Prince Fatty takes on The Drunken Gambler

Prince-FattyMr Bongo is proud to announce the next instalment from the legendary producer Prince Fatty, ‘Prince Fatty Versus the Drunken Gambler’. The album has been described as a mix of hip hop fantasy and reggae reality and is set to drop this September. The concept album follows Prince Fatty’s Western-themed previous offering, ‘Prince Fatty meets The Mutant Hi-Fi in Return of the Gringo’.

A true tale of betrayal and revenge. When Prince Fatty discovers that his former master has indeed turned to the dark side, a broken oath releases 10 fatal strikes of Sound System Specials. Only Prince Fatty can stop the Drunken Gambler’s evil plan, but to do so, he must first battle the deadly team of “Disco Monks” that will stop at nothing in the service of their overlord.

No mercy is shown as Daddy Horseman strikes the blood stained swords of arch rivals and sworn enemies. Backed by the ‘Supersized’ assassins and the Mutant Hi-Fi, each having their unique kung fu style and weapons in an epic sound system battle lasting over 30 minutes. Featuring Studio One legend Winston Francis and George Dekker from the Pioneers as the invincible Twins of Fury, Hollie Cook as the deadly Angel of Vengeance and as special guest, the infamous Dennis Alcapone.

Renowned sound engineer and record producer Mike “Prince Fatty” Pelanconi has been a prominent member of the reggae and dub scene in the UK since the mid 90s. Finding himself frustrated by the tempos and mixes of certain records he loved, he set about recording his own versions with a supergroup of London’s finest reggae musicians.

“Of course we love Kung Fu, vintage public service announcements and Dub. With a mix of fantasy and reality I present Prince Fatty versus the Drunken Gambler.” Prince Fatty, 2012

Prince Fatty has consistently made waves with long term support from BBC Radio 1, BBC Radio 2, BBC 6 Music, BBC 1Xtra, XFM, Kiss, Choice FM, culminating in joining Hollie Cook for a live Maida Vale session for Radio 1’s Huw Stephens and a Later… With Jools Holland performance on BBC 2.

Prince Fatty is playing a whole host of European summer dates with notable performances confirmed at Bestival, Camp Bestival, Womad and Reggaesunska. See the drama played out at Barfly, Camden on 16th August and at The Paradise, Kensal Rise for the album launch on 14th September.

Makoto to release Another Generation EP on Apollo Records

MakotoHaving worked with a veritable who’s who of the scene, with releases on Zinc’s Bingo Beats, Fabio’s Creative Source and numerous collaborations with DJ Marky, Makoto now releases his first EP on Apollo Records.

Having first come to prominence in 1999 when he was signed to LTJ Bukem’s Good Looking label, Makoto has steadily and consistently carved out his own groove in the world of Drum and Bass, with his trademark expansive jazz and soul-inflected workouts garnering critical praise from all corners.

Kicking off with ‘Another Generation’, Makoto launches straight into a shimmering, spacy soundscape which he subtly juxtaposes against a rooted, earthy bass line and snappy breakbeats, before taking us on a journey through a twisting cosmos of artfully crafted bubbling, resonating synths.

‘Summer Nights’ retains echoes of Theo Parrish at his most jazz like, and is full of the technical mastery which Makoto has developed through years of sonic experimentation, with an effortlessly light footed arrangement anchoring the dubby synths and funked out breaks and sounding for all the world like a future classic in the making.

On the flip, ‘73’ is a short study in arpeggios – opening up with a gentle, subtly shifting electric piano, which ebbs and flows as naturally as a river on a calm summers day and showcases Makoto at his reflective, meditative best.

Finishing off with ‘Skyline’, Makoto heads back to the floor of the nightclub – Again the track is led by arpeggios, this time crisp and colourfully synthetic and building to a pressurised peak before the drop of sub bass propels the piece into a more visceral, muscular proposition referencing 80s boogie as well as the work of melodic synth pioneers such as Jean Luc Ponty.

The EP is available on vinyl and digital formats from 13th August 2012.

Prince Fatty ‘Got Your Money’ debuted on CLASH

Prince Fatty, Hollie Cook & Norman JayIn anticipation to the release of Prince Fatty ‘Got Your Money’ on My Bongo records, CLASH magazine debuted the EP to their audience on Thursday 2nd August. The EP is released on Monday 6th August. His album ‘Prince Fatty And The Drunken Gambler’ will be released on 17th September.

Click here to read this article on Clash

Prince Fatty has tackled an ODB classic for his next single, re-working ‘Got Your Money’ in a reggae style.

Is Prince Fatty a long lost talent from the golden era of reggae culture? Or could he in fact be a highly experience British producer, with a penchant for the more mischievous side of Jamaican music?

Either way, Prince Fatty’s dubs have been keeping us entertained for years now. Signalling his return, the producer recently completed work on new album ‘Prince Fatty Versus The Drunken Gambler’.

