Organic Grooves Vinyl 7 Inch Sale 273 Items

With the collapse of Stax Records, The Staple Singers signed with Warner Bros in 1975, leading to a brief and fruitful collaboration with Curtis Mayfield. Their first work, the OST ‘Let´s Do It Again’, became the Staples’ all-time best seller. Such was the success that the major decided that Mayfield would also produce their next work, ‘Pass It On’, in 1976.

Along with the group’s new sound and shift in lyrics, there also came a new image and a shortened name: The Staples. “Take This Love Of Mine” is a catchy two-stepper dancer, with a passionate and powerful vocal performance and uplifting chorus. “Precious, Precious” is an elegant and sophisticated ballad with less presence of arrangements but which is still incredibly moving and oozing quality. Both tracks, overlooked as singles, closed an album destined to consolidate the success of the new era.

Unfortunately, sales fell short of WB's expectations, leading to Curtis being removed from the production of the subsequent Staples records. Undoubtedly, one of their finest albums and a true favorite among soul fans.

Iu Adell

Melvin Davis’ ‘Wedding Bells’ 45 - first issued on the Ke Ke label out of Detroit in 1964, was an early Dave Hamilton project that he collaborated with Melvin for. Both sides are noteworthy, ‘It’s No News’ has particularly amusing lyrics over a dance-friendly rhythm.

‘Wear Your Natural, Baby’ was a good seller when issued on Kent Harris’ Romark label in the late 60s – judging by the, at least, three pressings of it. Understandably so, as it is a captivating rhythm for a then very current political and fashionable message. Towana was in fact Ty Karim, singing under her young daughter’s name. On this flip, Ty recorded as herself on a cover of the CB Overton’s hit ‘If I Can’t Stop You’. However, Kent Harris decided to not go with this recording at the time and re-cut it with new lyrics as ‘Keep On Doin’ Whatcha’ Doin’’ as a duet with George Griffin issued in 1980 on Sheridan House. That record has become a modern soul classic over time and this alternate solo version, with the different lyrics, by Ty is sure to excite lovers of that genre.

Japan's Wilson Pickett, the incomparable soul singer Masakazu Sunagawa. This 7-inch version of a cover (1978 live version) of Sam Cooke's classic "A Change Is Gonna Come" is as if it became his own. This is a Japanese cover of "A Change Is Gonna Come" from a 1978 live performance with Nasty Chain, his first solo band after the breakup of Sooo Baad Revue, which had made a name for itself. The vocals seem to penetrate from the earth to the sky, and the tension-filled performance is overwhelming. The B-side is a cover of Wilson Pickett's "Something You Got" from a live session with Cold Rubbish featuring Masaki Ueda and Yoshiro Hagiwara, an original member of South to South. The generous sense of rhythm and the extension of the voice are the quintessence of Masakazu Sunagawa.

Lead single from Skinshape’s 8th Studio Album ‘Craterellus Tubaeformis’. For fans of Khruangbin, El Michels Affair, Madlib, Bonobo. A perfect taster of Skinshape’s latest album ‘Craterellus Tubaeformis’ is this double header featuring the laid-back vocals from the man himself. The joyous feel of ‘It’s Real’ sounds as if it’s been lifted from a classic blues album but with a contemporary feel. ‘Amnesia’ keeps a similar vibe with thoughtful lyrics leading to a deeper track than the production may initially suggest. Will Dorey’s ambiguous words on the tracks It's Real: “I shall leave you to decide what the song is about. Musically, it's straight-up 1960s British blues era style. Phased guitar solos, 12-string acoustic chugging along. All that.” Amnesia: “Following the course of slightly psych-edged bedroom pop. Is it pop? I shall leave you to discern the lyrical meaning.” Support from BBC 6 Music, BBC Radio 2, Jazz FM, Soho Radio, Mojo, Uncut, Shindig etc

Right Of Me' is an incandescent and refined excerpt, like the entire new concept of the album 'Peaceful Sound For Broken Minds' due out on 28 Feb 24. The plan of Salvo Dub from Catania aka Go.Soul.Map does not stop here - we are in front of an artist with an exceptional creative phase, a hothouse of sparkling ideas that flow out in continuous streams like the lava of Etna in its full eruptive activity.

