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Cree Vinyl, CD & Tape 20 Artikel

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Umoja I-Nity - Feel The Groove
Umoja I-Nity
Feel The Groove
12" | 2018 | EU | Original (Cree)
16,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves
Limited edition vinyl!Only one copy per customer!Check out this great reissue of this lost masterpiece of Afrobeat, Disco, Funk.This re-release even includes 2 additional tracks! TIP!
Clive Zanda - Clive Zanda Is Here With 'Dat KInda Ting' Calypsojazz Innovations
Clive Zanda
Clive Zanda Is Here With 'Dat KInda Ting' Calypsojazz Innovations
LP | 1975 | EU | Reissue (Cree)
21,99 €*
Release:1975 / EU – Reissue
Genre:Organic Grooves
Only one copy per customer!Cree Records is set to re-release jazz pianists Clive Zanda’s classic calypso jazz 'Clive Zanda Is Here! With "dat kinda ting"- Calypsojazz Innovations', originally released in 1975. Only 350 copies of the record were pressed in 1975 which makes it one of the most sought-after records from the Caribbean from that period today. With new distribution and manufacture being handled by German reissue speciality label Cree Records, this album — remastered and released as a vinyl LP — has the possibility of reaching a new global audience. Clive Zanda, an elder statesman in the local jazz fraternity in the Caribbean, began his improvisations and fusion exercises with jazz and calypso back in the early 1960s when he was a student of architecture in England. On his return to Trinidad in 1971, he collaborated with Barbados-born QRC (Queen’s Royal College in Port of Spain) teacher and indigenous jazz music advocate, Scofield Pilgrim to codify the new music that was beginning to shape a new generation of young jazz musicians. Their "proof of concept" was this album recorded at KH Studios with Michael 'Toby' Tobas (drums) and Michael Georges (bass) as a trio. With a new liner note essay by local music writer Nigel A. Campbell, the project overseen during the last year by Cree Records continues the renaissance of Trinidad and Tobago music of the dynamic 1970s.This limited reissue of the rare and much sought-after Caribbean record is pressed on 180gram virgin vinyl. The release comes with a reproduction of the original artwork including an inlay leaflet with extensive liner notes by Nigel A. Campbell, song-by-song notes and biographies of the accompanying musicians.
Michael Boothman & Family Tree - Tabu / So Dey Say
Michael Boothman & Family Tree
Tabu / So Dey Say
7" | 2018 | EU | Original (Cree)
12,34 €* 12,99 € -5%
Release:2018 / EU – Original
Genre:Organic Grooves
Limited edition vinyl!Only one copy per customer!Family Tree was a coming of age band marking a change of consciousness for a group of young musicians who had started their musical careers at the dawn of Trinidad and Tobago's Independence from Britain in 1962.They grew out of The Rockerfellars, the first band spearheaded by the internationally renowned guitarist and songwriter Michael Boothman. The successful ’60s combo band playing rock and roll based popular music had reached the limits of its potential at a time when the excitement of Independence had given way to the anger of the civil rights movement which had been bubbling in Trinidad since 1967 and eventually spilled into the streets of Port of Spain in 1970 in what came to be known as the Black Power Uprising. It was with this movement as a backdrop that the focus for Boothman and his friends began to change.The Boothman brothers also had the benefit of coming from one of Port of Spain's most respected artistic families. Their uncle Geoffrey Holder was already the toast of New York's Broadway theatre scene, excelling as both a dancer and actor. Their younger uncle Boscoe Holder was on his way to becoming one of Trinidad and Tobago's most important visual artists. Family Tree represented a new generation re-discovering Trinidadian folk music forms and giving them a contemporary treatment. Under the guidance of drummers like Andrew Biddeau, Family Tree infused old Shango rhythms in their new sound. They were also the first to experiment with steel pan, fusing it with the standard instrumentation of the day. In 1972 the band won Trinidad & Tobago's 10th Anniversary Independence Music Festival with best original composition So Dey Say and they also won the Best Arrangement of the festival song Mighty Terror's Pan Talent. Tabu is a cover of a Cuban standard made popular in Trinidad by 1950s calypso musicians Cyril Diaz and his Orchestra and So Dey Say was an original composition by David Boothman.Although they only ever recorded these two songs, the band toured with Derek Walcott's Trinidad Theatre Workshop and forged long standing musical connections with some of the country's leading musicians. Among these are Andre Tanker, who plays the flute on Tabu. Tanker was another of the musicians who had made the transition from the more conservative mainstream pop music sound to embracing Trinidad's folk forms, inspired by African, Indian and Indigenous antecedents.Family Tree consisted of the Boothman brothers Michael on Guitar and David on Keyboards; Wayne 'Barney' Bonaparte on bass; Dennis Thomas on drums; Earl 'Biter' Edwards on African drums; Allan Nightingale on percussion; Rawle Mitchell on steelpan. Rawle Mitchell was succeeded by Len 'Boogsie' Sharp, then a 16 year old pan prodigy who went on to become one of Trinidad's foremost steelpan players and composers.
