red vinyl! der britische künstler und produzent adam gibbons veröffentlicht als lack of afro seit 15 jahren funk & soul-durchtränkte releases auf freestyle und loa records. inspiriert von klassischen filmkomponisten wie john barry und john williams, aber auch von jüngeren vertretern wie david holmes, schrieb gibbons den soundtrack the last bastion zu einem imaginären film, der nie erscheinen wird. der film ist eine art utopischer themenpark, der ewige erfüllung verspricht. the last bastion ost ergänzt die beeindruckende diskografie des produzenten um ein weiteres highlight

limited to 200

auf 2x12inch gepresst! 2021 neuauflage

hard lack records style

next v/a on planet rhythm! no holding back on this one as all artists deliver prime time techno cuts.

20th release of lack records

vinyl only!

hard lack records style

from london to berlin

30 jahre kneipenterroristen - die neuaufnahme erscheint inklusive 3 bonustracks auf doppelvinyl im klappcover.

(re-issue of the much longed for 2013 lp with alternate artwork). samo dj and max stenerudh have billed the record as a conceptual soundtrack set in kowloon’s walled city, an ex military fort in hong kong that became notorious for its dense population, triad connections and lack of governmental control. it was demolished in the mid 1990s, but has served as the influence for plenty of projects since, and should provide a suitably shadowy backdrop for kwc 92s fractured sounds.

this album is a collaboration between labels kontra-musik and kess kill. what would have become of d.a.f. if they had been signed to trojan instead of mute back in the day add a good pinch of absurdism and social realism in the vein of prized film director roy andersson and vanligt folk might just be the answer. the gothenburg groups name can be translated to common people and they make use of primitive electronics, drums and skewed vocals - ranging from harsh social commentary to the purely nonsensical - to create their own take on body music. hambo is the name of a traditional swedish folk dance that was highly popular among the common people at the turn of the last century. with this album, vanligt folk juxtaposes the working class dance phenomena of hambo with modern day rave culture. this is done in the most blasphemous manner thinkable, as is the way of vanligt folk. concepts like nationalism, race and tradition are all treated with the same merry lack of reverence. the only thing that needs to be respected is the dance and those who take part in it, whether accompanied by accordions or drum machines. or both.

for the inaugural release on tilt, faerber presents 070717, a four-track package of spiralling techno due 03.09.2018. as a joint venture from hamburgs renowned pal nightclub and berlin-based dj/producer faerber, tilt will serve as a platform for a range of experimental artists to present their work without restraint. 070717 is a disorienting trip through four swirling cuts, brandishing references to electro, industrial and ambient whilst permeating warmth through vast concrete structures. the title of this first release - a reference to the date of the g20 summit in hamburg last year - represents a period of instability for both the nightclub and faerber, who is a booker and resident dj there. ongoing heavy police presence outside its front doors resulted in a lack of visitors, so much so that the future of the venue became uncertain. despite a series of obstacles linked to the highly controversial political summit, pal continued to throw parties, eventually reaching a point of stability through sheer dedication and a focus on experimental bookings. now, after a slight delay, they are ready to launch their own imprint. 070717 is the soundtrack to resistance against all odds. vital sales points: - first single from faerber (pal) - releases on tilt - extensive global promo by tailored communications - releaseparty at pal on september first.

we remain suspended, fluctuating
in these waters of unknown wellness
flooded by a silence of emotions.
emotions that make our loneliness
more deep, clear and awful.
as nails that dig died skins,
as eyes that bleed making skins acid
as hair that strangles the crowd s voices
thus we,
remain suspended
in this air rarefied by thoughts
to make us more conscious of the restless lack
of the hope from us stolen.

there are west coast classics, and then there is music to driveby, the third lp from the group that birthed mc eiht: compton’s most wanted. although the group started in the late ‘80s with multiple mcs (including tha chill and boom bam), by 1992 eiht as pulling the group’s vocal weight – supported by dj mike t on turntables and production – and even producing and co-producing tracks. music to driveby might lack beats-per-minute variety, but to fans that’s not a bad thing. across the board, this is mid-tempo, super deep, funky hip-hop, made for cars creeping along boulevards across the west and south, and it’s about as good as it gets for such purposes. just about filler-free, the album struts intensely and with purpose, as eiht throws tales of cali street life at fans for an hour straight, almost without a break. this solo marathon is given a respite only once, with scarface’s guest spot on “n 2 deep,” an excellent hood roller supported by a soulful guitar lick sampled from lyn collins’ “do your thing.” elsewhere, eiht rolls alone and intensely, on cuts like the classic mash single “hood took me under”, the album’s second single and tim dog attack “who’s fu**ing who?”, the hometown big-up “compton 4 life”, and hustle tales like “jack mode” and “i gots to get over.” after this album, eiht released more classics under his own name, and with similar fan worship. it was the continuation of a legendary career and music to driveby still ranks high on anyone’s “west coast legends” playlist.

