Organic Grooves 168 Items

“People Need People / The Higher Love” is an exclusive 7” containing the two singles promoting the most recent release by Nicola Conte and Gianluca Petrella, two eclectic artists that, sixteen years after “New Standards” (2001, Scep336), found themselves working together again: this encounter led to the release of three new 12” EP’s in only three years and the double LP “People Need People”, plus the release of “Let Your Light Shine On” by Nicola Conte & Spiritual Galaxy. “People Need People” manages to communicate the club culture enthusiasm to conquer a new market capable of soliciting new interests in the nu-soul and jazz scene. From Detroit future dance to afrobeat and spiritual jazz through a nu-disco sound, the unique vibe of these two songs drags us in search of deep music in a spiritual and mantric context. In a peculiar historical moment Nicola Conte and Gianluca Petrella send a message of hope, of aggregation and Universal Love. A feeling of elevation and solidarity is shared Through Raashan’s poetry, something that can predict winds of change for humanity, a feeling that flows from a higher love. “People Need People” and “The Higher Love” are part of a collective experience wisely directed by Nicola and Gianluca that sees the participation of numerous artists from different parts of the world. Looking at the past and fetching sounds, rhythms and instruments typical of tribal / African traditions, soul / spiritual jazz and cosmic music from it, Nicola and Gianluca have performed an operation of strong contamination with modern electronic sounds, disco and hip-hop, creating a completely original hybrid. Their goal is to accompany the listener through a collective spiritual elevation path, guided by the only true universal language: music. In a historical period marked by contrasts, lack of communication and forced social distancing, this release proves to be even more essential and necessary.

Norman Connors' 'She's Gone' is a timeless blend of Soul and R&B from his 1981 album, 'Mr C'. 43 years since its initial release, 'She’s Gone' still endures as a masterpiece, showcasing Connors' musical prowess and ability to create unforgettable compositions. Lush arrangements, masterful instrumentation, and heartfelt vocals define the track with Norman Connors seamlessly fusing horns, strings, and rhythm instruments for a rich sonic experience. This 7'' heavyweight vinyl single, presented here exclusively for RSD is the first time this single has been available since 1981 & gives fans old and new the chance to own a slice of this classic, in demand Norman Connors production. remastered, but with slick early 80's aesthetics as was.

The first in our programme to release all three Ohio Players Westbound albums on vinyl.

“Pain” was their first for the label, released in 1972. The album charted relatively modestly at #21, but it was the six months that it spent on the charts that was the surest indicator of what was to come. The band was touring heavily and was just a hit away from a breakthrough. This would come with their next Westbound album, “Pleasure”, and the hit, ‘Funky Worm’.

Featuring the first of Joel Brodsky’s series of iconic covers.

Regular weight black vinyl in a gatefold sleeve.

Perhaps one of the most revolutionary and influential people in the cannon of disco music, Patrick Cowley created his own brand of Hi-NRG dance music coined "The San Francisco Sound." This very special LP features a compilation of restored Cowley productions unearthed in the garage of vintage gay porn company Fox Studio. Spanning nearly 90 minutes, the 11 tracks (originally recorded between 1973 and 1981), epitomize Cowley's forward thinking and his affinity for mixing elements of varying styles of music. Simply put, Cowley was a musical trailblazer ahead of his time. His credits as a producer include SYLVESTER's "Do You Wanna Funk,” PAUL PARKER’s "Right on Target" and collaborations with JORGE SOCCARAS of INDOOR LIFE—this is just the tip of the iceberg. An early victim of AIDS, Cowley passed away at the age of 32; these recordings shine a new light on the experimental side of a disco legend who was taken too soon from us. Featuring over 80 minutes of music, this compilation contains soundtrack music from two Fox Studio films, Muscle Up and School Daze, never before released on vinyl. The tapes were restored and transferred using the same speed and pitch settings, then remastered for vinyl by GEORGE HORN at Fantasy Studios in Berkeley, CA. The vinyl comes housed in a glossy dual pocket gatefold featuring classic gay porn imagery from the Fox Studio vaults plus an essay from Indoor Life vocalist, JORGE SOCCARRAS. For Patrick's 63rd birthday, Dark Entries and Honey Soundsystem present a glimpse into the instrumental world of a young genius. These recordings shine a new light on the experimental side of a disco legend who was taken too soon.