Nadie Lafond / Embryo - Al Kent & Frankie Francis Sofrito Edits
Embryo - Soca (It's Soul Calypso) / Wajang Woman
Leston Paul - Let's Party Tonight
Leston Paul
Let's Party Tonight
12" | 2018 | EU | Original (Cree)
16,99 €*
Release:2018 / EU – Original
Genre:Organic Grooves
Limited edition vinyl!Only one copy per customer!Being totally infected in the mid Seventies by the new possibilities analog synthesizers were offering in sound and studio production, Leston Paul became the pioneer in electronic music production in the early Eighties in Trinidad. Leston Paul is one of the most in-demand music producers and arrangers in the Carribeans. It is said that he has worked as a producer on more than twenty thousand recordings.In 1983 Leston Paul felt the time was right to record his debut album, 'The Arrival' which was done at K.H. Studios in Port of Spain. His obsession with synthesizers led to a heavy use of electronic instruments like an Oberheim synth, a Roland bass machine, a Roland drum machine and a Simmons Digital Clap Machine on this record. Most of the instruments were played by Leston himself. On vocals he used well known singers like Charmaine Forde, Nadie La Fond, Carl & Carol Jacobs, Joanne Wilson and Peter Britto.Due to lack of proper distribution sales weren't very good. This circumstance makes this record very rare today and sought after.Leston was introduced to Kool & The Gang's background vocalist Barbara Hernandez by his friend Jeff Medina. Leston had started to write and record All Nite Tonight in Trinidad and brought the song to New York. At the Millford Plaza Hotel Hernandez and Paul finalized the song and decided to re-record the track at the Sound Lab Studio. Kool & The Gang were playing a gig the same day of the recording session in New York and Leston managed to get them into the sudio to record the horn section.Barabara Hernandez took Leston to Kool & The Gang's home studio in New Jersey and was very impressed by the sound quality they were able to produce and decided to adopt this model in Trinidad. While working on the recording of Arrow's 'Hot Hot Hot' album in New York in 1982 he had his first encounter with an Apple Macintosh computer being used in a studio and was deeply impressed. From the money he made from the production of Arrow's album he bought a Tascam eight-track recorder and an Apple Macintosh computer.In the bedroom of his apartment in St. Augustine he set up the first home recording studio in Trinidad. Here he produced his next album 'Keys To The City' in 1987, which was completely done on a computer and showcases the potential of electronic music production. The track Everyday Life is very popular among djs and electronic music enthusiasts.
Ruby & The Mudflaps - Breezy / Do The Boogie
Ruby & The Mudflaps
Breezy / Do The Boogie
7" | 2017 | EU | Original (Cree)
11,99 €*
Release:2017 / EU – Original
Genre:Organic Grooves
Only one copy per customer!This is the first re-issue of this impossible to find modern soul masterpiece of the 1970s cult band, darlings of Munich’s blooming disco and dance scene! This re-issue is mastered from the original tapes. Originally released in 1977 on Germany’s Jupiter Records original copies currently sell at 150 to 400 US Dollars. This limited edition comes with newly designed picture sleeve.
