Organic Grooves 260 Items

"Move On Up featuring Kamata Mizuki" has been re-edited by DJ JIN (rhymester) for a long-awaited re-release in response to many re-release requests!! This killer cover of Curtis Mayfield's "Move On Up", released in early spring of 2021, has been reissued in response to numerous reissue requests. The B-side features "Beyond the Redemption," an original jazzy funk song in full Nautilus verse that also appears on the latest album, "A Story About You".

Social Joy Records presents Natural Lateral's new album "Tapestry of life", a superb excursion in fusion jazz with a wonderful blend of electronics and subtle elements of spiritual Jazz.
Undeniably on the rise after the success of their first album, "Cogito Ergo Jam", which received support from the British Jazz scene and was featured on Gilles Peterson's BB6 broadcast,the North London Based collective goes a step further this time by carefully crafting a new release of a tapestry of music stemming from rich jam sessions at the Lazy Robot Studio and representing the band's phenomenal musical canvas. Echoing jazz legends like Azymuth, Roy Ayers, Alice Coltrane and Miles Davis by paying tribute to those who paved the way but always searching for new musical territories, this six-track LP is moving, thought-provoking and engaging. It is a musical questing where each band member searches for meaning through sounds and rhythms - giving a new life to Jazz music and dropping the full spectrum of a vibrant tapestry of life into the listener's ears.
The band's work ethic is based on a sense of freedom in the studio filled with live jam sessions where it's all about "catching a moment" and letting the inspiration flow. "We just want to feel a sense of freedom and connection through playing. In the studio, it's the music which connects us all, and we just want to allow that process to unfold".

N.C.M. is the independent production company/label Napoleon Cherry has been working under since the late 80s with releases as Cool Waters and Station To Station. "When You Had The Chance" is from an unreleased slo-jam session from a few years back.

Muddy "Mississippi" Waters – Live (1979) is a live album by Blues guitarist Muddy Waters. The recording was awarded the Grammy for Best Ethnic or Traditional Folk Recording in 1979. Accompanied by Johnny Winter and his band, Muddy Waters turns in an enthusiastic performance on Muddy "Mississippi" Waters Live. This is an indispensable addition to the Muddy Waters catalogue!

180g vinyl.

Archeo Recordings is a record label.Old, lost, obscure and forgotten gems and a boundless focus on the new balearic scene for a wider audience of collectors, djs and music lovers. all releases are limited edition. This release is 500 copies limited edition (ar026). 7” with the original song + a special rework by Pellegrino: neapolitan sound at its best!

Archeo Recordings is a record label.Old, lost, obscure and forgotten gems and a boundless focus on the new balearic scene for a wider audience of collectors, djs and music lovers. all releases are limited edition. This release is 500 copies limited edition (ar026). 7” with the original song + a special rework by Pellegrino: neapolitan sound at its best!

Jersey Shore's finest funk. Minority Band hails from the beaches of Monmouth County New Jersey. The septet performed locally from New York to Neptune City in the late 70s and recorded only one LP on JSR records entitled "Journey To The Shore". Widely unknown and hyper-collectible, these recordings fetch those 4 figures... Unattainable until now. We've taken two of the best cuts from the album and pressed them proper on 12inch.

In 1977, the Portland Trailblazers were at the peak of their game. Anticipating the team’s meteoric rise toward an NBA championship, songwriter Ron Stassens assembled his own dream team. Featuring members of Pleasure, Transport, and Slickaphonic, Stassens penned a theme song to amplify the team’s ascent and wound up with an album’s worth of soulful, disco-funk material.

Centering on Slickaphonic frontman, Milton Davis, the band was hopeful. But like the vast majority of Portland's musical output, the reels received a dose of regional airplay before being shelved. Davis left town. Stassens and the backing band moved on. Years later, we now this artifact, featuring a who's who in the Portland's musician community - banded together on this sole release.

But the album stretches beyond the confines of “Blazermania” with a deep connection to this era in Albina. "Let Me In" signifies Davis' yearning to be seen by his peers at a time when local musicians’ aspirations for fame and fortune were all too unlikely in Portland’s gatekept club scene - a quaint industry both culturally and geographically isolated from national access. Few musicians made it out. And Black musicians redlined in the city’s Albina district were disproportionately affected. Buried within a love song, Davis’ crooning on “All I Wanna Do” spells it out:

‘Some people want to drive a cadillac car / Some people want to be a Hollywood star / Oh no, not me / My poor heart just can’t break free / All I wanna do is think about you.’