hard lack records style

“i’ve spent many days wondering why unfortunate things happen. wondering why things didn’t work out, why i deserved a broken heart, or why the world is the way it is. every song on my album points to an underlying gift in the painful experiences i’ve endured. without the hardships, i’d lack the lessons i’ve gained that have cultivated who i am today. i hope “pendulum” opens a window that allows my listeners to see how the dark and light aspects of life form a marriage that serves as a catalyst that initiates tremendous growth.” - aisha badru

record kicks celebrates 15 years in the business with a collection full of exclusive new singles on a limited edition double clear vinyl lp.
side by side with similar outfits like daptone, truth and soul, freestyle or timmion, under its motto the explosive sound from today s scene milan-based independent label record kicks has been pitching the contemporary funk & soul scene since day one. with over 200 releases under the belt, rk has released bands from all over the globe and earned the support of vip fans such as kenny dope, jamie cullum, craig charles and not least jay-z, thanks to which the label has recently received a grammy nomination for hov’s use of hannah williams’ late nights and heartbreak as backdrop for his 4:44.

thoma bulwer returns with jandaze , his latest ep via parasol culture featuring long-time partner in crime anna wall. it follows parasol 001 their first joint vinyl release, that sold out on the shelves gaining support from the likes of mood ii swing and cab drivers plus on the airwaves via nts. their jandaze ep has already been doing the rounds on the dj circuit in hackney wick and beyond. ‘patience’ was the result of a late night jam session with sync boxes, groove benders and the classic tr-909. after much fine-tuning, it’s been tried and tested by cinthie on her recent australia tour and is set to be a staple club cut for this summer. although ‘insouciant’ means a casual lack of concert, a lot of work went into making this one. it’s the most laid-back of the bunch, with smallville-esque juno 106 melodies perfect for the afterparty or warm up session. this goes out to the post-nyd loft party crew in the wick where it was played for the first time. try pronouncing this one at 7am in the morning… ‘fridge speed’ is a minimal house cut influenced by thoma’s garage roots. think rudely placed analogue synth stab melodies, ‘tuff’ skippy drums and big subs ideal for early hours and “it’s a london thing” house sets. ‘egress’ was made with long jam takes from thoma’s modular system. deep, dubby beats, evolving synths and textures make up this track thats been road-tested on the world famous fabric room 1 sound system by voigtmann in his extended set before ricardo villalobos. current support comes from maya jane coles, archie hamilton franck, roger, cinthie, voigtmann, john dimas.

hybris is a state of dissoluteness, of loss of control, of greed and of lustfulness. following that motto, wice takes his listeners on a journey through a hybristic process on his second steinlach ep, which chooses an enchanting and euphemistic entrance into hybris with absent (no aggression). gentle pads create a peaceful and dreamy world that is turned into a fascinating landscape of sound by trippy drums and dopey synths and so pushes wide open the gate to hybris. the threateningly booming hb11 then finally enters the state of hybris: synths and drums pump adrenaline in heads and bodies, dancing turns into greed, the complete lack of control sets in. that lack of control riots towards its peak with the eponymous hybris, which tears the listener in technoid and gritty manner into the abyss of hybris and holds him captive down there. hybris is followed by nemesis, the divine punishment ending in death: wice interprets this transition towards nemesis with hertz, a playful and breaky good-night kiss, which feels pretty damn good and resonates bittersweetly.