V.A. - Nappy Music Man; Soul-Pop-Disco-Funk-Calypso-Crossover 1975-1981
V.A. - German Measles Volume 2
V.A. - Step Inside My Soul - Rare '70s And Modern Soul
V.A. - The Cole Slaw Club
Doran Versatile Hector - Let It Out / Destruction
Doran Versatile Hector
Let It Out / Destruction
7" | 2016 | EU | Original (Cree)
12,99 €*
Release:2016 / EU – Original
Genre:Organic Grooves
Born in Matura Village, Trinidad in 1949, Doran Dorril Hector aka ''Versatile'' began his career as a guitarist in a quartet singing group called the ''Orchids'' in 1965. He first began writing and performing Calypso in 1967 for the North East Competition in Sangre Grande where he emerged 1st runner up to the Mighty Poser.He further went on to be judged the best singing teen at the Teen Talent Competition held at Scarlet Ibis Hotel in 1968 performing Otis Redding’s ''Dreams To Remember''. The prize was a recording session at Telco Records and it was at this company that Dorril released his first record ''Dance With Me''.In the late sixties he also began travelling as a lead singer with Ed Watson and the Brass Circle, visiting the entire English-speaking Caribbean. He also went to New York, Miami, The U.S. Virgin Islands and Guadeloupe.In 1970 he decided to get into the Calypso genre and changed his artist name to ''Versatile''. Before getting on the front stage he began doing background vocals for several calypsonians in the Calypso tents during Carnival season. He also began to work as a background vocalist at Max Serrao’s Caribbean Sound Studios, K.H. studios and Semp studios.After saving some money from working in the entertainment business, Dorril decided to do a self-financed recording in 1974 and recorded ''Country Boy Come To Town'' at K.H. studios in Sea Lots, Port of Spain, a calypso-pop crossover song. The song was a minor success in Trinidad.In 1975 he went into a partnership with K.H. studios to record his next single ''Let It Out''. The song was a mixture of Calypso, Funk and African influences and served as a good example for the newly evolving musical artform called ''Soca''. However, Dorril was still unable to write down his music and arrangements for the studio musicians. Ellis Chow Lin On (then manager at K.H. studios) introduced Dorril to Pelham Goddard who had just formed his band ''Roots''. Pellham Goddard wrote down the arrangements and Roots recorded the backing track. Among the musicians were names like Clive Bradley and Michael ''Toby'' Tobas. Dorril released the record on his own ''Hector'' label. Back in the studio in August 1977 he recorded the socio-critical song ''Destruction'', a soulful reggae tune. The backing track was recorded by Colin Lucas and his newly-formed band ''Sound Revolution''. After Carnival the following year the song became a big hit in Trinidad and the wider Caribbean and finally Dorril’s signature song. Dorril kept recording his own material and is performing live to this day. He is also an active member of T.U.C.O. (the Trinbago Unified Calypsonians Organisation).7'' Single (45 RPM) in picture sleeve. 2 tracks. Total playing time 7 mns.
Doing Our Thing - More Soul From Jamdown 1970 - 1982
Doing Our Thing
More Soul From Jamdown 1970 - 1982
2LP | 2018 | EU | Original (Cree)
23,74 €* 24,99 € -5%
Release:2018 / EU – Original
Genre:Organic Grooves
Cover versions have always been an integral part of Jamaican music and an indication of the wide-ranging influences on reggae and the versatility and adaptability of its artists, musicians and producers in their approach to music making. Anything and everything could be, and has been, incorporated into the mix over the years but it is what reggae's artists, producers and engineers did with their sources that make their cover versions so special and so vitally important; in many cases their versions have travelled so far from their starting point that they are virtually unrecognisable. This set, compiled by reggae historian Steve Barrow, not only demonstrates the massive influence of American soul and disco releases on Jamaican music but also showcases the wholly original approach of Jamaica's musical maestros. The track listing for 'Doing Our Thing' reads like a roll call of some of the best of Jamaica's greatest ever singers, deejays, musicians and producers and the selection opens with one of reggae's first ever artists to break into the international charts. In 1971 the inimitable Dave Barker, as one half of 'Dave & Ansel Collins', hit all around the globe with 'Double Barrel' which was inspired by two American records 'The Funkie Moon' by Smokey Johnson & Company and 'Party Time' by Ramsey Lewis. Dave could sing every bit as well as he could deejay and both sides of his tremendous talent are featured here. Accomplished veteran vocalists including John Holt, Alton Ellis and his sister Hortense, BB Seaton and Junior Byles rub shoulders here with the magnificent musicianship of Augustus Pablo, Glen Adams, Willie Lindo, Lloyd Charmers, Cedric Brooks, Richard Ace alongside lessons from the Jamaican deejay school with Dillinger and the