Organic Grooves 208 Items

The sole album released in 1974 from this almighty group of nine musicians lead by Chicago native Danny Leake continues to turn up in the hands of the most determined collectors for good reason. Formed in the most unlikely of circumstances as a group of American military workers stationed in Germany, the band made one dazzling leap onto the frontline of soul before promptly disbanding and never looking back. As with all records that get marked with the coveted 'rare' status, what we don't know about the record outweighs what we do, but as the needle fits the groove on album opener "You Keep Coming Back," and the vocal and instrumental harmonies build into a frenzy, the addictive joy of the record takes hold for repeated listens. P-vine is delighted to be bringing this album back from the vaults for a limited pressing fitted with a unique Japanese obi strip.

After the opener rich with soul, "No More City, No More Country" changes pace with a psychedelic funk jam that blossoms into a piece of spiritual jazz and social commentary of 70s America. "Windy C" is an album highlight and kicks off the B-side with a lost funk classic where the individual talents of Steve Maxwell's organ playing, Leake's guitar and John Jackson's percussion all combine to make the deftest of touches count. The wealth of compositional talent behind the album contributes to its varied sound, and the might behind Marvin Daniels' vocals and trumpet playing joins Leake on the songwriting credits with producer Rick Hartung. Leake would later make his name as the trusted sound engineer of Stevie Wonder, but his roots as the mythical bandleader of 100% Pure Poison lives on in the books of rare record folklore.

To single out a release in catalogue of the 70s famed ‘tax scam’ label TSG is a hard ask - the level of quality remained both consistently and inexplicably high during its two years of operation. Thus calling 1619 Bad Ass Band’s 1976 self-titled album a stand-out release doesn’t honour the spirit of the catalogue, and yet, by all accounts, everything about this monolithic funk and soul unit is striking.

Lead by bandleader Khalid Abdul Shalid, album opener “Love to Love” beats down the door with a pulsating funk jam, snarling boy-girl vocal comradery and segues into the mellower reverb-soaked soul track “I Am Mine”. Phyllis Harris, sister of band bassist Carl Harris, takes over as the lead vocalist soon after, and shines on baroque pop-infused album highlight “Just for You”. She later delivers a knock-out vocal performance on the moving soul ballad “Rain (Always Finds Me Crying)”. The band depart on “Nobody” in the same way as they arrive with more stellar funk grooves and call-and-response unity.

Prices on the second-hand market for the original LP and 1978 Graham International reissue have priced out virtually everyone interested in the release for decades. For its first widely available release, P-vine is thrilled to be reissuing the album on LP fitted with an iconic Japanese obi strip.

From mellow crossover soul to furious heavy funk, all the way to sweet ballads, the self titled LP from 1619 Bad Ass Band has it all! We’ve taken Nothing Can Stop My Loving You and Step Out from the LP to cut a seven inch single!

Long considered by crate diggers to be rare even among the ultra rare TSG records, 1619 Bad Ass Band’s self-titled album is like catnip for rare groove collectors! From the mellow crossover soul, furious funk, sweet ballads, and everything in between, we’ve selected mid-tempo dance number “Nothing Can Stop My Loving You” and heavy funk number “Step Out” (famously sampled by DJ Shadow) to be cut on 7 inch 45rpm vinyl!

Hot on the heels of Ramrock Retro’s debut release – Rrret001 – Gladys Knight & The Pips – Ramrock Retro is insanely delighted to present their next release – the superb double sider of Aaron Neville’s ‘Hercules’ and Al Jarreau’s ‘Use Me’. Recently covered by Ramrock artist, Ghetto Priest, Aaron Neville’s 1973 classic ‘Hercules’ needs no introduction but here’s a few facts. Originally released on Mercury, the track was co-produced by New Orleans luminaries, Allan Toussaint and Marshall E Sehorn. ‘Hercules’ enjoyed a massive renaissance in the mid 80’s on the ‘Rare Groove’ scene and was repressed 16 years ago in 2005 on Jazz Man Records. Al Jarreau’s ‘Use Me’ comes from his 1979 ‘Lonely Town, Lonely Street‘ and is a wonderful cover of the Bill Wither’s track. ‘Use Me’ has never previously been released as a 45 so this is its UK debut. Both tracks have been beautifully remastered by Darren Morris at North Street West.