2018 repress - bicep make their way home to feel my bicep records for their first 12” on the imprint since their collaborative ‘dahlia’, recorded with hammer, back in september of 2015. fmb006 is a notable addition to the label - a reimagining of blaze’s seminal recording ‘lovelee dae’ - originally released on classic back in 1997, before a string of subsequent re-issues and remix packages on playhouse, true and urban tracks that included carl craig and 20:20 vision. the remix was originally designed to be included in their essential mix in 2014, but a lack of space has meant that its pressing on fmb is the first time it sees the light of day. using ralph lawson and carl finlow’s classic aforementioned acapella version as the basis of their work, the bicep lads ensnare an air of swooning euphoria in their remix that stays true to both their original productions and their dj sets. shortened vocals suffuse galloping 909s and a gleaming synth riff that certify it as a festival fail safe

deepartsound, perpetual rhythms, osunlade s -yoruba-, and many others – -about u- is trinidadian deep s first release for croatian label burek.

born and raised on the island of trinidad and tobago, today a place this producer calls -home- is found on various locations scattered all over the globe and a variety of influences is what is immediately evident by rich sounds and textures engraved onto this piece of vinyl.

a side, -i want- is the most laid-back moment, in lack of a better term. warm-sounding tribal percussions supporting the interaction of deep chords and wonderfully lush synths running thought the whole track only to get enriched with a beautiful piano line in the 2nd half. if there is track fitting to represent the sunset, that transition from day to night moment – -i would- is the one.

b1 -ghost- is the track on the record with the most forward-momentum. deep tribal rhythms and lush synth lines are a sort-of a leitmotif on this record and are present here as well, with an occasional vocal snippet that only deepens the magic.

b2 -abourisha- makes good use of those leitmotifs in a similarly effective but overall quite different manner. broken rhythm gives it a slightly different energy, making it an ideal track for those 5 am moments when a track like this marks the night.

original copies of this beautiful chain reaction 7 inch have been changing hands for £500, so this is a true digger s delight. exceptional soul from the late 70s which hundreds before have attempted to license to no avail. lack of trust was a key issue in these pursuits, after say yeah was used in a b grade hollywood movie without permission, alongside record collectors cleaning producer harold sargent out of his original 45s before upping them on ebay for $1000 apiece. cue the good people at rain & shine, a non-profit organisation based out of new zealand, who have worked with chain reaction directly to license this incredible record properly - returning all net profits to the artists involved. it really doesnt get much better than this - spiritual stuff! comes complete with picture sleeve, pressed on black vinyl with a large dinked centre hole.

arkvs are well known faces to us and have been shifting gears throughout 2017. this year will be no different as they deliver yet again with “texture ep”. four easy going techno tracks that bring in the vibes just right along with some spacey synths.

remastered by macc from original files transferred from dat tape.

one of the most mysterious and outsider soca 45s out there by h.m. these eyes timothy. the a-side let me love sounds like doo wop recorded with oluko imo s gear. and the b-side soca hustle sounds like the residents jamming a marvin whoremonger song with augustus pablo. the original 45 is so obscure that even his siblings didnt know that he made music. and rumour has it that, frustrated by its lack of success, michael threw most of the copies of the 45 in the valley beside his family s house in the hills just outside port of spain. one-time pressing of 500 copies

violet and bleid met last year in lisbon, at the radio quântica studios. in the very same day, they impromptu started working together on a track: a cover of underground sound of lisbon’s so get up to celebrate international womens day. together, alongside a crew of young lisbon djs and activists, they also run the queer techno party mina, one of the most vital things going on in the city’s nightlife - the picture in the artwork was taken in the backstage of one of those infamous, dark-room-equipped parties.
bleid remixed naive001’s togetherness by violet, and that dope rework made it to rroxymore’s bag (as heard at berghain) and was played on bbc radio 6, rinse fm and +++. the pair became friends, started bouncing ideas about production techniques, rap skills and the importance (or lack thereof) of the classics in dance music. making more music together happened naturally.
naive002 feels like a continuation of naive’s first release in some ways: the jungle-inspired chopped breaks, sonic synth work and oneiric pads are still there but gain a heavier, perhaps more somber tone at times, exploding into depth or ecstasy at others.

in the woods there is a bird, his song stops you and makes you blush. (à) and finally, whenever you are hungry and thirsty, theres someone who chases you away (arthur rimbaud) in the woods there is a birdà is both an ongoing sound and publication project by olaf nicolai, published as a contribution to documenta 14 and the documenta 14 radio program. it is based on archival sound material extracted from radio reports, employing radio as a source (rather than a medium of transmission): background sounds of demonstrations, riots, rallies, originally recorded for radio stations all over the world, are used as source material for this soundtrack composed of these various ambiences. the real sounds are defined by a lack of reference that is usually added by the auditive or written indices that surround and date them. the affiliated artist book in the woods there is a birdà reflects not only the process of detaching, mixing, referencing and re-referencing in a visual essay. it also offers for this new composition an index and frames the recorded sounds by presenting a list of the places and dates the events. the artist book in the woods there is a birdàis published by koenig books.