Originally released in 1969, “Fischiando in beat” presents twelve gems of instrumental beat music,
fabulous specimen of that music genre often labelled with the much-abused term ‘lounge’ – or ‘easy
listening’, if you prefer. Forget about the experimental “Synthi Time”: here you can only breathe an
incredible desire for fun and dream of the late 60s, Rome and its exclusive cocktail party.

The most ‘avant-garde’ Umiliani can
be found here, with excellent examples of a Maestro exploring new sounds and the future of the music.

New London based quartet Qwalia, led by drummer Yusuf Ahmed, offer a plethora of influences whilst remaining resolutely itself. Assembled from musicians who play with David Byrne, Joy Crookes, Nubiyan Twist, Frank Ocean, Jordan Rakei, Sampha, Cat Stevens and more; Yusuf is joined by Tal Janes on guitars and vocals, Ben Reed on bass and keyboardist Joseph Costi. Qwalia’s debut album ‘Sound And Reason’ is set for release by Alberts Favourites on 24th March 2023.

The name Qwalia stems from the same sounding word Qualia, a philosophy of mind with the property of being an ineffable experience. Qwalia’s music is an instinctive aural expression of how things seemed in the moment of creation.

In April ‘21, Qwalia spent two days recording completely improvised music at the Fish Factory in North West London. There was no plan or preconceived idea of what the music should sound like or what was going to happen.

“We set up altogether in one room, dimmed the lights, pressed record and just played,” says Yusuf. “We came away with over 13 hours of music, which was consolidated into three albums worth of material. The final record is mainly a result of pulling faders up or down to create space and structure out of what was already there from the live recording. The production process felt akin to a sculptor chipping away excess stone to reveal a statue that was already there, and occasionally putting some makeup on it!”

The band members are Pakistani, Italian, Venezuelan, Jewish and English. A reflection of the fact that cultural categories are infinite; Qwalia’s music unconsciously explores identity, exposing what this can mean. Or perhaps that it doesn’t mean anything at all.

Vienna has a storied history as a ground zero for new music. Radian, who call Vienna home, embodies the city"s spirit of innovation. Martin Brandlmayr (drums, electronics), Martin Siewert (guitar, electronics) and John Norman (bass) are stalwarts of the European contemporary music community. Distorted Rooms presents a dazzling new elevation of Radian"s employment and manipulation of microtones with a new emphasis on abstracted guitar motifs, often employing a more loop-based or electronic approach to the guitar"s sonics. Radian"s visionary approach to composition speaks to a lifetime of working in forward-thinking music. The trio expertly hone in on sounds often removed from the sheen of the recording process and mine them for unique, rich textural sound palettes which they then meticulously arrange. Distorted Rooms creative process began with multi-stage recording of often the smallest sounds, from pick-scrapes to an amplifier"s latent hiss. These slivers of sound are then restructured and processed through a variety of techniques that transform them drastically. Radian have always been interested in sounds that might be considered byproducts and maximizing their creative and aural potential. More minor gestures like switching a pedal on and off or toggling the guitar"s pickup are mic"d and spun into textures that crackle and froth to fascinating effect.Radian"s angular, expansive music delights in tension and contradiction, sound and silence, improvisation and composition. The trio employs a singular and wholly unique sense of microtonality. While their creation process is complex, the resulting music is emotionally affecting, creating an aura of suspense and at times unease. Brandlmayr, Siewert, and Norman share an unconventional, wildly imaginative approach to sound.

"Trails" is a 7-track EP by Guitarist and composer Robbie Belchamber, which draws upon elements of jazz, brazilian, west african and folk music. The compositions are centered around the soft timbre of fingerstyle nylon-string guitar, with subtle arrangements incorporating voice, flute, percussion, mandolin, accordion and electric guitar filling out the texture.