Mystery surrounds Davis' background and why this tremendous suite of recordings has remained unreleased. In its time, the “Blazermania” single was successful enough that the band performed it on repeat during the team’s championship celebration (images of this can be seen on ESPN’s recent “30 For 30” featuring Bill Walton, as well as on the album’s back side jacket). What we do know is that Davis came of age in the Houston area where in high school he joined The Four Tempos - a soul group that would make their way to Los Angeles, cutting a few 45s for Rampart Records. When the group disbanded, he steadily worked his way up the West Coast Chitlin Circuit before landing in Portland. There he would fall in step with Albina's finest, fronting Slickaphonic for a short time. It is believed he would later front Doc Severinsen’s big band on European tours throughout the 1980s and produce R&B singles for major label artists throughout the 1990s. Davis passed in late 2020, having remained largely disconnected from Albina’s musician community since the time of this recording.

As with all releases in our catalog, listeners may now appreciate a piece of Albina’s legacy otherwise buried by selective history producers and the ensuing memory-making that has occurred in our region’s popular culture. These recordings document an important albeit buried moment. Its fleeting impact has been obscured in such a way that even Stassens, engineer Bob Stoutenburg, and the participating musicians on these takes can’t fully recall the entire cast of players on the three sessions that make up the record. Years of interviews and sleuthing the highest quality tape dub have produced the record we have here - a recording that all these years later demands, “Let me in.”

Originally released in 1974, Big Fun presents music from three different phases of Miles Davis's early-seventies "electric" period. Sides one and four ("Great Expectations" and "Lonely Fire") were recorded three months after the Bitches Brew sessions and incorporate sitar, tambura, tabla, and other Indian instruments. "Ife" was recorded after the 1972 On the Corner sessions, and the framework is similar to tracks from that record. Recorded in March 1970, "Go Ahead John" is an outtake from Davis's Jack Johnson sessions.

The latest release in Now-Again’s deluxe Reserve Edition series: the first ever anthology of Zamrock musician Mike Nyoni’s funky, psych-rock and folkloric 1970s recordings, plus bonus tracks on DL card for WAV files.
Zambian guitarist and singer/songwriter Mike Nyoni’s music is Zamrock only because he came of age during the country’s rock revolution. His preferred wah-wah to fuzz guitar, James Brown to Jimi Hendrix. His 70s recordings – often politically charged, and ranging from despondent to exuberant – are amongst the funkiest on the African continent. He was also one of the only Zamrock musicians to see his music contemporaneously issued in Europe. This anthology collates works from his three 70s LPs – his first, with the Born Free band, and his two solo albums Kawalala and I Can’t Understand You – and presents a singular Zambian musician on par with celebrated artists Rikki Ililonga, Keith Mlevhu and Paul Ngozi. The package also features an extensive, photo-filled booklet contains an overview of the Zamrock scene and Nyoni’s story. Includes a download card to WAV files, including bonus tracks.

Mastered and cut at 45rpm for high quality and loud sound, these 7"s are packaged in lovingly produced Brazil45 sleeves. Dancefloor essentials for all DJs and collectors!

"Tattoo Woman" was originally released in 1965 and includes "Under My Skin", a favorite not only among calypso fans but also Ska and Reggae lovers! This is a calypso arrangement of Cole Porter's original song "I've Got You Under My Skin" and is truly a masterpiece! The album as a whole contains many wonderful pieces that convey the breath of calypso in its heyday! Please enjoy these two historical masterpieces by the god of calypso, Mighty Sparrow, together with "The Outcast", which will be released at the same time on analog LP!!

Killer rendition of the classic Led Zeppelin stomp, arranged by famous dj & producer Massimo Barsotti. Programmed by none other than Maurizo Dami aka Alexander Robotnick, this robotic version is delivered with alien vocals and cold as ice synth lines. Still a favorite for many international djs.

