Gerade als Al Greens "Back Up Train" aus Grand Rapids, Michigan, zu einer Whistle-Stop-Tour an die Spitze der Charts aufbrach, begann Produzent Palmer James, eine weitere Furniture-City-Nebenlinie ins Auge zu fassen: Tommy McGee. Das Ergebnis war das Album 'Positiv-Negativ' von 1976, der kreative Höhepunkt einer Karriere, die mit endlosen Tiefpunkten gespickt war. Zum ersten Mal versammelt sind McGees zeitloses Album, Singles für Golden Voice, Mercury, TMG und Tosted, sowie die vollständige Ausgabe seiner aufkommenden Funk-Combo Mitte der 60er Jahre, der T.M.G.'s.
I, Ced has been something of a “best kept secret” among creators and aficionados of modern soul music. His wide array of skills ranges from production to vocals, keys, and studio mixing. His talents have found him in the company of many heralded contemporaries, including Jean Grae & Quelle Chris, Coultrane, Jimetta Rose, & Dam Funk. After having lent his talents to so many other luminaries in the underground music scene, Ced is now poised to make an impact with his own material, via his next project on Los Angeles-based MoFunk Records. As a label best known for synth-heavy west coast funk tunes, the partnership with I, Ced marks a daring expansion of the MoFunk sound. After debuting on MoFunk with an XL Middleton remix of his “Percu” single, Ced is now prepared to drop his first full-length with the label, Interpretations. Ced’s songs are cinematic, expansive, and lush, a world removed from simple loops with vocals on top. Every instrument played, every vocal inflected, every chord change implemented, is treated more like a singular brush stroke on a painting you have to step back and take in as a whole to appreciate. In a musical landscape driven by catchy singles and viral promotion, it’s become exceedingly rare to find an album which plays out as an experience. Interpretations is exactly this. If Ced’s inspirations were colors on a painter’s palette, you might see dabs of Jam & Lewis, or Prince, or maybe Shuggie Otis, or even Sun Ra. But Ced does far more than pay tribute to his influences by intimating their unique styles. Indeed, he pays them the highest tribute of all by working them into his own sound - his Interpretation."
The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher). Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive Ranging from heavy big band brass (Whack, Slap & Blow, Kaye Okay) to evocative thriller soundtrack (Midnight Heist, Wiretap, The Needlenose) via introspective ethereal soundscapes (Nuclear Wind, Siren's Sea) these 11 tracks faithfully recreate the feel of the Library music catalogues of the 60s and 70s. The Library Archive Vol. 1 will be available as 180g heavyweight Vinyl, CD
The elusive gemstone of 1970s Harlem soul and funk from the Ray Alexander Technique, officially reissued for the first time with bonus tracks. Renowned for its enviable combination of musical muscle and malleability, guitarist/songwriter Raymond Alexander Jenkins’ tight four-piece unit was so revered on the uptown club circuit that it was offered the opportunity to serve as the Apollo Theater house band. Jenkins demurred, hopeful and confident in his group’s chances at making it on its own, and Let’s Talk is the sublime result of their hard work. Independently released and recorded with a distinctly lo-fi charm, it is a collection of unabashedly sincere songs that perfectly encapsulates the era’s heady milieu of Black pride and cultural awareness, and the plaintive emotion of struggling to realize dreams whilst navigating a city and neighborhood in decline. Personal tragedy coupled with Jenkins’ inability to gain traction as a musician, would haunt him for years. But Let’s Talk’s reputation would eventually spread via word-of-mouth praise amongst soul and funk connoisseurs and record collectors. Now elevated to exalted status, it may finally be more widely appreciated as a testament to Jenkins’ gifts. The main album is augmented by two songs by Ray Alexander Technique with Chris Bartley, not available on the original album. This album also features an oversized booklet featuring liner notes by Jeff “Chairman” Mao chronicling the band’s and Raymond Jenkins’ inspiring story, with contributions from drummer Ronald Mack and bassist Doug Wilkerson. Download card for WAV files – including previously unreleased alternate mixes - packaged with LP.
Endlich wieder erhältlich - das Meisterwerk von Donald Glover!
Start der Reissue-Serie der drei Ohio Players-Alben für das Westbound-Label. 'Pain' war auch der Start mit den ikonischen Cover-Artworks von Joel Brodsky. Es stand trotz moderaten Chart-Einstiegs (#21) immerhin sechs Monate in den US-Charts. Ein Hit fehlte, aber der sollte dann auf dem Nachfolger 'Pleasure' folgen ('Funky Worm') der ein Jahr später ebenfalls auf Westbound erscheinen sollte. Schwarzes Vinyl und Gatefold Sleeve!