As with 'Pushing', 'Right Of Me' is always presented in a Nu-disco key, super Dance in a formula full of Pop and Soul enriched by keyboard sounds. Salvo comments on how proud he was of this track, which is certainly the strongest track on the whole album, and it is no coincidence that it was chosen as the second single. The performance and refined voice of Derane Obika complete the work, her lyrics touching a deep state that explores the relationship with one's self and faith.

In conclusion, we can say that in a world where artificial intelligence will only numb our creative stimuli, there is no shortage of creativity here and at the same time, more unique than rare, Go.Soul.Map. remains firmly anchored to its roots beyond passing fads in a space of pure simplicity and creative essence alongside its friend Derane Obika.
Don't miss It!!!

‘What Does It Take (To Win Your Love)’ was originally recorded by Jr. Walker & The All Stars and was written by Johnny Bristol, Harvey Fuqua and Vernon Bullock, in 1969. Reputedly, Jackey Beavers was in the studio when Bristol and Fuqua produced the hit and it’s likely that Beavers’ cut his unreleased take at a similar time. Bristol, Fuqua and Beavers reunited that year to write the No.1 pop and R&B hit ‘Someday We’ll Be Together’ for Diana Ross And The Supremes, also produced by Bristol. In a recent post the influential Modern Soul Collective cited Jackey Beavers’ recording of ‘What Does It Take’ as their “new favourite version of the much-loved classic”. Here, we pair it with the, also unreleased, alternate version of ‘Lover Come Back’… same song, different lyrics.

‘Just Like The Weather’ was originally released in 1965 on the Chicago Constellation label. It failed to ignite the short-lived, flagging, career of Nolan Chance, talented as he was. However, in the early Seventies it was rediscovered by the UK Northern Soul scene and would go on to become an all-time classic. Reissued here, due to popular demand, with it’s much overlooked superlative B-side ‘Don’t Use Me’, yet to have its day on the dance floor. They really don’t get much better than this. Watch out for the simply stunning unreleased version of ‘Just Like The Weather’ by Mill Evans coming soon from Charly.

‘Why Don’t You Write’ was originally recorded and released in 1971 by Lee Bates on Joe Banashak’s New Orleans based Instant Records. It has over time become a sought-after Northern Soul collectable. It was produced by the unlikely sounding Alias Ducie (Deucie) who also released one obscure 45 on Instant, ‘Then You’ll Be Mine’, credited to Alias Ducie & The New Orleans Poets. In a recent search of the Banashak master tapes in the Charly vaults we found an incredible unreleased version of ‘Why Don’t You Write’ performed by Ducie, possibly as a guide track for Bates. We also found another unreleased master, ‘High’ and over a dozen unreleased Lee Bates masters. Here we release both versions for the very first time. And there’s plenty more where this came from!

‘I Can’t Help But Let You’ was penned by the great George Kerr in the mid-to-late Sixties, possibly with Linda Jones in mind who he was working extensively with at the time. But, it was Ruby Winters who recorded the song along with other Kerr compositions ‘Last Minute Miracle’ and ‘If Only We Had Met Sooner’. Here we feature Ruby’s raw audition take and newly restored, retouched and mixed down version which sounds stunning.

Previously Unissued funk with killer sax

Latin Afrobeat band whose debut LP "Bailalo Duro" was released at the end of 2020 has been the talk of the town. The Nkumba System, led by former Romperayo guitarist Guillo Cros, is now available on Okra!! Both sides are from completely different sessions and were not included on the album "Bailalo Duro". Guillo Cros was a guitarist in the band of Cameroonian music veteran Mama Ohanja before joining the Romperayo. The sound that this wandering French guitarist has created in Bogota with Colombian musicians such as John Socha, who was also a bassist in the Romperayo, is a hybrid groove of Afro-Latin and Latin music from the vintage tropical music revival onward that is distinctly different from the Afro-Latin music of the past. While based on traditional Cameroonian and Colombian rhythms, it also incorporates Afrobeat, champeta, and a touch of psychedelicism to create a strong dance sound that was not possible before.

Not new, but new to us. Future Rootz & Dinked teamed up to release this DJ 45, taken from the 2019 "what Goes UP Remixed" LP. These tracks are guaranteed to rock dancefloors worldwide: "NO Band News" remixed by Maga BO and "cut THE Infection" remixed by the SOL Power ALL Stars.