Long-awaited analog release of the NY-based pianist and composer's second album! Lush and magnificent soundscapes by a new generation of jazz ensembles that make full use of voice. As the title of the album, which combines the words "Sol" (sun) and "Luna" (moon), suggests, the album contains colorful compositions with magnificent power. The new sound of the jazz ensemble, featuring a fusion of instrumentals and voices of talented New York musicians, is a perfect match for the warm tones of analog records.

Mark IV were from New York and released one album on Mercury Records in 1974 until we released their second in 201b called 'Signs Of A Dying Love,' which was a collection of unreleased songs recorded in the mid 1970s. There were two versions of the song 'I Knew It Wouldn't Last.' We featured the midtempo version on the album and the other was an exclusive play for Soul Sam, Lars Bulnheim and Steve Clancy for the past eighteen months.

The Madlib Invazion Music Library Series Entry #7: Composer, producer & arranger Mario Luciano and vocalist Lauren Santi of Polyphonic Music Library deliver a collection of recordings that delve into Psychedelic Jazz, Experimental Soul & Cosmic Fusion. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

To call Marcos Valle 'a legend' of Brazilian music is much more than just easy press-release hype. As singer, writer, musician and record producer, Marcos has played an integral role shaping the sound of the country’s music from the 'golden era' of the 60s and 70s, through to the modern day. Alongside his brother, Paulo Sergio Valle, they have penned a huge catalogue of classic songs, not just for themselves but for other greats such as Elza Soares, Astrud Gilberto, Claudia to name a few.
‘Braziliance!’ takes things back to the early heady days of Marcos’ career with the bright and optimistic sound of Rio's Bossa Nova scene. It includes an instrumental version of ’Crickets Sing For Anamaria’ or 'Os Grilos’ in Portuguese, which would also be re-recorded with
vocals. Though only in his early twenties at the time, ‘Braziliance!’ depicts very sophisticated production for a musician so young. Recorded in 1966, produced by Louis Oliveira and Ray Gilberts with arrangements by the very talented Emir Deodato, the album was released on Warner Bros. Records. The artwork presents a very clean-cut, wholesome looking Marcos but darker things were around the corner for Brazil. The ‘Tropicalica’ movement was on its way and about to shake thighs up both musically and politically. Unlike some of his Bossa Nova contemporaries, Marcos continued to stay relevant, surfing the changes and adapting to the musical developments that culture and society projected and needed, without comprising his art.
Under exclusive license to Light In The Attic Records & Distribution, LLC | Mr Bongo Records.

Brilliant, inspired and somewhat surprising collaboration between Chicago’s premier free-rock trio and the truly legendary percussionist, Hamid Drake, who has played with everyone from Don Cherry to Peter Brotzmann to Lee Perry.

​ This collusion was precipitated by Matt Jackowiak, a mutual friend, who thought a merging of their sounds might make for an ecstatic explosion. This feeling became mutual after they played a show together at Constellation. The set mixed Mako Sica tunes with improvisations that took everyone to places they hadn’t expected, and the trip was deemed an utter success.

​ Ronda was done at two sessions, scheduled around Hamid’s insanely busy work schedule. The first was at Jamdek with Douglas Malone at the board, the second was at Electrical Audio with Taylor Hales. The Electrical session allowed the players access to a host of additional instruments, so the sonic palette on “Dance with Waves” and “Emanation” is wider and somehow more cosmic than usual.

​ But the whole album has an extraordinary depth and width of sound. Even the great songs Mako Sica has had in its set for a while like “The Old Book,” gain whole new levels of otherness here, and the material based in quartet improvisations, like “The Wu Wei,” explores wild new territory for the band.

​ Ronda (named after a town in southern Spain with a famous 18th Century bridge crossing a deep gorge) is the first span connecting the disparate musical worlds of Mako Sica and Hamid Drake. Let us hope it is but the first of many.