in 2017 hardfloor celebrate their 25th anniversary. now they are back on suspected the 2nd time.
acid will never die.

nice price deal !!! following our quest for inventive approaches within the sometimes tired and highly commodified house / tech house / techno / minimal or whatever you call it scene, we ve gone this time for landesvatter. regardless of having already signed a few full lenght lps on the highly esteemed normoton as well as on under_line and others, joachim landesvatter prefers to keep a low-key atittude. he offers us two great tracks, each one followed by a very special remix. the original of nome is a highly bouncy digitech house track for the dancefloor, with an infectious sinewave to keep you hooked from beggining to end. the remix of nome, in charge of arp aubert (marco niemerski aka tensnake & stephan lorenz) who run the great mirau musik, comes on the form of a hysterical dub house track that literally puts >the roof in the air<. we recommended for full effect to keep the volume on the red. as usual, the second half of the release follows at a quieter pace. hausse is a track on a out to lunch tradition, greatly influenced by detroit but at the same time distancing itself from the current plethora of nostalgics. in-house duo taron-trekka closes the package with a deep remix, rich on freaky jazz touches. we lack words to describe it.

limitierte pressung auf rotem vinyl.
schon 2005 gründete sich das schweizer quartett aus mitgliedern der lausanner jazz-szene. doch von anfang an lag der fokus von olivier bill (querflöte), pierre-henry beyriere (bass), marc siegenthaler (keyboards) und sylvain rütti (schlagzeug, percussion) auf den tanzflächen der clubs, ihre groovebetonte, überwiegend instrumentale musik hat neben eleganten einflüssen aus jazz, soul, funk, afrobeat und psychedelia stets auch einen knackigen einschlag von 60’s beat, garage und lofi.
auf »released!« versammeln die musiker zehn brandneue wie auch bereits auf raren 7”-singles veröffentlichte songs und remixes. echte acid jazz-freaks kennen die kracher ›wonder zebra‹ oder ›v. l.a. m. (lack of afro remix)‹ vielleicht schon, ›hurricane train‹ kommt hier im soulbrigada-remix, und mit ›jump the gun‹ und dem rap-feature von afu-ra gibt es sogar einen vocal-track.
gemein ist allen tracks ihr feinsinniges gespür für coole grooves und melodien, die prägnanten flötenmelodien und die erstaunlich kraftvolle rhythmussektion, das alles in einer produktion, die transparenz und räumlichkeit perfekt mit analog knisterndem retro-charme verbindet. genre-feinschmecker, dj’s und testimonials können sich jedenfalls jetzt schon auf die schweizer groove-experten einigen.

stepping up to continue defected’s in the house tradition is dj haus, a decidedly untraditional dj, producer, originator and diy label innovator. recognised among the underground house community as being at the cutting edge with his imprints unknown to the unknown and hot haus recs, dj haus’ kaleidoscopic eclecticism and refreshing lack of ostentation makes him, in defected’s opinion, an ambassador for the future of house music.
ahead of the release of the full compilation defected presents dj haus in the house this vinyl double pack keeps things super fresh and direct with a whopping eight compilation exclusives. new material from deadboy, jordan (uk), ejeca and innershades is included, plus remixes from dj octopus and dj steaw. demonstrating a colourful array of raw and jacking sounds that encompasses electro, chicago house, disco, techno and uk garage, dj haus in the house does the uk’s house scene immensely proud. it documents a moment in time when dj haus’ quietly pioneering dedication to the underground is celebrated in suitably reverent fashion.

