Archive for BBE Records

sUb modU – Circles EP

Posted in News with tags , , , , , , , , , , , , , on April 10, 2014 by J.D.

sUb_modU_circlesThe new project called ‘sUb_modU’ shapes up from the desire of avoiding to choke a growing love simply because it wouldn’t suit the style of the former projects tied to the exploration of abstract hip-hop and future beats with Jazzy Gentle, or to the cinematic sounds/70’s soundtracks (with the Acusmatic Group) and to the past 10 years of jazz studies and performances.
This new love finds its roots in the echoes and the sound of electronic music (mainly analog sound and future-bass music) and, amplified by the Berlin experience, explores a new territory creating a sound that makes one think to the illusion of hypnotics circles translated into music, with the help of phase shifting, overlapping of rhythms and sequences of phrases.

sUb_modU, Italian producer, musician and composer of electronic music, recently based in Berlin.
Currently focused on analog electronic, slo-mo-tribal, bass music, modal, afrotribal jazz, techno, hypnotic, spacey, and deep atmosphere, he spent the past year working on his first EP, slowly becoming aware that the experiences in his new home city were carving a new creative vein while changing his music.
Owner of Jazzy Gentle project, Co-founder /owner of the Acusmatic Group project, Member of The Beatfonics Crew held several collaborations with Irma Records, Buyù Records, Agogo Records, Wass Records, Roy Ayers Project, Timewarp Music, NoMad Records.

Lady Daisey – We Will(Video)

Posted in News with tags , , , , , , , on January 20, 2014 by J.D.

Taken from Lady Daisey’s forthcoming second album on BBE: “In My Headphones”

Simba & Milton Gulli – The Heroes : A Tribute To A Tribe Called Quest

Posted in News with tags , , , , , on June 6, 2013 by J.D.

Simba - Milton Gulli - The Heroes - A Tribute To A Tribe Called QuestMusic is not just art, just words, just sounds, it is an invisible net that binds us, fusing with our souls, telling our stories. This is the story of how A Tribe Called Quest inspired these artists to make a difference musically, to not fear being different, to not fear self expression. This tribute is to thank ATCQ for being the first to take these steps, and to make it easier for those who followed.

Like all art forms, music is a means of self-expression. This album is an expression whose purpose is to thank A Tribe Called Quest for being, not only a source of inspiration, but more importantly a source of positive energy.
This album also serves as a message to ATCQ, urging them to get past their differences and remember their roots as a hip hop band. We hope that the response will remind the band of why they started making music, of their roots, and of their duty to their fans.

“The Heroes: A Tribute To A Tribe Called Quest” is a voyage, from the 90’s when ATCQ was at its peak, to now, taking the listener on an evolutionary tour of hip hop to Southern Africa. This album is not only a tribute to ATCQ, but also a symbol of the happiness and joy in the simplicity of life, love, and music.

Yesking – Overproof

Posted in News with tags , , , , , on February 8, 2013 by J.D.

yesking_overproofProduction heavyweight Rhys Adams returns in March 2013 with his second LP under the ‘YesKing’ moniker and his debut for the BBE label.
Produced entirely by Adams, ‘Re-Record Not Fade Away’, marks a coming of age for the seasoned studio head and a sonic departure from the outfit’s 2008 debut ‘Rock This World’ (co-produced by Mark Rae of Rae & Christian fame).

“Overproof” is the first single taken from the album and features the sultry vocals of newcomer Mel Uye-Parker and comes with a bag of remixes by Chris Read, Sola Rosa and Joe Revell. Plus there is a second version of the song entitled “Raise Up” featuring Kenny Knotts, a UK dancehall vocalist and stalwart of the scene.

Out Now
check HERE

Disco Love 3 – Even More Rare Disco & Soul Uncovered – compiled by Al Kent

Posted in News with tags , , , , , , , , , on February 6, 2013 by J.D.

Released: 2013-02-18
Disco Love is a series of fabulous disco records that you have probably never heard of. All superb records presented to you by the legendary Al Kent from the unlikeliest disco haven of Glasgow.

Al’s been buying records a few years now, usually ignoring the in-demand or more obvious titles and searching a little harder for fabulous disco records that you have probably never heard of. Disco Love 3 contains just some of them.

Not only that, but most of them are exclusive, unissued re-edits, spliced specially for this album by Mr. Kent. And there is also a bonus Disco mix by Al Kent of all the tracks.

If you like your disco music deep, soulful and/or funky, then you’ve come to the right place.