-Byron Coley, 2018

This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Born in 1938, and raised in Glendale, California, Lloyd Miller has had one of the most unusual careers in all of jazz. By age 12 he had declared an
intent to make his living as a jazz musician, and by high school he had already begun to experiment, shunning swing music's mechanical perfection,
and chafing at his parents’ desire for him to nurture his talents with formal training. This tumultous relationship with his parents would eventually
lead to a stint in a psychatric hospital, before reuniting with them in moving to Iran, his father having accepted a job working for the Shah.
Stops in Hong Kong, Japan and Pakistan on the way to Iran deepened Miller's connection to other cultures he’d first felt while listening to old world
music compilations. He felt a definite calm and peace, an immense respect from everyone towards everyone else, and immersed himself in other
cultures and languages immediately. Miller spent a year in Iran with his family, picking up Farsi after a few short months, and steadily gaining more
and more of an appreciation for how deep the roots of Persian art run. However, still committed to his decision forge a career in jazz, Lloyd left Tehran
in 1958 to head to Europe to see if he could make a living from jazz music.
Miller kicked around the continent, first in Germany, then in Switzerland, Sweden and Brussels. He collaborated and performed alongside 60s jazz
legend Jef Gilson, and experimented with exotic instrumentation before returning to America to resume his studies at Brigham Young University in
Utah. In the years following his stint with Gilson, Miller had become more and more disillusioned with both modern music and modern society, which
had ashewed jazz for rock music, which he detested. In Miller’s conception, for a music to have value it had to have a deep connection to a tradition,
specifically connecting jazz to African lore. To Miller, something like “Tuareg African music is blues, just with no chord changes.”
Oriental Jazz was recorded, compiled and self-released in 1968 while Miller was studying at Brigham Young. The record, originally pressed in
a quantity of 300 copies, sought to combine a cool, modal style with the exotic arrays of instruments and styles that Miller had picked up during
his travels. Miller included songs he’d cut with Gilson in his Parisian studio years before, and a solo piano piece that he recorded in one of the
school’s practice rooms. Despite Lloyd’s professed aversion to modernity, there nevertheless is something strikingly new sounding about this
music, which fits together in startling juxtapositions. Traces of Bill Evans, Stan Getz and Jimmy Giuffre rub shoulders with Persian santur, Arab oud
and Turkish saz music.
Copies of Oriental Jazz languished in Miller's home for years after numerous failed bids for record contracts, before finally ending up in the hands of
record collectors decades later. After its release however, he would find a second life after returning to Iran, doing field recordings, and eventually
hosting a weekly television show that programmed both American jazz and the best traditional Persian musicians he could find. It was not to last
however, as he abruptly abandoned the country to return to the US in the late 1970s, predicting the arrival of the Islamic Revolution.

"There was no internet, no cell phones. We didn't have streaming services, cable television, or even VCRs. People in Portland were out to see music seven nights a week"

In 1982, it seemed club nightlife in downtown Portland had reached its zenith. Musicians could make a living in a multitude of clubs throughout the city. And they made music on their own terms. Calvin Walker's recollection above speaks to the sovereignty of an independent community devoid of the recording industry's bottom line.

Lights Out gained traction when Pleasure wasn't in the studio or on the road. They were led by Pleasure's trumpeter Tony Collins, whose agenda involved prodding his group with gnarled fusion covers, complex horn arrangements, and masterful wardrobe flexing. "We wanted to be better at what we did," claims Collins. "Everybody grew."

But even with platinum level players holding recording contracts a la Fantasy Records, Lights Out struggled to find bookings in Portland's white-owned club circuit. "There were rules to these things and you had to play by them," remembers Walker. "They had to push up against that."

"I remember it being tough to get this band booked on the West side of the Willamette River back then," remembers bassist John Mazzocco. "When Peter Mott at Last Hurrah called to book us on a Tuesday, I was elated."

Knee-deep in the jazz fusion sound made popular throughout the city, Lights Out soon evolved into a synthesizer-fueled funk group fronted by vocalist Andy Stokes and featuring guitarist Greg "Gee Mack" Dalton. It's this era of Lights Out that made converts of the haters and annihilated 800-capacity dancefloors. It’s this era of Lights Out that is being celebrated on this release.

Recorded in 1982 at Wave Sound Studios - a facility that housed local punk acts such as The Wipers and The Rats - the material on this LP was intended as a demo for Solar Records. As a touring trumpeter for The Whispers, Collins was to pass the reel up the chain. When Solar fumbled it, Collins and Dalton left Portland for Los Angeles signaling the end of the group.