there is a sense of urgency increasingly infecting the human condition, fragmenting our attention span, accelerating our needs and often influencing our motives when making creative decisions. the result is a lack of dynamics, there is no ebb or flow, its “go” time, all the time. electronic music is one of the clearest examples of a widening division between great art created in a deeply imaginative vaccum and the soulessly formulaic and branded product that serves the impatient masses. what draws the esp institute to benedikt frey is his ability to operate on the fringe, outside the constructs artists constantly channel themselves into - his art speaks a pure language that is realized by any means necessary, a process devised solely to articulate his own message, one delivered with patience, never rushed nor dictated by the outside world. artificial was written and produced over two years, tirelessly sculpted into a sequence abstract pieces that are fiercely independent but accumulate layers of meaning when collaged. it is electronic and rhythm-based, but never reliant on any prescribed instrumentation, arrangement or expecatation. this is our idea of well conceived and executed album, not simply a collection of tracks but a complex narrative that unfolds over peaks and valleys, pulling the listener into emotional corners before leaving a residual impression. some may describe music very well in words, but there is always something lost in translation - a story only the music itself can tell.

summers here! ransom note records continue their search for the finest dance music from planet earth with a carnival-ready curveball of a new release the sleazy, playful ghanaian afro-ghetto-techno-pop that is brytes word-of-mouth classic i like your girlfriend. originally surfacing on a couple of youtube dance videos, the shitty quality video rip of brytes bizarro lyrics leaping over gafaccis impeccable grime-meets-afrohouse beat has been a much-loved secret weapon in the sets of djs that know for a minute now - bok bok, mixpak and gang fatale have all supported heavily. coming from accras booming azonto dance scene, where tracks are knocked out in makeshift home-built studios then swapped through social media apps on smartphones, a proper release of i like your girlfriend has long remained a holy grail. now, after months of searching, several western union transfers, hundreds of whatsapp messages and no lack of determination, ransom note have finally managed to legitimately sign the track, and are all set to give a modern classic the 12inch release it deserves making history with what is quite possibly the first azonto track to be released on vinyl. alongside brytes crazy vocal version, the release features the original beat from producer gafacci its bouncing techy minimalism carving a unique path between techno, house and uk funky that defies genre with glee. vinyl buyers get a special bonus brytes acapella, coming in at 128 bpm, is the perfect mixing tool

j. f. burma is a new analog synth project of jeremy berman, a longtime friend of the bunker who we met via the forums of i-f’s cybernetic broadcasting system internet radio station in the early 2000’s. while living in brooklyn, jeremy spent many hours each week searching for undiscovered gems among the piles of records (and sometimes rat skeletons) at notorious greenpoint crate-digging spot the thing. inspired and educated by the music he was finding, he purchased his first modular and started building synthesizers and modules in spite of his lack of training in electrical engineering. currently, about half of his current eurorack rig has been diy’ed via trial and error.

es heißt schon lange, dass björk bald ein neues album veröffentlichen werde. doch bisher gab es weder ein titel noch ein releasedatum.
jetzt erscheint die erste single »the gate« als erster vorbote des neuen albums auf einer limitierten 12” vinyl! björk beschreibt den song wie folgt: »›the gate‹ is essentially a love song, but i say ›love‹ in a more transcendent way. vulnicura was about a very personal loss, and i think this new album is about a love that s even greater. it s about rediscovering love – but in aspiritual way, for lack of a better word.«

returning to the ring with waterhouse dub, a brand new slab of megaton dub, king jammy, the undisputed heavyweight champion of drum and bass draws for a crucial selection of his roughest and toughest rub-a-dub specials (please officer, boom shack a lack, jail house etc.) to deliver 15 mind-destroying dub knock-outs on ten selected tracks on lp-vinyl-edition including poster.

music must be free. freedom in music is often suppressed by lack of, or by obstacles for creativity, which stops forward progression. the development that fontan’s songs have gone through, reaching this ep is unexpected and surprising but still, the bodies and characters of the original songs are intact and recrafted with fingerspitzengefuhle. from the core of fontan’s psychedelic and dreamy music, the artists involved on this release have hit cuts and chips off like cro-magnon people creating specific tools. tools with the power to blow holes open in the listeners mind.

get ready for some true wonkiness, courtesy of neil landstrumm.
this is techno purely for those rock-solid psyches who lack that element of the deranged, the off­-kilter and the strange - on the dancefloor and in their own mental constitution. if you’re even slightly in doubt of your sanity, stay well clear of this cut.
the fact that he’s been using elektron instruments probably means it’s even more important to have that straightjacket at the ready. even that won’t stop you from dancing, though. neil has been making wonky techno since antiquity, hell, he’s the progenitor of the genre, but what you probably didn’t know is that he’s also been doing graphics for rockstar games, the software house that brought you grand theft auto.
he’s been a skilled elektron user from the very beginning, from the high and far­ times of the sidstation.