The long awaited second album by the originators of Afrodelic Kraut Funk. Feat. members of Poets of Rhythm and Whitefield Brothers. It’s been some years since the first Karl Hector release, and it’s known now that Mr. Hector is indeed the German producer and guitarist JJ Whitefield, ne Jan Weissenfeldt. Whitefield is the visionary behind the Poets of Rhythm and the Whitefield Brothers, the ensembles whose rough analog sound and return to the funk archetypes of the late 60s to early 70s paved the way for labels like Daptone, Truth & Soul, Timmion. Whitefield, along with Thomas Myland and Zdenko Curlija, founded Karl Hector and The Malcouns in the early 2000s. Their debut, Sahara Swing, saw release on Now-Again in 2008. The album swung with influences from across the African diaspora and set the stage for a cult, but influential following. Hermes designer Christophe Lemaire picked tracks from Karl Hector and The Malcouns as amongst his favorites in the Now-Again catalog, and included them on his Where Are You From anthology. Festival promoters intrigued by the possibility of resurrecting the careers of once forgotten African mavericks – from Ghana’s Ebo Taylor to the progenitors of Zambia’s Zamrock scene – brought Hector and crew across Europe playing festivals for ecstatic fans. A grueling tour schedule made recording a follow up album to Sahara Swing quite the challenge, and as a result, the band opted to release limited edition, hand-silkscreened EP’s, which continued to show their deft handling of musics from Eastern and Northern Africa alongside Western psychedelia, jazz and funk. Whitefield gave himself 2013 to finish the album that would become Unstraight Ahead, which will see release on Now-Again this summer. Unstraight Ahead finds the band exploring territories even outside of the expansive scope of Sahara Swing. On this album, the West African sounds of Ghana and Mali meet the East African sounds of Mulatu Astatke’s Ethiopian jazz and are tied together with the groove heavy experimentalism of The Malcouns’ 70s Krautrock godfathers: Can, of course, but also more obscure and equally adventurous groups like Agitation Free, Ibliss and Tomorrow’s Gift. “We look to Middle Eastern funk and psychedelic fusions, and to various ethnic records for sound and phrasing,” Whitefield states. “We’re trying to combine the global experimentalism of Krautrock with the backbeat of funk.” This explains how songs in uneven meters – 5/4, 7/8 – always sound so accessible and natural on Unstraight Ahead. It’s mainly an instrumental affair, but guest artists appear throughout, from across the African diaspora to those from the worldly Krautrock forebears of their German fatherland: it’s Marja, daughter of Embryo founder Christian Burchard, whose vocals open the album. It’s an album out of time, one that couldn’t have been made in the era its aural aesthetics reference, as its scope is so broad. But it’s an album focused by funk – and an ambition to expand funk’s reaches. The Malcouns – including Poets of Rhythm songwriter and vocalist Bo Baral – created their own instruments to fashion an album that stands alongside the great albums of its progenitors but charges Unstraight Ahead into a curious musical future.
Produced by Adrian Younge, Angela Munoz, a 18-year-old Los Angeles native, debuts her hypnotic voice with her new album released on Linear Labs. This prolific artist is a prodigy, writing and singing music beyond her tender years. Her captivating voice carries strength and prowess, cultivated by a myriad of first-hand experiences and training in the art of sound. At the age of 5, she discovered her distinctive voice and was considered an “Old Soul.” She began to play instruments such as guitar and piano. With practice, Munoz began to dominate singing competitions, leaving unexpected audiences in a trance. Throughout the years, she trained herself by attending a performing arts middle school and high school in the heart of Los Angeles. Many of the artists were introduced to her by her older brother (writing partner) Brandon Munoz. As an avid music collector, artists such as Nirvana, Donny Hathaway, Erykah Badu, A Tribe Called Quest and Cortex began to make an imprint on her sound. A few years ago, her brother introduced her to Something About April, a record produced by Adrian Younge. The quality of the music left her intrigued. Shortly thereafter, she serendipitously found herself working with “The Midnight Hour,” a group comprised of Younge and Ali Shaheed Muhammad (formally of A Tribe Called Quest). In 2018, they debuted her song “Bitches do Voodoo,” on their eponymously titled album The Midnight Hour; they also took Angela on tour, featuring her on NPR’s Tiny Desk. Angela Munoz is an old soul that finds solace in the sound of an orchestra, turntables, or the randomness that fuels her youthful energy; a prodigy who stands by her uniqueness, even if it doesn’t satisfy the status-quo. She believes the heart of music is emotion and this is where she finds her personal liberty and strength. With her commanding presence, she is destined to become a cannon in music for years to come.
Nach "Life & Death On A New York Dance Floor" erscheint mit "Love Saves The Day: A History of American Dance Music (1970-79)" die Compilation zu dem gleichnamigen Buch des Londoner Autors und Party-Veranstalters Tim Lawrence mit legendären Soul- & Funk-Tracks, die massgeblich zur Entstehung von Disco beigetragen haben und von den DJ's dieser Zeit (David Mancuso, Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan, Nicky Siano) rauf und runter gespielt wurden. LP Pt.2 enthält Tunes von James Brown, Jackson 5, Gladys Knight, Chuck Mangione, Wilson Pickett, Willie Hutch, Laura Lee, Charles Earland, The Modulations und Margie Joseph.
Back in stock! The UK’s cosmic, psychedelic-funk ensemble issue their first album on maverick producer Madlib’s label, Madlib Invazion. The Heliocentrics’ albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, they have – regardless of the label on which they’ve released their music - pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today’s musical climate, searching, progressive humans who are often out-of-time with current trends. They have been playing together for nearly two decades and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and “ethnic” music all revolve around “The One.” With Madilb’s label Madlib Invazion for Infinity of Now, the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences – Latin, African, and more.