The late Abbey Lincoln was one of the greats in jazz singing and composition. 65 at the time of this recording, the singer performs a fiery musical statement and maintains her own distinctive manner of delivering a lyric. This 1998 Verve release mostly emphasizes slow tempos and melancholy moods. Seven of the nine tracks on Who Used To Dance are ballads that serve to demonstrate the graininess in Lincoln's voice, with highlights such as the nostalgic "Who Used to Dance" (featuring Savion Glover's tapdancing) "Street of Dreams" and an exceptionally charming "Mr. Tambourine Man". Alto saxophonists Frank Morgan, Steve Coleman, Oliver Lake, Justin Robinson, and Riley Bandy III provide feature work and several insightful solos, and the rhythm team of pianist Marc Cary, bassist Michael Bowie, and drummer Aaron Walker provide finest ballad accompaniment.



This 140-gram vinyl is the first international vinyl reissue, pressed at Optimal, and is presented in a wide-spine, single-sleeve jacket.

I've Enjoyed As Much Of This As I Can Stand represents a singular moment in the band's history. Recorded on the final night of their '98 tour in support of the eponymous LP, Acetone was in peak form. Recorded live on 16 track Adat, the band pulled from all corners of their catalog in a nearly 80 minute set that veers from serenity to recklessness, culminating in an epic 13-minute medley of "I'm Gone/Miserlou" that should put to eternal rest the notion that this was a "slowcore" band. Previously unreleased and unheard, this 2-disc live concert will be available on limited edition clear vinyl numbered, trifold package.

In order to record the compositions in his critically acclaimed 2022 release Gold, Alabaster DePlume instilled a culture of creativity by leading his ensembles In spontaneous composition and development. This resulted in an abundance of material that he has since produced and arranged, resulting in this collection. The direction here is firmly rooted in performance and less focused on post-production, featuring DePlume"s go-to collaborators in the London scene, and yielding particular space to percussionist Tom Skinner (The Smile, Sons of Kemet), vocalist Momoko Gill, and percussionist / vocalist Donna Thompson. The result is a raw, beautiful, percussive, group music, in-the-room music. You"re there. You"re here. Take a listen.

Blessed by the Californian modern funk diva Moniquea , Amadeo 85 is back with a brand new 7". Moogy basses, heavy drum machines and FX from space are the mood of this double sider. On A side, Moniquea transcends this rough beat with her classy style, an ode to the universal party, in the deep boogie funk spirit. On B Side, this drunk Funk Boogie is a space travel produced under the influence of liters of Vinho Tinto, with the support of Bacchus himself.

US based Finnish pianist Anni Kiviniemi debuts her trio featuring bassist Eero Tikkanen and drummer Hans Hulbaekmo (from Gard Nilssen"s Supersonic Orchestra and Moskus). The new album "Eir", out on We Jazz Records, is an introspective, moody, yet swinging trio set comprising 8 Kiviniemi originals. Modeled for a classic jazz piano trio, Kiviniemi"s music reaches far beyond, bringing together influences from classical music, Norwegian musical tradition and North African music.

A leading Norwegian bassist for over 30 years, ECM legend Arild Andersen forges promising relation-ships with two rising stars - Daniel Sommer (drums) and Rob Luft (guitar) in an expansive, playful exploration of song and collective improvisation. As Time Passes " is set to release on April 26th on April Records. Led by Sommer, the release signifies the first chapter of the drummers much much-anticipated Nordic trilogy on April Records, aiming to capture and document Nordic improvisation and composition across three carefully curated ensembles. Bassist Arild Andersens storied career stretches back to the 1970"s as one of ECM s first recording artists, collaborating with household names of the genre including Jan Garbarek, Don Cherry, Bill Frisell, John Taylor, Sonny Rollins, Chick Corea, and the list goes on. Welcoming the opportunity to work with and nurture younger artists, the ensemble was born when Daniel Sommer selected Andersen for a project during his studies at the Danish National Academy of Music. Later, impressed by Luft s performances in Ireland and Norway, Andersen suggested expanding the pair into a trio. A transcendent musical voyage, As Time Passes " blurs the lines of conventional trio roles, and celebrates the evolution of jazz as a fluid, versatile form of expression. By providing each musician the freedom of becoming a key contributor in the melodic discourse, the trio channels the spirit of jazz veterans such as the Bill Evans Trio and free free-jazz ensemble Air, while echoing the sounds and innovations of pan pan-European contemporary jazz. Mixing pensive rubato ambience with energetic grooves, instrumental dexterity, a modern ECM ECM-esque sound and folk undertones, the record s compositional clarity combined with the spontaneity of a live performance flows across and between genres, borders and generations alike. Luft s intricately over-dubbed layers of acoustic guitars, vast reverbs, and contrapuntal melodies expand the sound of the three piece into an immersive world of texture...

