Diggers Factory HHV Records 136 Items

Take Care delves deeply into the psyche of BigXThaPlug, capturing the evolving emotions and complexities that come with fame and personal relationships. With raw vulnerability, the album authentically portrays his inner struggles and triumphs. Listening from start to finish feels like an intimate therapy session-not just with BigX, but with the culture he represents. Themes of mental health, fame, politics, love, and loyalty are woven throughout, brought to life by powerful imagery, activations, and, most importantly, the music itself.

Xzibit - Kingmaker marks the West Coast legend's long-awaited return, his first album since 2012. Packed with heavyweight collaborations, Kingmaker features industry icons like Dr. Dre, Ice Cube, Busta Rhymes, Redman, Royce da 5'9", Ty Dolla $ign, and more. With hard-hitting production and Xzibit's signature razor-sharp delivery, this album blends raw lyricism with top-tier beats, reaffirming his status as a hip-hop powerhouse. A must-have for retailers and fans alike, Kingmaker is set to make waves across the culture.

Xzibit - Kingmaker marks the West Coast legend's long-awaited return, his first album since 2012. Packed with heavyweight collaborations, Kingmaker features industry icons like Dr. Dre, Ice Cube, Busta Rhymes, Redman, Royce da 5'9", Ty Dolla $ign, and more. With hard-hitting production and Xzibit's signature razor-sharp delivery, this album blends raw lyricism with top-tier beats, reaffirming his status as a hip-hop powerhouse. A must-have for retailers and fans alike, Kingmaker is set to make waves across the culture.

Kobe-born, Brooklyn-based trumpeter Takuya Kuroda's eight studio album, Everyday is a stunning demonstration of his dedication and skill. Since the release of his soulful seventh album, 2022's Midnight Crisp - a record praised by PopMatters as a "future classic" - Kuroda has not missed a beat. In his desire to achieve the "perfect blend of production and organic performance" the 45-year-old musician has continued to throw himself into his practice daily, nearly thirty years into his musical life. Everyday builds on and dives ever deeper into the hip hop and neo-soul elements of his previous work. It is a triumph of genre-blending modern jazz. Kuroda's playing is sure-footed and pure - whether on the horn, synth, or Rhodes- and he virtuosically dances among infectious rhythms of his own creation. Kuroda's twenty-one years in the United States have been fruitful. After studying composition at The New School, he began performing with DJ Premier's Badder Band, Jose James and Akoya Afrobeat, and has recorded as a sideman and bandleader for records on the likes of Blue Note and Concord. But as Kuroda himself says, "the only way to make the music that I want to make is to work hard, every day." And so we have Everyday, a title which reflects, as Kuroda puts it, "that simple message." There is a certain duality to the title that taps into something profound about this music. "Everyday" of course means both daily and commonplace. While Kuroda's music is anything but average, there is something about the intrinsic and embedded nature of the day-to-day, the incidental rhythms of life, that is reflected and seductively expounded on here. Kuroda describes the process of recording Everyday like this: "Make tracks at home, bring them to the studio, add or replace sounds, invite musicians, repeat the process to Polish the track - as I hear it." There is both a no-nonsense work ethic here and also a sort of embeddedness, an everydayness, that Kuroda achieves through this practice which perhaps cannot be accessed if one simply waits to get to the studio to begin work. Kuroda builds, tweaks, plays and polishes until what's coming through the speakers matches what's been playing in his head everyday. This is exactly what ensures Kuroda's skillful synthesis of influences which Dean Van Nguyen noted while reviewing 2020's Fly Moon Die Soon for Pitchfork. One is left with that sense that Kuroda has been tapping it all out everywhere he goes, drumming his fingers on the diner counter, shuffling his feet along the pathway in the park, manifesting the rhythms of his mind. "Groove," Kuroda says, "is the foundation for all the tracks on Everyday." And atop that strong foundation, brought to life by the energy of David Frazier's drumming, Kuroda's shimmering lyricism dances all over Everyday. His trumpet playing pops and weaves and rings on the title track and his melodies are, as he puts it, "singable" - profoundly so on the album closer, "Curiosity," on which Kuroda trades trumpet for flugelhorn. Before that, "Bad Bye" is a glittering and classic sounding neo soul effort, featuring a stunning performance from vocalist FiJA. It's as though Kuroda plucked this track from a dream of Mama's Gun - but, unmistakably, it's Kuroda's dream and so the song is Kuroda's, entirely. Likewise with "Iron Giraffe," in which Kuroda makes space for tenor saxophonist Craig Hill to weave a contemporary reverie of Night Music. Everyday is hyperaware of a panoply of old ideas and a pantheon of old gods but as Kuroda engages these tropes and personalities day in and day out, he turns it all around in a style that's undeniably cool and personal. As Pitchfork put it, "Kuroda's skill is not drawing influence from so many different forms, it's radiating joy in doing so." And as Kuroda puts it, "I'm still learning everyday and trying to express myself more clearly in the form of music that I love.