Der in Soul-Kreisen viel verehrte und äußerst talentierte Musiker George Jackson schrieb so gut wie für jeden wichtigen Künstler, der bei Fame aufnahm. Das nimmt Kent zum Anlass um Jacksons Aufnahmen in Memphis auf Vinyl zu würdigen. Rare Singles und Tracks die der Sänger gemeinsam mit der Hi House Band (Al Green, Ann Peebles) aufgenommen hat. Darunter vier Songs die erstmalig auf LP erhältlich sind, wie 'Talking About The Love I Have For You' das auf Auktionen auch schon mal für 1000,00 Dollar den Besitzer wechselt.
Brilliant soul from the Detroit underground of the late 60s -- a full set of work by vocalist Little Ann, issued here for the first time ever! You might recognize Ann's name from her appearance on a few of the Ace/Kent Records issues of material by Detroit producer Dave Hamilton over the years -- and the work here all comes from those classic collaborations with Hamilton -- trapped on tape for many years, always contemplated as a possible Little Ann album -- but only issued in full by the funky folks at Timmion Records ! The groove here is as offbeat as some of Dave's other great work -- not nearly as tight, or uptight, as Motown music -- and instead, done with a sly undercurrent of darkness on most numbers, even the mellower ones -- almost that earliest mix of Detroit styles that you get on pre-fame singles from Westbound Records artists. Ann's vocals are nice and lean, and slide right into the mix with ease -- heartfelt enough to grab us right away, yet without any obvious cliches as well. LP only release Limited edition pressing !
"Too Slow to Disco Brasil" taucht tief ein in die oft übersehene Seite brasilianischer Music: Brasilianischer Soul, Funk und AOR kompiliert von Ed Motta! „Dies ist ein Trip in den Sonnenuntergang in Rio de Janeiro, Los Angeles, Miami, Hawaii. Aloha!“ Ed Motta Ed Motta, der junge Neffe der legendären brasilianischen Soul-Ikone Tim Maia wirbelte bereits in den 80ern mit seiner ersten Band mächtig Staub auf und landete prompt einen Hit in der „Carioca“ Soul Szene. Bis heute hat Ed 15 Alben veröffentlicht und springt dabei von Genre zu Genre, was ihn zu einem der ausgebufftesten Musiker und Kuratoren der Gegenwart macht. Die Künstler, die Ed Motta auf „Too Slow to Disco Brasil“ versammelt, beinhalten obskure Figuren wie Carlos Bivar oder Gelson Oliveira & Luiz Ewerling, deren Songs von privat gepressten Alben stammen - so rar, dass sie nicht einmal auf Discogs gelistet sind! Darüber hinaus schuf Ed ein regelrechtes Pantheon brasilianischer Musikhelden wie Rita Lee (die Teil der legendären Os Mutantes war), Cassiano (einer der Gründer von Bossa Trio und Os Diagonais) und Plattenmillionäre wie Roupa Nova, liebevoll „Toto Brasiliens“ genannt (wer hätte bitte gedacht, dass dies im Jahr 2018 ein Kompliment ist). Und wie immer bei der Too Slow to Disco Reihe sind auch einige Unbekannte dabei, die aber stets Megahits abliefern.
Wah Wah 45s are very proud to announce the release of Kalba, the first album from Ghanaian xylophone master Isaac Birituro and Leeds-based producer and singer-songwriter Sonny Johns AKA The Rail Abandon. The boundary crossing duo were introduced to the world via the first two singles released in early 2019, Yesu Yan Yan and Für Svenja, and the reactions to the project have been overwhelmingly warm. There are many differences between Isaac and Sonny, but a powerful similarity - which gives Kalba its element of relatability - is that desire to hear the usual done unusually and play with the shared influence of the music from afar. Named after the town in North Ghana where Isaac resides, the album is a combination of differences; a magnifying glass over the Venn diagram of our lives, the unfathomable meeting of parallel lines. "It was clear to me that, though he played a traditional instrument in a traditional way, Isaac was influenced by the Western tinged music that filled the streets of Accra - in fact his father, Edmund, introduced him with "He plays the modern way!" Partly dismissive, mostly proud," said Sonny. "And as this Viking sat before him played the guitar, it sounded too much like the stringed instruments of Mali for it to be just a coincidence." There are so many stories behind each track on this album, but the common denominators are clearly the importance of community, of preserving and presenting local cultures, the ardent desire to contribute to changing the world around us, and, of course, the love and power of music created from a genuine place.
Erster Vinyl-Reissue des legendären, selbstbetitelten Debütalbums (1969) der Cry Babies, einer frühen Formation der Brazil-Funk-Titanen Banda Black Rio. Inspiriert von James Brown, The Isley Brothers und Kool & The Gang (deren Songs sie auch coverten), kombinierten sie fette, funky Drum-Breaks mit kräftigen Bässen, Spuren von Brazil-Surf und den für Rio de Janeiro typischen Soul-Arrangements. Produziert von Durval Ferreira, ebneten die Cry Babies den Weg für Jorge Ben, Dom Salvador, Trio Mocotó und Azymuth.