Forty years later, the legacy of this canonical Stumptown act has been remembered in devastating detail. The vinyl package includes a 12-page booklet of the band's oral history and deluxe archival photography. With tape restoration and mastering by Gus Elg, this painfully obscure recording has been waxed and buffed by one of the reissue industry's greatest.

Lights Out personnel have since made waves beyond the Pacific Northwest. Collins founded NDN Records in Atlanta. Andy Stokes has received the Grammy nod, releasing singles with Snoop Dogg and Battlecat. John Mazzocco toured with John Lee Hooker and was recently inducted into the Oregon Music Hall Of Fame. Damian Dillon went on to a successful radio career in Germany. And Greg Dalton has sessioned relentlessly, working with everyone from Patrice Rushen to Kamasi Washington to Tupac.

As Stokes puts it, "Being in this band gave me the strength to branch out. You don’t just do that by yourself. You have a family. This a family.” credits released July 15, 2022

Truth & Soul is proud to release the second single from uber-talented UK artist Liam Bailey.

“Things happen for a reason, man.” - Leo Nocentelli

At just fourteen, Leo Nocentelli was backing up Otis Redding. Soon after, he was playing on hits for Lee Dorsey, The Supremes, and The Temptations. As an original member of The Meters, Leo wrote instant classics “Cissy Strut” and “Hey Pocky A–Way,” but his greatest moment on record may be totally unknown, until now…

Recorded at Cosimo Matassa’s Jazz City Studio in New Orleans in the early ‘70s and then lost to the ages, Another Side is one of Leo Nocentelli’s most personal and definitive moments ever cut to tape. A mixture of funky folk and rootsy, raw emotion (think Bill Withers and James Taylor meeting Allen Toussaint at Link Wray’s Three Track Shack), this previously unheard album shines like the sun on a spring day on the New Orleans fairgrounds. Backing Nocentelli is an all-star line-up of New Orleans royalty, including Allen Toussaint (piano), James Black (drums), and both George Porter Jr. (bass) and Zigaboo Modeliste (drums) of The Meters. Deeply introspective, the album features nine original songs by Nocentelli, plus a soulful rendition of Elton John’s “Your Song.” Half a century later, these recordings sound just as fresh and engaging as the day they were recorded.

What makes Another Side even more extraordinary, however, is the fact that the album—which could have easily become a classic in the ‘70s singer-songwriter canon—sat untouched for decades; miraculously surviving the devastating blow of Hurricane Katrina, only to be found 2,000 miles away at a Southern California swap meet in 2018 by record collector Mike Nishita. The album’s incredible journey is documented in the liner notes by Sam Sweet (New York Times, Los Angeles Times), who spoke with Nocentelli and Nishita about the recording process and re-discovery of the tapes. Sweet’s full notes appear in the release’s accompanying booklet alongside hand-written lyrics by Leo Nocentelli. The first pressing of the vinyl edition will feature gold-foil treatment on cover and spine. Rounding out the package are original designs and layout by the multi GRAMMY®–winning designer Masaki Koike.