Tawoyame Orquesta celebrates their 15th Anniversary with new 7inch release from their new project! The guest remixer features Takeshi Nakatsuka. The band's signature song "Suteki na Ongaku", which was included on their first album, is newly sung by the leader Tomoko Okamura on the original track from 10 years ago!! The flip side features a remix track for the first time. "odo Latin" from the latest full-length album, "Shukuen Fifteen" (urdc82) is remixed by Takeshi Nakatsuka, a wizard of live sound. The remix is a swingin' and breakin' floor-ready tune!!

Beehive sisters The Contessas onlyexperienced a fraction of what couldhave been. "Broken Heart" b/w "GimmeGimme" simply describe their shortlived experiences through ghostly string,soulful vocals, and funky rhythms.

2023 color vinyl repressGhost Funk Orchestra are a mystery. Plain and simple. Dirty, soulful production, verbed and fuzzed out guitars, mysterious vocals that feel like a lost score to a Quentin Tarantino film. The brainchild of one-man producer/musician/arranger Seth Applebaum, GFO is forging new territory and blurring the line between soul and psychedelic.

The A side of this 45, a brand new track from Aaron Frazer, is about how pressure makes diamonds. The last couple years have been really challenging, especially for those navigating relationships amidst the chaos. This song celebrates the connections of love that are strong enough to weather any storm, and the certainty that comes from making it through together. The B side features a track from Aaron's first solo LP, Introducing. Lyrically, Frazer sounds lovesick; the imagery he paints of demons "so close behind" and the repetition of these lyrics emphasize his longing. The song starts with piercing guitar, dark bass, and chime piano and Frazer himself drums throughout the song. The orchestration is swell while the strings and voices blend well with the transcendent feel of the music. Grab this 45, on either black and limited edition heart shaped vinyl, available 12/08/2023 from Colemine Records.

Johnnie Taylor was an accomplished soul artist despite having little instrumental skill and he rarely wrote any of his own material. He was known variously as the ‘Blues Wailer’ and the ‘Philosopher Of Soul’ and recorded over 30 albums and 120 singles throughout a career that cemented his status as one of the leading male soul vocalists during the late sixties and throughout the seventies.

He started his recording career mid-50s with the doo-wop group The Five Echoes and gospel groups The Highway Q.C.’s and then in 1957, The Soul Stirrers, replacing Sam Cooke who had left the group for a solo career. Taylor followed that path a few years later signing for Cooke’s SAR label. and had a minor hit in 1962 with “Rome Wasn’t Built In A Day”.

in 1964 he moved to Stax Records where he started as a blues artist enjoying many fruitful years, most notably with “Who’s Making Love” selling more than a million copies. Following the unfortunate demise of Stax in 1976 he moved to Columbia Records where he went platinum with the hit “Disco Lady” (ironically not a disco track at all) and the album from which it came ‘Eargasm’ (1976) was a commercial peak he would never scale again. However, he continued with many collectable releases before moving to Beverly Glen Music in the early eighties and then Malaco Records in 1984, where his style became the more soul-blues based sound that was synonymous with the label. He remained with them until he died of a heart attack in Dallas aged 66 in 2000.

“Let’s Get Back On” Track comes from the CD ‘Gotta Get The Groove Back’ (1999) produced (and co-written with Charlie Brooks) by Frederick Knight, who also used the same backing track some 7 years later with his production of the David Sea track “Stay In My Arms” which was a modern soul favourite and will help to register the significance of this earlier production. It is now available as a vinyl release for the first time. It was taken from his final album although Malaco released ‘There’s No Good In Goodbye’ posthumously in 2003

Bobby Bland

Robert Calvin Brooks, known professionally as Bobby "Blue" Bland spent his early career in Memphis, developing a sound that mixed gospel with blues and R&B and was known as the ‘Lion Of The Blues ‘and the ‘Sinatra Of The Blues’. His father abandoned the family not long after his birth and he acquired his name from his stepfather, Leroy Bland. His formative musical years were centered around the Beale Street scene and he was scouted by Ike Turner for Modern Records.