1973 erschien das Debüt 'Show Your Hand' (MCA) noch ein wenig unbeachtet, aber das 1974 erschienene Nachfolgealbum 'Average White Band' wurde bald ein Bestseller. Die hieraus ausgekoppelte Single 'Pick Up The Pieces' gilt als Klassiker der Funkmusik. Das Instrumental erreichte in Platz 1 der US BILLBOARD Charts und die Top 10 der normalerweise schwarzen Künstlern vorbehaltenen R&B-Charts. Rhythmischer Soul-Funk war 1975 auf dem Album 'Cut The Cake' zu hören, das sich sehr gut verkaufte. Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC…sie alle liehen sich neben vielen anderen Sounds der Average White Band für ihre Hits. Drei weitere Alben erscheinen nun nochmals in wertiger Ausstattung auf Vinyl - in Clear und 180 Gr. schwer, mit bedrucken Innersleeves! Das 1977 gemeinsam mit Ben E. King eingespielte 'Benny And Us', 'Warmer Communications' von 1978 sowie der 1979er Nachfolger 'Feel No Fret'.
1973 erschien das Debüt 'Show Your Hand' (MCA) noch ein wenig unbeachtet, aber das 1974 erschienene Nachfolgealbum 'Average White Band' wurde bald ein Bestseller. Die hieraus ausgekoppelte Single 'Pick Up The Pieces' gilt als Klassiker der Funkmusik. Das Instrumental erreichte in Platz 1 der US BILLBOARD Charts und die Top 10 der normalerweise schwarzen Künstlern vorbehaltenen R&B-Charts. Rhythmischer Soul-Funk war 1975 auf dem Album 'Cut The Cake' zu hören, das sich sehr gut verkaufte. Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC…sie alle liehen sich neben vielen anderen Sounds der Average White Band für ihre Hits. Die Alben erscheinen nun nochmals in wertiger Ausstattung auf Vinyl - in Clear und 180 Gr. schwer, mit bedrucken Innersleeves! Das im Original 1982 veröffentlichte Album 'Cupid's In Fashion' war das 10. Album der US Funk Institution und das letzte bei Arista / RCA. Es wurde von Dan Hartman produziert.
Repress! With this release, Comb & Razor Sound launches its exploration of the colorful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s. The years between 1979 and 1983 were Nigeria's Second Republic, when democracy finally returned after twenty-three years of uninterrupted military dictatorship. They were also the crest of Nigeria’s oil boom, when surging oil prices made the petroleum-producing country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry and the music industry in particular. Record companies upgraded their technology and cranked out a staggering volume of output to an audience hungry for music to celebrate the country’s prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afrobeat, slickly modern dance groove that retrofitted the relentless four-on-thefloor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as “disco,” but has since been recognized as its own unique genre retrospectively dubbed “Nigerian boogie.” A Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness collects 15 pulsing Nigerian boogie tracks in a lovingly compiled package chronicling one of the most progressive and creative eras in the history of African popular music.
Ursprünglich inspiriert und mit dem legendären musikalischen Innovator Tony Allen zusammengespielt, ist Bukky zweifellos einer der wichtigsten Afro-Beatmusiker der Gegenwart. Bukky, der die Klänge von Afro-Beat, Jazz und Funk vereint, hat eine unglaubliche Anzahl von Live-Auftritten auf Festivals wie Love Supreme, WOMAD, Africa Oyé& The Brighton Festival und legendären Veranstaltungsorten wie Jazz Café, Ronnie Scotts, Dingwalls & Passing Clouds aufgezeichnet.Vor zwei Jahren, am 20. Jahrestag von Fela Kuti's Tod, inszenierte Bukky im Londoner legendären Jazz Cafe eine Felabration-Show - eine Hommage an die Musik des großen Mannes - die so erfolgreich war, dass er seitdem auf Tournee war und die auch auf zwei begehrten, limitierten Vinyl-EPs von Live at The Jazz Café aufgenommen wurde.
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 behemoths, 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. Good Aderegechegn 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.
Das selbstbetitelte Album von The Perfect Circle aus dem Jahr 1977 gilt in den Kreisen des Rare-Groove- und Soul-Jazz schon lange als Klassiker. Kopien der Original-LP werden für Hunderte von Dollar gehandelt. Dies ist die erste richtige Neuauflage des Albums und wird auf HQ-Vinyl mit 180 Gramm Gewicht gepresst werden.
Start der Reissue-Serie der drei Ohio Players-Alben für das Westbound-Label. 'Pain' war auch der Start mit den ikonischen Cover-Artworks von Joel Brodsky. Es stand trotz moderaten Chart-Einstiegs (#21) immerhin sechs Monate in den US-Charts. Ein Hit fehlte, aber der sollte dann auf den Nachfolger 'Pleasure' folgen, das ein Jahr später ebenfalls auf Westbound erscheinen sollte. 'Funky Worm' war der erste von fünf R&B #1 Hits der Ohio Players. Schwarzes Vinyl und Gatefold Sleeve!
Back in stock! The Caribbean has long been an incubator for the sounds that will animate and shape the culture of the rest of the world for decades to come: From the rhythms of Cuba helping to shape American jazz, blues and rock n’ roll, to Trinidadian calypso introducing a bouncy lightness and gaiety to American party music, to Jamaica’s reggae showing a new way to rebel against convention. But what about the music of Belize, the Caribbean nation that holds the odd position of being a former British colony on the coat of Spanish-speaking Central America? Most people don’t know about the country at all, let alone about the rich sounds it has to offer. Bredda David Obi set out to change that in 1984 with the release of his debut LP No Fear, and the introduction of a new Belizean groove he called kungo (or cungo). A mélange of traditional Belizean brukdown music and sprinklings of the rock, funk, calypso and reggae he had played in various bands during his years as a journeyman musician in the United States. He would further develop this modern tropical sound on subsequent albums, integrating more and more elements from Belizean niche genres like sambai and paranda. Cultures of Soul is proud to take part in documenting Bredda David’s journey into the soul of Belize with an anthology of his early recordings including tracks from No Fear, Cungo Musik (1987) and We No Wa No Kimba Ya (1990) albums. Bredda David’s kungo is hard to describe exactly—its various ingredients make it feel somewhat familiar, but the recipe with which he blends them is slightly strange, fresh and intriguing. But one thing is for certain, it is sure to electrify the dance floor and make everybody jump up and bruk down! Housed in a gatefold jacket with extensive liner notes by Uchenna Ikonne.
