Jimi Tenor
Out Of Nowhere

"A Bangin South African bubblegum tune, with house club mix on the flip!"The start of the 90's brought the final wave of House music that would cement it as the future of South Africa’s music scene. In the years leading up to the new decade, Disco had already naturally evolved into the very early stages of what would become South Africa’s signature House sound, with Instrumentals and Dub Mixes earning themselves spots on the Pantsula records leading the charts of the late 80s, it would be an influx of remixes appearing on import singles that would make the “House mix” the premier b side sound for those bubblegum artists trying to stay relevant in the 90’s.The House remixes coming from Chicago and New York dominated the airwaves at first, eventually gaining genre status by the later part of the decade as International House or just International for short. At the time this would have been synonymous with House music everywhere else in the world. After a years of these tracks getting remixed by the touch of the local talent, International no longer fit the description of what the music was and Kwaito became the sound of the streets. In the studio, Kwaito was the sound of the next generation of producers that was coming up under the Disco legends of 80s. In total it took less than 5 years total for the sound to evolve. It would be in this transition period between International and Kwaito, with the help of the new wave of studio talent, that we find the ingredients that gave birth to a short lived yet unique African House sound.After a long career with the soul group The Savers, Morgan Kwele cut two solo records under his own name in the late 80’s. Without much success and after being dropped by EMI, Morgan was picked up by Peter Snyman and independent Sounds of Soweto. At the time it was becoming a premier label for the emerging house sounds. M’du and Joe Nina would both end up working at Snyman’s studio, and it would be their collaborating project LA Beat that would launch their respective careers further. For his new album Morgan would team up with legendary producer and long time friend from the 70s Koloi Lebona. They would work together once more and record what most likely became Morgan’s final Album. The title track Vakonwana became the lead single, with the original bubblegum version on the A side for the old timers and the Club Version on the flip for the late nite parties.

One Nite Alone... Live! (4LP) After The Rainbow Children release and before the release of the One Nite Alone studio album, Prince embarked on a tour of the same name. However, as opposed to the intimacy of the largely solo One Nite Alone album, this upbeat trek through theaters in North America featured the full talents of Prince's ever-expanding New Power Generation band. Members at the time included drummer John Blackwell, keyboardist Renato Neto and longtime collaborators like bassist Rhonda Smith and a horn section that included saxophonists Eric Leeds, Candy Dulfer and Maceo Parker. Taken from the highlights of 9 different shows in March and April of 2002 and clocking in at over 2 hours, the resulting 4 LP collection One Nite Alone - Live! was the first official live album of Prince's career and the 27 tracks included feature selections from The Rainbow Children as well as Prince's extensive back catalog, played with the full NPG as well as several solo piano excursions (When U Were Mine, Raspberry Beret, Adore, The Beautiful Ones, Nothing Compares 2 U). This release marks the first time available on vinyl. COLORED VINYL, PURPLE, 150 GRAM VINYL

Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation.Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behe- moths, even if they were only distributed within the confines of this East African nation.Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form.These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes.Wegene gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.