Out in September, Prince Fatty will precede the full length with a quicky single. It’s a typically humorous affair, with the producer deciding to re-work Ol’ Dirty Bastard’s classic cut ‘Got Your Money’ in a reggae style.

It’s pure sunshine vibes from start to finish, with Hollie Cook adopting the role of Kelis while Mr Bongo’s very own Horseman re-styles ODB’s rhymes.

The flip? Well, that’s a cover of Max Romeo’s classic slice of reggae filth ‘Wet Dream’ – famously banned by Auntie Beeb.

(Words by Robin Murray / CLASH)

Outsight Report #1: Should bands work with brands?


The surviving members of The Doors famously became embroiled in a dispute in 2002 over an offer of $15 million to use their song Break On Through (To The Other Side) in an advert. All were game except drummer John Densmore, and an agreement dating back to 1970 requiring unanimous decisions on any business deals relating to the band meant it couldn’t go ahead.

Justifying his decision, Densmore said that the band’s music was too important to their fans, and to him as well, to simply hand it over to some company. However, keyboard player Ray Manzarek was of an entirely opposing view, pointing out that, despite Densmore’s protestation that frontman Jim Morrison wouldn’t have approved, the singer always wanted his words to be heard by the largest number of people possible.

Although such deals are commonplace, some artists are still left wondering if they should take that money at all. Is it ‘selling out’?

Of course, the music industry of 1970 is very different to the music industry of 2012. As revenues from record sales fall, brands are increasingly stepping in to take up some of the slack through numerous partnerships with bands. Although such deals are commonplace, some artists are still left wondering if they should take that money at all. Is it ‘selling out’?

Ultimately the answer to this question lies entirely with each individual artist. However, if we re-examine the case of The Doors, the question is not necessarily ‘was Densmore right to refuse?’ but ‘were his bandmates pinning their hopes on the wrong deal?’

Bands (and brands too) just need to know that a partnership will be of benefit to them beyond the financial.

Densmore clearly feared that the Cadillac deal was weighted too heavily in the company’s favour. As a straight ad sync deal, The Doors would get a boost to their finances, but the brand would have gained an apparent endorsement from a well-known band, whose target audience are likely to also be Doors fans already. However, it is more than possible to work with a brand and retain your integrity. Bands (and brands too) just need to know that a partnership will be of benefit to them beyond the financial.

Record labels bring more to the table than that, and so can brands.

This should really be true of anything a band does – no band would ever sign a record deal stating that they’d receive nothing but a cut of record sales income. Record labels bring more to the table than that, and so can brands.



The first things a band should consider are the same that any brand does before approaching an artist – who are the audience for the partnership and will people believe that there’s a genuine appreciation on each side?

For a brand, a band’s fanbase is likely to be one of the attractive things about them, so would being heard by the brand’s customers be equally attractive?

This applies to straight sync and sponsorship deals, but increasingly brand partnerships are allowing new levels of creativity and innovation into the mix, which can be of huge benefit to the artist. Sticking with the car theme, Faithless’ 2010 partnership with Fiat saw the video for their track ‘Feeling Good’ double up as an advert for the car manufacturer’s Punto Evo, and was played in TV ad slots – in a world where music programming on terrestrial TV channels is rapidly shrinking, this was an invaluable opportunity to put a music video in front of a large, targeted audience.



More recently brands have helped to take projects in other new directions too. Boiler Room is a globally recognised name amongst dance music fans, an online radio show taking its cues from pirate radio and bringing DJ sets from a range of underground and more established electronic artists.

Umbro sponsored a five a side football tournament between some of the leading underground record labels, including Numbers, Young Turks, Hotflush and R&S Records. Named “FIVES” by the Boiler Room in 2011 this has since developed into “Boiler Room FC”, a new on and offline community for fans of football and music.

There’s a real balance in the benefit to both Boiler Room and Umbro here, with the former able to attract a broader audience for its core content and Umbro able to tap into Boiler Room’s committed fanbase. Also, there’s a pay-off for bands too, because Umbro’s investment in Boiler Room ultimately means that the site can continue to broadcast and promote DJ sets by some of the best rising artists out there.



More simple, but similarly beneficial to all involved is Tiger Beer’s Hidden Depths project, in which it showcases some of the UK’s best record labels. In June the company celebrated Hyperdub with a live show at Koko in London, featuring a line-up including Kode 9, Laurel Halo, Cooly G, Scratch DVA, and DJ Rashad & Spinn. For the night it was ensured that Tiger Beer was the only beer available at the venue’s bars plus some branding around the building, but it’s still a fairly unobtrusive form of sponsorship.

It’s this balance that is key to successful brand partnerships, and what has fuelled artists’ increased willingness to get involved with them more frequently in recent years. If both sides know what they want and how they want to achieve it, such deals can provide hugely positive effects and uncover the new ways of working which may shape the future of the music industry.