€

8th

8th Organic Grooves 5 Items

Name: Thelonious Monk - It's Monk Time
Brand: 8th
SKU: 606359
Price: 31.99 EUR
Availability: OutOfStock

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8th

Thelonious Monk

It's Monk Time

LP | 1964 | US | Reissue (8th)

31,99 €*

Incl. VAT plus Shipping Costs

Release: 1964 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Renowned and revered for his improvisational abilities,
his contributions to the lexicon of jazz standards, and
his many innovations in composition, it's no wonder that
Thelonius Monk's catalog is one of the most recorded of
all time. (Topped only by Duke Ellington.) An eccentric
and quirky pianist, Monk's recordings were marked by
strategic dissonance, abrupt key changes, and the
usage of silence as an instrument, a style which was
not fully understood in its time, (One jazz critic referred
to Monk as "the elephant at the keyboard") but would
prove highly influential to the likes of Wynton Marsalis,
Mulatu Astatke, Chick Corea, and even his
contemporaries like Miles Davis and Charles Mingus.
When the mid-60s rolled around, many considered
Thelonius Monk's best days to be behind him, but
in fact some of his most accomplished and deft
arrangements can be found on his 1964 release It's
Monk's Time. The album is a much more relaxed and
casual outing for the post-bop innovator, often known
for noise experimentation. (To the degree that many
die-hard Monk fans would disown It's Monk's Time.)
Despite its relaxed sound, Monk and his power trio
backing band of Charlie Rouse on sax, Butch Warren
on bass, and Ben Riley on drums bring grounded
muscle to Monk's exploratory and ambient piano.
A worthy, 6-song addition to any jazz
aficionado's collection, and some of Monk's
most robust compositions.

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Blowfly

Blowfly's Zodiac Party

LP | 1978 | US | Reissue (8th)

30,99 €*

Incl. VAT plus Shipping Costs

Release: 1978 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Nobody could have suspected the path that Clarence Henry Reid
would take during the 1960s. During this time he worked as a
singer/songwriter and producer for the likes of KC & The
Sunshine Band, Bobby Byrd, Gwen McCrae, and various others.
He would also release his own compositions, including the deep
soul classic "Nobody But You Babe", which would become a sampling
favorite of KRS-One, Erykah Badu, DMX, and more. Though
Reid maintained a reputation as a consummate professional
among the romantic soul crowd, outside of his day-job he turned
a complete 180, writing and performing humorous, deliberately
raunchy and sexually-explicit parodies of songs. These parodies
would be relegated strictly to friends at parties, and wouldn't see
a wide audience until the 1970s hit.
In 1971 Reid would gather a collection of studio musicians,
including famed R&B sidemen Timmy Thomas & Benny Latimore
on keys, and Little Beaver on guitar, to finally commit these
parodies to wax. In order to protect his identity as a songwriter
Reid took on the stage name Blowfly, and dressed as a comic
book super villain for live performances and photos. From there
he would release numerous studio albums of similarly crude
parodies throughout the 70s and 80s, which were enormously
popular as party records. These records would also go on to
become a wealth of sampling fodder for artists like Jurassic 5, The
Pharcyde, DJ Shadow, Eazy-E, and many more, as well as lead
Reid to collaborate with artists as varied as soul contemporary
King Coleman, to former Dead Kennedys frontman Jello Biafra, to
ganja-centric rapper Afroman.
1978 saw the release of Blowfly's Zodiac Party, a loosely defined
concept album which framed Reid's explicit renditions around the
theme of the Greek Zodiac symbols. Reid had already covered
this topic earlier on the similarly titled Blowfly Zodiac, but Zodiac
Party differentiates itself from its lack of parodies, instead placing
Reid in the center of a raucous shindig with his backing band,
schmoozing effortlessly with excited partygoers, curious to know
their signs. It's a singularly surreal entry in the parodist's catalog,
but a no less entertaining 70s party record.