Released along with the fourth issue of the Italian cult magazine 'Il Giaguaro', and now almost impossible to find, this limited slab of vinyl is made up of 4 previously unreleased tracks from the mid-1960s films 'L'Arcidiavolo', and 'Don Giovanni In Sicilia', all composed by the legendary Armando Trovaioli and performed by I Marc 4. More pure cinematic gold rescued from the vaults.

Dimitri From Paris remixes Space Talk! Naya Beat is proud to announce a historic Asha Puthli 12” disco single, "Space Talk: With Remixes By Dimitri From Paris", the first in a series of Naya Beat remixes and retrospective releases featuring the legendary Asha Puthli. Working with the original Space Talk stems and studio recordings, Dimitri From Paris does the impossible – delivering not one but two stellar versions of the original masterpiece. Two remixes that are destined to be classics in their own right. Be it the world of disco, rare groove or hip hop, Space Talk is one of those rare tracks that transcends time, genre and place. A track equally at home in David Mancuso’s The Loft as in the hands of afro cosmic pioneers Beppe Loda and Daniele Baldelli. A track that has been sampled by The Notorious B.I.G and P Diddy, 50 Cent, and Redman. A track that has seen countless bootleg disco edits but that until now has never been remixed. No stranger to working with iconic music, Dimitri’s two stand apart remixes deliver his trademark sound and more. This is Dimitri at his best. Beautifully dubbed out and magically lush production (with plenty of laser sounds to boot) builds on the original’s interplanetary excursions. While the remixes are quintessentially Dimitri, they also pay homage to greats like Tom Moulton, Patrick Adams and Larry Levan. Exclusive to this release (along with "Dimitri From Paris Spacer Dub") are a "2023 Mix" and "Extended Mix" of the original, lovingly mixed for the discerning DJ by Naya Beat cofounders Turbotito & Ragz using the original studio recordings. Their very existence the stuff of rumour and legend, Naya Beat and Asha have tracked down the original stems and studio recordings from her most seminal albums, including "The Devil is Loose". "Space Talk" is the precursor to a full length LP coming out in September 2023 featuring remixes by legends like Maurice Fulton, Yuksek, Kon, Psychemagik, JKriv and Black Devil Disco Club to name a few. This is a once in a lifetime opportunity for producers inspired by her music to honour Asha’s influence and legacy. This is Naya Beat’s third release in a series of reissues, reworks, remixes and compilations dedicated to uncovering electronic and dance music from the subcontinent and South Asian diaspora

Saxophonist Azar Lawrence (born 1952) needs little introduction, as a young musical prodigy he was lovingly tutored by his mother, who taught music and led their church choir. At age 5, he played violin in the Los Angeles Junior Symphony, then viola, but his ears were turned to the saxophone at age 13. Azar spent his teen years immersed in jazz at the home of his best friend, none other than the late Reggie Golson, son of the great composer/arranger/saxophonist, Bennie Golson. From then on it was jazz, jazz and more jazz!

Azar Lawrence began his jazz career at the renowned Dorsey High School Jazz Workshop. After high school he played in Horace Tapscott's ‘Pan Afrikan Peoples Arkestra’ and started performing in the Los Angeles club circuit. He soon found himself playing with the Ike & Tina Turner band, the Watts 103rd Street Band and War. At the age of 19, Azar joined John Coltrane’s drummer Elvin Jones for over 3 years before being invited by McCoy Tyner to join his quartet (an alchemy that lasted for 5 exuberant years). During his tenure with Tyner, he also recorded with Miles Davis on the album Dark Magus at the famed Carnegie Hall.