Yellow vinyl - limited edition A new colossal star rises in the twilight of funky soul jazz as Ernie Hawks releases his debut album "Scorpio Man" on Timmion Records. The impressive trombonist/flutist, is known to hold no punches, when performing live in the ranks of The Soul Investigators. Here he delivers a fierce selection of S.O.U.L. and Cymande flavored instrumentals that also bring to mind some of the finest sample-fodder library music. The album's name, "Scorpio Man" might come from the stinging and slightly intimidating style Hawks handles the trombone slide, known to pierce the hearts and souls of the ladies in the front row during his live performances. On this album, Ernie rides to battle equipped only with the flute, but this does not mean we will be exposed to some smooth jazz snooze fest. Rather Ernie handles his instrument with muscular rawness at times and moody ambiance at others, sliding with ease into any groove that the extended Soul Investigators band lays down. "Scorpio Man" is no one trick pony, and the listener will be shifted around from the exhilarating psych funk of "Scorpio Walk" all the way to the airy moods of "Street of Tears". Take a chance with the Scorpio Man, his sting will give you a funky high much better than what they sell in the streets.
Romanticism is back and headed in a new direction with Loren Oden’s debut album, My Heart, My Love. This album the listener to experience a uniquely curated sound: a sound with lyrical transparency and vulnerability, reminiscent of classic black soul and progressive R&B. Produced and orchestrated by multi-instrumentalist Adrian Younge, this is one of the most meticulously crafted albums ever to be released on Linear Labs. Being born into a musical family in Compton, Ca., Oden grew up in the church, studying gospel as well as secular greats like Marvin Gaye and Sam Cooke. Throughout the years, his affinity with lyricism and vocal arranging grew, catching the ear of his long-time friend, Younge. With this connection, Oden became the mellifluous bedrock of Younge’s psychedelic sound: Oden sings lead on most of Adrian Younge’s expansive musical catalog, including but not limited, to Black Dynamite, Something About April, and Marvel’s Luke Cage. Oden is one of the premiere vocalists on The Midnight Hour alongside icons like CeeLo Green, Raphael Saadiq, and Marsha Ambrosius. With the world-renowned success of The Midnight Hour, touring for the last six years, and being musically featured on Ava Duvernay’s When They See Us, it was only a matter of time before Oden finally released his own body of work. Loren’s undeniable connection to Marvin Gaye’s poetic susceptibility paired with the genius of Younge’s soothing orchestral creations, comparable to Quincy Jones, this is the collaboration you always wanted, but could never get. My Heart, My Love is a cultivated body of work, for the sophisticated lover, going deep into the guarded emotions we all try to avoid. The inspiration has always come from timeless music, and Oden and Younge have created an aural treasure that is sure to live on.
Back in stock! Originally released by Solid Smoke Records in 1981, and becoming a rare groove staple and classic in the '90s and early 2000's. This is the first proper reissue of the highly sought after album on 180gm vinyl and housed in a heavyweight tip-on jacket. Featuring the title track "Movin' In the Right Direction" along with "Sadness In My Samba".
Weiterer thematischer Sampler zusammengestellt von Saint Etienne's Bob Stanley ('English Weather', 'Tears Of Technology' etc.). Der Sommer 1976 ist als einer heißesten in die Geschichte eingegangen, nicht nur dort wo es zu dieser Zeit eh immer warm ist, sondern auch in England. Bowie's 'Station To Station' oder eine 'Best Of' von Abba mussten sicher schon oft als Soundtrack zu diesen Monaten herhalten. Zeit mal Radio-Kracher zusammenzustellen die nicht so im Fokus standen, aber den Sommer 1976 musikalisch mit geprägt haben. Jefferson Starship, David Ruffin, Steve Miller Band, Liverpool Express, Blue Mink oder sogar Cliff Richard sind auf dem sorgfältig kuratierten Sampler vertreten. Die schön aufgemachte Doppel-LP kommt im Deluxe Heavy-Duty Gatefold Sleeve mit einem Bonustrack ('Inspiration Information' von Shuggie Otis).
With their first two Daptone albums – Get an Understanding, and as featured singers on Como Now – THE COMO MAMAS established themselves as three of the strongest voices in gospel music today. In December of 2015, they cemented that reputation by taking their first trip from their home in Como, MS up to Harlem, NY to crush the Apollo Theater as part of the Daptone Super Soul Revue. Taking full advantage of their presence in town, the Daptone crew brought ESTER MAE WILBOURN, DELLA DANIELS, and ANGELIA TAYLOR into the House of Soul the week after the show to join forces for the first time with the musicians and studio that has defined their label’s sound. JIMMY HILL, THOMAS BRENNECK, HOMER STEINWEISS, and BOSCO MANN, all stalwarts of the Daptone stable, came together as “The Glorifiers Band,” to put down a churning musical foundation for these amazing singers. The results are some of the heaviest tracks that Daptone has cut to date. If you don’t like raw, soulful gospel music, you’re really gonna hate this one. Move Upstairs is a REAL mother!