"During lockdown I spent a lot of time exploring Melbourne's northern waterways, riding my bike along the Birrarung, Darebin creek and Merri creek. These opportunities to slow down, reflect, observe and spend time in nature formed the genesis of many of the compositions. "Trails" sonifies these experiences, the bubbling rhythms of water, melodic inventions of currawongs and magpie-larks, pervasive scents of the bush, all changing with the seasons."

"Trails" is the first release under Robbie Belchamber, and features collaborations Melbourne musicians such as Lucky Pereira (Glass Beams, 30/70), Hannah McKittrick, Grace Robinson (Empress), Moses Carr, Aidan Ryan (NoLess) and Erica Tuccerri.

/ Gerardo Frisina remix

Two stone cold Roy Ayers classics, get the South Street Disco official reissue treatment, one side the feel-good disco-tinged, jazz funk fire ‘Running Away’ and the other the smooth groove, love letter funk bomb ‘Love Will Bring Us Back Together’. Melting hearts, melting minds, is there a better Valentines gift out there then two slices of joy from Roy? From hip hop to house, ‘Running Away’ has been a favoured sampling treasure since it came out in 1977. Co-produced alongside Edwin Birdsong and William Allen, joyous vocal harmonies dance around grooving basslines, strutting guitar riffs and Roy’s warm soothing tones. Top it off with some trademark vibes and it’s a one-way ticket to happiness, pure sunshine smiles all round. Flip it to find ‘Love Will Bring Us Back Together’. Straight up seductive business co-produced by Carla Vaughn. It’s silky, it’s smooth, it’s everything you want it to be and more. Clavinet wizardry, buttery Rhodes layers and fiery vocals. Loved up funk at it’s best.

Long-awaited repress of this Japanese jazz album
Japanese pressing, comes with obi, limited edition.

This is their second album, recorded about a year after “Scenery”.

The delicate yet emotionally rich performance is still there, but this album has more power, and the world that Fukui depicts comes closer with a clearer outline and a sense of three-dimensionality. The sweet and sad melody of “Mellow Dream” and the dynamic and fast-paced “Horizon” are among the dazzling performances. In addition, this album has three original songs, compared to only one in the previous album, and it is a pleasure to enjoy Fukui’s musicality even more. In light of its maturity and richness of content, it can be said to be a masterpiece that surpasses the first album. Sadly, Ryo Fukui passed away in 2016. His delicate touch, rich tone, and beautiful musicianship. I would like to express my deepest gratitude for the “earthly dreams” he showed me. (From the manufacturer’s information)

“Body & Soul” marks S-Tone Inc.’s return after three years, diving deep into the soul / disco / funk sound from the late ‘70s. Along with the presence of longtime collaborators Toco and Laura Fedele on vocals and their own distinctive signature, we have two new international collaborations: Afra Kane, a Nigerian singer who gives a black shade to the album songs, and legendary João Donato’s son Donatinho on Rhodes and Moog. “Midnight Sun”, a cinematic-flavoured instrumental track that pays homage to The Maestro Ennio Morricone, closes a beautiful record captivating and precious in every note.

Eight long years have passed since the previous S-Tone Inc.’s full-length (“Moon in Libra”, SCCD/LP 407) and, even if Stefano Tirone hasn’t released anything under his popular pseudonym until Spring 2017, the longtime collaboration and friendship with Tomas Di Cunto (a.k.a. Toco) has never expired: Tirone in fact produced Toco’s “Memoria” in 2014 (SCCD/LP 467), and since then has never stopped working with Toco, who’s the co-author of 8 out 10 tracks of this release.
As anticipated by the “Superbacana” EP (SCEP 479), the sound of the new album is widely influenced by the Brazilian soul-funk sound of the late ‘70s known as Black Rio. But there’s more, starting from the opening “Sands of Time”, an up-tempo groovy track with a lyrical cello melody and Manuela Ravaglioli’s dreamy vocals, and the mellow disco flavor of “Vontade de viver”, sung by Toco. Manuela is another historical S-Tone-Inc. artistic partner, together with Laura Fedele, who sings in the soulful downtempo “I can’t keep up with your love”. Barro and Qinho, two emerging singers from the new Brazilian scene, respectively perform in “Vale do mistério”, a downtempo tune that borrows some guitars from the alternative rock scene and cites Pirandello’s “Uno, nessuno e centomila” in its lyrics, and in “Chuva de verão”, with Qinho crooning over a track deeply influenced by Isaac Hayes and Curtis Mayfield. The closing track, “Estrada real”, that features Luzia Dvorek on vocals, reminds of Sergio Mendes and Brazil 66 from the “Stillness” era, with its acoustic guitar-led groove and its silky flute performed by Carlo Nicita. The remaining tracks are three funky grooves from the “Superbacana” EP, featuring the Sao Paulo quartet of 4Maré, consisting of Toco, Luzia Dvorek, Bruno Morais and Kika.
Despite its various influences, “Onda” does not sound as a mere copy of what’s already been done at all: S-Tone Inc. took all the necessary time to produce a new record, and the result is a strongly original and personal effort!