Parioca is a duo formed by Matthieu Chedid and Seu Jorge. The collaboration began 12 years ago in Brazil following the Festival Encantado, where they performed together, and Seu Jorge's New Year's Eve show on Copacabana Beach, where he invited his French friend to join him on stage. This was a natural continuation of their bond after Matthieu had invited Seu Jorge to perform at Bercy in 2004. The duo's work was finalized in recent weeks and produced by Jrme Pigeon, who produced Seu Jorge's iconic album Cru and introduced the two musicians in the late 1990s. Parioca is a hymn to the intercontinental friendship between the two artists, celebrating their enduring joyful, warm, and fruitful relationship. Their collaboration continues to evolve, with Seu Jorge set to contribute to Matthieu Chedid's upcoming album, Lamomali 2.

Joker: Folie Deux (Score from the Original Motion Picture Soundtrack) reteams composer Hildur Gunadttir with writer/director/producer Todd Phillips following their collaboration on the latter's 2019 blockbuster Joker, which earned more than $1 billion at the global box office and an Academy Award, Golden Globe, Grammy and BAFTA award for Gunadttir. For Phillips, the decision to bring her back to compose the music for Joker: Folie Deux was an easy one. He had this to say: "There was no version of this film where we weren't calling Hildur to do the score. I think her music is basically the second biggest character in the first film."

Released in 1996, Free to Move represents the peak of the band's career. In France alone, the CD sold 40,000 copies within just a few months, accompanied by a tour of around 30 dates across the country and a three-night run at Paris' Elyse Montmartre - the reggae temple of that era. The group appeared on the cover of L'AFFICHE magazine (with Olivier Cachin as editor-in-chief at the time), and made a highly memorable live appearance on Nulle Part Ailleurs on Canal+ as the featured musical guest. At that point, the band was widely considered the leading force in reggae. This reissue is a true event, as the CD has been unavailable since 2004 - and more importantly, the vinyl has not been available since it's original release in 1996. Back then, the label pressed all 12 tracks onto a single LP with over 30 minutes per side, which severely compromised the sound quality of this masterpiece. Today, we've gone back to the original tapes to properly remaster this album, with only 3 tracks per side in order to fully restore the power of the mix and ensure optimal listening quality. The album is now reissued as a double LP - 2 x 180g - with a 350g glossy UV gatefold sleeve, bringing this cornerstone of the band's discography back to life with the treatment it truly deserves.

FOR THE FIRST TIME AVAILABLE ON VINYL (until now, this album has never been released in vinyl format, only as a CD). Double vinyl edition, each record is 180g, mastered for the vinyl format, featuring a 350g cover with "Struktura Leather", for an elegant texture and refined touch. If there is one quality that best defines both Michel Petrucciani's personality and his music, it is generosity. Onstage, in the heat of the moment, close to the audience, within the intimate energy of a club atmosphere, he expressed his passion for sharing with absolute sincerity. "A lot of musicians have a playing style that is too egotistical," he once said. "They play just for themselves and for an elite few. I play to give pleasure and to communicate. I like to think of myself as a very happy person. That's why it is so important for me to pass along and give to others the generosity that is indispensable in art, music, and life." This generosity shines through in these magnificent moments captured live in Tokyo in 1997. Joined by Anthony Jackson and Steve Gadd-two close friends with whom he shared an almost telepathic musical connection-Michel Petrucciani delivers a blazing hour of piano, blending standards and original compositions to unleash his boundless expressiveness. Once again, we are struck by the radiant clarity of his phrasing, the vigor and percussive precision of his touch. A true master of tempo, he played "all the way through the note," shaping long, flowing phrases where each note is distinctly heard. His playing brought both accent and dimension to every piece. But above all, it was defined by absolute sincerity. His heart sang directly through the piano. And this album is one of the most astonishing demonstrations of that. Text by Pascal Anquetil