While Nocentelli was embedded in New Orleans’ R&B scene, he was also deeply inspired by the late 1960’s and early 1970’s rising singer-songwriters, and soon found himself exploring sounds that were miles away from his band’s hard-edged funk riffs. Whenever he had downtime from session work and shows, Nocentelli spent much of 1971 recording his newly-found, reflective, diaristic songs at Matassa’s Jazz City studio. Backed by longtime Meters bandmate George Porter Jr. on bass, Nocentelli crafted the lineups for his sessions to match the tone of the material. When he needed a pianist, he’d call Toussaint. For percussion on the slower songs, he used drummer Zigaboo Modeliste, but many of the tracks featured James Black—a frequent collaborator of Toussaint’s and a member of Ellis Marsalis’ jazz group, whom Nocentelli recalls as an “unbelievable” musician. The recording, which Nocentelli fondly refers to as his “country-and-western-album,” paints a picture of a young man yearning to find a sense of purpose. “I was going through some changes which were reflected in the songs that I wrote during that time,” he tells Sweet. Among them is the mid-tempo “Getting Nowhere,” in which he expresses a sense of frustration, as he watches others find success around him. Similarly, “Till I Get There” details a man who is struggling to persevere in his goals. In the soaring “Tell Me Why,” meanwhile, the singer contemplates the existence of God. Other songs center around fictional characters. “Pretty Mittie,” for instance, is sung from the perspective of a farmer who longs to give up his arduous life for the city. “You’ve Become a Habit” is about a man who falls for a sex worker named Fancy. “Riverfront” is based on stories that singer Aaron Neville shared, about his days working on the New Orleans waterfront. Nocentelli also chose to perform one cover: Elton John’s breakthrough hit, “Your Song.” The guitarist made the recently-released ballad his own—infusing it with a loping, head-nodding cadence, ever so tastefully “funkdafied” in true New Orleans fashion. By the time that the album was finished, The Meters were busier than ever. They had just signed a record deal with Warner Brothers and were now the official house band at Toussaint’s studio, Sea-Saint. There, they not only backed artists on Toussaint’s Sehorn label but had also become the go-to session musicians for every major artist that recorded in New Orleans. Rather than focus on a solo career, Nocentelli poured his energies into The Meters’ next album. Eventually, time moved on, as did Nocentelli, and he decided to store his unreleased solo album at Sea-Saint for safekeeping. In 2005, when Hurricane Katrina devastated New Orleans, Sea-Saint was among its victims. While Toussaint (who passed away in 2015) had sold the hallowed studio in the mid-90s, hundreds of his archived recordings remained in the building. The new owner salvaged what he could from the flooded building, shipping everything to a storage facility in Southern California. Boxes of tapes sat there for more than a decade before moving to another unit, which foreclosed a year later. The contents were purchased in a blind auction and, days later, sold at a swap meet. The fact that record collector Mike Nishita just happened to be there was pure kismet. Nishita, a DJ and brother to “Money Mark” Nishita (of Beastie Boys fame), recognized the Sea-Saint label on the boxes and purchased all 673 master tapes at the swap meet. He inspected the contents with his friend Mario Caldato Jr., the longtime audio engineer for the Beastie Boys. In addition to masters from Irma Thomas, Dr. John, Lee Dorsey, and Toussaint, there was a quarter-inch reel with Nocentelli’s name on it. As Caldato and Nishita played it back, they knew they had something special. “There was nothing else like it,” writes Sweet. “An acoustic album by the greatest funk guitarist who ever lived. It was the tape Mike would play for people to show them how special the collection was. The best album in the vault was something nobody knew existed.” Eventually, Nishita and Nocentelli connected, “He was so grateful, so sincere,” recalls Nishita. “I just kept thinking about how this music needs to be heard...Especially when you look at all the things that had to fall into place for these tapes to survive and be discovered this way.” As Nocentelli simply puts it, “Things happen for a reason, man.” And now, Light in the Attic is thrilled to give this remarkable record the spotlight it so rightly deserves. 50 years later, all is not lost.

Truth & Soul's rst and only all female group, Lady, lead by the incomparable
Nicole Wray, are back with a tribute to the 60 minute man.

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - La Fantastica. This brash, big band Latin orchestra from Brooklyn debuted on Ghetto Records with an underground Salsa album which also contains the beguiling, English-language Psychedelic Soul of "Latin Blues." Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

On the heels of a successful European tour and new album from his band Monophonics, Kelly Finnigan is happy to present to you this twosided banger sure to satisfy the funk and soul needs of every DJ. The A-side, "I Called You Back Baby", an answer song to the deep Gloria Barnes soul cut is THE uptempo number from Kelly's album The Tales People Tell. Super funky drums from Monophonics' Austin Bohlman and percussion from Jungle Fire's Steve Haney make the breakbeat on this tune super tough. And after you're done sweating, you're gonna need time to cool off with the one you love. So flip the record over to burn one down with "Impressions Of You", a cut that's already been embraced by the lowrider sweet soul scene. This is a doublebarreled sure shot! FOR FANS OF: Durand Jones & The Indications, Lee Fields, Lee Moses.

Two Blues legends Keb' Mo' & Taj Mahal get together and combine forces on the album "TajMo"!!