Sam Gendel/Shin Sasakubo" was co-written with Sam Gendel, a standard-bearer of "modern outsider jazz" based on the West Coast of the United States.

Sam Gendel played Side A and Shin Sasakubo played Side B. It is a conceptual work in which the final song of each side was co-written. A little more released.



This time, with the cooperation of Cafe Carnet, we will change to a mixed Color Vinyl specification based on gold, remodel the artwork by popular illustrator Masukoeri, and release it in a new form.

Daptone Records is proud to present Brooklyn to Brooklin, the Scone Cash Players inaugural release on Daptone Records. Longtime Daptone Hammond ace, Adam Scone was seduced when his traveling performances brought him from Brooklyn, New York to Brooklin, Brasil, where he found a trove of new love and music. Produced by Bosco Mann, and featuring Jimmy James (True-Loves, Delvon Lamarr Organ Trio) on guitar and Neal Sugarman (Sugarman 3, Sharon Jones and the Dap-Kings) on tenor sax the group took this newfound inspiration into the studio and tracked some of the freshest soulful music we've heard in some time.

With help from his intergalactic choir, the opening track, "Cold 40's", leaps out of the speakers with the screaming organ sound that has put Scone on the short list of goto organ players. The Hammond then gives way to a dreamy, funky groove that's perfectly seasoned with ethereal background vocals that will transport you to a place where summer is on repeat. "Brooklyn to Brooklin” brings you deep into a fever-dream of tropical rhythms and seductive flourishes of psychedelia, sure to delight dancers and dreamers alike. Come take a trip!

With the help of Emandolynn Music, Soul Direction Records have licensed these three stunning Philly Soul tracks for a 7” vinyl release. Previously only available in digital format only we believe that showcasing all 3 tracks together was the perfect package. This being the way it was meant to be released.

Can’t stop, won’t stop – keep this one turnin' till the early morn.

As the empowerment of the '60s gave way to the societal bankruptcy of the '70s, a turned-on black music emerged to soundtrack the agony of america at a crossroads. Tracked at DB Sound in silver spring, maryland by producer R. Jose Williams, your funny moods is built around the rhythms and keys of drumming wiz James Purdie. Remastered here from the original analog tapes, this 50th anniversary edition is peak group harmony soul from the chocolate city.

Duo in the mirror that, in a continuous game of doubling and multiplication, ventures into another world, dense with unexpectedness and vital thrills. Sun Ra and post-rock, as well as Chicago experimentation and echoes of the world of Suzanne Ciani and minimal music, are the hints one can sense while listening to Medea, a journey to the edge and beyond. Star Splitter's new album comes five years after the debut album, a period in which the two artists experimented with the infinite possibilities of this lineup, the length and breadth of Europe, at some of the most important festivals. In complete freedom, a three-day session in the recording studio in Reggio Calabria gave birth to Medea, a dedication, in retrospect, to the film work of Pier Paolo Pasolini.

Steve Gunn and David Moore's Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration.A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other's work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar-guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth.The exchange began remotely as Gunn and Moore responded to one another's solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. "We were both fans of each other's music and this was a chance to try a different process which was much more open," says Moore. "It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else."Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: "I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things."Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more "detail-oriented" approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination."We didn't know it was going...

