today.

David Walters is an explorer. Not just one of those who show off on the screen. Like his Grandfather, David has not hesitated to cross seas or oceans to fulfil his desires fit. His mother's father left the Caribbean island of St Kitts for New York and started a family in London with a woman he met on the boat. David, on the other hand, travelled from his home in Marseille to Sheffield, London and Manchester to record this EP and to give a new twist to his career by musically extending the link that binds him to his grandfather, and more generally to his ancestors. "In Africa and its diasporas, as in the world for those who know how to see them, the elders are always at our side", he says in a soft voice.
"Music comes first".

It was on Guts' advice that David Walters changed his working habits. He and the French producer/beatmaker and DJ know each other well. "He offered to accompany me artistically on my new album, to be my third eye, or my third ear," says David. "He is someone I respect for his work, his discretion and his questioning, his desire to never repeat himself" he explains. "We often exchange ideas. We don't necessarily always agree, but whatever we think of each other, it's the music that comes first.” So when Guts told him about Tom Excell, David went for it. He headed for Sheffield where Excell, the producer, guitarist and percussionist had his own studio. The contact was direct. "We took the instruments and played like children", remembers David, still under the spell of the encounter. "Tom is part of the new English scene that combines jazz, soul, hip-hop and world grooves. He’s associated, as a musician, producer and remixer with Nubiyan Twist, Onipa, K.O.G., Me & My Friends and so many others. He has the freshness of the English sound. I like his approach. Over there, people have grown up with The Beatles, The Specials, Depeche Mode, The Clash or Apache Indian playing in the background in supermarkets. They have a different musical culture, a different musical culture that is part of the décor regardless of the genre, and that's a game changer," David says excitedly. "If people like it, they make room for you right away. I'm a fan".

"More personal and more open"
In three sessions at Tom Excell and David built these 4 tracks. “No One” which opens this E.P., was the first to be finalised. As always with David, everything is played - the Rhodes as well as the percussion, the bass as well as the drums - before being sampled. Even the electronic rhythms are sampled on the hi-hat or cymbal. Hence this organic sound. ”No One is a word of advice, an incitement to trust yourself, to listen to no one but your own instinct. This is something the singer already defended more than fifteen years ago on “Awa” the song that gave its name to his first album. "No One” is now more peaceful and serene than “Awa” was," he says. “Bow Down”, initiated with the Lyon-based producer Patchworks, is reinvented here in a lighter version. ‘It's a nod to New Orleans and the Afro-descendants, those men and women who kept their heads up despite slavery and mistreatment," says David, who recorded and produced the Nola is Calling project (2019) in a colonial house in New Orleans he transformed into a studio. The expression "Bow Down" is both a tribute to the Amerindians who came to the aid of African slaves and an affirmation of strength and resilience. Hurricane Kathrina is still on everyone's mind. As David explains, “Yemaja is the Cuban goddess of the sea. In Africa, she is called Yemoja”. There is no doubt that the sea is David's element. “The sea acts on me like a sort of great "reset". It's a place where you can also lose yourself," he says. “Baby Love”, the last track, echoes “Baby Go” from the album
Nocturne (2021), an opus recorded with cellist Vincent Segal, kora master Ballaké Sissoko and percussionist Roger Raspail. "In the end, these four tracks (+ a disco edit of “No One” by the American producer Captain Planet) are put together like a rebus, to tell a story that makes sense to me: Nobody is going to fall apart, thanks to Yemaja", David sums up with a warmth and smile in his voice.
David Walters is a true explorer, and doesn't intend to stop there. Future sessions are already scheduled in Tom Excell's studio in order to finalise a full length album which is due to be released early in 2023.

‘Caribbean Roots’ represents a return to his roots for Anthony Joseph, who has always remained true to a powerful, deep-seated sense of his Caribbean identity.