* North American White Vinyl Edition * Limited 180g Vinyl Edition (500 copies) with obi strip * Rare Philadelphia Soul-Funk Album From 1982 * First Ever Official Vinyl Reissue since 1982Karin Jones (born and raised in Philadelphia) took her first musical steps singing in church. She was gifted with an extremely talented ear, and an accomplished pianist, percussionist and drummer, mostly developed without formal training. In her pre-teens Karin and her two older sisters formed a soul group called The Jonesettes that was managed by their father. They released a single titled 'Once I Had Love / Stop, Look & listen' on Cougar Records in 1971 and participated on the gospel classic “After While” by 'Rev. Arvetra Jones And The Jonesettes' released on HSE Records in 1975. In 1976 a friend of Stevie Wonder told her that Marvin Gaye was looking for backing singers for his new record and subsequent tour. Karin auditioned for Marvin and was instantly hired. They recorded the “Got To Give It Up” EP and she hit the road for Marvin Gaye’s London Palladium tour (later released as a double live album on Motown in 1977). Soon after Karin Jones started doing session work for the renowned label Jobete Records where Teddy Pendergrass got really impressed with her unique musical style. She signed with him for management in 1979, but with Teddy's own frantic schedule, the arrangement dissolved a year later. At a convention of the Black Music Association in Philadelphia, Karin met with Jim Tyrrell, who at the time was establishing his own label, T-Electric. Karin signed with T-Electric Records and recorded an album in 1980. However, the album was shelved because the label run out of money. After collecting dust for two years producer Jim Tyrrell brought it under the attention of industry veteran Ron Alexenburg who was president of Handshake Records. Alexenburg heard the album and very much liked it. He got Karin Jones to sign with his label and 'Under The Influence Of love' finally got its well-deserved release in 1982. “Under The Influence Of Love” is a monster of an album arranged by Dunn Pearson Jr (known for his work with Roy Ayers, Lou Ragland, Mary J. Blige, D’Angelo) and Bruce Hawes (Stevie Wonder, Kool And The Gang, The Temptations). All of this carefully supervised and produced by Jim Tyrrell. Also worth mentioning is that the duet on the album is the one and only time Eddie Levert, of the legendary O'Jays sang with a female artist. Sadly (and shocking) Karin Jones suddenly passed away in 1984 from a diabetic coma. Strangely, she predicted an early demise while preparing her photo shoot for the album. Karin Jones was a true example of a bright light burning out way too quickly, thankfully we are left with the unique (and very rare) document that is her “Under The Influence Of Love” album. The entire album is filled with heart breaking modern soul, deep disco, boogie-funk and a great range of tempos…all of this is topped off with Karin’s trademark vocals. Also included is the hit ‘Ready, Ready Love’ which was one of the biggest songs of the London steppers scene (or more fashionably known as 'rare groove') and almost impossible to get a hold of (unless you had deep pockets). To this day it remains a much sought-after gem and a 'holy grail' for fans and collectors alike. Tidal Waves Music now proudly presents the First ever Official vinyl reissue of this rare Philadelphia album that goes for hefty amounts on the second-hand market (it was originally released on Handshake Records And Tapes back in 1982 and plagued by inferior bootlegs ever since). This unique record comes as a deluxe 180g White North American vinyl edition (strictly limited to 500 copies) with obi strip and features the original artwork.

Rio born Joyce Moreno is one of the most famous names in Brazilian music. Her career has spanned more than 20 albums over 40 years and she continues to record and tour the world.

Aldeia de Ogum is one of her most well known songs. An anthem amongst DJs and dancers in the Acid Jazz days in London, regularly featuring at clubs such as Dingwalls.

Originally features on her sought after 'Feminina' LP from 1980, it also appears on the 'Essential' compilation that we released in 1997. This is the first time the track has been released on 7" however.

Rosinha was a highly acclaimed composer, arranger and guitarist who played with legends including Baden Powell, Sérgio Mendes and Sivuca. Sadly she passed away in 2004.

'Summertime' is taken from her 1975 RCA LP entitled 'Um Violão Em Primeiro Plano'. This is the first time the track has been released on 7".

For our beloved Japan, with all our hearts. Here are the pleasures of the piano trio. Taste the essence of Jos van Beest, the "poet of sentimentality". Simple yet profound. Beest has found a golden recipe for this question that everyone struggles with, and he captures the heart with a piano touch as neat and beautiful as if he had found a golden recipe. The melody is like the shimmer of a daiquiri pouring from a shaker into a glass.