tolle musik bei voller umdrehung ist das konzept der stereo best of hörtest-lp. dieses doppel-album bietet 16 musikalische highlights aus den stereo hörtest-samplern i-vi in analoger perfektion. dafür laufen die vinylscheiben mit 45 umdrehungen und bieten so ein maximum an detailauflösung, dynamik und lebendigkeit. bei der titelauswahl wurde zugleich darauf geachtet, dass jedes stück neben dem hörgenuss auch besondere klangliche herausforderungen an die hifi-anlage stellt, so dass sich mit der best of hörtest lp deren fähigkeiten ausloten lassen.
dafür bedarf es auch einer besonderen fertigungsqualität. so wurden die pressmatritzen von pauler acoustics in northeim im direct metal mastering-verfahren, kurz dmm, geschnitten. dabei ritzt der stichel die information statt in eine lack- in eine kupferfolie (siehe foto). diese methode erzeugt keine vor- und nachechos, verbessert die hochtonwiedergabe und vermeidet lästige störgeräusche. außerdem reduziert sie die notwendige galvanik, was ebenfalls verluste gering hält. die pressung erfolgt auf jeweils 180 gramm hochreinem virgin vinyl. auch dies macht die stereo best of hörtest-lp zum erlesenen sammlerstück für den analog-gourmet.

what does teen spirit smell like, anyway? it might smell something like noise addict. like the real life stars of some sort of choose-your-own-adventure book about pursuing rock stardom, few bands ever led a more charmed existence, springing from the sydney suburb of bondi into seemingly overnight international fame as friends and collaborators of sonic youth, fugazi, and the beastie boys. through a combination of relentless drive, luck, and an admirable lack of self-doubt, noise addict spanned puberty to surpass the haters and join radio birdman and nick cave as a strange but permanent piece of australian punk history.
compiled here are 25 tracks, including their evan dando-worshipping satire “i wish i was him,” the thurston moore produced demo, choice cuts from their grand royal-issued ep and lp, and covers of “let’s lynch the landlord” and “back in your life.” the entire sordid adolescent tale is covered in incredible detail inside the black and white 16 page zine. and finally, for the first time in the history of record pressing, and for no good reason at all, the cover for 10.000 kids with guitars doubles as a working chalkboard.
limited to 2000 copies on black vinyl.

for the past four decades, a growing cult of soul music collectors have sought two obscure lps and a handful of extremely rare 45s released on the vanity record label lad productions, inc. between the late seventies and the mid eighties by the mysterious south side chicago singer/song writer larry dixon. larry s raw songs capture the transition from r&b to boogie-down as disco was rapidly becoming extinct. they also perfectly illustrate larrys ability to overcome his environment and discrimination, transcended by his determination to write and produce music. with the support of his faithful musicians, larry s success was only hindered by lack of airplay and promotion, but his talent shines through. this is the story of larry dixon, his label lad productions, inc., and his friends and family throughout four decades of music in chicagos toughest neighborhoods. jerome derradji is proud to reactivate past due records the boogie funk division of still music to release this fantastic archive what many consider to be the holy grail of chicago funk, boogie and soul.

there was a time when to die was something slightly different from what it is today. back in the last days of the middle age, some hidden monk was concerned about how to die properly, according to the catholic standarts of that era, so he wrote a book that was a cornerstone in that period. this has been the leitmotiv and inspiration in the concept that drives this album, the ars moriendi book from 1415, a book that gave some clues about how to die properly, avoiding lack of faith, despair, impatience, avarice or spiritual pride, all those actually track titles in this compendium.

for the past four decades, a growing cult of soul music collectors have sought two obscure lps and a handful of extremely rare 45s released on the vanity record label lad productions, inc. between the late seventies and the mid eighties by the mysterious south side chicago singer/song writer larry dixon. larry s raw songs capture the transition from r&b to boogie-down as disco was rapidly becoming extinct. they also perfectly illustrate larrys ability to overcome his environment and discrimination, transcended by his determination to write and produce music. with the support of his faithful musicians, larry s success was only hindered by lack of airplay and promotion, but his talent shines through. this is the story of larry dixon, his label lad productions, inc., and his friends and family throughout four decades of music in chicags toughest neighborhoods. jerome derradji is proud to reactivate past due records the boogie funk division of still music to release this fantastic archive what many consider to be the holy grail of chicago funk, boogie and soul.