His progress was interrupted by a two year stint in the US Army and when he returned to Memphis he signed for Duke Records, run by Don Robey. Bland was illiterate and Robey helped him sign his contract which only gave him half a cent per record sold instead of the industry standard of 2 cents. He had his first hit in 1957 and continued a successful run of R&B chart entries without breaking through into the mainstream markets and was ranked number 13 of the all time chart-topping artists in Joel Whitburn’s “Top R&B/Hip-Hop Singles: 1942-1995”.

Duke Records sold out to ABC and with them he managed to return to the R&B charts but he still couldn’t succeed in the pop charts. In 1985 Bland signed for Malaco who were specialists in the Southern black music sound and he recorded many albums and toured for them, frequently with B.B. King, and was inducted into the ‘Rock And Roll Hall Of Fame’ in 1992.

Whilst “Heart Open Up Again” was a vinyl release in 1985 it was not chosen to be the single release from the Tommy Couch & Wolf Stephenson produced album Members Only (1985). This beautiful ballad, penned by George Jackson/Robert Miller/Michael Wooten, was never before released as a single and is a fabulous pairing with the topside - two of the best from two of the all-time greats.

Steve Hobbs (Solar Radio / Totally Wired Radio)

Hailing from Las Vegas, Johnny Ruiz and the Escapers offer up two sides of the haunting group sounds, sure to scratch the itch of doo-wop and soul enthusiasts alike. Adorning the a-side is 'Sorry', a stark, creeping, dirge like ballad with a sparse rhythm track that swings eerily underneath Johnny's sublime lead and the Escapers plaintive harmonies, creating a hypnotic vibe that will have you dropping the needle over and over again. Continuing with the dark vibes but picking up the pace a couple of BPMs, 'The Prettiest Girl' brings a measure of hopefulness to the tune, evoking the earnest, lovelorn memories of youth. A must for fans of Nolan Strong and the Diablos Fortune Records output.

After the success of the first Alessandroni Proibito box set, which sold out in pre-sale before it even hit the stores, Four Flies is proudly back with Volume 2 of the compilation. This new release too features five exclusive 7-inches, housing a total of 10 seriously rare tunes. All previously unreleased in physical format, the tracks have been carefully selected from the soundtracks of five obscure Italian films from the late ‘70s – sexy flicks that flirted with the line between erotic and explicit, and which are now largely forgotten, having been out of circulation for decades.

As was the case with the previous volume of the compilation, Alessandroni's music rises above the films' flimsy plots, improvised actors, and amateurish production, exuding his distinctive touch thanks to the (typically Italian) artisanal approach he took to his musical craft. The composer let his creativity run free, playing with his instruments at home as if he were in his own little amusement park; trying to have fun and produce something entertaining and captivating with just the few means at his disposal.

This creative freedom turned even budget limitations into musical strength. Armed with just a 4-track Teac, Alessandroni recorded the rhythmic elements first and then added layers of melodic variations on top, at times relying on wordless vocals provided by skilled family members (Alessandroni himself in “Racing”, or his wife Giulia De Mutiis in “Ticket”), and at others on affordable or readily available instruments from the Italian folk tradition, such as the mandolin, the accordion, the melodica, or the diatonic harmonica. And of course, let’s not forget his unmistakable guitar! Whether classical or electric, it's the heartbeat of every track in this compilation, from the seductive suspense of “Luci Rosa” (i.e., ‘pink lights’) to the groovy disco-funk of “Snake Disco (Reprise)”, all the way to the brilliant proto-wave of “Climax.” To top it off, a splash of DIY electronica – think minimalist drum machines and quirky synths – injects a modern feel into what we now call Italian erotic sound.

This time as well, the box set comes with artwork by Eric Adrian Lee, along with a matching 30x70cm folded poster inspired by the insert-size posters that used to deck out movie theaters.

Alessandroni Proibito Vol. 2 (Music from Red Light Films 1976-1980) is being released in a limited edition of just 400 copies and will never be reissued. So, be quick – it's first come, first served!

The second 7inch single from the new project of Nautilus, a new generation of rare groove band, will be released on Record Day 2023!! It features the original funk featuring vocoder "A Story About You", and a cover of James Mason's "Sweet Power Of Your Embrace"!! The A-side features "A Story About You," an original funk song featuring vocoder performance by Mariko Nakabayashi (key), which was featured on "We Gettin' Down" last year. Nautilus-style cover of James Mason's 1977 classic "Sweet Power Of Your Embrace" is featured on the flip side. Recording for a full-length album to be released this winter is also underway! Expect the full picture of this new project to be revealed at last.