Reissue number seven for Heels & Souls Recordings sees them look back to the sounds of South Africa’s townships in 1991, cherry picking four of Tashif Kente’s finest cuts from his sought after album A Boy And A Dream, giving them space to breathe on a 12" pressing. Clearly influenced by the flavours bubbling over from the UK and US in the late ‘80s and early ‘90s, from R&B through to boogie, proto house to new jack swing, Tashif’s productions are a melting pot of ideas and influences, laced with a distinctive South African flavour. Born in Soweto, Mzwandile ‘Tashif’ Kente, cut his teeth with Harari for a brief period, a group that birthed greats like Condry Ziqubu, Sipho Mabuse and Alec Khaoli, before going solo in 1984 and releasing just one album as Tashif Kente, 1991’s ‘A Boy And A Dream’. An album that speaks of love, lust and longing, produced by Kente and Selwyn Shandel with Marc Rantseli also joining the fold, it has that signature South African synth bass, drum machine and killer keyboard combo of the Bubblegum and Kwaito scenes, topped with Kente’s buttery vocals. Heels & Souls Recordings take four favourites from the LP and press them loud on either side of a 12”. On the A, the audacious new jack, dancefloor bubbler ‘Tell Him I Became Your Lover’ leads into the lovestruck, boogie-tinged grooves of ‘Somebody’s Got My Love’. Flip it over to find a jealousy jam of the highest order with the synthy soul number ‘Who’s That Boy’, before ‘I Like The Way You Love Me’, a lights down low, R&B flavoured lovesong rounds off the EP. Licensed from Gallo, who transferred the original ¼ inch tapes for their archives, Heels & Souls have enlisted the expertise of Justin Drake to remaster these South African beauties for a new generation of listeners.

A highly coveted record! A reissue of instructional records by talented studio musicians!

Super Percussion Vol.1 is the only solo album released by Tatsuo Hayashi, who played drums for Tin Pan Alley and Caramel Mama.

This album, which has historically been famous as a drum break album by Japanese DJs, has an A-side that extracts only the rhythm section from drums to percussion, and a B-side that features a fusion instrumental mix of performances by Masaki Matsubara and Tsuyoshi Kon.

The tight disco track, 'sucha Roca' and the light mellow fusion funk track, 'hi-g', as well as the iconic beat collection on the record's A side, are recommended for track makers everywhere.

Conceived and produced by Luciano Cantone, co-founder of Schema Records, and written by Alex Puddu, The Afro Soul Prophecy is a musical project that stands out of time and trends and that finally releases a full-length after some 2017 singles/Ep’s. “Heat in the City” is an almost completely instrumental black funk music-based album, that often indulges in afrobeat, latin, disco and urban blaxploitation music. The multi-ethnic nature of this project ensures a multifaceted work, where the music language has been able to unite musicians from all over the world.

“Bitches Cold Brew” by The Brothers Nylon is a collabo project with the amazing and gifted Shawn Lee! Music from NY to LON. Across the pond. A tiger and three lions set out to make musical adventures. Cinematic type tuneage with the freedom to overdub whatever you want. Most of these tracks were served up hot and fresh off the reel to reel, digitized, and sent across the pond. 10 Tracks, 10 videos, once in a lifetime experience. Absolutely thrilling collaboration with Shawn and the Rufolo Brothers! On their way to Europe for their "Euro Touro" in March, 2017.

Here are two great cuts, previously unreleased as singles, recorded for Al Sears’ Sylvia label in New York City in 1965. The Corvairs had one very good release on the label in a soul group harmony style. ‘I'll Never Do It Again’ and ‘A Feeling Deep Inside’ are more R&B and sound earlier than the 45 release. Both tracks have picked up admirers from their New Breed and Modernist CD releases and their release as a Sylvia repro label single will be very welcome.

In The Handover, Aly Eissa, Ayman Asfour and Jonas Cambien explore the common and uncommon senses of Egypt's ritual music. It is clear that Aly Eissa's original composition is deeply rooted in Egyptian and Arabic traditions. At the same time, this band is one of the most progressive coming out of Egypt today. This is in big part thanks to Eissa, who has proven time and again to be not only an extremely skillful composer, but also a real visionary, combining tradition with modern experimentation.