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Violinaires

Groovin' With Jesus

LP | 1971 | US | Reissue (8th)

22,99 €*

Incl. VAT plus Shipping Costs

Release: 1971 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

A group that at one point had
Wilson Pickett among their ranks, The
Violinaires have been a staple of gospel
music since the 1950s. During this time
the group cut over 25 full-length albums
blending spiritual themes and zeal
direct from their churches with a secular
soul sound. 1973's Groovin' With Jesus
is one such album, which found The
Violinaires toying with Aretha
Franklin-style gospel-funk. Features
soulful covers of tracks by Galt
MacDermot, George Harrison, and
various others, with a distinctly
religious twist.

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T-Bone Walker

The Truth

LP | 1968 | US | Reissue (8th)

22,99 €*

Incl. VAT plus Shipping Costs

Release: 1968 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Aaron Thebeaux "T-Bone" Walker was all but destined for performance from the start. After all both of his parents were musicians, who taught him how to play guitar, ukulele, banjo, violin, mandolin, and piano. He was even an early protege of Blind Lemon Jefferson, who was a friend of the family, and often came over to dinner. Walker began performing blues music during the late 1920s and early 1930s, cutting his first singles, while performing as a sideman across the country, often performing alongside Blind Lemon Jefferson himself, as well as contemporaries like Douglas Fernell, Big Jim Wynn, and Charlie Christian. By the 1940s, Walker had begun to perform more frequently as a solo act, recruiting his own backing band, and being among the first to adapt a guitar technique that would change the course of music history: electric amplification.Were it not for Walker leading the charge and pioneering the electric blues sound, contemporary music might have been very different. His sound help set the stage for essential Chicago Blues artists like Muddy Waters, Howlin' Wolf, and Willie Dixon, while providing key influence to the likes of B.B. King, Jimi Hendrix, Chuck Berry, and innumerable others.

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Blowfly

Blowfly's Disco Party

LP | 2018 | US | Reissue (8th)

21,99 €*

Incl. VAT plus Shipping Costs

Release: 2018 / US – Reissue

Genre: Organic Grooves

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Nobody could have suspected the path that Clarence Henry Reid
would take during the 1960s. During this time he worked as
a singer/songwriter and producer for the likes of KC & The
Sunshine Band, Bobby Byrd, Gwen McCrae, and various others.
He would also release his own compositions, including the deep
soul classic "Nobody But You Babe", which would become a
sampling favorite of KRS-One, Erykah Badu, DMX, and more.
Though Reid maintained a reputation as a consummate
professional among the romantic soul crowd, outside of
his day-job he turned a complete 180, writing and performing
humorous, deliberately raunchy and sexually-explicit parodies of
songs. These parodies would be relegated strictly to friends at
parties, and wouldn't see a wide audience until the 1970s hit.
In 1971 Reid would gather a collection of studio musicians,
including famed R&B sidemen Timmy Thomas & Benny Latimore
on keys, and Little Beaver on guitar, to finally commit these
parodies to wax. In order to protect his identity as a songwriter
Reid took on the stage name Blowfly, and dressed as a comic
book super villain for live performances and photos. From there
he would release numerous studio albums of similarly crude
parodies throughout the 70s and 80s, which were enormously
popular as party records. These records would also go on to
become a wealth of sampling fodder for artists like Jurassic 5, The
Pharcyde, DJ Shadow, Eazy-E, and many more, as well as lead
Reid to collaborate with artists as varied as soul contemporary
King Coleman, to former Dead Kennedys frontman Jello Biafra, to
ganja-centric rapper Afroman.
1978's Blowfly's Disco Party was no less lewd than its
predecessors, putting a funky-disco spin on Reid's signature
blend of explicit parodies, and deliberately cheeky tracks. No
track is safe from Reid's dirty lyrics, as he parodies classic
Motown hits, Delta blues songs, and even his own discography.
(His naughty spin on his own deep soul hit "Nobody But You,
Babe", becomes "Nobody's Butt But Yours, Babe".)

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