Upon leaving Tyner, Azar Lawrence recorded his own projects on Prestige Records, including Bridge Into The New Age (1974), Summer Solstice (1975) and People Moving (1976). After these three albums it would take over a decade before Mr. Lawrence would record another solo album (Shadow Dancing, released in 1985). Azar went on to record/write and perform with luminaries such as Freddie Hubbard, Busta Rhymes, Roberta Flack, The Headhunters and Mulatu Astatke. His sensational collaborations of the period included writing and performing on Earth Wind & Fire’s highly acclaimed platinum album, Powerlight, and on Marvin Gaye’s Grammy award winning, Hear My Dear. Azar Lawrence’s work was sampled by renowned artists/acts from the likes of Madlib, Cypress Hill…and many others.

In the early 2000s, Lawrence surged back onto the jazz scene and continues to electrify audiences with outstanding original compositions and chart hitting albums. His band, The Azar Lawrence Experience (tale) appears with as many as eight musicians who sizzle to the sounds of Azar's powerful compositions, as well as songs from the Coltrane songbook. To this day Tale dedicates itself to sharing a lifetime of Azar Lawrence’s music, art and spirituality with global audiences.

On the album Shadow Dancing (released in 1985), which we are proudly presenting you today, you can hear the musical versatility only an artist like Azar Lawrence can deliver. Next to his trademark jazz sound, this album is filled with funk, soul and boogie influences. If you’re looking for THE perfect mix of synth filled boogie & jazz-funk where the Sax takes the center stage…then this is a highly recommended gem for your record collection (and a must-have for seekers of rare grooves).

Also featured on these recordings are some serious all-star guest musicians from the likes of Oren Waters (Herbie Hancock, Curtis Mayfield), Roy Galloway (Jimmy Cliff, Gladys Knight), Fred Johnson (The Temptations, George Clinton), James Gadson (Bill Withers, Quincy Jones), Leo Nocentelli (The Meters, Maceo Parker), Marlo Henderson (Gil Scott-Heron, Ahmad Jamal), Denzil Miller (Kurtis Blow, Diana Ross) and Eddie Brown (Stevie Wonder, Dennis Coffey).

Tidal Waves Music now proudly presents the First ever vinyl reissue of this fantastic album (originally released in 1985 on Riza Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

In the years preceding his untimely death P-Funk and (de-facto) Talking Heads keyboardist Bernie Worrell entered the studio with Seattle-based musicians to create the Khu.eex project, melding funk, soul, and groove with native-american storytelling and instrumentation. Drawing on his own Cherokee heritage, the group recorded four albums before Worrell’s passing. This album, featuring 14 songs compiled by famed P-funk chronicler Yoriko Kawachi, spans the countless recording sessions over which these albums were recorded. With Galactic drummer and frequent Worrell collaborator Stanton Moore on seven out of fourteen tracks, and some of the Pacific Northwest’s best talent on all of the tracks, these fourteen songs are sure to get you up and dancing.

As no strangers to the West End Records back catalogue – both having taken on remix duties individually in the past – 2022 sees Michael Gray and Dr Packer combine to give two classics the Rework treatment. Brenda Taylor’s seminal “You Cant Have Your Cake And Eat It To” is finessed into a contemporary disco standard: Taylor’s voice still cutting through with plenty of soul while synth and pianos provide the groove. “Don’t Make Me Wait” cuts a slightly edgier tone, with acid-like bleeps and plenty of reverb making it a perfect counter track as part of this release.

Another set of essential Reworks from West End.