A performance by The Handover is typically one stretch without break: a long build-up that lasts for the duration of the concert. Towards the end of the performance, all the tension is released in an exuberant, joyful climax, when wild improvisations are driven forward on top of exciting dance-rhythms from rural Egypt. The Handover elegantly combines the delicacy of classical Arabic music, the raw expressiveness of Egypt's countryside music, and the spontaneity of free improvisation, carefully obliterating the artificial separation between acoustic and electronic instruments. Despite the remarkable absence of any percussion or drums, The Handover is an extremely groovy band, with an ability to slow down and accelerate the tempo in almost telepathic synchronization at exactly the right moments.

Alongside the tight ensemble playing there is plenty of room for individual expression as the oud, synthesizer and violin take turns playing solos on top of repetitive riffs. Throughout the album, native Alexandrian Ayman Asfour plays the violin with breathtaking beauty, while not being afraid to make the violin buzz, squeak and rattle at times. Belgian/Norwegian keyboardist Jonas Cambien makes the synthesizer a melodic instrument in its own right, at times evoking almost classical Maqam, while in other moments it seems like he comes straight out of an Egyptian wedding. The oud forms the backbone in the composition's structure, as Aly Eissa's solos guide the listener from minimalist, meditative drones, to a compelling climax, and back to earth.

Immortalised, smooth psychedelic soul from The Isley Brothers that's every bit as powerful as it was in '83. Much loved and often sampled in the hip hop world, with 'Footsteps In The Dark' most famously sampled by Ice Cube and 'Between The Sheets' by Notorious B.I.G.
A huge record for sample spotters and funk / soul lovers alike, they don't get much more iconic than these two tracks - now fully remastered and reissued for the modern dancefloor.
Large / dinked centre hole.

What we gonna do right here is go back, way back, back into time…and one of the most sampled refrains in dance music history. A 7 inch double header of two of the biggest records from the Jimmy Castor Bunch, the 1 million plus selling ‘Troglodyte’, flipped with ‘It’s Just Begun’. This funk masterpiece lit up the Bronx in the ‘70’s and was the spark from where Hip Hop caught fire. Get in early and go in hard. Funk, Soul, Hip Hop and dance fans all need this beaut. Original RCA labels and sleeve, all remastered for 2024.

As with The Gangsters LP in 2018, Albina Music Trust now returns with another buried treasure from Portland’s past: a lost album by The Legendary Beyons. AMT is a unique taxpayer-funded initiative of arts and education non-profit, World Arts Foundation. This initiative serves the underrepresented musician community in Albina, Portland's historically Black neighborhood. For over fifty years, The Legendary Beyons have delighted Portlanders with their music. And now, for the first time, their work has been documented in this high fidelity LP accompanied by a detailed oral history of the group. The album's well-designed booklet features a wide range of archival photography, serving as a period piece for the uninitiated. On the cover of this previously unreleased 1977 album, there's an image that tells you nearly everything you need to know: four Black men, resplendent in custom-tailored suits, are working it with synchronized steps before the rushing falls of Portland’s Fourcourt Fountain. In their joyous faces is written a brotherhood that began when this core of singers—Jeddy Beasley, Thurtis Channel, James Tims, and Ira Hammon—endeavored to harmonize as The Legendary Beyons. The group's presentation in this image reveals the richness of their soulful, Motown-inspired vocal sound. These songs are the culmination of a story that began when these young men began singing in the locker room after basketball games at Jefferson High School. As their reputation grew, The Beyons––with the help of a crack backing band featuring arranger Dan Brewster and The Soul Masters––aspired for greatness in Albina's club scene. A litany of touring acts on the Chitlin Circuit stopped through the area, performing side-by-side with The Beyons: The Whispers, Bloodstone, Blue Magic...the list is deep. But without a local recording industry or sustainable income for gigging Black musicians, The Beyons never released a recording in their heyday. This session represents a seasoned group roughly a decade into their career. It is their only 20th century recording that has survived. These songs, ranging from the jazzed “Dreaming You In My Mind” to the quiet storm of sweet soul ballad “There We Were, Here We Are,” spotlight the group's tightly knit harmonies––pleading, sensual, playful, and romantic. Meanwhile, album single "Love Notes" comes as a burst of energy and "Let's Talk About Love" begets a cosmic intro calling upon Greek philosophers Plato and Aristotle to assist in sharing the band's take on a topic called L-o-v-e. To put it simply: put this record on and look inside the jacket. There is a booklet with classic photography and an oral history that provides not only a snapshot of this great group but a well-portioned inquiry into the experiences of Portland's Black musician community in historic Albina––a truly unique project from Albina Music Trust.