aforementioned Dave Barker. The set concludes with an example of the nascent dance hall style from Phillip Frazer, “sharp like a razor”, welding two hits from The Manhattans over the 'One Step Beyond' rhythm.The music makers from Jamaica had always leaned on American, Cuban, and occasionally British, elements in creating their magic and, in doing so, attained their own voice whose worldwide reputation is out of all proportion to its humble beginnings and circumstances. Like the Jamaican people, whose motto is ''out of many, one people'', the roots of Jamaican music are embedded deep in the music of elsewhere but as its branches grew they too spread worldwide. The subsequent repercussions have been of serious significance to the music of the past forty years. Its worldwide influence has long overtaken and superseded its origins: the massive sound systems, dub (the 'remix'), Jamaican MCs and deejays (rap). In fact, the whole transmission system of 'dance music' was pioneered in Jamaican dance halls, which are not 'halls' at all since most dances are open air affairs, where as Josie Wales says ''you could skank your life away…''. Both the vinyl and compact disc are accompanied by extensive contextual and historical sleeve notes from Steve Barrow and Noel Hawks and superb photographs from Dave Hendley. This release is respectfully and affectionately dedicated to Dave's memory and his insightful vision.2-LP (180gram vinyl), gatefold sleeve, 20-page booklet (8,2'' x 8,2'')
Lancelot Layne - Blow Way
Lancelot Layne
Blow Way
2LP+7" | 2017 | EU | Original (Cree)
24,29 €* 26,99 € -10%
Release:2017 / EU – Original
Genre:Organic Grooves
In 1971 two songs were released in Trinidad & Tobago that represented completely new directions in the musical and lyrical expression of Trinidad's place in the diaspora, Indian on one hand and African on the other. Nanny & Nana by Sundar Popo and “Blow 'Way” by Lancelot Layne were revolutionary and ground breaking and spawned two distinctly new genres in Trinidad & Tobago music – Chutney music in the case of Sundar Popo and Rapso, in Lance's case. Brother Resistance calls Lancelot Layne the father of Rapso music.During the early 1970s Lance recorded at least a dozen startlingly original songs including “Blow 'Wa”y, “Afro'Dadian”, “Bringing' Off”, “Dat Is Horros” and “Kaiso For Mout' Band”. Each one expanding his talent for musical arrangements and dramatic counterpoint with chorus responses and vocal variation. He enlisted musicians, each exciting and pioneering in their own right, breaking ground in the post 1970 cultural revolution: calypso/jazz pianist, Clive Zanda; composer, guitarist, singer and flautist, Andre Tanker; Mau Mau Drummers including the young Jah Jah Onilu, Mansa Musa Drummers; vocalists, including Ann Marie Innis and Ella Andall.The result is exciting, confident and musically ground-breaking. Until his death in 1990 he kept commenting and educating T&T'ssociety with songs like Get Off The Radio, Kamboulay, Jambalasie Dance and Strike Squad.This release is pressed on 180-gram virgin vinyl and contains an additional 45RPM single. Everything is housed in a deluxe gatefold sleeve with 20-page booklet (8.2” x 8.2”) with extensive liner notes by Lancelot's daughter, Niasha Layne-Forde, and Christopher Laird. Cover and booklet artwork were created by famous Scottish painter, Peter Doig, one of the most renowned living figurative painters who settled in Trinidad since 2002.
Sly & Robbie present - Taxi Gang In Discomix Style 1978 - 1987
Sly & Robbie present
Taxi Gang In Discomix Style 1978 - 1987
2LP | 2017 | EU | Original (Cree)
26,99 €*
Release:2017 / EU – Original
Genre:Reggae / Dancehall
The selections on this compilation demonstrate exactly how much Lowell 'Sly' Dunbar & Robert 'Robbie' Shakespeare have learned from the roots of reggae, American rhythm & blues and soul, and these versions of contemporary and vintage soul songs show Sly and Robbie at their very best on covers of Little Willie John's “Fever”, Al Wilson's “Show & Tell”, Tony Joe White's “Rainy Night In Georgia” (as covered in soul by Brook Benton), The Delfonics' “Don't Break Your Promise”, The Impressions' “You Must Believe Me”,The Spinners' “Could It Be I'm Falling In Love” and a brace of Marvin Gaye covers in “Sexual Healing” and “Inner City Blues”. All are sung with panache and feeling by the various vocalists and backed up with superior rhythms, showcased here with full-length versions, from Sly and Robbie. For over forty years they have contributed so much to the body of reggae music that they can truly be seen as its backbone. This release is pressed on 180-gram virgin vinyl and comes in a gatefold sleeve with 20-page booklet (8.2” x 8.2”) with extensive liner notes by reggae expert, Noel Hawks.
Ugly Creatures - Creatures Of The Earth / Exit To Artist Exist
Jeffrey Turpin & His Friends / Cinnamon Suns - Muisc For The Head - Rumours / Party Time
V.A. - The Robin Imamshah Files
Mansa Musa - Hold On To The Faith
V.A. - German Measles Volume 1
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