Hot on the heels of announcing a singles collection from the North Carolina funk and soul group, P-vine Records is proud to be repressing Brief Encounter’s debut album Introducing - The Brief Encounter for the first time in eleven years. A much-loved favourite among Rare Groove fans, this album was originally released in 1977 on Seventy Seven Records where it spent the better part of 30 years amassing untouchable prices on the second-hand market. With its first reissue in 2010, many fans were finally able to hop on board the pleasure-bound trip, and with those records now becoming a rarity, a second repress was always on the cards. Album opener “The Brief Encounter (introduction)” ignites the members with rallying vocals, and pacey percussive funk grooves that keeps spirits high and punctuate the album up until its joyous closer “We’re Gonna Have A Good Time”. It’s an album also unafraid to show tenderness at its core, and the soulful ballad arrangements of “Loving and Caring” and “In A Special Way” drops the tempo for a mid-album masterstroke of dynamics. As before, this reissue will come fitted with a unique Japanese obi strip.

Rich versus Roach is a 1959 studio album by drummers Buddy Rich and Max Roach with their respective bands of the time. The album is mixed with each of the two bands in a different stereo channel. Two musical geniuses here at work and there is no clear winner. If we listen very closely to the artistries of the two great drummers, this LP is very interesting. This legendary meeting was truly a battle of the drummers! Though the set's a very unusual one for Buddy – as the group here features players normally associated with Max Roach – bring in some great solo moments when needed! Rich also brings a few of his key men to the set, too – including Phil Woods on alto and Willie Dennis on trombone – on titles that include "Sleep", "The Casbah", "Limehouse Blues", and "Big Foot"

Stone Free was the only album to be released by funk and soul specialist Cecil Lyde in 1980, and its sumptuous body of songs immediately takes hold upon first spin. Originally released with the short-lived Californian label Aladdin Records, Chicago-native Lyde created an album of uncompromising modern soul and boogie that has an urgency to entertain. Title track “Stone Free (Freaks With Me)” is a bold opener with percussion laced like a whip, and active bass melodies complementing Lyde’s falsetto harmonies. Another highlight, “Money’s Funny” doubles down on intricate percussion and bass eccentricities, driving home inspired funk hooks and untapped pleasures. P-vine is thrilled to be reissuing Stone Free under its groove-diggers imprint with an iconic Japanese obi strip.

(Clássicos Em Vinil) Reissue on 180 Gram vinyl. A mad mix of loud guitar, wild samples, and heavy Brazilian percussion – all nicely topped with the soulful vocals of Chico Science!The record's one of the group's earlier ones, and it's filled with a sense of raw power and experimentation that easily demonstrates why the band grabbed so much attention so quickly.

New Parisian label, Disques Messager, presents its first release and not the least. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which begins rather well, with the official reissue of these two stirring titles by Brazilian singer and composer Cristina Camargo. Native of Rio De Janeiro, Cristina Camargo had quite a short career, releasing only 2 albums in 1980 and 1981, but still enough to collaborate with some of the best composers, musicians and producers at that time. Her first self-titled album was therefore produced by Robson Jorge & Lincoln Oliveti and recorded with some of the finest musicians. “Moral Tem Hora” comes from this same LP and is a perfect example of the unique alchemy that emerged when the Disco and Boogie invaded the Brazilian music scene. A quite hard to find Boogie killer, composed by famous brothers, Marcos and Paulo Sérgio Valle. On B side comes “Minas Do Rei Salomão”, a more chilled-out title extracted from Cristina’s 2 nd album, Santa Maravilha. With its funky slapped bass, airy keyboards and the sweet vocals of Cristina, the song seems made to sip a nice cocktail at Ipanema.

DeRobert and crew are back again with a hard hitting, bare bones, to the point album: 100 Yard Dash In these songs, DeRobert sings about fighting a losing battle with inner demons, lack of progress in the world, minding your-own-damn business and struggling through life’s tribulations. The band is on point with tight arrangements and a no frills production style. Using just drums, bass, guitar, keys, horns and vocals, this album is a great representation of the bands high energy live shows and aesthetic.

DeRobert and crew are back again with a hard hitting, bare bones, to the point album: 100 Yard Dash In these songs, DeRobert sings about fighting a losing battle with inner demons, lack of progress in the world, minding your-own-damn business and struggling through life’s tribulations. The band is on point with tight arrangements and a no frills production style. Using just drums, bass, guitar, keys, horns and vocals, this album is a great representation of the bands high energy live shows and aesthetic.