Mike Maurro is back at it. Taking the keys to the Philadelphia International Records vault and plucking out two certified classics The O'Jays - I Love Music and Harold Melvin & The Blue Notes feat. Teddy Pendergrass - Wake Up Everybody to give them a little Maurro re-edit magic. Officially licensed and taken from the master tapes, Maurro extends each track in all the right places, looping sections up, echoing elements and keeping everyone calling out for more. Uplifting music for the soul, given a new lease of life.

12 tracks of horn-led funk from one of the great unsung bands of the late 1960s. The Pazant Brothers, Ed and Al are jazz and funk royalty having played with Kool & The Gang, Pucho & The Latin Soul Brothers and Lionel Hampton.

Their recordings for GWP were made under the auspices of producer Ed Bland. They are highly sought after by producers and DJs, and represent the very best of their recorded work. This is the first time that this work has been available on LP.

Includes sought-after singles ‘Skunk Juice’, ‘Juicy Lucy’ and ‘Chicken Scratch’, as well as a previously unreleased version of ‘High Heel Sneakers’ and two vocal tracks with Betty Barney recorded live at MOMA which have never been on vinyl before.

Two great versions of this soul dancer. "Bend a little" - The Supremes cut was released on a triple back cd and now first time on vinyl, perfect for all soul collectors Magic Disco Machine, offers a movin and groovin instrumental version, essential 7" double sider.
x600 copies only

Official Mr Bongo reissue. Replica original artwork.
Mr Bongo brings another Brazilian rarity to the masses with this sublime reissue of Tim Maia’s Disco Club. Recorded in 1978, it’s a latter-period gem from the larger than life legend, combining the glitz and glamour of disco’s heyday with Maia’s raw funk and soul roots. When Maia first heard Little Richard as a teenager, he knew what kind of singer and artist he wanted to be. Five formative years spent in the US, where he ran wild in NYC and joined a doo-wop group called the Ideals, did little to dampen his enthusiasm for black music. Stirred by the civil rights movement in the US and driven by a punk spirit, Maia went on to blaze his own trail through the early 70s over the course of four successful albums for Polydor. Moving away from the straight MPB, Tropicalia and international rock dominating the airwaves, his sound represented a new black Brazilian consciousness. When he sang, he could be raspy and defiant one moment … and then romantic and reflective the next. But always on a groove and with a hook. It was an irresistible combination.
Yet by 1977 he was bankrupt and in limbo having first joined a religious cult called Superior National and then alienated listeners with his first album sung entirely in English. To complicate matters further, Brazil was feeling the Saturday Night Fever. Gloria Gaynor, Chic and Kool & the Gang were dominating the charts and filling hotspots such as New York City Discotheque in Ipanema and Frenetic Dancing Days in the Gávea Mall. Maia left his usual band and went into the legendary Estudios Level with a mighty ensemble of Rio’s finest including Paulinha Braga on drums, Jamil Joanes on bass, Robson Jorge on clarinet, Hyldon De Souza on guitar, Sidinho on percussion, trombonists Edmundo Maciel and Darcy Seixas, and Juarez Assis on tenor sax.
Arranger and keyboardist Lincoln Olivetti was a crucial presence during these sessions. He added that all-important string flourish and brassy joy to the uptempo tracks while giving the star enough room to express himself. The album kicks off with a trio of floor fillers: the exuberant party starter ‘A Fim De Voltar’, a sing-a-long anthem in ‘Acenda O Farol’ and the undeniably funky hit ‘Sossego’ (file that one next to Fatback).
But then Maia drops it down and gets existential on ‘All I Want’, questioning the meaning of happiness. He also shows his tender side on slow burners such as ‘Murmúrio’ (written by the great Cassiano) and ‘Pais E Filhos’, the latter featuring a supersoft bed of harmonies you can't help but lay down on. But the party ain’t over and mid-tempo groover ‘Juras’ gets the feet moving again before ‘Jhony’ sends us swaying off into the night.
Maia’s appetite for excess would eventually get the better of him. But Disco Club is the sound of an unpredictable genius on top form. Get ready for the time of your life.