Wewantsounds is delighted to announce the release on deluxe LP and CD of Jaye P. Morgan's ultra rare private press originally released in 1976. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind & Fire's album "I Am" and went on to become one of the hottest producers on the scene. Featuring an extraordinary line up of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. The LP edition will come with the original 4 page insert full of session photos and credits. "This album is one of the first David ever produced and i know he was going all the way to the top" stated Jaye P. Morgan in an interview when asked about David Foster before adding: "I tried to make a soulful album and I loved David’s work. We used the best musicians in the world." And they certainly did making this album one of the most expensive private presses in the world! With a line up that reads like a who's who on the 70s californian scene, this album was a bold move for the singer who had made her mark in the 50s and 60s as a popular music singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer/arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white Soul album with a breezy California feel. Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as "Seems So Long" and Earth, Wind & Fire's "Can't Hide Love" (for the anecdote, Foster, Champlin and Graydon would soon pen "After The Love Has Gone" which would become a mega hit for Earth Wind & Fire two years later), together with a handpicked selection of originals, the sound alternates between uptempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind & Fire, Jaye P. Morgan is pure, undiluted Funk music and an essential LA classic which Wewantsounds is glad to make available for the first time.
When it comes to underground New York Disco, Donna McGhee's highly sought-after 1978 LP, "Make It Last Forever," ranks among the best in the genre, thanks to Donna’s singing and the production skills of legendary producers Greg Carmichael and Patrick Adams. Featuring five songs penned by the producing pair, it's got their quintessential Disco sound of the late 70s topped by Donna McGhee's superb vocals. These have also blessed recordings by The Fatback Band, Phreek, Bumblebee Unlimited and The Universal Robot Band around the same time. The album has been an elusive affair since it first came out in 1978 and this is one the first times in decades it is widely available in its original form with newly remastered audio. Donna McGhee has been one of the key female singers of the New York disco scene, gracing several cult albums with her superb singing. The Brooklyn native began her career singing Gospel in her grandmother's choir from an early age, honing her skills and making a name for herself locally as a talented singer. Her first break in the industry came when she was spotted by bass player Johnny Flippin, who invited her to join his band. The group was none other than The Fatback Band led by drummer Bill Curtis. This was 1975 and the album was "Raising Hell." McGhee's vocals can be heard throughout the album including the dancefloor classic "(Are You Ready) Do The Bus Stop" and after this initial collaboration, she stayed with the group for a another few years recording “Night Fever” in 1976 and touring with them all around the country. Following an encounter with producer Greg Carmichael, Donna McGhee jumped ship and started working with the prolific producer and his partner Patrick Adams. A string of collaborations followed with singles and albums that have become the stuff of legend over the years: Donna can indeed be heard singing with Bumblebee Unlimited, Universal robot Band and on Phreek's classic self-titled album from 1978, singing on the track "May My Love Be With You." In 1978, After Greg Carmichael set up his own label, Red Greg Records, he and Adams decided to get McGhee in the recording studio and produce her first solo album. With the pair playing most of the instruments, they got five tracks out of the session. The result, "Make It Last Forever" is an all-time Adams/Carmichael classic: funky disco arrangements with a touch of synths over a pulsating groove magnified by McGhee's superb sexy singing. All five tracks have become classics in their own right. "I'm A Love Bug" was a remake of Bumblebee Unlimited's cult favourite from 1976, "Love Bug" (also released on Carmichael's Red Greg label) while "Make It Last Forever" was later re-recordeded by Inner Life (featuring Jocelyn Brown). "Do As I Do" and "Mr. Blindman" keep the groove going and finally, we have "It Ain't No Big Thing." The remake of a 1976 single by Personal Touch, produced by Adams for his PAP label and arranged by Leroy Burgess, it is one of the highlights of the album and is a superb catchy composition which has now become a true underground disco standard. The album didn't have a huge impact when it first came out hence its rarity. Bigger than the sum of its part, "Make It Last Forever" proves that the pairing of Donna McGhee with Greg Carmichael and Patrick Adams was a match made in heaven and it has since entered the pantheon of essential Disco albums to own, which Wewantsounds is delighted to finally make available.
Die amerikanische Indie / Soul Sensation Black Pumas setzt seinen Siegeszug weiter fort. Nachdem das Album bereits zahlreiche Preise gewonnen hat und auch für einen Grammy nominiert war, erscheint das Debut nun nochmal mit 9 exlusiven Bonus Tracks. Bei den Bonus Songs handelt es sich um Live Versionen als auch Coversongs von u.a. Tracey Chapman.
The newest album from Fat Night, 'Live For Each Other', ventures further into their soul sound, and the result is something that feels both present and timeless all at once. With tracks like Honest Man, Question, and Special collecting millions of streams online, and seeing lots of time on the radio the record is poised for great numbers at record shops. Live for Each Other is currently #23 on NACC charts, and still climbing. The pressing of record store exclusive deep blue vinyl is restricted to 200 copies.