While not the king, Robert Johnson was, by the 1930s, the first legendary star of the blues. A black star, whose nervous and desperate songs shook, fascinated, and intrigued generations of listeners. There's a lot of mystery in this music of a great loner, seemingly seeking refuge from anxiety in a relentless forward rush. Robert Johnson's long fingers scurrying across the neck of his guitar like a spider, the emotion that chokes his voice, the rare photographs we have of him... No one can escape the fascination. His songs have been compiled and reissued a thousand times, first on vinyl and then on CD. But the album King of the Delta Blues Singers stands apart: it was the first Robert Johnson compilation released in the 33 RPM format. The record with which America rediscovered Robert Johnson at the time. One of the totems of the folk-blues revival.

"Broken Melancholy", the brand-new studio album by French touch legend DJ CAM, marks a powerful return to his roots. Designed as the long-awaited follow-up to his iconic album Substances, this record is a unique fusion of electronic beats and the legacy of Jamaican sound systems. As DJ CAM describes it, "Broken Melancholy is like my 'Blue Lines' by Massive Attack", a bold and uncompromising tribute.

This limited-edition picture disc is exclusively available at Diggers Factory and pressed in only 300 copies worldwide. A true collector’s item for vinyl lovers and long-time DJ CAM fans alike.

Birds of a feather, flock together. It is a very old saying; It means that people with the same interests 'move' the same way. Fate, to some, is but a mere theory human beings adopt to try and make sense of the world around them. To others it is something solidified in the belief of serendipity, luck or good fortune if you will. Whatever the listeners personal concept of the term, the results of two musical minds from foreign lands meeting by accident is something I find difficult to believe happened by chance.

During a cold winter in Innsbruck, while snow slept on the early morning streets, something was happening between the four walls of Philanthropes’ top floor apartment, as the rest of the city slumbered. Was it the mix of caffeine, lost love and their fondness of jazz? Or simply the right time and place, that gave way to these artists embarking on this instrumental journey together? I guess that is a question for the listener themselves.

Whatever the conclusion, I’m sure you will enjoy the fruits of their musical labour during those times. Sit down, relax and take flight; let this record give you a time for contemplation, reflection and peace.

-Eugene Saunders New Musical Times

TABOU1 is proud to present the very first vinyl release of X Uhuru, the first and only album bringing together Michael Rose and Sly & Robbie after the golden years of the legendary Black Uhuru formation between 1978 and 1984. Recorded in the early '90s, X Uhuru does not merely highlight the timeless brilliance of reggae; it enhances it with a modern touch, blending traditional roots with innovative sounds that resonate across generations. Rather than trying to recreate the old Black Uhuru sound, Sly & Robbie crafted a revolutionary approach to accompany the legendary voice of Michael Rose, a Grammy Award-winning artist. X Uhuru is a journey through a kaleidoscope of emotions and rhythms, with Michael Rose delivering his iconic voice and impactful lyrics, finely weaving stories of freedom, resilience, and unity. Sly & Robbie's production delivers the unique and sophisticated TAXI sound, making this album a must-have for music lovers. Tracks like Come Home integrate subtle double-tempo echo effects that will make any aspiring junglist envious. Michael Rose made history in roots reggae as a founding member of Black Uhuru, a revolutionary vocal trio whose dark harmonies, modal melodies, and socially conscious vision paved a new path for reggae music in the '70s and '80s. This 1999 album stands among his finest achievements. The rhythms combine the futuristic power of digital ragga with the depth of classic roots reggae grooves, while Michael Rose's distinctive North African vocal inflections and sharp voice cut through the mix with deadly precision. Highly recommended.