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Recorded in December 1976, Hear And Now was produced by drummer/keyboardist Narada Michael Walden (ex-member and session man for Journey, Mahavishnu Orchestra, Weather Report). The album – licensed by major label Atlantic – has been often dismissed by jazz purist and early days Cherry fans as a commercial effort. To be true it is a record that epitomize the ‘club’ tendencies discovered in the second half of the decade by many jazz and fusion artists. Led by the incredible ‘world’ rare groove of Universal Mother, the album is to be rediscovered in a different light.

Essential pick! These buddy's "Baby" was recently covered by Hype Williams on their "Ebony" album, and both tunes are hella fresh!

Pacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, Dreamin’ Wild is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.

Spurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.

Sea Glass Blue Vinyl. 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....

One of the most obscure records ever released in Venezuela that was originally distributed in tiny quantities as a promo-only album in 1972. A magic blend of protest songwriting, with a strong environmentalist statement, and folky pop with psych ingredients -such as the use of sitar sounds- recorded by the collective of artists "Una Luz", and "El Zigui" who was once described as the local Bob Dylan. Latin, Psych, Folk - First time reissue, 180g LP, RSD exclusive release, 500 copies ww.

Polysom Brazil vinyl LP repress import, released in 1971. Erasmo Carlos sounds even cooler here than usual – still working with tunes penned with his brother Roberto – but also taking on music by Caetano Veloso, Jorge Ben, and Marcos Valle too!

Here is the upcoming P-vine presents ＜ultimate TSG Survey＞ reissue series following Ricardo Marrero, The Topics and The ultimates. "Freeway" was released in 1976 as the only work from pianist and composer Eric Dunbar who was based on New Orleans. Almost nobody had the original edition vinyl released by a legendary tax scam label "tsg Records" because this LP had pressed only a few quantities just for tax saving. Currently, this album is well known as one of the most rare and valuable titles among releases of the label. Not only its rarelity but the music itself is also truly almighty, all tracks are full of intense low-mid grooves and skillful brass sections support the base of sound strongly. The opening number "Freeway (m1)" is one of the highlights of this long play. P-vine is proud to present this long awaited reissue with newly digital remastering and Japanese OBI-strip.

Erik Tagg’s blend of warm, deeply resonating vocals spread like butter over the smooth instrumentation of this AOR and modern soul classic. 1976’s Rendez Vous was the second album from Tagg who had played in the Dutch bands Beehive and Rainbow Train outside his activity as a solo artist. From his debut two years prior, his emergence as a solo artist had always been full of promise. Yet Rendez Vous still came as a surprise with its expanded instrumentation, and the added weight of his voice on tracks, like the soul-searching “Life Goes On,” fine-tuned a winning formula.

Back in 2020 P-vine reissued the album for the first time on vinyl format through its Groove-Diggers imprint, and will again repress the album as a deluxe double gatefold edition with clear vinyl. Also included are four tracks that weren’t originally compiled on the album bringing the total tracklisting to thirteen.

*Record Store Day 2024 Official Release*

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a vwider audience of collectors, DJs and music lovers. All releases are limited edition. This release is 100 copies limited edition, with: the so rare 7” with the 2 Original songs (aro17-7) + a 12° with 3 new Remixes (aro17-12) + a special Insert 29x29 + 2 stickers (1 glitter Archeo logo + 1 holographic Ettika logo). Holy Grail!

Singer, actor and musician Farid El Atrache, born on October 19, 1910 in Soueïda, Syria, and died on December 26, 1974 in Beirut, Lebanon, is considered the greatest singer of the Arab world. A virtuoso of the oud, his timeless work, rich in hundreds of compositions, is recognized the world over. The present selection is devoted to the master's early works recorded in the 1930s-1940s.

lost 80s groover from Bay Area Soulster Fats Gaines is stepping out here with vocalist Zorina London!

Fats Gaines was a jazz musician and orchestra leader born in Kansas, who had a significant presence in the San Francisco Bay music scene from the early 1950s to the first half of the 1980s. He experimented with various musical genres throughout his career, including Rhythm and Blues, Soul, Funk, and Disco, but he always maintained the guiding presence of jazz in his music.

His debut on record occurred in 1952, and although he had a prolific career as a live musician, his discography output was relatively limited and scattered. He recorded only half a dozen singles until 1983, which can be attributed to various reasons, including the volatile nature of the music industry and the difficulty in finding record labels willing to record jazz and other less popular musical genres.