20 Jahre "Soul Togetherness"! Das Jubiläum wird mit einer erstklassigen neuen Ausgabe gefeiert, die die besten Soul-Momente des Jahres aus den UK Soul-Charts auf einem Tonträger vereint. Darunter ebfinden sich der Dancefloor-Smash von Charlie Wilson ("Forever Valentine"), der grösste Revival-Track des Jahres von Johnny Baker ("It's Your Night"), sowie weitere Top-Titel von Tower of Power, Will Downing, Randy Hall, JB Rose, The Weather Girls und Sam Wills.
Repress as 180g vinyl / Bay Area soul legend Darondo could have been the next Al Green or Sly Stone, but he only released three singles in 1970 and then disappeared. "Didn't I" was recently picked by Gilles Peterson for his "Digs America" compilation. This LP includes the singles plus three unreleased tracks. A mystery to most, Darondo records are high on the wants-lists of many collectors. He is spoken about in hushed-tones by other Bay Area musicians. Back in the day he was seen cruising around town in a white Rolls Royce (with a "Darondo" license plate). He opened-up for James Brown and lived a colorful lifestyle hanging with folks like the notorious Fillmore Slim. Take a listen to these tracks, released for the first time together on an album, and you may agree that he could have been the next Al Green or Sly Stone. But about 25 years ago Darondo disappeared. Releasing three singles in the early 1970s (as Darondo, Darondo Pulliam, or the miss-spelled Dorando) he mixed low-rider soul with blues and r'n'b. He delivered in a variety of styles from the socially-charged "Let My People Go" to the sexually-driven funk of "Legs". All three singles were recorded in the Bay Area, and both sides of each of the singles are fantastic productions.
LOUIS 'SILKY' VINCENT veröffentlichte Ende der 70er Jahre vier 45er auf dem kleinen Label HOOK UP. Sie alle sind heutzutage sehr schwer zu finden und auf diesem 8-Track-Album enthalten. Enthalten sind BREEZING, CHANGED MAN, GET DOWN 4 YOUR ACTION und einige mehr! Offizielle Veröffentlichung mit dem Segen von Silky Vincent inkl. vollständigem Album-Download-Code.
Back in stock! Repressed as red vinyl! / The world moves faster than ever these days, and even in the digital age, things can always be counted on to go in cycles. Despite all of the advances in computer recording technology, home studios, and electronic instruments, there is a flourishing interest in analog recording techniques and in recreating the mood and sound of vintage soul records. With one foot in the past but their eyes firmly set on the future, El Michels Affair are among the leaders of a resurgent funk & soul movement from New York City that’s sweeping both the music community and the charts. Led by saxophonist/organist Leon Michels and producer/engineer Jeff Silverman, El Michels Affair began as a loose collaboration of session musicians (including members of top-selling acts Sharon Jones & the Dap Kings, the Budos Band, and Antibalas) that looked to blend some of the vibrant quality of soundtrack records with the recording aesthetic of early reggae, and the rawness of 60's rock--they called it 'Cinematic Soul.' This delicate balance was evident on their 2005 debut album Sounding Out the City, which earned critical acclaim and acted as the inaugural full-length release for Michels and Silverman’s burgeoning label Truth & Soul (also the moniker for the duo as a production team). The buzz generated from the album and a series of moderately successful 7” vinyl singles from Truth & Soul led to an invitation by Toyota’s Scion division for El Michels Affair to accompany the rapper Raekwon of Wu-Tang Clan for a promotional concert. As avid Wu-Tang fans, not only were the band leaders thrilled with the opportunity, but Michels found that the ‘Cinematic Soul’ sound was consistent with the moods of RZA’s gritty soundscapes on the classic Wu-Tang releases. The concert was such as success, El Michels Affair went on to play several more concerts nationwide backing Raekwon and other members of the Clan, and the shows led to the recording of two smash 7” singles featuring instrumental reinterpretations of the Wu-Tang classic songs “C.R.E.A.M.” and “Bring Da Ruckus.” The singles combined to sell an extraordinary amount of over 7,000 units worldwide, and their success led to a contract in 2007 with indie hip hop powerhouse Fat Beats Records to record an entire album of Wu-Tang Clan interpolations entitled Enter the 37th Chamber. Since the contract was inked, a worldwide explosion of retro soul led by Amy Winehouse, Mark Ronson, and Sharon Jones and the Dap-Kings has transformed the pop music landscape, and the Truth & Soul production duo have been in strong demand, recording with everyone from breakthrough Grammy-nominated artist Adele to punk rock innovator Iggy Pop. They’ve been commissioned for official remixes of Amy Winehouse and Dinah Washington (for the popular Verve Remixed series), and produced for Australian multi-platinum acts Jet and Gabriella Cilmi. Despite the eclectic group of clients for the Truth & Soul production company, El Michels Affair continued to build an audience within the hip hop community. A track from Sounding out the City was sampled for Ghostface Killah’s 2007 track “Shakey Dog Lolita,” and a horn part written and performed by Michels (for Menahan Street Band) was famously lifted for Jay-Z’s smash single “Roc Boys.” Truth & Soul also worked in the studio on original productions with multi-platinum producer Just Blaze (T.I.’s “Live Your Life,” Jay-Z, Usher). With their increasing presence behind the scenes in the industry, El Michels Affair looks to have their status as recording artists rise significantly in 2009. With the release of their finally-completed album Enter the 37th Chamber, they can finally step out of the shadows of the retro-soul trend and establish their status as one of the most exciting and versatile bands in modern recorded music.