Hailing from the North East of England, Smoove & Turrell have dominated the UK funk & soul scene for over a decade with their unique blend of northern soul and electronica. Their latest 7" release comes with 'The Light' which features legendary Blue Note keyboard genius Ronnie Foster. Frontman John Turrell reflects on the challenges of recent years and calls for unity, love, and solidarity against corrupt politics and media greed. On the flip is 'Geno's Discotheque', a tribute to a mythical club that never existed but a place we all want to be.

The A side of this new 45 from Colemine records can be described assophisticated lounge-pop for dinnertime at a hip debutante ball in 1962. Featuringa track off of Durand Jones & The Indications third LP, Too Many Tears depicts astory of heartbreak, with Aaron Frazers silky falsetto mournfully painting a scene ofbetrayal. The B-side has become a theme for a whole new generation of sweet soul lovers.Featuring Y La Bomba, a latin indie alternative/experimental band led by singer-songwriter and guitarist Luz Elena Mendoza, this track is a homage to lowriderseverywhere. So we are proud to present this heater of a 45. Let's cruise....

Reggie Soul real name Reginald Stone is just one of many illusive recording artists who had a very limited recording career for a handful of small independent Chicago labels then disappeared into obscurity, Reggie reputedly left Chicago in the mid 1970’s for the lone star state of Texas never to be seen or heard from again!

Reggie’s recording legacy is the sum total of 3, 45 singles two of which he recorded under the supervision of respected Chicago songwriter and producer Clarence Johnson., firstly the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for Red Balloon Records, “I Feel So Bad” was composed by Lee Sain who recorded his own version under the title of “Baby Don’t Leave Me” for the Broach label. Reggie Soul’s “I Got Jody” also came out as a B-side on Nation Time Records, the A-side was a version of the James Brown song “Soul Walkin’ but this side was credited under the mis-credited artist name of Reggie Smith?

Finally, Reggie’s third release “My World Of Ecstasy/Mighty Good Loving” was released on the Scott Brothers own Capri Records label in 1968. Both sides of the 45 were written by Reggie with Charles and Walter Scott, arrangements were provided by John Jackson and Bill McFarland who provided the horn section to many of the Scott’s future productions. The Scott Brothers of which there were several (all musicians) had begun their own careers during the late 1950’s recording under the group name of The Masquerades on the Formal label. Often referred to as The Scott Brothers Orchestra with Howard Sephus Scott at the head of their growing musical dynasty they formed their own company Capri Productions circa 1968, their initial recording productions were Fred Johnson (Shi-Lush Records) and the aforementioned Reggie Soul & The Soul Swingers. The Scott’s were also the house band in one of Chicago’s Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. The Scott’s often used the Bonanza as a source of finding future artists for their labels, such as The Soul Majestics, Judson Moore, Bobby Jones & Duke Turner amongst others, they even recorded a live performance on The Bonanza Lounges’ resident comedian Randolph Browner which gained a release on the Shi-Lush label.

“My World Of Ecstasy” like several Capri 45 releases were heavily imported into the UK, often sold in soul packs before finding favour with aficionados of the Crossover Scene in the late 1980’s with it’s popularity still remaining high to the present day.

Soul Junction through their licensing deal with Scot-Tees Publishing would like to present the first release of their Capri Records series.

This pairing was slated to be Event 218 in late 1974, but as no copies have emerged, it can be assumed that the single was pulled. It is hard to know why, but judging by its rarity the Anderson Brothers GSF release of ‘I Can See Him Loving You’ was a commercial failure - perhaps Event didn’t want to suffer a similar fate.

This reading of producer Ray Dahrouge’s song is more soulful and vital than the Anderson Brothers which was huge on the Northern Soul scene, but without this take for competition at the time.

Maybe the steamy finale to the Mayberry’s version was a bit too much for radio play, but surely the brilliance of the ballad A side would have compensated for that. Their loss; our gain.