Check for more Info/Listen/Buy- BBE Records

Bilal – Back To Love (Stream)

Posted in News with tags , , , , , , , , on February 6, 2013 by J.D.

bilal a love surrealCritically acclaimed musician, Bilal is once again ready to set the music world ablaze with “Back To Love”, the first single from his highly anticipated album, “A Love Surreal.” The single gives fans a glimpse of Bilal’s unique ability to reinterpret jazz, soul, and funk for today’s audience. The album, which Bilal calls an audio art gallery or musical museum, was inspired by the surrealist paintings of Salvador Dali. Overall, the goal of the album was to create music that mirrored Dali’s art with instruments as well as discuss the many facets of love. “A Love Surreal” will feature appearances from Robert Glasper & musical trio, KING. Never one to disappoint, Bilal is set to present a musical experience with A Love Surreal that is sure to be talked about as well as praised for many years to com

Release date: Mar 11, 2013


YesKing – Overproof(video)

Posted in News with tags , , , on January 24, 2013 by J.D.

YesKing - OverproofMusic by Yesking Overproof ft Mel Uye-Parker single out Jan 28th taken from the forthcoming Album “Re-Record Not Fade Away…” out March 11th 2013 on BBE Music


Git Beats feat. Hubbs – Git Craft (Video)

Posted in News with tags , , , , , , on November 3, 2012 by J.D.

This Winter PA based, NY bred producer and BBE recording artist Git will be dropping his new album Basement Ghost.

“Git Craft” is the first single off the project featuring Pittsburgh emcee Hubbs.

Be on the lookout for more videos and singles off the project coming soon, featuring the likes of Sean Price, B. White, AZ, Beedie, Goretex, The 58s and more.

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BBE Pres.You Know How We Dew by Johnick

Posted in News with tags , , , , , , , , , , , on August 1, 2012 by J.D.

Released: 2012-08-27
For most people, especially outsiders, the story of New York is the story of Manhattan. But there are many other stories. There are the breakers and DJs that created hip hop in the Bronx. There’s the Wu Tang Clan over in Staten Island or the deep roots of jazz in Queens, where everyone from Louis Armstrong to John Coltrane lived. And in Brooklyn, just over the bridge from downtown Manhattan, lived a pair of Italian-American DJs, Johnny ‘D’ De Mairo and Nicky Palermo Jr, aka Johnick.

Brooklyn is an important part of the duo’s story and many of their closest friends come from the land across the Brooklyn Bridge, whether it’s Kenny Dope from Sunset Park or Todd Terry in Coney Island. “I always felt that even from going to school in Manhattan in the early 80s, a lot of the people there didn’t have deep roots,” explains Johnny D. “My family is three or four generations in Brooklyn. When you went to Brooklyn, up u! ntil recently, and you went to an Italian area, those homes were pretty much built for Italians and they’d lived there for years. But in Manhattan, people would come from all over the world and settle, so in Brooklyn there were a lot more roots you could trace back. I liked that about it.”

Johnny D and Nicky were both teenage DJs operating in Brooklyn at teen parties, block parties and various mobile gigs in the borough and beyond. Johnny began DJing at 12. “I was always obsessed with music and once I realised the turntables and mixer was how you put things together I really felt I would be good. In my head I always have medleys of two or three things going on at once, so I was very interested to see how it all worked, whether it was a double track or a phase or whatever. I thought it was incredible what you could do. So I was very interested in understanding the art of DJing.

The pair first met in their early teens. &ldquo! ;We lived two blocks away from each other but didn’t rea! lly know each other even though we both knew many of the same people,” explains Nicky. “In our neighbourhood, there were lots of hang out places and many DJs and we all used to go to each others block parties and that’s where I first really started talking to and hanging out with John. We used to go to each others houses all the time and DJ (as we both had equipment) and just listen to the new records that he or I had.”

“I lived at 162 President Street and he lived at 252 President Street,” adds Johnny. “Nicky still lives there. We used to hang out at this place called Phil’s Country Store. I knew of him, because my cousin was in his class, but in 1982 I think he started DJing and we started talking to each other. Then we started doing gigs together. We’d turn each on to music and things like that.”

They make a good team. Johnny is your typical in-your-face New Yorker, effusive, enthusiastic and w! ith the drive of a souped-up Hummer, while Nicky is more happy to stay in the background. By his own confession, Johnny lacks patience, so it would frequently be Nicky who put the SP1200 through its paces in the studio or did the lion’s share of the programming. “Production was just the natural progression for us,” explains Nicky.

They got their studio start through Kenny ‘Dope’ Gonzalez. “It all came about from hanging with Kenny,” confesses Johnny. “He was creating incredible magic in his bedroom. It was really raw and he was really being ghetto. His stuff was incredible sounding. In 1992, he said, “Why don’t you get a drum machine and sampler and I’ll teach you how to do it.” So Kenny taught me how to use the stuff and then I taught Nicky.” Adds Nicky: “Kenny showed Johnny the basics, Johnny showed me the basics and there it was. And, to be safe, I took many notes on a yello! w pad. It also didn’t hurt that we used to go to Kenny&r! squo;s h ouse often and the Bass Hit Studio often to watch many Masters At Work sessions.”