It is a privilege to present to you, our esteemed Daptone Family, a selection of fan-favorites by thee legendary Sharon Jones and her Dap-Kings available for thevery first time on 45! Over the years Daptone H.Q. has been flooded with suggestions and requests for certain album tracks to be available on 45, so we've gone ahead and pressed up a few that are consistently at the top of the heap. First up we have "Keep On Looking", a track that debuted on SJDK's breakout album 100 Days, 100 Nights,which subsequently became a staple in the groups live set. The incessant backbeat and tight horn arrangement, coupled with Miss Jones' powerful plea to a lost lover provides unadulterated dance-floor fuego! On the flip is a new discovery of sorts. While digging through the tape archive we stumbled across a box labeled "Natural Born Lover- Instrumental with Strings". Much to our delight what we found is precisely that: an unreleased instrumental version of the SJDK classic, featuring a string arrangement that was cut from its initial release. And as if the nasty drum break at the top wasn't enough to make this a shoe-in addition to Dj boxes and playlists alike, the gorgeous quirky string arrangement places this one soundly into "must have" territory.
San Diego's sweetest export is back with two sublime sides of West Coast flavored soul. The soft, tremolo-kissed intro of "Will I See You Again" seeps out of the speakers like a cool Cali breeze, allowing the drop to hit like Thor's hammer on the dancefloor. As the groove gets in you, Josh Lane's vocals send you to a place transcendent of time and space... A world where lovers love, and hate has no place. "It's Our Love"'s mellow but funky feel grinds out a vibe that tempers the "beat" in Beat-Ballad. Thee Sacred Souls are raising the bar to heady, elusive new heights.
140g Vinyl-Reissue der 2017er remastered LP-Erstveröffentlichung. Das Album "Encore" (2007), Nachfolger des legendären, selbstbetitelten Debütalbums des brasilianischen Musikers Arthur Verocai von 1972, wurde ebenfalls zum modernen Klassiker, der brasilianische Rhythmen mit US-Soul und Soundtrack-Experimenten kombiniert.
Zwei 1960er Northern Soul-Klassiker von Pye Records: Das von Phil Spector für die Ronettes produzierte Stück "You Baby" in der 1966er Version von Jackie Trent, produziert von ihrem Ehemann Tony Hatch, das im Laufe der Zeit auch von Sonny & Cher, Lovin' Spoonful, Lee Barry, The Lovenotes, Salt Water Taffy und John Holt gecovert wurde. Sowie "Lost Summer Love", ursprünglich von US-Schauspielerin Shelley Fabares eingesungen, in der 1965er Version von Lorriane Silver, die später den Dancefloor im Wigan Casino sprengen sollte.
Record Kicks gibt mit Stolz die Neuauflage des zweiten Studioalbums von CALIBRO 35 "Ritornano Quelli Di (The Return of)" bekannt, das Teil einer Trilogie von Neuauflagen der ersten Alben der italienischen Cineasten-Funk-Combo ist. Genau wie die Neuauflage des Debütalbums "Calibro 35" wird "Return Of" auf einer LP in limitierter Auflage und digital in einer Deluxe Edition erhältlich sein.
Private press, Calypso/deep funk monster, originally recorded & released in 1970's Nassau, in the Bahamas. Replica original artwork, cut loud & proud on 7?. 300 copies only. The second release on Gary Johnson's Pressure Makes Diamonds imprint, following on from Azwon's 'Paradise Island'. Released under exclusive license from Charkes Nesbitt.
Gibt es eine bessere Art und Weise, Daptones noch junges Imprint Penrose Records zu taufen, als mit "Can I Call You Rose", einer prächtigen und glücklicherweise betitelten Mid-Tempo-Premiere von San Diegos aufblühenden jungen Soulenserenadern, Thee Sacred Souls. Als Josh, Sal und Alex nach ihrem allerersten Club-Date die Bühne verließen, wurden sie von Produzent Bosco Mann beiseite gerissen, dessen erfahrene Ohren von ihrem Set begeistert waren. Man klopfte ihnen auf den Rücken, schüttelte ihnen die Hände, und drei Tage später wippten in Manns Riverside-Studio die Köpfe, als die Souls ihre ersten Tunes auf Band aufnahmen.
Als eine der populärsten Gruppen der heutigen So-Cal-Soul-Szene brauchen Thee Sinseers kaum eine Einführung. Ihre Aufführung von "Seems Like" live im Recordium wurde mit über einer Million Zuschauern bekannt und machte sie zur gefragten Gruppe für So-Cal-Soul-Partys an der Küste. Auf die Frage, welches Lied sie für ihre Penrose-Session aufnehmen wollten, zögerte Joey Quiñones, Sänger, Songwriter und Mann, der ein Instrument spielen kann, nicht, zu antworten: "Wir brauchen eine ordentliche Aufnahme dieses Liedes". Und so wurde es getan. Im kerzenbeleuchteten Studio lieferte uns die Band eine äußerst intime Wiedergabe, die bis auf die Grundtöne heruntergespielt und die wohlklingenden Ermahnungen von Joe Q. enthüllt wurden.