Jesse James returns to the Soul Junction roster with a new 45 that features his own unique interpretation of a classic song that is backed with one of the more popular songs from his 1990 “Looking Back” album now brought to you for the first time as a 45 release. Beginning with the A-side, “Everybody’s Talking At Me” which is Jesse’s unique cover of the folk rock singer Fred Neil’s penned song “Everybody’s Talkin’”. Which although recorded by Neil originally, was made internationally famous by Harry Nilsson when used as part of the theme score for the acclaimed United Artists 1969 film “Midnight Cowboy”. The song has been much covered in the style of a ballad but Jesse’s version recorded under the production skills of close friend Willie Hoskins (Wilhos Productions and Boola Boola Records) is a great up-tempo piano driven version of the song. “Everybody’s Talking At Me” is yet another find from the unissued tapes from the self- financed sessions that Jesse recorded at the Searra Sound Studios in Berkley C.A during 1971 that also has brought us Sj543 “(The Girl In) Clinton Park” and Sj544 “If A Man Ever Loved A Woman (Baby I Love You)”.

While the b-side, features the much, admired modern soul favourite “You’re More Than A Friend Of Mine” which first gained a release on the 1990 ‘Looking Back’ album (Gunsmoke Records). “You’re More Than A Friend Of Mine” was up to that point a previously unissued mid 70’s recording produced by the late song writer /producer Ron Carson. Carson the original owner of the San Francisco Soul Clock Records label remains highly respected for his work with the hit group, ‘The Whispers’ (both on Soul Clock and some of their later Janus recordings). Carson had produced and co-wrote Jesse’s 1975, 20th Century Records release “If You Want A Love Affair/I Never Meant To Love Her” now regarded worldwide as Jesse’s signature song. Carson had a follow up release in the can, which never came to fruition due to Jesse and 20th Century parting company for the second time. Carson by then had moved on and was heavily involved in the production of the Janus distributed blackploitation album “Black Fist” for Happy Fox records. “Black Fist” was a various artists compilation which also featured the Jesse James composition “The Same Thing Happens (Part1 & 2)”. The shelved, proposed 20th Century follow up release would have been “Your More Than A Friend of Mine/I Don’t Want It To End” recorded during 1976. Carson had pitched the idea of a song in a similar vein to the Jackson Sisters 1973 Prophesy Records release “(Why Can’t We Be) More Than Friends” to the songs original songwriting team William Peele Jr and Warren Sams. They duly obliged, coming up with the aforementioned “Your More Than A Friend Of Mine”. Warren Sams along with his half-sister Christine Adams Tripp and their friend Rachel Sanders were none other than the respected vocal trio “Water & Power” who recorded the acclaimed 1975 album of the same name for Fantasy Records and a solitary 45 “Mr Weatherman/If You Don’t Want Me”.

Hilton Felton is a keyboardist with a strong following amongst rare groove fans for his sophisticated, mellow and groovy playing. He has released many albums during his career on his own label, Hilton's Concept, Inc. and Family And Friends This is the first time that P-vine has reissued this gem, which is sought after by many collectors due to the excellence of the music and the rarity of the record.

For this reissue, all tracks have been given state-of-the-art mastering. There are numerous cover versions of the Jackson 5's well-known hit 'Never Can Say Goodbye' (m3), but it is safe to say that this version by Hilton Felton is by far the best quality. Also impressive is the jazz-funk cover of the Delfonics classic 'La, La Means I Love You' (m5), including the opening track 'Family And Friends' (m1), which enjoys a superb groove created by Hilton's soft playing. The original compositions will satisfy even the most demanding jazz listener. The groovy soul of 'The Power Of Love (It's In My Heart)' (m8), featuring vocals from a young Angela Winbush and Hilton Felton themselves, is also a wonderful performance that offers great depth of sound.

The 7" set also includes 'The Power Of Love (It's In My Heart)', which has never been released as a single, and 'Spreading Fever (Part 1)', the original version of which is very rare and almost impossible to find!

Chicago's Magic Touch label gets the Numero Group treatment. Available for the first time ever on 7", Boogie Holy-Grail "Too Far Gone" has been "Too Hard To Find" on the second hand market since first introduced to the masses via the legendary cratesmith Mark Grusane of Mr. Peabody Records. Rare Groove Windy City Disco at its finest sliced, diced and remastered for maximum dancefloor potential. Bonus: Housed on replica "Double Disco Smash" 7" Magic Touch Sleeve.