While Nicky would be happy to programme the drums from scratch, Johnny would look for a loop to speed up the process. Johnny: “My brain was working a lot faster than most engineers so I’d lose interest in making records, because I want it to be fast.” The arrangement worked well, though. By the early 1990s, Johnny had moved to Atlantic Records from his original job at Vince Pellegrino’s SIN promotions company, so was working during the day (Johnny’s incredible contact book never did them any harm either). “Nicky was much more patient on the production side. So I’d come home and add my parts to what he’d been programming while I was at work. It was beginning to be a little crazy. I wanted to get more into remixing but we never really had the proper setup in our house.”

“I have always been proud of ! the records that we have made. It comes from the love that we both have for all kinds of music. I always consider our tracks a tribute to what was before, but with a modern twist. We worked in various ways. Johnny or I would come up with an idea and we’d just build on it from there… Sometimes I’d have drums and a groove, he would add a hook and we’d mix it together. Sometimes I’d have the whole thing ready but I couldn’t mix it down because I had listened to it so much, so Johnny would do the final pass. There were even occasions when I’d give him a demo and he’d just put it out like that, missed punches, bad EQ and all! The way we work is very different: live, rough, and raw; not over-produced or polished. It makes us and our sound very unique.”

Much of the work, of course, came out on Johnny’s own label, Henry Street, although one of their best productions, under the name The Faces’ ‘Everythin! g I Got’, came out just before the label began. That rec! ord, wit h its judicious use of old disco samples, set a template for the style of music the pair preferred: disco house. Their music had a raw quality, helped by Kenny’s training on the SP1200 and a love of their raw Chicago-style tracks produced by peers like Terry Hunter and Maurice Joshua. It was not just disco samples, but disco methods they drew on for inspiration. As per the analogue era of production, they would run tracks live and work the desk as the track played, rather than pre-programming as is the modern norm. “We used to do our records live and do live mutes. So if there was a fuck up, we’d either do it again, or we’d leave it in.”

In fact, their productions were instrumental in restating disco’s position at the centre of house music history; as Frankie Knuckles stated of house: “Disco’s revenge”. Indirectly or otherwise, they provided the blueprint for a lot of the early French Touch scene (check out ! any of the Daft Punk early productions of Cheek’s ‘Venus’ for evidence).

Their biggest tune came out in 1995 on Johnny’s Henry Street. Based on First Choice’s ‘The Player’, it dramatically lengthens and teases out the samples with gentle filtering and some thunderous drum programming, before letting the strings fly. Like much of their output, it still stands tall today. “When I sampled the parts for it, I didn’t have a CD player with pitch control,” chuckles Nicky. “That is why the record is so slow in speed: I had no choice. Nonetheless, it has been played at its normal speed – 119.5 BPM to be exact – and at +6 on the pitch controls by everybody. I still get calls about it to this day.” Licensed to various compilations, it still sounds as fresh today as on its original release.

Half the fun of listening to Johnick’s music expansively laid out on this pair o! f CDs is sample spotting. They’re all over the tracks, o! f course . Test out your disco chops and see how many you can get. And while you’re doing it, rejoice in the sound of Brooklyn: fresh house from the raw 1990s.
Bill Brewster

Marc Mac Presents Visioneers -Hipology(Stream)

Posted in News with tags , , , , , , , , , , , , , , , , , , , , , , , , on June 13, 2012 by J.D.

Since the late 80s Londoner Marc Mac has been converting audiences with his sophisticated take on urban soul. A hybrid concoction of breakbeat, nu-jazz, neo soul, drum and bass, and Hip Hop, its a polished sound plugged directly into the emotional highway of 21st century city living. Working under a variety of guises, his prodigious output includes his work as one half of 4hero, Visioneers, Natures Plan and Nu Era. In the late 90‘s Marc signed to Gilles Peterson’s Talking Loud Records with 4hero. 4hero went on to produce two classic albums with Talkin Loud icluding the award winning “Two Pages” & “Creating Patterns” they then set up their own label where the critically acclaimed “Play With The Changes” was released. Somewhere in this timeline, between producing music for Jill Scott to Roy Ayers, Phonte to Terry Callier, Marc started another pro! ject called Visioneers releasing a set of limited 7” singles getting the attention from top eclectic DJ’s including Jazzy Jeff, Kenny Dope, Gilles Peterson & Norman Jay. Visioneers was then picked up by BBE records who released the debut album “Dirty Old Hip Hop”.
While recording this new Visioneers record, Mac began thinking how hip-hop had been a (sometimes invisible) guiding hand in his life. “The music, the fashion and culture. Although producing all kinds of music from jungle to jazz, hip-hop (or at least what is was) has always been a part of what I do in some strange and sometimes very subtle way.” Documenting this influence on, his very own digital scrapbook (that has also spawned the record of the same title), it’s easy to see the depth of Mac’s appreciation of hip-hop. HIPOLOGY; the album includes hand picked guest John Robinson, Notes To Self, TRAC & Baron alongside some featured musicians Luke Parkhouse, Ariya Astrobeat Arkestra & The Support Horns. The result is a real cool, funky eclectic mix of breaks, beats, soul/jazz and freaky squeaks a great follow up to the debut