Listening to At Last! Who could guess where Etta James was coming from? It was her first solo album, after a few group successes. A bouquet of love songs in which the young woman sang of the blossoming as well as the thorns and the wilting. All strings and jazzy ambience, the music is a red carpet for the exceptional voice of this young singer. Capable of innocence and freshness as well as red-hot roars. Like all the great black American singers, Etta James put her life into her voice: her childhood without a family, her early addiction to drugs, her salvation through the music she began in church. At the age of 22, Etta James sang as if she had lived through it all, and still with hope. The song At Last! #has become a classic, accompanying Etta James throughout her life and beyond: it was the song sung at her funeral in 2012.

*"Movin Up," the debut album released in 1993 (the same year as Shake It Up Tonight), introduced the young LUCIANO to the public. This album was produced by Fattis Burrell (XTERMINATOR). It features a top-tier lineup: Harmony Vocals - Brian & Tony Gold, Dean Frazer, Luciano. Musicians - Winston "Bo Pee" Bowen, Christopher "Lurch" Birch, Dean Frazer, Fire House Crew, Michael Fletcher, Paul Kaspick, Robbie Lyn, Sly & Robbie, Steven Coore. As with all albums in the Real Authentic Sound catalog, both the vinyl and CD versions have been remastered, making this reissue (the first since 1993) a major event for all reggae fans. For the first time on VINYL! The original edition was only available on CD and had NEVER been released on vinyl until now.*

There's probably enough written about Kind of Blue to fill a library. This album has often been declared the "best jazz album of all time." Ultimately, that doesn't mean much, and it adds pressure. Listening to it remains the best way to understand it: what unfolds on this record, beyond musicological theories and aesthetic revolutions, is a perfect symbiosis between exceptional musicians. Their names: Bill Evans, John Coltrane, Cannonball Adderley, Jimmy Cobb, Paul Chambers, and, of course, Miles Davis. The chemistry between them is complete. They're all very good, but above all, devoted to the collective sound, completely open to what's happening around them, almost disappearing behind their shared creation. A spirit rises on this record that transcends it's creators. Maybe the best jazz album of all time.

Franoise Hardy has never hidden her disdain for her first and somewhat intolerable hit,"Tous les garons et les filles", which she finds overly sentimental. Yet, it gives it's title to this album, marking the beginning of an extraordinary career defined by integrity and beauty, spanning over fifty years. As was customary at the time, the album is a compilation of Super 45s, which, uniquely for her generation, she writes and composes entirely on her own, with the exception of a cover of Jil and Jan's "Oh Oh Chri" and "Le Temps de l'amour," written by Dutronc and Lucien Morisse. Winning the Grand Prix du disque from the Charles Cros Academy in 1963, this album, released at the heart of the y-y wave, easily stands apart. It shines with the silky softness of her voice and delivery, and above all, the indefinable yet constant charm of these romantic little songs, pastel in their innocence but always wrapped in a mist of doubt.

Chet Baker Sings is the first album where Chet Baker, in addition to playing the trumpet, sings. It's like a duet with himself, with two modes of expression that are so alike. Chet Baker sings like he plays his instrument, with the nonchalance of a California dandy, all soft cotton and effortless precision, always on key, at the edge of a yawn that feels oddly soothing. No man had ever sung jazz like this before Chet Baker. But plenty of women had. The success of Chet Baker as a singer may lie in this ambivalence between his brooding, handsome looks and his almost androgynous voice. Backed by a small, ethereal orchestra and working through a repertoire of covers, Chet Baker here invented the ultimate resting space for modern jazz. Special mention goes to his version of "My Funny Valentine," a melancholic coo that has entered the pantheon of classics.

In 1957, John Coltrane recorded Blue Train, his first and only album as a leader for the Blue Note label, which was released a few months later in 1958. And it's no small feat in the giant's discography. After recording with Dizzy Gillespie, Miles Davis, and Thelonious Monk, John Coltrane finally had his own group, marking the moment of his emancipation. Blue Train, like "blue Trane," already showcases the saxophonist's distinctive style, even if it's not yet fully developed. Coltrane plays with a broad, sweeping approach, descending octaves with elegance and ease, like an apprentice sorcerer already ahead of his time, creating deep, magnetic melodies that are elevated by his stellar collaborators (Lee Morgan, Curtis Fuller, Philly Jones, Paul Chambers, and Kenny Drew). An essential recording for the history of jazz, setting the first stone of a long and fruitful journey.