Despite his lack of commercial recognition, Fats Gaines is remembered by many as a talented saxophonist and orchestra leader who significantly contributed to the San Francisco Bay music scene. His music and legacy continue to be appreciated by jazz fans worldwide.

Louisiana born and creed: Zorina spent her formative years in San San Francisco Hunter Point district. She aspired to be an all-around entertainer; though her parents couldn't afford dance lessons, she hung around dance schools until the opportunity arose to show her dancing ability. Soon thereafter, she began dancing with various troupes and graduated as a leading dancer-choreographer for Kemo channel 20's variety program. She also began modelling professionally and won the Top Bay Area Model Award and the Knights of Honor Beauty Pageant in 1972. Also, during this time, she began working at San Francisco's Playboy Club, hoping for more opportunities and exposure. Besides her dancing ability, she exhibited her singing and acting abilities as well, with notables Carol Channing, comedian Prof. Irwin Corey and songstress Randy Crawford.

Currently, Zorina continues her career as a singer, actress, and human rights activist in Taiwan.

Fay Hill has been based in LA since the 1980s and is best known for her 2nd album "Island In My Mind" which was released in 1987 with a rich selection professional musicians and engineers from LA. This, her debut album "This Is A Blessing", released six years earlier in 1981, is by comparison a much more raw and spontaneous affair which in turn spotlights her powerful gospel vocals, and the bustling funk and soul scene of LA in the early 80s.

"I Don't Know You" (m5) is an album highlight produced by Michael ORR who will be familiar to Rare Groove followers along with its wonderful cutting guitar line. "I Know Who You Should See" (m2) and "Any Load You Can Handle" (m7) were also released as single-cut 7 inches at the time and are still in high demand.It's an album truly full of killer tunes, and finally seeing its first reissue in the world!

Replaces Faz001 wich will be discontinued! Mara is the debutalbum of Munich-based jazz group Fazer. Short Info: Mara is the debutalbum of Munich-based jazz group Fazer. The young musicians combine African and Latin rhythms with dubby basslines and melancholic melodies. The unusual lineup with two drummers (Simon Popp, Sebastian Wolfgruber), bass (Martin Brugger), guitar (Paul Brändle) and trumpet (Matthias Lindermayr) leaves an open space for unfettered improvisation. Through the concept of repetition and finely measured dynamics, Fazer create a drawing energy that can be felt directly at their live shows and has been captured perfecty on this record.

Music of Many Colours is a joint album between Roy Ayers and Fela Kuti, recorded after a three week tour of Nigeria’s major cities in 1979, during which Roy Ayers performed as the opening act for Fela’s band. The two artists decided to record the album as a round-up to the tour.

Roy Ayers describes the experience saying, “I met Fela Kuti in Nigeria in 1979, and we fell into a great relationship, good personal and music vibes, and we recorded that album together. Fela also came to USA in the eighties and we performed at NYC's Madison Square Garden. Amazingly energetic, Fela Kuti had a very original concept that was called Afro Beat – a genre with a very unique identity and exceptional music. One of Fela Kuti's most impressive qualities was that he was undeniably a brilliant show man, as a musician and as a huge dancer as well. His African concept was truly original… The tour was about two black men together coming together, one from Africa and other from USA, a very exciting collaboration."

Flammer Dance Band back with two new hip-shaking garage funk tunes! 2023 Repress edition in different sleeve artwork colourway Another essential from Lyskestrekk Records.

„Hot Rats“, originally released 1969, is Zappa’s second album. It‘s considered to be one of the first Jazzrock albums ever and mostly contains instrumental compositions except from one track.

Akuphone is proud to present Fuji-Yuki’s last masterpiece, One Butoh. A musical immersion into the most exciting avant-garde dance style of the past century. Created in Japan in the 1960s by Tatsumi Hijikata, butō is the "dance of the obscure body". It broke with the traditions of classical Noh and Kabuki Theater, which, at the time, seemed outdated in the national context. Nourished by a European artistic avant-garde, butō stands out as a mirror of the socio-political turmoil of a post-World War II Japan. One Butoh resonates as a perfect acoustic introduction to this subversive art and propels the listener deep into his own soul.