for the past four decades, a growing cult of soul music collectors have sought two obscure lps and a handful of extremely rare 45s released on the vanity record label lad productions, inc. between the late seventies and the mid eighties by the mysterious south side chicago singer/song writer larry dixon. larry s raw songs capture the transition from r&b to boogie-down as disco was rapidly becoming extinct. they also perfectly illustrate larrys ability to overcome his environment and discrimination, transcended by his determination to write and produce music. with the support of his faithful musicians, larrys success was only hindered by lack of airplay and promotion, but his talent shines through. this is the story of larry dixon, his label lad productions, inc., and his friends and family throughout four decades of music in chicagos toughest neighborhoods. jerome derradji is proud to reactivate past due records the boogie funk division of still music to release this fantastic archive what many consider to be the holy grail of chicago funk, boogie and soul.

for the past four decades, a growing cult of soul music collectors have sought two obscure lps and a handful of extremely rare 45s released on the vanity record label lad productions, inc. between the late seventies and the mid eighties by the mysterious south side chicago singer/song writer larry dixon. larry s raw songs capture the transition from r&b to boogie-down as disco was rapidly becoming extinct. they also perfectly illustrate larry’s ability to overcome his environment and discrimination, transcended by his determination to write and produce music. with the support of his faithful musicians, larry s success was only hindered by lack of airplay and promotion, but his talent shines through. this is the story of larry dixon, his label lad productions, inc., and his friends and family throughout four decades of music in chicagos toughest neighborhoods. jerome derradji is proud to reactivate past due records the boogie funk division of still music to release this fantastic archive what many consider to be the holy grail of chicago funk, boogie and soul.

for the past four decades, a growing cult of soul music collectors have sought two obscure lps and a handful of extremely rare 45s released on the vanity record label lad productions, inc. between the late seventies and the mid eighties by the mysterious south side chicago singer/song writer larry dixon. larry s raw songs capture the transition from r&b to boogie-down as disco was rapidly becoming extinct. they also perfectly illustrate larry’s ability to overcome his environment and discrimination, transcended by his determination to write and produce music. with the support of his faithful musicians, larry s success was only hindered by lack of airplay and promotion, but his talent shines through. this is the story of larry dixon, his label lad productions, inc., and his friends and family throughout four decades of music in chicagos toughest neighborhoods. jerome derradji is the boogie funk division of still music to release this fantastic archive what many consider to be the holy grail of chicago funk, boogie and soul.

for the past four decades, a growing cult of soul music collectors have sought two obscure lps and a handful of extremely rare 45s released on the vanity record label lad productions, inc. between the late seventies and the mid eighties by the mysterious south side chicago singer/song writer larry dixon. larry s raw songs capture the transition from r&b to boogie-down as disco was rapidly becoming extinct. they also perfectly illustrate larrys ability to overcome his environment and discrimination, transcended by his determination to write and produce music. with the support of his faithful musicians, larry s success was only hindered by lack of airplay and promotion, but his talent shines through. this is the story of larry dixon, his label lad productions, inc., and his friends and family throughout four decades of music in chicagos toughest neighborhoods. jerome derradji is proud to reactivate past due records the boogie funk division of still music to release this fantastic archive what many consider to be the holy grail of chicago funk, boogie and soul.

for the past four decades, a growing cult of soul music collectors have sought two obscure lps and a handful of extremely rare 45s released on the vanity record label lad productions, inc. between the late seventies and the mid eighties by the mysterious south side chicago singer/song writer larry dixon. larry s raw songs capture the transition from r&b to boogie-down as disco was rapidly becoming extinct. they also perfectly illustrate larrys ability to overcome his environment and discrimination, transcended by his determination to write and produce music. with the support of his faithful musicians, larry s success was only hindered by lack of airplay and promotion, but his talent shines through. this is the story of larry dixon, his label lad productions, inc., and his friends and family throughout four decades of music in chicagos toughest neighborhoods. jerome derradji is proud to reactivate past due records the boogie funk division of still music to release this fantastic archive – what many consider to be the holy grail of chicago funk, boogie and soul