The long-awaited new release from Toshio Matsuura's Toshio Matsuura Group is 'Pina', a previously unreleased song recorded in London during the production of the album 'Loveplaydance', which was released worldwide in 2018.

Originally released on Metro Area as a single in 1999, the album was released in 2002 and was a smash hit for them.

The album was completed in Tokyo after a post-production/mixing process, with the up-and-coming members of the band coming together at the call of their leader, Toshio Matsuura, to perform, and with the reliable direction of the originator, Matsuura, to create a new form of jazz that combines the old and new scenes.

The B-side is a remix by Nikitch & Kuna Maze, a jazz house duo from France who is currently working in Belgium.

Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound.Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno.Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional.Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers he...

Cosmic Disco Machine Volume 6 is reconfirmed with a refined selection of electronic “disco” songs from the 70s / 80s, rigorously in original and remastered versions. Inside we will find songs from the German school "The 4:08 to Paris" by Berlin Express (Conrad Schnitzler) and Rolf Trostel "Digital Track", the English "Regime" by Two, Iam Siam from America with "Talk To Me Even to Italo with Riccardo Cioni's “Nebbia”.

This compilation collects a number of 7" singles produced by Audio Productions Ltd. in Kenya's capital Nairobi in the first half of the 1980s and released on the Wendo, Lulus, Mlima and APL imprints. The bands featured on this release are the New Gatanga Boys, Ruwengo Bros Band, Banana Hill Band and Les Victoria 'C' Kings from Kenya, Les Moto Moto and Orch Les Volcano from Tanzania (the latter being led here by Charles Ray Kasembe after the death of the legendary Mbaraka Mwinshehe). The closing track is by Orch Zaituken Band, whose name is a contraction of the countries its members came from: Zaire (now Democratic Republic of the Congo), Tanzania, Uganda and Kenya. The group is emblematic of the Kenyan capital's role as a magnet for East African musicians seeking to earn a living by recording and playing live in the 1970s and 1980s.

No Wahala Sounds are proud to bring you this latest collection of rare 45s from the golden era of benga and rumba, which have never been released outside Kenya before.

24 funk-tracks from the King label by Bill Doggett, Hank Ballard, Sons Of Funk, Presidents, Litle Royal, ...

Record Kicks celebrates its 20th Anniversary with a limited edition "Rare Box Set" consisting of ten 45 vinyl with the very best of the label's catalogue.

2023 is a special year for Record Kicks: the Milan-based independent label turns 20 years old. In order to celebrate this great achievement, Record Kicks is proud to announce the release of a limited edition "Rare Box Set", coming out on March 3rd and containing 20 tracks on 10 "rare" 45 vinyl that retrace the story of these past 20 years of Record Kicks. The boxset is limited to 500 copies worldwide and it will also be released on digital format on that same day, March 3rd. The artwork by Japanese artist Ruminz is an homage to Afro-American culture. Of the 20 tracks on the "Rare Boxset", 11 tracks are previously unreleased on 45 vinyl, while 9 are reissues of mega in-demand gems.

Psychedelic Funk: this is the musical mood of the new Sexopolis. For those who enjoyed in the 70s or those who just discover them today, will find in this last release international and very rare historical songs shuch as “Flute Salad” from Ju- Par Universal Orchestra, “Misty Purple” by Rolf Kühn, “Dove” by Cymande, and also some Italian gems such as “Fall out” by The Braen's Machine (Alessandro Alessandroni ), “Nebbie misteriose” by Ugo Busoni. 16 tracks, 80 minutes of a music journey between the mystic and psychedelic, funk and afrofuturism, as always original versions gently remastered, and pressed on limited light blue splattered double vinyl.