Fuji-Yuki is a Japanese vocalist who uses her voice like an instrument. With special vocal techniques, glossolalia and electronic pedals, she creates a wide variety of sounds. Inspired by the spirits of Buddhism and Shintoism, she creatively transforms her vocals into an ambient drone or prayers resonating in a church-like space. Her live performances are always different, depending on the place and space they take place in. She is also known as the vocalist of the experimental band Sarry.

Favorite Recordings proudly presents an exclusive eponymous LP by Brazilian singer and composer George Sauma Jr., originally produced in 1985. Imagine a never-marketed release on which you’d hear not only the beautiful and genuine George’s songs but also the work from two figures of the Brazilian Music Golden Age: Arthur Verocai and Junior Mendes! A much-needed album for all Brazilian connoisseurs. Back in the days, George Sauma Jr. was a young artist from Rio de Janeiro, learning on his side how to play chords and compose songs since he was 10. Still at the university, he’s influenced by Brazilian artists like Cassiano or Tim Maia, deeply fascinated by the arrangements and the “levada” (the groove) of all these new Brazilian songs. Simple and romantic music that resonated to his soul and creativity. Around 1985, the story took an unexpected turn. George tells: “Dna Deyse Lucidy, the mother of Junior Mendes was a candidate for deputy and went to my father’s company to advertise. When I saw her, I shouted, “I’m a big fan of your son!” ” Of course, she could not praise more the work of her son. On her advises, George went to his studio on Rua Siqueria Campos at Copacabana. Junior loved the project and sent him to Arthur Verocai to improve the arrangements. Without money, the decision was taken to record everything at Junior Mendes’ studio on an 8-channel mixer. It was a small set-up but the emotions were there! George surely had other plans for some of his songs but without the budget, they ended up doing everything the best they could. And they did very fine with a top-notch team of musicians: Paulo Black on Drums, Arthur Verocai on Guitar, Ricardo Do Canto on Bass and Helvius Vilela on Keyboards. Leaving the studio with the tapes, George tried to knock doors of international labels, but none did even dare to give him an answer. With less than 1000 copies pressed back in the days and without any distributor or label behind him, he went with proud to record stores, but received nothing than a strong reality check regarding the difficulties for a young Brazilian artist to achieve something on the saturated market of the 80s. Even for free, record stores didn’t want it. In the end, he ended up giving copies to friends and families, knowing deep inside that the songs were good! George tells: “I decided to leave, calm and conscious. I’ve still made three more albums, however on tapes, as it was more affordable. This time, just for my pleasure…”. Thirty-five years after, it’s with great emotion that this first album by George Sauma Jr. is now made available as Vinyl LP with its original offset printed innersleeve & CD.

Winter in America is the fifth studio album by American Jazz vocalist Gil Scott-Heron and keyboardist Brian Jackson, released in 1974. The album is produced in a stripped-down fashion, relying on traditional African and R&B sounds. The subject matter deals with the African-American community and inner city in the 1970s. “Scott-Heron’s most Righteous & Provocative” – ALL Music. Vinyl has been out of print and unavailable. This deluxe package includes an OBI side strip, gatefold album jacket with one pocket, original album art work, printed inner sleeve, original record labels and specialty color vinyl.

One of the funkiest albums ever from Gilberto Gil – a set that beautifully mixes rootsy elements with tighter funk arrangements, in a style that's not unlike some of the 70s samba soul experiments from Jorge Ben.

The Swedish quartet Goran Kajfes Tropiques present Tell Us, an album consisting of three long pieces composed by the group, is "slow music" to the bone, a deep body of work utilising the language of jazz as its core mode of communication but echoing way beyond. The quartet is expanded with strings, adding wings to the music and helping it lift off the ground in a personal, highly engaging manner.

The Swedish quartet Goran Kajfes Tropiques present Tell Us, an album consisting of three long pieces composed by the group, is "slow music" to the bone, a deep body of work utilising the language of jazz as its core mode of communication but echoing way beyond. The quartet is expanded with strings, adding wings to the music and helping it lift off the ground in a personal, highly engaging manner.